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The extraordinary Anton Bruckner symphony cycle at Carnegie Hall, with the Staatskapelle Berlin under the admirable direction of the renowned Daniel Barenboim, continued impressively with the fourth concert, which was presented on the evening of Monday, January 23rd.
Barenboim and the ensemble beautifully sustained the high level of musicianship they had achieved on the first three nights of the cycle, opening with a luminous performance of Wolfgang Amadeus Mozart's lovely penultimate piano concerto, the No. 26 (the "Coronation"), with the maestro conducting from the piano. However, the most sublime music yet heard in the series was the eloquent account of the ensuing, grand Symphony No. 4, the "Romantic"—heard here in the revised, 1878-1880 version—one of Bruckner's most purely accessible essays in the genre. The enthusiasm in the applause following this surpassed that of the previous programs, and understandably so.
The next evening opened with a charming reading of the appealing Sinfonia concertante in E-flat Major for Oboe, Clarinet, Bassoon, Horn, and Orchestra, controversially attributed to Mozart, with Gregor Witt on oboe, Matthias Glander on clarinet, Mathias Baier on bassoon, and Radovan Vlatković on French horn, each one very fine. The second half of the program was a study in extreme contrast, featuring the titanic Symphony No. 5. From a technical viewpoint this was the most remarkable accomplishment thus far in the cycle, if only for the realization of the awesome finale. Fittingly, Barenboim and the musicians drew enormous applause.
A pinnacle amongst the Mozart works in this series was achieved on the following evening with a dazzling account of the exquisite Piano Concerto No. 22, with Barenboim again conducting from the piano. This was one of the finest presentations of the composer's piano concertos that I have ever heard in the concert hall and the soloist was in supreme form. The astonishing lucidity of the Mozart was even more strikingly equaled in the performance of the challenging Symphony No. 6, heard in an elegant and confident reading that, one hopes, presages further delights to be encountered in the final three concerts of the cycle. The musicians were once again robustly applauded.
The heightened expectations aroused by the excellent earlier concerts in the Anton Bruckner symphony cycle at Carnegie Hall, presented by the sterling Staatskapelle Berlin under the accomplished direction of the esteemed Daniel Barenboim, were amply fulfilled on the evening of Friday, January 27th. Each program thus far had featured a wonderful concert work by Wolfgang Amadeus Mozart and this one opened with a superb account of the extraordinary Sinfonia concertante in E-flat Major, with admirable soloists Wolfram Brandl on violin and Yulia Deyneka on the viola.
The series may have reached its peak in sublimity, however, with the gripping performance of the popular Symphony No. 7 that followed. The applause was fittingly rapturous. But, another summit was scaled the following evening with a stunning realization of the equally grand but even more challenging Symphony No. 8—heard here in the Robert Haas edition —which garnered another thunderous ovation.
The final program in the cycle, presented on the next day, opened with a glittering account of another lovely Mozart piano concerto, the 23rd. The concert concluded awesomely with a powerful version of the towering, unfinished Symphony No. 9. The applause surpassed that of all the previous evenings and members of the audience handed Barenboim individual red, long-stemmed roses in appreciation of a landmark series, purportedly the first complete cycle of the canonical Bruckner symphonies in New York history. It was exceedingly edifying as well as an enormous pleasure to be able to attend all these performances led by a living legend.
To learn more, go to: http://www.carnegiehall.org/
The first week of this year’s Mostly Mozart Festival featured at least one fine evening of music, on Friday, July 29th, at the superb Alice Tully Hall, promising pleasures to come. (The program had been played the night before and then was repeated the following evening.)
Alice Tully HallLincoln Center for the Performing ArtsDamrosch Park, New York City, NY
New York City music lovers get to experience a wonderful array of French music this summer when a new music festival -- Francerocks Summerfest -- launches June 3 to July 23, 2016.
The seven-week series will showcase the expansive wealth of diverse musical talent coming out of Paris and France at large, with over 30 artists spanning genres from indie pop, rock and electronica to jazz, swing and world music.
They will be either performing for free or in ticketed shows at over 25 venues ranging from Central Park Summerstage and Celebrate Brooklyn to the most intimate performance spaces throughout New York City.
Presented by the Cultural Services of the French Embassy and Bureau Export (a global network of specialists that assist French artists and label for over 20 years. www.french-music.org) with the support from the Institut Français and la Ville de Paris (City of Paris), Francerocks Summerfest will bring together a mix of acclaimed established artists -- such as Avashai Cohen -- with emerging bands such as Her, Beau and Club Cheval.
Standout shows include:
The festival was created as part of Tandem Paris-New York 2016, a large-scale transatlantic cultural exchange between Paris and New York.
From June through October 2016, cultural institutions in New York and Paris will present an extraordinary selection of events in a variety of cultural disciplines including music, dance, cinema, literature, theatre, the visual arts, language, gastronomy, and digital innovation from the partner city.
Tandem Paris - New York 2016 is organized by the City of Paris and the French Institute, in partnership with the Cultural Services of the French Embassy in the United States and the Embassy of the United States of America in France, with the support of the City of New York.
To learn more, go to: http://www.francerocks.com/summerfest2016/
Francerocks SummerfestJune 3 - July 23, 2016
Various LocationsNew York City
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