Music
1936 results
Page 178
Gilbert conducts Philadelphia Orchestra (1st revie
The Philadelphia Orchestra's concert of Hillborg, Bartok, and Nielsen proved that these days you don't need the standard repertory to attract a large and enthusiastic audience. The Orchestra has become a much younger group since Christoph Eschenbach’s arrival, and they play as if they’re having a ball.
Philadelphia Orchestra: Hillborg Exquisite Corpse; Bartok Sonata for Two Pianos and Percussion; Nielsen Second Symphony. Emanuel Ax and Yoko Nozaki, piano; Alan G
Philadelphia Orchestra: Hillborg Exquisite Corpse; Bartok Sonata for Two Pianos and Percussion; Nielsen Second Symphony. Emanuel Ax and Yoko Nozaki, piano; Alan G
Opera Company's "Cyrano' (1st review)
In Cyrano, the big-budget sets received more applause than the performances, proving once again how the opera world keeps succumbing to an emphasis on visual appeal. Instead of writing an opera, composer David DiChiera has written background music.
Cyrano. Opera by David DiChiera (music) and Bernard Uzan (libretto). Opera Company of Philadelphia production through February 17, 2008 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or
Cyrano. Opera by David DiChiera (music) and Bernard Uzan (libretto). Opera Company of Philadelphia production through February 17, 2008 at Academy of Music, Broad and Locust Sts. (215) 732-8400 or
Articles
6 minute read
Milanov and Orchestra's Bernstein Festival
Rossen Milanov demonstrated that he’s a specialist in exploring early 20th-Century European musicality.
Philadelphia Orchestra: Bernstein, Barber, Stravinsky. Joshua Bell, violin; Rossen Milanov, conductor. January 31-February 2, 2008 at Verizon Hall, Kimmel Center. (215) 893-1900 or www.philorch.org.
Philadelphia Orchestra: Bernstein, Barber, Stravinsky. Joshua Bell, violin; Rossen Milanov, conductor. January 31-February 2, 2008 at Verizon Hall, Kimmel Center. (215) 893-1900 or www.philorch.org.
Articles
1 minute read
Brentano Quartet's Frank premiere
The Brentano Quartet’s recent concert offered a Beethoven sandwich with a delicious Philadelphia premiere by Gabriela Lena Frank in the middle.
Brentano Quartet: Beethoven and Frank. Ignat Solzhenitsyn, piano. Presented by Philadelphia Chamber Music Society, February 4, 2008 at Convention Center Auditorium, 13th and Cherry Sts. www.philadelphiachambermusic.org
Brentano Quartet: Beethoven and Frank. Ignat Solzhenitsyn, piano. Presented by Philadelphia Chamber Music Society, February 4, 2008 at Convention Center Auditorium, 13th and Cherry Sts. www.philadelphiachambermusic.org
Articles
4 minute read
Chamber Orchestra's two Randalls
In the wrong hands, this could have been a so-so concert, since none of the pieces on the program could be considered major attractions. Two Randalls— Scarlata and Fleischer— turned it into one of the most enjoyable Chamber Orchestra concerts I’ve attended.
Chamber Orchestra of Philadelphia: Mozart, Symphony No. 28 in C Major; Ravel, Trois Poèmes de Stéphane Mallarmé; Stravinsky, Deux Poèmes de Paul Verlaine (Randall Sc
Chamber Orchestra of Philadelphia: Mozart, Symphony No. 28 in C Major; Ravel, Trois Poèmes de Stéphane Mallarmé; Stravinsky, Deux Poèmes de Paul Verlaine (Randall Sc
Articles
2 minute read
Tempesta di Mare revives Janitsch
Five pieces by one of Frederick the Great’s court composers received their first performances in two centuries and warmed the hearts of 21st-Century Philadelphians. You couldn’t hear these pieces without visualizing the private, cultivated setting they were written for.
Tempesta di Mare: Janitsch Sonata die Chiesa in A Minor, Sonata da Camera in C, Sonata da Camera in E-flat, Sonata da Camera in G Minor, Quadro in G. Gwyn Roberts, flute and recorder; Geoff
Tempesta di Mare: Janitsch Sonata die Chiesa in A Minor, Sonata da Camera in C, Sonata da Camera in E-flat, Sonata da Camera in G Minor, Quadro in G. Gwyn Roberts, flute and recorder; Geoff
Articles
3 minute read
Israeli Jazz and Pierre Boulez
Jazz and Pierre Boulez— the perfect antidote for a classical musician’s malaise.
Anat Cohen Quintet. Israeli Jazz Festival 2008, January 24, 2008 at World Café Live, 3025 Walnut St. (215) 222-1400 or www.worldcafelive.com.
Orchestra 2001: Boulez, Le Marteau Sans Maitre. James Freeman, conductor. January 26, 2008 at Independence Seaport Museum, 211 S. Columbus Blvd.
Anat Cohen Quintet. Israeli Jazz Festival 2008, January 24, 2008 at World Café Live, 3025 Walnut St. (215) 222-1400 or www.worldcafelive.com.
Orchestra 2001: Boulez, Le Marteau Sans Maitre. James Freeman, conductor. January 26, 2008 at Independence Seaport Museum, 211 S. Columbus Blvd.
Jennifer Higdon Festival (third review)
Both Jennifer Higdon works premiered at the Philadelphia Orchestra’s Leonard Bernstein Festival were seriously flawed. Her song sequence Bentley Roses, on the other hand, was a pure delight.
Philadelphia Orchestra: Higdon, The Singing Rooms. Jennifer Koh, violin; Philadelphia Singers Chorale; Christoph Eschenbach, conductor. January 17 and 23, 2008 at Verizon Hall, Kimmel Center. (215) 893-1900
Philadelphia Orchestra: Higdon, The Singing Rooms. Jennifer Koh, violin; Philadelphia Singers Chorale; Christoph Eschenbach, conductor. January 17 and 23, 2008 at Verizon Hall, Kimmel Center. (215) 893-1900
Articles
5 minute read
Higdon, Bernstein and the Orchestra (2nd review)
What was Jennifer Higdon thinking when she wrote The Singing Rooms? For that matter, what was Leonard Bernstein thinking when he wrote Jeremiah?
Philadelphia Orchestra: Bernstein Jeremiah Symphony, Schumann Second Symphony, Higdon The Singing Rooms. Christoph Eschenbach, conductor. January 17-19, 2008 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215.) 893-1900 or www.philorch.org.
Philadelphia Orchestra: Bernstein Jeremiah Symphony, Schumann Second Symphony, Higdon The Singing Rooms. Christoph Eschenbach, conductor. January 17-19, 2008 at Verizon Hall, Kimmel Center, Broad and Spruce Sts. (215.) 893-1900 or www.philorch.org.
Articles
4 minute read
Tunes in sonata-form (Part 5)
In the fifth in his series on sonata-form, Dan Coren corrects some common misconceptions about the role of tunes in a sonata-form. Along the way, he re-introduces Haydn at his wittiest and most sophisticated.