What was your last concert?

[amateur51]

Bit late to posting on this (as usual), but my last symphony concert was last weekend at Orchestra Hall with the Chicago SO and Muti, a program of 3 works I'd never heard before live:

Haydn: Symphony No. 48
Martinu: Oboe Concerto
Scriabin: Symphony No. 3 (The Divine Poem)

http://cso.org/uploadedFiles/1_Tickets_and_Events/Program_Notes/ProgramNotes_Muti_Conducts_Scriabin.pdf

The first worry was more visual than musical, as Muti strode on stage with his right hand in "Napoleon pose" position, if that makes sense. Given that he's had a few health scares this year, one was worried. The next worry was the first musical worry, as there was a horn blat at the very start of the Haydn. However, things recovered quickly, and the Haydn was well paced, in kind of the big band, old school manner. I didn't have the most optimal seat, but when I saw the musicians clear the stage, I saw Dale Clevenger strolling off, and I then reacted, "Oh", regarding the initial horn blat.

Part of the stage clearing was that it was necessary to bring on the grand piano for the Martinu (which got its first CSO performances then, BTW). It's always amusing at Orchestra Hall to see the podium area being lowered, and then raised again with a grand piano, since I've never seen a grand piano wheeled in from the side of the stage. It's even more drily amusing when the piano isn't being wheeled in for a concerto, but simply as one other instrument in the orchestra. Eugene Izotov did a very fine job with the Martinu, even though it's not the greatest piece ever and kind of noodles along, with many typical Martinu baroque-style rhythms. Pianist Mary Sauer got a well-deserved solo bow herself.

We got the huge serving of what one of my old bosses would have called "late Romantic swill" in the form of the Scriabin. Muti obviously brought a lot of experience and love to his conducting of the score, which hadn't featured in Chicago in 20+ years (last time was with Gergiev). It's such a sprawling work that I'm not at all sure what to make of it, although the 'night music' like 2nd movement came off very well, and at least I had the feeling that I knew where I was in the overall narrative. Near the very end, after one big chord and then silence, some (not many) of the audience started applauding prematurely. Muti turned to the audience to give them a slightly dirty look, though more a snarky dirty look rather than the look-of-death dirty look, before conducting the concluding bar or two. Perhaps to make up for the faux pas of the mistiming audience members, the audience overall was very generous in the closing applause. Muti made light of the situation at the very, very end, when he gave a short address to the audience about the premature applause, but then did say that maybe everyone wanted to go back outside and enjoy the nice weather, since it was a beautiful day, and the Scriabin "is very long".

Just as a quick PS, I also heard Muti and the CSO a few weeks back, with Maurizio Pollini in Mozart 21. The only seat that I could get at the last minute was at the very top of the Gallery, but because of the obstructed view of the very back row, I stood up while the works were playing. It sort of felt like being at The Proms again. (The Schumann Rhenish then was by far the most spaciously timed I've ever heard it, which made me wonder if Muti was "doing a Celibidache", but then I remembered his health issues, so maybe he was just trying to pace himself.)

Many thanks, bsp - you've been unfortunate to catch two Italian maestros [sic] with recent health scares. How was Pollini on this occasion?

[teamsaint]

Thanks to BSP for that very interesting read.

I would love to go and see a big show with a top american orchestra .
But we have many riches here to enjoy !

[Dave2002]

http://www.amicimusicacocito.it/Festival%20Cusiano%20Musica%20Antica/domenica16giugno2013.php

This concert was very good, and featured two harpsichords and one player, Angelica Selmo, who is indeed excellent. The programme was as expected.

The single manual keyboard instrument was used at first, after which the instrument with two keyboards and the delightfully painted lid was used for the remainder of the concert. I don't know what the encore was - perhaps Couperin.

In case Jayne or Phileas read this, the sound quality was exceptionally good, and required no DAC.

[Dave2002]

I suspect that Zuckermann, like the rest of us, is getting older! I saw him four years ago playing the Mozart Sinfonia Concertante with Itzhak Perlman in Washington and they were just incredible. Perlman seems to have gone into semi-retirement with but Pinky is still playing. I do hope he's not going to go on too long and mar his reputation.

I heard him play the Beethoven concerto with the SCO in ?1987 and it was, for me, the most wonderful piece of violin playing I've EVER heard.

The comments about Perlman and Zukerman are making me think I should make an effort to hear them both live, either singly or together. Re superb and not so superb, I only once heard Menuhin in concert (though on reflection I also heard him from outside a rehearsal of Beethoven violin concerto years before, which sounded lovely). One half (Mendelssohn) not so good, the other (Elgar, 2nd half) sublime!

i shall start looking out for their performances.

[aeolium]

Yesterday I went to the first concert in the Cheltenham Festival, the Belcea Quartet playing the Schubert String-Trio movement D471, Mozart Quartet in B flat K589 and Dvorak Piano Quintet no 2 in A op 81 (with Till Fellner). It was a sell-out concert, and good to see the Pittville Pump room packed. I didn't know when I booked that R3 would be broadcasting the Belceas in an identical programme the following day - tonight - from Wigmore Hall, but I think I still would have gone.

The Schubert string trio movement is a pleasant work showing the influence of Mozart on the 19-year old Schubert. It was eloquently played by three of the quartet (excluding first violin Corina Belcea), but was marred at the end, as the movement drew to its quiet conclusion, by a mobile phone going off near the front of the hall. Unfortunate perhaps that festival director Meurig Bowen's introductory address did not include a request for all phones, digital watches etc to be switched off.

The B flat quartet K589, the second of the quartets Mozart wrote supposedly for the Prussian cello-playing King Frederick William II, inspires mixed feelings in me. On the one hand I love the first and third movements, especially the latter with its unusually extended and agitated trio (almost containing its own development section). Yet I feel that Mozart's heart was not really in the work, as shown by the short and abrupt finale, and even the slow movement, with its lyrical opening theme given to the cello, seems to lack the intensity and eloquence of some of his earlier quartet slow movements, such as the A major K464 or the Hoffmeister K499. Whether Mozart was uncomfortable with the prominence that he felt he needed to give to the royal cello - in terms of the balance of the instruments - or for whatever reason, it feels as though his inspiration here does not reach the heights of other chamber works written around the same time such as the Clarinet Quintet and the D major String Quintet. It's notable that Mozart never wrote a work (at least that has survived) for solo cello, and eschewed the 2-cello model for string quintets of Boccherini. Also, although there is evidence that Mozart was commissioned to write six "Prussian" quartets, the project was abandoned after only three, Mozart feeling that he was not being sufficiently rewarded for his labours.

Whatever my misgivings about the work, the Belceas gave a wonderful performance, the violist in particular taking his opportunities to shine in those passages where Mozart perhaps gave rein to his fondness for the instrument. The third movement stood out for me as the heart of this work and if the royal ear had ever heard this work performed this movement must have sounded uncomfortably distant from the courtly galant style he may have known.

The Dvorak Piano Quintet no 2 was a lovely conclusion to a fine concert, with some magical interplay between Till Fellner and the string players. The players brought out all the folk dance qualities in the music, with an appropriate sense of light and shade in the Dumka slow movement, and a joyous finale.

I recommend MBers to listen to the repeat concert broadcast on R3 tonight.

[teamsaint]

Great review Aeolium, thanks very much. Didn't know this was broadcast, so look forward to that very much.

[EdgeleyRob]

Yesterday I went to the first concert in the Cheltenham Festival, the Belcea Quartet playing the Schubert String-Trio movement D471, Mozart Quartet in B flat K589 and Dvorak Piano Quintet no 2 in A op 81 (with Till Fellner). It was a sell-out concert, and good to see the Pittville Pump room packed. I didn't know when I booked that R3 would be broadcasting the Belceas in an identical programme the following day - tonight - from Wigmore Hall, but I think I still would have gone.

The Schubert string trio movement is a pleasant work showing the influence of Mozart on the 19-year old Schubert. It was eloquently played by three of the quartet (excluding first violin Corina Belcea), but was marred at the end, as the movement drew to its quiet conclusion, by a mobile phone going off near the front of the hall. Unfortunate perhaps that festival director Meurig Bowen's introductory address did not include a request for all phones, digital watches etc to be switched off.

The B flat quartet K589, the second of the quartets Mozart wrote supposedly for the Prussian cello-playing King Frederick William II, inspires mixed feelings in me. On the one hand I love the first and third movements, especially the latter with its unusually extended and agitated trio (almost containing its own development section). Yet I feel that Mozart's heart was not really in the work, as shown by the short and abrupt finale, and even the slow movement, with its lyrical opening theme given to the cello, seems to lack the intensity and eloquence of some of his earlier quartet slow movements, such as the A major K464 or the Hoffmeister K499. Whether Mozart was uncomfortable with the prominence that he felt he needed to give to the royal cello - in terms of the balance of the instruments - or for whatever reason, it feels as though his inspiration here does not reach the heights of other chamber works written around the same time such as the Clarinet Quintet and the D major String Quintet. It's notable that Mozart never wrote a work (at least that has survived) for solo cello, and eschewed the 2-cello model for string quintets of Boccherini. Also, although there is evidence that Mozart was commissioned to write six "Prussian" quartets, the project was abandoned after only three, Mozart feeling that he was not being sufficiently rewarded for his labours.

Whatever my misgivings about the work, the Belceas gave a wonderful performance, the violist in particular taking his opportunities to shine in those passages where Mozart perhaps gave rein to his fondness for the instrument. The third movement stood out for me as the heart of this work and if the royal ear had ever heard this work performed this movement must have sounded uncomfortably distant from the courtly galant style he may have known.

The Dvorak Piano Quintet no 2 was a lovely conclusion to a fine concert, with some magical interplay between Till Fellner and the string players. The players brought out all the folk dance qualities in the music, with an appropriate sense of light and shade in the Dumka slow movement, and a joyous finale.

I recommend MBers to listen to the repeat concert broadcast on R3 tonight.

Thanks Aeolium,I did just that,lovely programme.
We also had the beautiful slow movement of Mozart's Concerto K414 in the version for Piano Quintet as an encore.
And if that wasn't enough,Britten's 3rd Cello Suite was broadcast after the concert.

Marvelous.

[amateur51]

Britten Curlew River at Southwark Cathedral

Last evening I toddled along to Southwark Cathedral on the south side of London Bridge to witness a rather remarkable piece, Curlew River, one of Britten's Church Parables. I previously only knew it from the Britten/Pears recorded performance so it was good to hear it 'live' at last. It was given by a Mahogany Opera production with Aurora Orchestra and Jubilee Opera.

Not understanding the layout of the cathedral from its website I was guided by price and found myself sitting at 90 degrees to the action but dead ahead so I was able to hear most of what was being sung.The acoustic of the cathedral seemed quite boomy but there wasn't excessive echo it seemed to me.

With a very simple orchestra of flute, horn, viola, double-bass, harp, percussion and organ (no less that Roger Vignoles) and a cast of four adult principles, eight adult pilgrims and five boys as the Spirit of the Boy & Attendants, it was very much a chamber piece.

Curlew River arose out of an experience that Britten had when he saw a Nō-drama entitled Sumidagawa in Tokyo for the first time in January 1956. The libretto was written by William Plomer

Given the relatively meagre resources I was astonished at how powerfully the piece came across as the light was fading outside the cathedral. There was quite a silence at the end before ample applause started and I realised that although my experience of listening to the Pears/Britten recording had prepared me for the sounds I was hearing last night, I was not harking back as I listened - it all felt very immediate and fresh and the diction was remarkably clear, making the text easy to follow.

All in all a remarkable event and one I'd recommend to anyone who fancies exploring a piece of relatively rarely heard Britten.

[Old Grumpy]

Gabrieli Consort and Players - Haydn: The Seasons, at the Brinkburn Music Festival in Brinkburn Priory, Northumberland. Brinkburn is always a special experience, but this year marks the 20th festival. The festival was the brainchild of Paul McCreesh and he has been artistic director since its inception. This was his last year as artistic director, which added an extra poignancy to the final Sunday concert.

The atmosphere was superb and orchestra, soloists and chorus (The North East Youth Chorale) were all on top form (helped by the uncharacteristically clement Brinkburn weather). Paul McCreesh is off to pursue a new phase of his career as the new Principal Conductor and Artistic Adviser of the Gulbenkian Orchestra in Lisbon. No doubt the weather will be more like today, and less like the typical Brinkburn weather, when wellies are de rigeur!.

OG

[bluestateprommer]

Many thanks, bsp - you've been unfortunate to catch two Italian maestros [sic] with recent health scares. How was Pollini on this occasion?

For a51, sorry about my exceedingly late follow-up, regarding your inquiry on Pollini. He did walk with a slight stoop, though nonetheless briskly, on stage. He seemed in finer fettle than Muti, in that sense. But then I had to remind myself that I had not seen Pollini live in 13 years, as the previous occasion was at the 92nd Street Y in NYC, in a solo recital. From chit-chat with someone in the lobby, Pollini seemed more in a mood to move things along compared to Muti, but again, it might again have been Muti trying to pace himself then. The same person also said that he'd heard a rumor to the effect that Pollini was thinking of retiring.

No such worries the next afternoon, with Yevgeny Kissin in recital, my first time actually seeing him live, after friends of mine had been urging me for years to join them, as they're major Kissin groupies. Scheduling had never worked out before, but finally did this year. I finally understand first-hand why they're groupies, as Kissin is something to behold. This was the program (with the encores retro-added):

http://cso.org/TicketsAndEvents/EventDetails.aspx?eid=4974

Interesting that YK saved the flashy fireworks until the last programmed work. Given that scheduling next year is not going to work out for me to catch his Chicago recital next year, I'm especially glad that I saw him this year.

[amateur51]

For a51, sorry about my exceedingly late follow-up, regarding your inquiry on Pollini. He did walk with a slight stoop, though nonetheless briskly, on stage. He seemed in finer fettle than Muti, in that sense. But then I had to remind myself that I had not seen Pollini live in 13 years, as the previous occasion was at the 92nd Street Y in NYC, in a solo recital. From chit-chat with someone in the lobby, Pollini seemed more in a mood to move things along compared to Muti, but again, it might again have been Muti trying to pace himself then. The same person also said that he'd heard a rumor to the effect that Pollini was thinking of retiring.

No such worries the next afternoon, with Yevgeny Kissin in recital, my first time actually seeing him live, after friends of mine had been urging me for years to join them, as they're major Kissin groupies. Scheduling had never worked out before, but finally did this year. I finally understand first-hand why they're groupies, as Kissin is something to behold. This was the program (with the encores retro-added):

http://cso.org/TicketsAndEvents/EventDetails.aspx?eid=4974

Interesting that YK saved the flashy fireworks until the last programmed work. Given that scheduling next year is not going to work out for me to catch his Chicago recital next year, I'm especially glad that I saw him this year.

Many thanks for your responses, bsp.

I must try to catch Kissin again. I was very struck by him initially but this quickly wore off and he started behaving like an automaton to my ears/eyes and was playing consistently too loudly. I'll gladly give him another go - talent after all is talent. I want to try his Beethoven piano concertos with Sir Colin Davis too at some point

[rauschwerk]

Lat week at the Lutheran Church, Meiringen in the Berner Oberland, a town just below the Reichenbach falls, the setting for Holmes's final encounter with Moriarty.
This concert formed part of a festival masterminded by cellist Thomas Demenga. The theme of the concert was the waltz, so in the first half we had two of Johann Strauss II's most familiar - the Emperor and Roses from the South - in Schönberg's arrangements. There followed Dvorak's Op.54 - two waltzes for string quartet and bass - quite as delightful as the Strauss to my ears. After the interval we had the Jean Francaix octet (written for the Vienna Octet and for the same instruments as Schubert's) with its waltz finale. This finale was encored, which allowed me to identify a near-quotation as a reference to La Valse.

Excellent performances to a full house. The only names I recognised were Melvyn Tan and Isabelle van Keulen, but the others were well up to their standard.

[Richard Tarleton]

Just back from a generously-filled recital by the excellent Peter Donohoe, part of the Fishguard Festival. What a programme! In part 1 he played Mozart K331/300i followed by Chopin Sonata no 3, and in part 2 the whole of Liszt Années de Pèlerinage 2 including the 3 Venezia e Napoli pieces, played without a break . As if that were not enough, we were given a Schubert Impromptu (D935 no 2 in A Flat) as a response to the well-deserved standing ovation.

A tremendous recital. Before he started the Liszt, PD said that he had been asked to say a few words about Liszt as he was apparently less familiar to the audience. Donohoe managed to sound apologetic and surprised about this, and proceeded to give a brief and elegant sketch of Liszt the composer, pianist and man. To be fair to whoever asked him to do this, there were a couple of gasps of astonishment when he reminded us that Liszt was Wagner's father-in-law .

The house Steinway just about made it, receiving some first aid during the interval (during which the local piano tuner managed to work in a few bars of Dafydd y Garreg Wen thus earning himself a round of applause).

[amateur51]

Just back from a generously-filled recital by the excellent Peter Donohoe, part of the Fishguard Festival. What a programme! In part 1 he played Mozart K331/300i followed by Chopin Sonata no 3, and in part 2 the whole of Liszt Années de Pèlerinage 2 including the 3 Venezia e Napoli pieces, played without a break . As if that were not enough, we were given a Schubert Impromptu (D935 no 2 in A Flat) as a response to the well-deserved standing ovation.

A tremendous recital. Before he started the Liszt, PD said that he had been asked to say a few words about Liszt as he was apparently less familiar to the audience. Donohoe managed to sound apologetic and surprised about this, and proceeded to give a brief and elegant sketch of Liszt the composer, pianist and man. To be fair to whoever asked him to do this, there were a couple of gasps of astonishment when he reminded us that Liszt was Wagner's father-in-law .

The house Steinway just about made it, receiving some first aid during the interval (during which the local piano tuner managed to work in a few bars of Dafydd y Garreg Wen thus earning himself a round of applause).

Thanks for this reminder of a remarkable pianist, RT - I'm glad it went so well

[gurnemanz]

Capriccio at ROH. Yes, it was a concert, with the orchestra on stage. Great cast, strange work, but very enjoyable and I'm glad to have heard it for the first time after all these years. We were in London for the weekend and the other performance we took in could hardly have been more contrasting: The Night Alive – Dublin low life at Donmar Warehouse with Ciarán Hinds, also well worth it.