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Music Review | Philadelphia Orchestra: Mahler’s Puzzling Seventh, Played With Chemistry

Mahler’s Seventh Symphony is probably the least popular of his nine works in the genre. Completed in 1905, it was the last of his symphonies to enter the repertory of the Philadelphia Orchestra, which didn’t perform it until 1978. Christoph Eschenbach ...

From VIVIEN SCHWEITZER, The New York Times,  20 Nov 2009

Related Topics: Philadelphia Orchestra,  Christoph Eschenbach

Music Review | Aprile Millo: Strauss, Neapolitan Tunes and a Festive Singalong

A chorus of bravos greeted the soprano Aprile Millo as she swept regally onto the stage at the Rose Theater at Jazz at Lincoln Center on Tuesday evening. Ms. Millo was making her New York recital debut and celebrating the 25th anniversary of her first ...

From VIVIEN SCHWEITZER, The New York Times,  19 Nov 2009

Related Topics: Aprile Millo,  Rose Theater,  Jazz at Lincoln Center,  Ferrari,  Christopher Collins

Music Review | Ensemble Caprice: Finding Bohemian Influences in Baroque

Baroque music and Gypsy tunes may seem unlikely bedfellows on a program, but Matthias Maute, artistic director of the period-instrument Ensemble Caprice, argues that Bach and Telemann may have been influenced by itinerant musicians. The latest on the ...

From VIVIEN SCHWEITZER, The New York Times,  17 Nov 2009

Related Topics: Ensemble Caprice,  Matthias Maute

In Concert: Talent, Style and Sequins

BEFORE an October recital at the First Presbyterian Church in Germantown, a run-down Philadelphia neighborhood, the organist Cameron Carpenter wandered through the audience, shaking hands and signing programs. Then he changed from black jeans and boots ...

From VIVIEN SCHWEITZER, The New York Times,  14 Nov 2009

Related Topics: Karl Lagerfeld,  Werner Herzog,  Laurie Anderson,  Paul Jacobs,  Juilliard School

Music Review | Carol Wincenc: Flutist Evokes Poetry, Passion and Politics

To celebrate her 40th anniversary this season as a performer, the flutist Carol Wincenc devised a lively program for her appearance at Merkin Concert Hall on Monday evening, featuring works inspired by (among other things) the singing of a humpback ...

From VIVIEN SCHWEITZER, The New York Times Music,  10 Nov 2009

Related Topics: George Crumb,  Lukas Foss,  Mary Oliver

Music Review | Keller Quartet: Plunging Though Musical Thickets and Open Plains

During chamber music concerts, even if the whole performance is first-rate, there is sometimes one riveting moment in which the ensemble seems particularly cohesive. When the excellent Keller Quartet made its debut at the 92nd Street Y on Sunday ...

From VIVIEN SCHWEITZER, The New York Times Music,  10 Nov 2009

Related Topics: Arnold Schoenberg

Music Review | New York Philharmonic: Swirling Sonorities, With Asian Poems Translated Into German

The Viennese composer Alexander Zemlinsky modeled his opulent “Lyric Symphony” on Mahler’s “Lied von der Erde.” Both are orchestral song cycles for two alternating soloists, and both use German translations of poems by Asian writers. Neeme Jarvi ...

From VIVIEN SCHWEITZER, The New York Times,  6 Nov 2009

Related Topics: New York Philharmonic,  Neeme Jarvi,  Thomas Hampson,  Arnold Schoenberg,  James Conlon

Music Review | Tan Dun: Evocations of China, Rural, Romantic and Aquatic

In a distinctive blend of East and West, Tan Dun likes to superimpose unusual instruments and techniques on a Western orchestra. Thus, for example, his “Water Concerto (In Memory of Toru Takemitsu),” which David Robertson and the St. Louis Symphony ...

From VIVIEN SCHWEITZER, The New York Times,  5 Nov 2009

Related Topics: Tan Dun,  Toru Takemitsu,  David Robertson,  Kurt Masur,  New York Philharmonic

Music Review | Till Fellner: Beethoven, and Plenty of It, in a Worldwide Sonata Tour

The Austrian pianist and composer Carl Czerny thought that Beethoven’s Piano Sonata in E flat (Op. 7) should have been nicknamed “Appassionata” instead of the Sonata in F minor (Op. 57). Till Fellner, an excellent Vienna-born pianist, illuminated the ...

From VIVIEN SCHWEITZER, The New York Times,  2 Nov 2009

Related Topics: Till Fellner,  Metropolitan Museum of Art,  Alfred Brendel

Music Review | Escher String Quartet: Hints of Personal Trauma in Every Note

The Austrian composer Alexander Zemlinsky didn’t attach a programmatic description to his String Quartet No. 2 (1915), but biographers have suggested that the work reflected tragic events in his life and the lives of those close to him. He was ...

From VIVIEN SCHWEITZER, The New York Times,  29 Oct 2009

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