Saturday night’s BSO concert at the Shed featured a somewhat curious pairing of Mozart’s elegant, ebullient Piano Concerto No. 14 with Mahler’s world-quaking Symphony No. 5. [continued]
A gang of young fellows channeling Old Masters Bernstein, Foss, Copland, and Ives ended the 75th Festival of Contemporary music with a bang. [continued]
Two successive events revealed consecutively the perils and pleasures of summer festival programming in the Monadnock Hills. [continued]
As the Festival of Contemporary Music was winding down, the Sunday morning concert had acquired a clubby atmosphere. The unusual 10:00 a.m. start time reinforces your belonging to a group of the seriously likeminded. [continued]
This weekend Christoph von Dohnányi led two programs that epitomized standard: an all-Beethoven concert (the Fourth Symphony and the Violin Concerto) on Friday night, and an all-Mozart program consisting of the last three symphonies on Sunday afternoon. [continued]
The Tanglewood Festival of Contemporary Music’s Saturday concert with Dawn Upshaw in Michael Gandolfi’s Carroll in Numberland attracted the largest audience I’ve seen at an FCM matinee. [continued]
The US-staged premiere of Ethel Smyth’s 1906 opera The Wreckers at the Fisher Center as part of Bard Summerscape made a strong case for the importance of this work. Remaining performances on July 26, 29, 31 and Aug. 2.. [continued]
Still more, and more recent, contemporary music variety was on the Friday menu from TFCM at 75, now with numerous short and/or poetical works. [continued]
The New Hampshire-based Halcyon Music Festival opened its second season Thursday night in high style under the sage musical leadership of artistic director Heng-Jin Park. [continued]
The Tanglewood Festival of Contemporary Music concert Thurday night comprised mature efforts of Schuller, Maderna, Carter, Perle, and Wuorinen, complete with babies and cancellations. [continued]
Ozawa Hall nearly overflowed Monday for the official opening of the 2015 Tanglewood Festival of Contemporary Music; some formidable forces, including pianist Emanuel Ax, filled the stage. [continued]
Tanglewood’s Festival of Contemporary Music opened in a big way Monday night with five works performed by the Tanglewood Music Center Orchestra, four of them world premieres commissioned to celebrate the Center’s 75th birthday. [continued]
Monadnock Music featured ballet and similar scores Saturday night as Gil Rose set a pungent table of 20th-century works from Barber to Perle in the Peterborough Town House. [continued]
Sir Neville Marriner led superb performances in Tanglewood Sunday of two popular Mozart symphonies and Schumann’s Piano Concerto with Paul Lewis. [continued]
What felt almost like a pickup event last Sunday at Harvard’s Holden Chapel turned into another of the this year’s superlative chamber concerts. [continued]
The fabulous Borromeo Quartet brought late quartets by Bartok and Beethoven in dramatic readings to Calderwood Hall Sunday. [continued]
The 2015 Aston Magna season concluded at Bard College’s Olin Auditorium on Friday with a Bach/Vivaldi program. Not all the Bach was what you would expect, though. [continued]
Amateur maybe, the Mercury Orchestra nevertheless played Hungarians Béla Bartók and Miklós Rózsa with passion, control, and just plain chops at Sanders Sunday under Channing Yu. [continued]
Three conductors led the energetic and exciting Tanglewood Music Center as Osvaldo Golijov teased out a developing Sign of the Leviathan, one of several dozen new works commissioned this summer for the 75th anniversary of the TMC. [continued]
The redoubtable Bramwell Tovey led Bryn Terfel, Sondra Radvanovsky, the BSO, and the Tanglewood Festival Chorus in rafter-raising Verdi and Puccini Saturday night in the shed. [continued]
Thursday night Rockport Music welcomed Anonymous 4 on its second and apparently final farewell tour; the retrospective on the ensemble’s 29 year career and 25 recordings provided a salutary reminder of their impact. [continued]more reviews →
High seriousness may be what makes Brattleboro’s Yellow Barn more than a musical summer camp—seriousness about learning, dialog, and performance. For the listener there is a festive month of Big Barn concerts, but don’t worry about roughing it, as the 125-seat high-beamed space is air-conditioned. As for the quality of the teaching and playing, both are quite elevated, to judge from the names and the critical notices.
From 1969, when founder and cellist David Wells with pianist wife Janet opened their home and barn as a summer music retreat for students, new works and composers were central. Roger Sessions and John Cage were early residents. This year the fashionable and productive German composer/clarinetist Jörg Widmann will be in residence for concerts featuring him in both of his roles.
While the concert on August 3rd includes one of his works (Skelett, which repeats the next night), Yellow Barn’s major tribute to the composer comes on the 4th, in the form of this season’s Composer Portrait, which is devoted to his compositions and conversations about them. Fourteen players, including Widmann, will participate. The next night two “hunt” quartets will arrive, Mozart’s very different from Widmann’s. In the latter, the upper strings hunt and kill the cellist, whose screams are so curdling that WGBH declined to present this piece in a Live at Drive Time performance a couple of years ago. [continued…]
History will rightly remember Gunther Schuller as an important composer, conductor, author and teacher. But many organizations he so generously helped will remember him as a wonderful mentor and friend.
Pro Musicis is one of these organizations. In 1965 Father Eugène Merlet, a French Capuchin-Franciscan priest and musician (organ and piano), founded Pro Musicis, pioneering the concept of a classical music award combined with a social mission. He wanted to give exceptional concert musicians an opportunity to mature in their artistry by performing both in concert halls and in community service venues: prisons, hospitals, substance abuse treatment centers, shelters for the homeless, centers for the disabled.
In the mid-1970s Father Merlet, seeking to establish Pro Musicis in the US, asked Schuller to chair the jury responsible for selecting artists for the Pro Musicis International Award. Schuller agreed. This was the beginning of a deep friendship spanning almost four decades and resulting in an extraordinary roster of nearly 100 artists from more than 20 countries. Describing the award, Schuller said: “The emphasis is on choosing artists who are readily committed by their nature and talent to a much broader and deeper involvement with music.” [continued…]
Satisfying the needs of the opera-starved public over the summer doldrums, Boston Midsummer Opera (BMO) is staging Martha, a charming and musically gorgeous romcom of surprising depth, at BU’s Tsai Performance Center, July 29, 31, and August 2. The opera contains two of the more famous arias in the repertoire, sparkling ensembles, not to mention the luminously tender “Goodnight” Quartet.
The Wikipedia entry informs us that Friedrich von Flotow’s Martha or The Market at Richmond is in four acts and set to a German libretto by Riese, based on a story by Vernoy de Saint-Georges. Flotow had composed the first act of a ballet, performed by the Paris Opera Ballet in 1844; the time available for further composition was short, so the second and third acts were assigned to Burgmüller and Deldevez. The opera Martha is an adaptation of this ballet; despite its German and Austrian origins, it is “French in character and elegance”.
Along with the Boston Midsummer Ensemble, the English-singing cast features acclaimed soprano Joanna Mongiardo (Lady Harriet/Martha); Spanish-American tenor Eric Barry (Lionel); contralto Stephanie Kacoyanis (Nancy); bass Jason Budd (Plunkett); and bass-baritone David Cushing (Sir Tristan). Noted director James O’Leary stages the production, and nationally acclaimed conductor Susan Davenny Wyner will lead the BMO orchestra. The design team includes Stephen Dobay, (sets), John Cuff, (lighting), and Elisabetta Polito (costumes).
BMInt interviewed director James O’Leary and tenor Eric Barry: [continued…]
Several “Landmarks” or in this case, “Watermarks” traditions converge Wednesday night at the Hatch Shell after the 7:00 downbeat opens Boston Landmarks Orchestra’s annual green concert. Once again the festivities begin with BLMO’s signature anthem. Francine Trester has set three verses of At the River for Jayne West, whose lyrical, multi-hued voice has inspired a gorgeous vocal line and accompaniment, according to artistic director Christopher Wilkins
Continuing the water theme, we voyage with Mendelssohn by paddle-steamer to the Isle of Mull for The Hebrides Overture. In the best early Romantic tradition of nature painting, the composer evokes sonic images of rocking waves, the call of gulls, and echoes of human cries returning from the interior of the cave.
Alan Hovhaness, a Somerville-born composer of Armenian heritage, composed And God Created Great Whales in 1970, making use of whale songs provided by Frank Watlington and Dr. Roger Payne. Among Dr. Payne’s students is Dr. Salvatore Cerchio, a Massachusetts resident who, in February 1990, made what has been described as the greatest recording of humpback whale song ever made. It is a recording of a single male—only the males sing since it is a courtship behavior—singing off the coast of Kaua’i, close to a steep shelf in the sea floor allowing for nearly ideal acoustical reflections. [continued…]
Held quadrennially in Moscow and St. Petersburg, the Tchaikovsky Competition (aka the ‘musical Olympics’) features four flavors of musician: pianist, violinist, cellist, and vocalist. The goal of the Competition is to discover and showcase young talent; competitors range in age from 16 to 32. It was in the inaugural Competition, debuted during the height of the Cold War back in 1958, that American pianist Van Cliburn vaulted onto the international stage by overcoming a frigid Soviet judging environment and capturing first prize. (The eight-minute ovation following his final performance no doubt didn’t hurt.) No American has captured the gold since. This year’s competition, commemorating the 175th anniversary of its eponymous composer’s birth, attracted a total of 623 applicants from 45 countries. [continued…]
Readers who have not been following the XV International Tchaikovsky Competition in Moscow should know that this grueling and highly competitive event is held once every four years and is sometimes referred to as the ‘musical Olympics.’ It was in the first Tchaikovsky Competition, back in 1958, that Van Cliburn vaulted onto the international stage. Pianists, violinists, cellists, and vocalists have been competing for about the last ten days.
After a staggering amount of consistently high-caliber music-making during an audition phase, a Round I phase [50-minute solo recital], a Round II, Stage I phase [another, completely different, hour-long solo recital], and a Round II, Stage II phase [Mozart concerto with chamber orchestra], the initial field of 55 accomplished pianists from around the world has been narrowed to six finalists. And our own George Li, from Lexington and now studying in the Harvard-NEC dual-degree program, is one of those finalists!
This competition is being broadcast live online in a surprisingly high-quality production by Medici TV. George’s performance in the finals is tomorrow, 28 June, at approximately 12.45 p.m. EDT. He’ll be performing not one, but two massive Romantic piano concertos, the Tchaikovsky No. 1 and the Prokofiev No. 3. A link to the live online broadcast is here, and Li’s website is here.
Composer, educator, classical / jazz crossover artist and promoter, French horn virtuoso, conductor, writer and historian, indeed musical giant of the widest-ranging sort, Gunther Schuller died last Sunday in Boston, age 89. [continued…]
In its seventh year at the comfortable and sonorous Rivera Recital Hall at the Rivers School Conservatory in Weston, the Chopin Symposium once again celebrates the life and art of Fryderyk Chopin in a series of lectures and recitals intended to cast new light on the composer and his works. In speaking of “…the diversity of ideas that can be expounded on using Chopin as a starting point,” artistic director Roberto Poli is referring to this year’s broad, diverse program which ranges from a lecture exploring the influence of Chopin on Scriabin, to a recreation of Chopin’s official debut in Paris. Music and words weave in and out of each other as the symposium celebrates the composer through and discussions about his life and art throughout the weekend of June 26th through June 28th . [continued…]more news & features →