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Reviews
Juilliard Jazz in NYC
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Monday, 28 February 2022 15:17
- Written by Jack Angstreich
Conductor David Robertson at Carnegie Hall
At Carnegie Hall, on the evening of Wednesday, February 23rd, the Juilliard Orchestra, under the estimable direction of David Robertson, played in a terrific concert of American orchestral music influenced by jazz.
The program opened delightfully, with a marvelous performance of Leonard Bernstein’s brilliant Three Dance Episodes from On the Town, from his popular 1944 musical with book and lyrics by the wonderful Betty Comden and Adolph Green and choreography by the legendary Jerome Robbins. The music began with the exuberant The Great Lover, followed by the magnificent, lyrical Lonely Town (Pas de deux) and concluding jubilantly with the jocular and celebratory Times Square.
The impressive soloist Yan Liu then took the stage for a superb rendition of Aaron Copland’s extraordinary Clarinet Concerto of 1948 which has an introspective, gorgeous first movement leading into an eccentric cadenza and and a final second movement with dancelike rhythms reminiscent of the composer’s famous ballet scores, but here with virtuosic jazzy inflections. The clarinetist was handed several floral bouquets from members of the audience and was enthusiastically applauded.
After an intermission, the Juilliard Jazz Orchestra joined the ensemble to conclude the program with an enthralling account of Wynton Marsalis’s fabulous, monumental Swing Symphony of 2010. This work in seven movements virtually defies description with its exhilarating medley of innumerable styles and genres with many instrumental solos. After the first movement Robertson told the audience, “It’s okay if you applaud” and after the second he said, “We have five more encores.” The musicians deservedly received a standing ovation.
An Evening with the Julliard Orchestra
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Monday, 28 February 2022 15:00
- Written by Jack Angstreich
Soloist Gabrielle Després
On the evening of Saturday, February 19th, at Alice Tully Hall, I had the great pleasure to hear the superb Juilliard Orchestra—here playing at their near best—in a marvelous concert under the excellent direction of Kevin John Edusei.
The program opened arrestingly with an enthralling performance of contemporary composer Samy Moussa’s Crimson, a brilliantly orchestrated work of shimmering tonalities. The dazzling soloist, Gabrielle Després—here looking gorgeous in a beautiful, grey-blue satin gown—then took the stage for a splendid rendition of Erich Wolfgang Korngold’s delightful, too seldom programmed Violin Concerto. The lush, frequently lovely first movement drew applause and the ensuing Andante began lyrically with a wistful theme and maintained an introspective mode across its length. The fabulous Finale was rhythmic, dancelike and melodious. The violinist received an enthusiastic ovation.
The second half of the event was at least equally impressive, with a wonderful account of Stravinsky’s extraordinary 1945 Suite from The Firebird. After an ominous Introduction, the moods shifts in rapid fashion, while the piece contains some of the composer’s most exquisite music, including the highly dramatic Infernal Dance, the glorious Lullaby (Berceuse)—maybe the most haunting music he ever wrote—and the rousing, astonishing Final Hymn. The performers were vigorously applauded.
A Stunning Finale With The Philadelphia Orchestra
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 23 February 2022 15:47
- Written by Jack Angstreich
At Carnegie Hall, on the evening of Monday, February 21st, I had the great pleasure to hear the excellent musicians of the Philadelphia Orchestra—under the remarkable direction of the irrepressible Yannick Nézet-Séguin—in the wonderful closing concert of their complete cycle of the magnificent symphonies of Ludwig van Beethoven.
Angel Blue Takes Stage With Philadelphia Orchestra at Carnegie Hall
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 23 February 2022 15:11
- Written by Jack Angstreich
Angel Blue with the Philadelphia Orchestra. Photo by Steve Sherman
At Carnegie Hall, on the evening of Tuesday, February 8th, I had the great pleasure of hearing the superb musicians of the Philadelphia Orchestra, under the excellent direction of Yannick Nézet-Séguin, in a terrific concert independent of their marvelous cycle of the complete symphonies of Ludwig van Beethoven being presented at this venue this season.
The program opened with the New York premiere of contemporary composer Matthew Aucoin’s extraordinary, arresting and dramatic Suite from his opera, Eurydice, which first appeared in 2020 and was co-commissioned by the Metropolitan Opera and the Los Angeles Opera. The instrumental excerpts performed here were especially exemplary for their display of a mastery of orchestral color. Felicitously, Aucoin was in the house to experience the audience’s acclaim.
The wonderful and appealing soprano Angel Blue then took the stage—she wore a beautiful gown with a blue satin skirt and a black bodice—for an exquisite, luminous performance of Samuel Barber’s magnificent Knoxville: Summer of 1915, his setting of a prose poem by the renowned author, James Agee. Following appreciative applause, she then powerfully sang another New York premiere, “This Is Not a Small Voice,” by the contemporary African-American composer Valerie Coleman, whose memorable Umoja, Anthem for Unity and Seven O’Clock Shout have both been performed recently by this ensemble in this hall. I found this new work compelling, with most of my ambivalence about the seeming programmatic “wokeness” of the poem by Sonia Sanchez that it sets overcome and it too was notable, like the composer’s other pieces mentioned here, for its impressive orchestration. Coleman was also present to receive a warm ovation.
The second half of the program provided a splendid opportunity to hear some forgotten repertory—the Symphony No. 1–by a neglected African-American composer, Florence Price, whose lovely Violin Concerto was recently performed by the Juilliard Orchestra at Alice Tully Hall. The opening Allegro was melodious—even sumptuous—and gripping and drew applause. The ensuing Largo was stately, lyrical and quietly affirmative while the following movement, the Juba Dance, was joyous, celebratory and enchanting and also was applauded. The exciting finale was also dancelike but more propulsive, closing a rewarding evening.
The Philadelphia Orchestra returns to Carnegie Hall on the evening of February 21st to finish their Beethoven cycle with the First Symphony and the monumental Ninth Symphony.
