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Reviews
The Boston Symphony Orchestra Bewitch Audiences
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 16 March 2022 13:59
- Written by Jack Angstreich
Andris Nelsons (R) and Leonidas Kavakos (L) Photo by Chris Lee.
At Carnegie Hall, on the evening of Monday, March 14th, I had the pleasure of seeing a concert presented by the superb Boston Symphony Orchestra, under the stellar direction of the terrific Andris Nelsons, the first of two events on successive nights, the second being a performance of Alban Berg’s classic opera, Wozzeck.
The program opened compellingly with a haunting account of Charles Ives’s uncanny, modernistic The Unanswered Question, here led by assistant conductor Earl Lee in the original arrangement for chamber ensemble and with some of the musicians offstage. The outstanding virtuoso Leonidas Kavakos then took the stage to perform the New York premiere of the contemporary Korean composer Unsuk Chin’s Violin Concerto No. 2, Scherben der Stille, which was co-commissioned by this orchestra, along with the London Symphony Orchestra and the Leipzig Gewandhaus Orchestra and was written for the soloist. The piece conjures a very unusual sonic atmosphere—one can perceive the influence of György Ligeti, with whom the composer studied—and has power; while seemingly somewhat amorphous, it at times acquires a somewhat dramatic character and ends climactically. Chin joined the musicians onstage to receive the audience’s applause.
The highlight of the evening, however, was the second half of the concert, which consisted of a thrilling version of Hector Berlioz’s extraordinary, stunning Symphony fantastique. Berlioz, more than any other composer—even Carl Maria von Weber, who appears to be more of a transitional figure—is the fountainhead of musical Romanticism and this work, more than any other, announces and inaugurates that revolution. The opening Allegro, “Reveries, Passions,” is largely turbulent, after a suspenseful, introductory Largo section, but concludes serenely, while the second movement, “A Ball,” is a marvelous waltz with exuberant passages. The Adagio that follows, “Scene in the Country,” is evocatively bucolic for most of its length but not without darker, indeed portentous, moments, harbingers of the ensuing, enthralling, if utterly fatalistic, “March to the Scaffold” movement. Even more ominous is the Larghetto introduction to the finale, “Dream of a Witches’ Sabbath,” which transforms into an astounding, breathless Allegro. The artists earned an exceedingly enthusiastic ovation.
An Evening With the New York Youth Symphony
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Monday, 14 March 2022 14:16
- Written by Jack Angstreich
Soloist Grace Park
At Carnegie Hall on the afternoon of Sunday, March 13th, I had the pleasure of attending a concert, of music by American composers, presented by the remarkable players of the New York Youth Symphony under the confident direction of Michael Repper.
The event began with the conductor asking the audience to stand for a stirring performance of the Ukrainian national anthem, with music by Mykhailo Verbytsky, an eminent nineteenth-century composer. The program proper opened auspiciously with the world premiere of the arresting, beautifully orchestrated Ruach (And Other Delights), by contemporary composer Jonathan Cziner, commissioned by the New York Youth Symphony First Music Program.
The very talented soloist Grace Park then took the stage for an eloquent account of Samuel Barber’s magnificent Violin Concerto. The Allegro begins lyrically and gorgeously but moves in a more sprightly and also dramatic direction with the introduction of the countermelody by the clarinet. The Andante is at first more inward and meditative, then becomes more conflicted, but returns to more soulful inflections before ending softly, while the closing, more flamboyant and propulsive Presto proved to be a virtuosic tour de force. Each movement received applause.
After an intermission, Repper announced the the release of the ensemble’s debut album, which includes music by the underrated Florence Price, a couple of whose marvelous scores have been heard in Manhattan—including at this venue—in recent weeks. The second half of the concert was equally absorbing with a wonderful rendition of the now seldom heard but extraordinary “Afro-American” Symphony of William Grant Still. The opening Moderato, like the work as a whole, is jazzy, delightful and eclectic, while the Adagio is more restrained but also enchanting. The third movement, marked Animato, is more celebratory and ebullient, and the concluding Lento begins hauntingly but soon acquires a more cheerful character. As a gracious encore, the music director repeated the terrific third movement—in the closing measures inviting the audience to clap along—earning further appreciation from the fortunate attendees. I look forward to hearing these impressive musicians again before long.
March '22 Digital Week I
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 02 March 2022 11:23
- Written by Kevin Filipski
Blu-ray Releases of the Week
Beauty & Tragedy With the Vienna Philharmonic Orchestra
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 01 March 2022 21:37
- Written by Jack Angstreich
Conductor Yannick Nézet-Séguin and Pianist Seong-Jin Cho with the Vienna Philharmonic Orchestra. Photo by Chriss Lee
At Carnegie Hall, on the evening of Friday, February 25th, I heard a magnificent concert—the first of three on consecutive dates—devoted to the music of Sergei Rachmaninoff given by the outstanding Vienna Philharmonic Orchestra under the marvelous direction of Yannick Nézet-Séguin, replacing Valery Gerigiev, who could not attend on account of the current Russia-Ukraine conflict.
The program opened beautifully with an impeccable version of the celebrated Piano Concerto No. 2, here played with consummate artistry by Korean soloist Seong-Jin Cho, replacing Denis Matsuev who also could not be present because of the political situation. The lyrical first movement, like the work as a whole, is an expression of the purest Romanticism while the ensuing Adagio is even more inward—solemn, plaintive but with turbulent passages. The finale is melancholic but also frolicsome by turns and features march-like rhythms and soaring melodies but concludes triumphantly. The audience rose to applaud the performers. Cho performed an exquisite encore: Peter Ilyich Tchaikovsky’s October ("Autumn Song") from The Seasons.
The second half of the event was even more rewarding, with a fully confident realization of the extraordinary Symphony No. 2. The Largo begins gravely but quickly becomes passionate, even dramatic, in character, although with introspective moments. The following Allegro molto is even more suspenseful, but also suffused with longing, although it ends quietly. Most sumptuous of all is the emotional Adagio while the Allegro vivace is enchanting, if ultimately exuberant. The artists received an enthusiastic ovation.
The following day, on February 26, brought the next day of the stunning ensemble. The remarkably coherent program of lush orchestral music began magnificently with a flawless account of Claude Debussy’s glorious Prelude to the Afternoon of a Faun, one of the most perfect works ever written.The conductor memorably displayed superb control of tempo. Almost as impressive was Maurice Ravel’s Daphnis and Chloe Suite No. 2. (Several years ago at Alice Tully Hall, I heard Nézet-Séguin lead the Juilliard Orchestra in a ravishing performance of the complete ballet score.) The opening Daybreak movement’s ecstatic atmosphere is strongly reminiscent of the ineffable qualities of Debussy’s Prelude while the ensuing Pantomime is more programmatic in character and less sustainedly voluptuous in its scoring across its length. The concluding Danse générale is propulsive, dramatic and suspenseful with a stunning close that drew ardent applause.
The second half of the event was comparably exciting with a spectacular rendition of Nikolai Rimsky-Korsakov’s brilliant, sumptuous fantasia, Scheherazade, which is immensely evocative, exceedingly Romantic and exceptionally coloristic with moments of shimmering intensity and is notable for its sensuous Orientalism. Igor Stravinsky’s early ballet scores have conditioned me to experience this music as their precursor. The piece builds to a wondrous, breathless climax with a magical, serene denouement that elicited a standing ovation.
On the following afternoon, the artists returned for a terrific concert of Russian music beginning with an astonishingly lucid reading of selections from Sergei Prokofiev’s magisterial ballet score, Romeo and Juliet, including the following episodes: the unforgettable Montagues and Capulets; Juliet as a Young Girl; Scene; Friar Laurence; Minuet; Masks; and the stunning Romeo at Juliet’s Grave.
The second half of the program was also enthralling: a sublime performance of Peter Ilyich Tchaikovsky’s monumental Pathétique Symphony. The brooding Adagio introductionto the first movement quickly leads into a passionate Allegro with a famous and haunting second theme. The second movement is one of the loveliest of the composer’s numerous exquisite waltzes but is not without its melancholy aspects. The dazzling, ultimately triumphant March of the third movement was continued without pause by the moving finale which was imbued with a deep sense of longing, even despair. Appropriately, a minute of silence for the people of Ukraine was observed before another appreciative ovation. The next appearance of these incomparable musicians is eagerly awaited.
