On Thursday, January 25, 2012, I attended a wonderful rehearsal of the San Francisco Symphony Orchestra with Mr. Pinchas Zukerman in three roles:

o Violin soloist

o Viola soloist

o Orchestra conductor

This rehearsal showed me again that Mr. Z is still one of the finest musicians around, and from reading the program notes he leads one heck of an active life in bringing music to the millions in these three roles.

The rehearsal began with Mozart’s Adagio in E-Major for violin and Orchestra K. 261, followed by the Rondo in C-Major K. 373. Right from the first 3 notes, I marveled at the amazing sound that Mr. Z was able to deliver from his fine violin. Totally amazing sound, and terrific mozartean phrasing.

Mr. Zukerman left briefly to go and get his viola to perform the next work on this program: the Trauermusik for viola and strings by Paul Hindemith. The title means music of sorrow; and Zukerman showed us his rich, dark, from what I believe is a Guarneri – made viola…

Then followed the violin concerto #3 in G-Major, K. 216. This music was clearly locked for many years in Mr. Z’s fingers and muscles. Yet we heard a performance that was tasteful, charming, and fun.

Following an intermission, Mr. Zukerman was back in his 3rd role, and he conducted the SF symphony in the Symphony #40 by Mozart. He directed the players in a wonderful, sprightly tempo, with fine musical detail.

All in all this was a great enjoyable experience.

Here is Pinchas Zukerman playing the finale of the violin concerto by Max Bruch, with the Israel Philharmonic under Zubin Mehta (2006)

Tags: San Francisco rehearsal, Pinchas Zukerman, Mozart, Hindemith

I have never been to St. Petersburg, and it is certainly a historic city. This DVD allows one to explore the interesting aspects of the city AND… to hear some terrific music by two amazing singers.

Reneé Fleming and one of her favorite singing partners, Dmitri Hvorostovsky, explore the origins of 19th-century European opera performance in the theatres of St. Petersburg, presenting a three-part program of Verdi duets, songs by Tchaikovsky, Rachmaninov and Medtner, and Tchaikovsky opera.

The 90 minute film is hosted by Reneé Fleming herself, as she takes the viewer on a journey through the musical locations and history of “The Venice of the North”. The DVD will also include 23 minutes of additional performance footage, including Reneé Fleming singing Bellini’s “Casta Diva” from the opera, Norma.

The two singers did selections which may not be familiar to casual opera fans or newcomers, but they were easy to listen to, and, of course, the sub-titles made it a snap to understand what they were singing about. The palaces and other sites were beautiful and interesting.

Here are Renee Fleming and Dmitri Hvorostovsky as they sing ‘La ci darem la mano’ from Act I of Mozart’s Don Giovanni.

And here are Renée Fleming and Dmitri Hvorostovsky singing the final scene from Eugene Onegin by P. I. Tchaikovsky at their concert in Moscow, 2006

Tags: Renee Fleming, Dmitri Hvorostovsky, St. Petersburg

For those of you in New York City or close by, here’s an event not to miss:

Performance: Wednesday, Dec 7, 2011 | 8 PM
London Philharmonic Orchestra
Stern Auditorium / Perelman Stage

For the first of its two nights at Carnegie Hall, the London Philharmonic Orchestra is joined by violinist Janine Jansen, whose performance excellence has made her a hit with audiences. Together, they perform Mozart’s Concerto number 5 in A-Major, on a program that also includes Brahms’s final symphony.

Performers:

• London Philharmonic Orchestra

• Vladimir Jurowski, Principal Conductor

• Janine Jansen, Violin

Program:

• MATTHIAS PINTSCHER: Towards Osiris
• MOZART Violin Concerto No. 5 in A Major, K. 219, “Turkish”
• BRAHMS Symphony No. 4
• London Philharmonic Orchestra

The London Philharmonic Orchestra is one of the world’s best-known orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most forward-looking orchestras. As well as performing classical concerts, the orchestra also records film and computer-game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

The orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many great conductors, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, and Kurt Masur. The current principal conductor is Vladimir Jurowski, appointed in 2007, with Yannick Nézet-Séguin as principal guest conductor.

The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming resident orchestra in 1992. It also has flourishing residencies in Brighton and Eastbourne; each summer it plays for Glyndebourne Festival Opera, where it has been the resident symphony orchestra since 1964.

The orchestra tours internationally, and its plans for the 2011–2012 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil, and France.

Vladimir Jurowski, conductor

Vladimir Jurowski was born in Moscow, but in 1990 moved with his family to Germany, where he completed his musical studies in Dresden and Berlin. In 1995, he made a highly successful debut at the Wexford Opera Festival conducting Rimsky-Korsakov’s May Night, launching his international career. Since then, he has been a guest at some of the world’s leading opera houses, such as the Opéra nationale de Paris, Welsh National Opera, Semperoper Dresden, Komische Oper Berlin, the Metropolitan Opera, and the Royal Opera House, Covent Garden.

In January 2001, Mr. Jurowski became music director of Glyndebourne Festival Opera and was appointed principal conductor of the London Philharmonic Orchestra in May 2006. He also holds the titles of principal artist of the Orchestra of the Age of Enlightenment and artistic director of the State Academic Symphony Orchestra of the Russian Federation. From 2005 to 2009, he served as principal guest conductor of the Russian National Orchestra.

Janine Jansen, violinist

Janine Jansen is internationally recognized as one of the world’s great violinists—a truly exciting and versatile artist.

The outstanding instrument played by Ms. Jansen is the “Barrere” by Antonio Stradivari, on extended loan from the Elise Mathilde Foundation

About WOLFGANG AMADEUS MOZART Violin Concerto No. 5 in A Major, K. 219, “Turkish”:

Mozart’s precocious virtuosity manifested itself on the violin as well as the keyboard. Yet although he wrote (and frequently performed) no fewer than 27 piano concertos, he only got around to writing five for the violin. All date from his late teenage years, when he was serving as concertmaster in the court orchestra at Salzburg. The exotic, Turkish-flavored melody from which the A-Major Concerto takes its nickname is one of many surprises in this delightful and perennially popular work.

Here is the Mozart Violin Concerto 5, with Janine Jansen- violin (introduction)

And here’s the soloist’s entrance

If I were in New York, I’d sure attend this concert…

Tags: Janine Jansen, Mozart, Carnegie Hall, December 7th 2011

So many violinists have crossed my path in the past that I inevitably have created in my mind a “list” as it were of the ones whom I admire greatly, and the “others”, whom I admire somewhat less. Today, after I heard Mr. Kavakos perform the Beethoven violin concerto with Zubin Mehta conducting the Berlin Philharmonic, Mr. Kavakos was “transferred” into my Category I list.

Mr. Kavakos’ performance impressed me with its purity of sound, simplicity of presentation, great musical phrasing, and his deep understanding of the structure of this composition. In the first movement, this music is almost entirely given to the orchestra, and the violin soloist provides wonderful “ornamentation” of the orchestra’s stated themes. While this music changes later on, Mr. Kavakos, in collaboration with Zubin Mehta presented a terrific understanding of these changing roles, and the listener benefitted from a spectacular reading of this masterpiece.

Here is the Beethoven: Violin Concerto, with Kavakos • Mehta • Berliner Philharmoniker

And now, here’s a very interesting conversation with Leonidas Kavakos on Beethoven’s Violin Concerto

Tags: Leonidas Kavakos, Beethoven, Zubin Mehta

• Concert date: 5 November, 2011

• Conductor: Sir Simon Rattle

The Program:

• Helmut Lachenmann: Tableau for Orchestra

• Gustav Mahler: Symphony #9

It is one of the exciting facts of our age that we now have the capability to log on to the Berlin Philharmonic’s (BPO’s) Digital Concert Hall at 11 AM California time, and to be “in the live audience”, watching their concert at 7 PM Berlin time!

And when they are going to perform Mahler’s 9th, how can I go wrong?

I have never heard the composition by Helmut Lachenmann, so I am looking forward to that, as well.

This first work was heavily oriented toward the development of new sounds in which we hear a lot of brass and percussion and quite little tonal, melodic music. There are also many dramatic silences, and barely audible sounds from the winds. Interesting also were the hushed sounds of air passing through a trumpet, with no audible note being heard.

The camera work is great, in that the audience gets to roam around the French Horn section, or to see any other soloist up close.

Perhaps my reaction is similar to how folks reacted when they first heard Stravinsky’s “Rite of Spring”. His sounds were also very new during those days. This first work concluded after about 17 minutes; I’ll have to hear it again… Composer took a bow… and got some flowers…

An interesting interview with the composer followed. Mr. Lachenmann talked about his “supermarket of sound”, where he tries to share some of these sounds with us. These are sounds of, say, friction of a bow on a string, rather than focusing on a specific tone, such as F-sharp. As such, he talks about being a “noise-maker”, rather a conventional composer of more tonal music.

And now for the Mahler 9th:

The symphony starts with muted tones of the Andante Comodo… Cello… Harp… muted horn… Then strings, as if a sigh… Later, the whole orchestra states another main theme, led by the strings, and with the Horn responding. There is a return to solo Harp… with quiet rumblings from the violins; and then the whole orchestra participates in a seemingly joyous moment, only to return to threads of sadness. Then we hear again the sigh-like figurations that we heard at the beginning. All that leads to a rush climax by the whole orchestra, with strong Tympani sounds… Flourishes by the trumpets and sounds from the strings bring back the sigh motif…as accompanied by harps; one more violin solo and the sound of a piccolo… and the harps, clarinet, flute and the violin solo with the oboe, with the final piccolo note, bring the movement to a close.

Second movement: In the tempo of a Laendler:

Starting off with a Bassoon accompaniment, this native dance-like movement has a much less somber feeling than the opening movement. The strings are in charge here, playing out their hearts in melodies, and the Winds and Brass support and respond. The whole thing is one grand Waltz, only an Austrian can feel. Finally, the Bassoons return with their opening accompaniment figure, and the strings lead the other instruments to the close, with the Picollo having the last sound.

Third movement: Rondo, Burleske

This movement, too, opens in a rapid and joyous manner. A March emerges, as we have seen in many other Mahler works. All the instruments participate in the merry music making, and Fugue develops that is happily played by everyone. Winds, Brass and strings lead the parade with an extensive musical development toward a frenzied close.

Final movement: Adagio; very slow, and holding back

The strings open this much slower and more serious final movement. A lone Bassoon responds briefly; then the horn joins the music; Contra Bassoon and Basses play against the high violins; the music is quite somber now. A tragic feeling already emerges at this point, with the entire orchestra participating. The strings play along with the solo oboe; it is as though a few strands of sound are left…we hear a strand of English Horn, Flute, clarinet, and more oboe. The strings try to renew their theme… only to return to the subdued sounds that seem to lead to an inevitable end. We hear a few threads again, from violins, English Horn, solo Cello, more and more quiet… and just one more final sound… and it is over.

Here is the Mahler: Symphony No. 9, first movement, Andante – Berlin Philharmonic Orchestra, conducted by Sir Simon Rattle

Tags: Gustav Mahler, Symphony #9, Berlin Philharmonic Orchestra, Sir Simon Rattle

On Sunday, October 30, 7:30 PM, pianist Ingrid Fliter will perform the Daniel Pearl Memorial Concert at the Greater Washington Jewish community Center.

With “an exciting technique and keen intelligence” the New York Times calls Ingrid Fliter “a remarkable talent.”

Ms. Fliter has been the subject of several Posts on my blog, because I find her playing so remarkable, sensitive, and moving. Those of you who are close to the Washington DC area would undoubtedly enjoy her performance. I wish I was able to attend, but I am in California…

Here is Ingrid Fliter performing the Chopin Piano Concerto number.2, Second Movement (recorded in 2000)

And here is Ingrid Fliter performing Haydn

Tags: Ingrid Fliter, concert, pianist

Did you know that violinist Joshua Bell was recently named Music Director of the Academy of St Martin in the Fields?

Wait… Don’t panic! Mr. Bell is continuing to give concerts as a solo violinist, as well.

And… if you live in the San Francisco Bay Area you have a great opportunity to hear Mr. Bell perform as a violinist this week. Joshua Bell will perform the concerto for violin and orchestra in A-Minor, Op. 82 by Alexander Glazunov. He will be accompanied by the San Francisco Symphony Orchestra, conducted by Michael Tilson Thomas.

For specific dates of these performances, and to purchase tickets, click HERE

Here is Joshua Bell performing Beethoven’s Violin Concerto, with the Orpheus Chamber Orchestra, at Suntory Hall, Tokyo June 7, 2005

And here’s Joshua Bell performing Tchaikovsky’s Violin Concerto Op. 35

Tags: Joshua Bell concert, San Francisco Symphony, Glazunov

I wish I was able to be in Los Angeles this week for a day or two. Why? One of my favorite violinists is performing with the Los Angeles Philharmonic. Her name? JANINE JANSEN!

Ms. Jansen is a terrific performer: Energetic, passionate, technically superior, highly musical… what more is there to say? One needs to listen to her.

She’s performing during October 6-8, with the Los Angeles Philharmonic.

For more details, click HERE

Here is Ms. Jansen performing the same Mendelssohn Violin Concerto, during the Night of the Proms, with the BBC Orchestra, conducted by Roger Norrington

And here is a chamber work: Janine Jansen brings a fresh chamber approach to Bach’s two and three-part inventions with Maxim Rysanov (Viola), and Torleif Thedeén (Cello). This also includes the amazing D minor partita for solo violin.

Tags: Janine Jansen, Mendelssohn, Bach, concert, event

Anna Netrebko has appeared in leading roles at the world’s great Opera houses for many years now. However, she has not previously appeared in a recital. That amazing fact will get fixed when Soprano Anna Netrebko will make her New York recital debut with pianist Elena Bashkirova at Carnegie Hall in Stern Auditorium at the Perelman Stage, on Wednesday, October 26 at 8pm.

She will perform a program of songs from two of the most celebrated composers from her native Russia, the late nineteenth-century contemporaries Rimsky-Korsakov and Tchaikovsky. Much of the repertoire on this recital is featured on her recording In the Still of Night with pianist Daniel Barenboim (Deutsche Grammophon). Here are the details:

Performers:

• Anna Netrebko, Soprano

• Elena Bashkirova, Piano

Program:

• RIMSKY-KORSAKOV “Of What I Dream in the Quiet Night,” Op. 40, No. 3
• RIMSKY-KORSAKOV “Forgive! Remember Not These Tearful Days,” Op. 27, No. 4
• RIMSKY-KORSAKOV “Not the Wind, Blowing from the Heights,” Op. 43, No. 2
• RIMSKY-KORSAKOV “The Lark Sings Louder,” Op. 43, No. 1
• RIMSKY-KORSAKOV “On the Hills of Georgia,” Op. 3, No. 4
• RIMSKY-KORSAKOV “In the Kingdom of Roses and Wine,” Op. 8, No. 5
• RIMSKY-KORSAKOV “Zuleika’s Song,” Op. 26, No. 4
• RIMSKY-KORSAKOV “Enslaved by the Rose, the Nightingale” (Eastern Song), Op. 2, No. 2
• RIMSKY-KORSAKOV “The Clouds Begin to Scatter,” Op. 42, No. 3
• RIMSKY-KORSAKOV “The Nymph,” Op. 56, No. 1
• RIMSKY-KORSAKOV “Summer Night’s Dream,” Op. 56, No. 2
• TCHAIKOVSKY “Tell Me, What’s in the Shade of the Branches,” Op. 57, No. 1
• TCHAIKOVSKY “Frenzied Nights,” Op. 60, No. 6
• TCHAIKOVSKY “Why?,” Op. 6, No. 5
• TCHAIKOVSKY “O Child, Beneath thy Window,” Op. 63, No. 6
• TCHAIKOVSKY “Cradle Song,” Op. 16, No. 1
• TCHAIKOVSKY “Was I Not a Little Blade of Grass?,” Op. 47, No. 7
• TCHAIKOVSKY “Amid Sombre Days,” Op. 73, No. 5
• TCHAIKOVSKY “Does the Day Reign?,” Op. 47, No. 6

Anna Netrebko was born in Krasnodar, in the south of Russia, in 1971. She received her vocal training at the St. Petersburg Conservatory, where she appeared as Susanna in Le nozze di Figaro, and as Violetta in La Traviata.

For further details and to purchase tickets, click HERE

While many of Netrebko’s roles have been related to coquettish beautiful young women, she has also done much more serious music. Here’s one example:

“A TRIBUTE TO PERGOLESI”
Performed by Anna Netrebko and Maria Pizzolato
With the Orchestra dell’Accademia Nazionale di Santa Cecilia, conducted by Antonio Pappano

And here’s a totally different side of this artist (I love it!)

Tags: Anna Netrebko, concert at Carnegie Hall

In January, 2011, I last talked with you about the amazing pianist, Simone Dinnerstein. Not good… Too much time has passed since I spoke with you about her.

This is an outstanding American woman. She is one sensitive, marvelous musician. She has an unusual story in terms of what brought her to the attention of the public. More about Simone in a moment. First, here’s an event with Ms. Dinnerstein as soloist that you could attend in a city where I lived many years ago:

Minneapolis, MN – Orchestra Hall, Minnesota Orchestra

More details HERE.

Conductor: Osmo Vanska

Program:
Ravel: Piano Concerto in G major
When: Sat Oct 8, 2011 8pm
Where: Orchestra Hall, 1111 Nicollet Mall, Minneapolis, MN 55403 (map)

…………………………………..

Pianist Simone Dinnerstein has an unusual biography. A few years ago, after getting a degree from The Juilliard School, she seemingly had few opportunities. She ultimately financed a recording of Bach’s Goldberg Variations. The recording was ultimately released on the Telarc label, and almost overnight Ms. Dinnerstein’s new career was launched.
Dinnerstein says: “The way I play Bach is close to my own personality, it’s more inward looking and meditative.”

I must say that I really identify with that description. Somehow, she plays with amazing spaces of silence *between* Bach’s notes, that allow me to fully appreciate the meditative and spiritual aspects of many of Bach’s works.

Here is what Robert Battey, the Washington Post reviewer, wrote:

“Dinnerstein seems to commune equally with higher spiritual realms and deep maternal instincts. Her sound, while varied and colorful, has a trancelike quality as well. The imagination, particularly in slow music, is extraordinary…”

For me, Ms. Dinnerstein’s music is very meaningful. I am unable to do something else and pay proper attention to what she’s saying. Instead, I prefer to contemplate the sublime counterpoint of Bach and to savor the sounds produced by one astounding pianist.

Here is Simone Dinnerstein performing and explaining the Bach Goldberg Variations:

And here she is in a solo recital of Bach’s French Suite nº 5, III :

Tags: Simone Dinnerstein, Bach, Goldberg Variations, French Suite, English Suite

• Berlin Philharmonic Orchestra concert, August 26, 2011

For the first time today, I feel that I have finally penetrated the core essence of Gustav Mahler’s Symphony #7. My breakthrough occurred as I was listening to a live performance of this masterpiece, as performed by the Berlin Philharmonic Orchestra, conducted by Sir Simon Rattle. I was able to attend by connecting to the concert hall in Berlin via the Internet HERE. It was 10 AM in California; 8 PM in Berlin.

For many years now I have persevered in my effort to keep listening to this symphony, even though it always seemed disconnected and enigmatic to me. I always loved the two interior movements titled “Nachtmusik I” and “Nachtmusik II”. Today, however, I also got to finally penetrate and enjoy the Scherzo movement with its elegant, even swinging dance-like style.

The last movement, “Rondo-Finale” still seemed somewhat foreign, compared to the other sections. That just means that it requires more patient listening on my part. That’s the way it is, if one wants to understand the music of Gustav Mahler (1860-1911).

Today’s opening concert at the Berlin Philharmonic was dedicated to just this one work. This orchestra has become the premier symphony orchestra of the planet, in my view. And the energy, competence, dedication, and capability of all its players was totally evident to me, as I was sitting in front of my computer, yet the Digital Concert Hall took me directly into each section of the orchestra, allowing me to see and hear each intimate detail of this work.

And now, here are some samples of this work for you:

Symphony No. 7 in E minor: Mov. 1, “Langsam (Adagio) – Allegro risoluto, ma non troppo” by Gustav Mahler, as performed by the Vienna Philharmonic, Conducted by Leonard Bernstein:

Next, here is conductor Gustavo Dudamel, talking about Mahler’s 7th symphony:

And finally,  the “Nachtmusik II” from this symphony, conducted by Claudio Abbado:

Tags: Gustav Mahler, Symphony #7, Nachtmusik, Berlin Philharmonic concert

The concert by the Mostly Mozart Festival Orchestra on Tuesday evening, August 2, 2011, was like a homecoming for me: Many of the players from previous years were there; some with somewhat graying hair; some having decided to give up their facial hair. Here was the familiar Bass player, and the Oboe player. And here is Violinist Krista Bennion Feeney, the concertmaster. And there were some new faces, as well: Perhaps a few recent Juilliard graduates, or some other musicians, eager to have the opportunity to play with the veterans at Lincoln Center. It was, in a sense reassuring that I might be in for an enjoyable couple of hours of fine music making. Mostly, I was right…

The program:

Mostly Mozart Festival Orchestra

Opening-Night Program

TUE, AUG 2 at 8:00
Avery Fisher Hall

Mostly Mozart Festival Orchestra
Louis Langrée, conductor
Christian Tetzlaff, violin
Antoine Tamestit, viola
Susanna Phillips, soprano

ALL-MOZART PROGRAM

• Overture to Le nozze de Figaro
• Sinfonia concertante in E-flat major for violin and viola
• Crudel?…Non mi dir, bell’ idol mio, from Don Giovani
• Bella mia fiamma… Resta, o cara
• Symphony No.36 in C major (“Linz”)

I really like Louis Langree as a conductor. He’s prepared, has the right style for doing Mozart, and an excellent connection with his players. The program began with a crisp reading of the overture to Le Nozze di Figaro. Yes… we hear it often, but it is a good attention getter, and it was performed beautifully, in a nice chamber music style last night. We heard great balance and fine listening by the musicians to each other.

The next work was one of Mozart’s all-time masterpieces, the Sinfonia Concertante for violin and viola. The soloists performed nicely, but somehow I wanted the music to soar more. It seemed to me that Mr. Tetzlaff’s violin did not have the carrying power that I wanted. We were told that he now performs on a German-made violin that was built in recent years; but my ears wanted a warmer, more powerful sound. I heard that sound from Mr. Tamestit, and the two soloists had a very nice ensemble style together.

For me, the highlight of the evening was the Linz symphony, which followed the two arias by soprano Phillips. The symphony was beautifully played, with excellent phrasing, and fine exchanges between the groups of wind players and the strings.

Here is one of the world’s great conductors, now deceased:  Carlos Kleiber conducts the Mozart Symphony Number 36, first movement, with the Vienna Philharmonic:

Tags: Mostly Mozart, concert review August 2, 2011, Louis Langree, Christian Tetzlaff, Antoine Tamestit, Susanna Phillips

In previous years, I enjoyed the concerts at this annual music festival in the lovely town of Carmel-by-the sea, California. On occasion I have seen world-class performances there. On other occasions, just average performances. This afternoon (7/29/2011) I heard a performance that was really unacceptable.

The Program:

Chamber Concert Beethoven & Britannia ($29)
2:30 PM Church of the Wayfarer, Carmel

• Beethoven’s revolutionary Quartet in C Minor, Op. 18, No. 4 contrasts with quartets by Vaughan Williams (so folksong-like as to be named “household music”) and by William Shield, considered the best 18th c. English composer of string quartets.

The performers:

• Cynthia Roberts and Patricia Ahern, violins

• Patrick Jordan, viola

• Allan Whear, Cello

The music of William Shield came first:

The performance level of this first selection was poor for the following reasons: The entire piece had no changes in dynamics. The string sound, particularly in the two violins was scratchy. Most of the piece was played in the violin first position. Frequent use of open strings added to the lack of warmth and detracted from the enjoyment. There were some issues of poor intonation, and sour notes.

The music of Vaughan Williams was next.
The composer died in 1968. I simply could not understand why the violins resorted to using bowing techniques as though they were playing 17th century music. This is contemporary British music, that would benefit from some warmer sounds, and some left-hand vibrato, which was pitifully absent from most of these players. The spirit of British folk tunes was missing; still lots of use of open string sounds, and no ensemble-playing, or dynamics changes of any sort.

The Beethoven Quartet Op. 18, number 4, is a masterpiece, and it was royally murdered. Poor Ludwig van Beethoven likely issued a few curses from his grave. Here’s why:

• The overall sound: Scratchy, and rough

• String technique by Ms. Roberts: Intonation problems, and lack of preparation in faster runs. No leadership to connect with and integrate the performance of the three other players.

• Ms. Ahern (2nd violin): Never did I see or hear a vibrato. She resorted to short, scratchy bow strokes.

• In this masterpiece, too, there was on-going use of peculiar bowing, which produced unpleasant sounds and an overall effect lower than that of an unprepared student group. Briefly these 4 players did come close to producing a pianissimo a couple of times.

Bottom line: The Board of Directors of the Carmel Festival should be embarrassed. I infer from this afternoon’s performance that the Board does not do any sort of performance quality monitoring. Just because one of these players may have earned a degree from Juilliard 30 years ago does not qualify that performer to play in public today. The hall was packed. People wanted to hear fine music. This was a disgrace.

Here’s the Fry Street Quartet playing the Beethoven Op. 18, number 4:
I don’t know this group, but it is obvious that they are prepared:

Tags: Carmel Bach Festival, Chamber music concert July 29, 2011, Beethoven, Vaughan Williams, William Shield

The St. Lawrence String Quartet is Stanford University’s ensemble-in-residence. Every year for the past several years they offer chamber music instruction in a relaxed and supportive atmosphere. Participants focus on one or two major works in chamber music literature while learning the delicate art of cooperation as part of an intimate group.

A typical day includes coaching, scheduled rehearsal time, and an evening activity such as a master class, readings as a chamber orchestra, a guest presentation on related topics, sight reading sessions, or an informal barbecue. Unstructured time allows participants to pursue informal readings with others, or to explore the many delights of the Stanford campus and surrounding area as well.

Special guest faculty this year included: Timothy Ying, violin; Henk Guittart, viola; Suren Bagratuni, cello; Stephen Prutsman, piano; and Pedja Muzijevic, piano. Osvaldo Golijov participated as Composer in Residence

I attended the concert on Sunday, July 3rd, at which all 18 chamber music groups performed at least one movement from a chamber music work. I enjoyed this session a lot, because the music was great and the spirit of these young folks, as they embark on their respective music careers was really a thrill. I could only attend the first half of the concert, so I missed hearing several groups.

For me, the greatest enjoyment was to listen to the “Temple Street Trio” from Yale University as they performed the first movement from the “Archduke” trio, Op. 97 be Beethoven. The performers were:

• Ariel Borensztein, piano
• Jessica Oddie, violin
• Clare Monfredo, Cello

The program began with a totally enjoyable few minutes of singing by the staff and by the performers. Apparently they began their day of chamber music study by singing Madrigals and other songs, as a way of learning to listen to one another. Great idea, and a terrific way to begin the performance program, as well!

Here is a historic recording of Ludwig van Beethoven’s Piano trio no.7 in B flat major op.97 “Archduke” (I) – Allegro moderato. The performers are:

Daniel Barenboim, piano, Pinchas Zukerman, violin, and Jacqueline du Pré, cello,
Recorded in 1969:

Tags: Saint Lawrence String Quartet seminar at Stanford 2011, SLSQ

Pierre Boulez conducts Mahler

Mahler:

• Des Knaben Wunderhorn (12 songs, complete)

Performed by Magdalena Kožená and Christian Gerhaher

• Symphony No. 10 in F sharp major – Adagio

Performed by The Cleveland Orchestra, conducted by        Pierre Boulez

In celebration of the 150th anniversary of Mahler’s birth and just one month short of his own 85th birthday, composer-conductor Pierre Boulez marked his forty-five-year collaboration with the Cleveland Orchestra by directing this very special Mahler-only concert .

Following the Adagio from Mahler’s unfinished Tenth Symphony, he presented Twelve Songs from Des Knaben Wunderhorn with soloists Magdalena Kožená and Christian Gerhaher, both much-sought-after opera and concert singers on the world’s leading stages.

These early songs from Des Knaben Wunderhorn are a clear demonstration of Mahler’s youthful interest in German Romanticism. They are brought off with great spirit by the fine soloists and the brilliant Cleveland orchestra. An interesting interview with Pierre Boulez is included with this recording.

Boulez, in the included interview, notes that Mahler left no tempo markings other than the basic Andante – Adagio, etc. Boulez has elected to use a lot of tempo changes and he achieves a great effect as a result.

Here is a section from this recording:

And here is Mr. Boulez, telling us more about himself and his works:

UE Interviews: Pierre Boulez from Universal Edition on Vimeo.

If you’d like to purchase this DVD at Amazon, please click on the image below:

Tags: Gustav Mahler, Knaben Wunderhorn, Pierre Boulez

The year 2010 was the 200th anniversary of Chopin’s birth. And yes… there were a lot of recording available to celebrate this date. Earlier today I heard Evgeny Kissin perform the second movement from the Chopin concerto #2, and it was really moving. Performed with the Warsaw National Philharmonic, this is really a performance to treasure. Actually, I found that it was the space between the notes that was so special. And with Mr. Kissin, there is no doubt that the notes and the dynamics are always there. This time, somehow I became more aware of the silences.

The 2010 concert in memory of Chopin was recorded in Warsaw’s National Philharmonic Hall, surpassed my highest expectations. Evgeny Kissin, as usual very emotional in this performance, performs the Second Concerto with incredible bravura. Antoni Wit conducting the Warsaw Philharmonic treats Chopin’s scores with care, finesse and sensitivity. Theirs is about the most inspired performance of the orchestral parts I have recently heard. There are brilliant encores from the pianists and endless, well-deserved ovations. This is a really fine DVD.

Nicolai Demidenko performs the first Chopin concerto. He is poetic, introspective, and produces a lot of beauty in this lovely piece.

The camera work is excellent, and the sound is likewise about perfect.

Here, from the 2010 performance, is Evgeny Kissin in the Chopin Piano Concerto No.2 Op.21 second movement, Larghetto:

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Tags: Evgeny Kissin, Nicolai Demidenko, Chopin concerto, Warsaw Philharmonic

June 5th, 2011 is the 70th birthday of pianist Martha Argerich. Many happy returns!

Here is some wonderful recent recorded music by this terrific pianist:

Martha Argerich & Mischa Maisky

Dvorak:

• Scherzo capriccioso, Op. 66

Luzerner Sinfonieorchester, Neeme Järvi
Franck, C:

• Cello Sonata in A major

Martha Argerich (piano) & Mischa Maisky (violoncello)
Shchedrin:

• Double Concerto for piano, violoncello and orchestra ‘Romantic Offering’

World Premiere
Martha Argerich (piano) & Mischa Maisky (violoncello)
Luzerner Sinfonieorchester, Neeme Järvi
Shostakovich:

• Symphony No. 9 in E flat major, Op. 70

Luzerner Sinfonieorchester, Neeme Järvi

At one of her rare appearances with orchestra, Martha Argerich joined forces with cellist Mischa Maisky and the fabulous Lucerne Symphony Orchestra for the world premiere of a newly commissioned work by Russian composer Rodion Shchedrin – “Romantic Offering”, a double concerto for piano, cello and orchestra dedicated to its very first soloists.

“I’ve attempted to depict and highlight the most distinctive individual qualities of these two musicians … Romantic Offering should inspire new thoughts and experiences. Music isn’t only the product of experiment. It should move your soul and touch your heart.”

……………………………Rodion Shchedrin

The program also included two late-Romantic masterpieces by César Franck, Antonín Dvořák. As well as Dmitri Shostakovich’s Ninth Symphony under the baton of maestro Neeme Järvi.

Here is Ms. Argerich in Bach’s Partita No.2 in C minor, BWV 826:

And here she is again in Bach’s toccata in C Minor BWV 911:

If you would like to purchase this DVD at Amazon, please click on the image below to complete your purchase:

Tags: Martha Argerich, Happy Birthday, June 5th 2011

For those of you in London at the beginning of June, 2011, here’s a terrific concert for you:

June 7, 2011
Queen Elizabeth Hall, London

Pianist Ingrid Fliter

• BEETHOVEN: Piano Sonata Op.31, No.2 ‘Tempest’

• BEETHOVEN: Piano Sonata Op.31, No.3

• INTERVAL

• BEETHOVEN: Piano Sonata No. 23 in F minor, Op.57 (Appassionata)

I’d love to attend this concert! I have heard Ms. Fliter only via CD’s and YouTube. I am waiting for her arrival in San Francisco!!!

Please let me know how you liked the music via a note at my Blog (bottom of this Post).

Meanwhile, here is Fliter playing some marvelous Chopin!

Tags: Ingrid Fliter, concert, Beethoven

Here are two terrific concerts for your consideration. One is an orchestral concert, with Anne-Sophie Mutter as violin soloist. The second is a recital by Ms. Mutter, with pianist Lambert Orkis.

What can I say? I wish I was in New York City, so I could attend both of these. I have no doubts that both will be fabulous!

First concert:

Lincoln Center: Avery Fisher Hall
New York, New York

• Thursday, 2 June 2011 – 7:30 PM

• Friday, 3 June 2011 – 2:00 PM

• Saturday, 4 June 2011 – 8:00 PM

Ensemble: New York Philharmonic
Conductor: Alan Gilbert
Artist: Anne-Sophie Mutter, Violin

Program:

• Beethoven: Romance for Violin and Orchestra no. 2 in F major, Op. 50

• Currier: Time Machines

• Bruckner: Symphony no 2 in C minor, WAB 102

Then on Sunday afternoon, June 5th, go to this one:

Lincoln Center: Avery Fisher Hall
New York, New York

• Sunday, 5 June 2011 – 3:00 PM

Artists: Lambert Orkis, Piano; Anne-Sophie Mutter, Violin

Program:

• Debussy: Sonata for Violin and Piano in G minor

I – Allegro vivo
II – Intermède: Fantasque et léger
III – Finale: Très animé

• Mendelssohn: Sonata for Violin and Piano in F major

• Brahms: Sonata for Violin and Piano no 3 in D minor, Op. 108

I – Allegro
II – Adagio
III – Un poco presto e con sentimento
IV – Presto agitato

• Sarasate: Carmen Fantasy, Op. 25

Introduction: Allegro moderato
Moderato
Lento assai
Allegro moderato
Moderato

Here are Lambert Orkis and Ms. Mutter in W. A. Mozart’s Violin Sonata No. 18 in G major, K. 301 – I. Allegro con spirito

Tags: TWO Anne-Sophie Mutter concerts, June 2011, New York concerts

On May 30th, 2011, members of the Berlin Philharmonic will join with cellists Mischa Maisky, Jing Zhao, pianist Itamar Golan, and Martha Argerich to play a benefit concert for the FTV Junior Orchestra of Japan.

Itamar Golan and Argerich will perform four-hand piano works by Mozart and Schubert, also Guy Braunstein and Daishin Kashimoto, two of the four concertmasters of the Berlin Philharmonic, along with the orchestra’s new principal violist Amihai Grosz, will play works by Shostakovich, Dvorak and Schumann.

Date/time:

• 30 May, 2011 8pm

The Program:

• Mozart: Sonata for piano four hands in D major K 381

• Schubert: Notturno in E flat major D 897

• Shostakovich: Piano Trio No. 2 in E minorDvořák: Tercet für two violins and viola in C major

• Schumann: Piano Quintet in E flat major

The performers:

• Martha Argerich • Itamar Golan, piano

• Guy Braunstein • Daishin Kashimoto, violin

• Amihai Grosz, viola

• Mischa Maisky • Jing Zhao, cello

The Venue:

• Kammermusiksaal, Philharmonie, Berlin, Germany

Tags: Martha Argerich, Concert for Japan, May 30th, 2011

For those of you in the Philadelphia area, here’s a great concert that you are likely to enjoy a lot:

The Philadelphia Orchestra, Charles Dutoit, conducting and Gil Shaham, violin

Kimmel Center: Verizon Hall
Philadelphia, Pennsylvania

• Thursday, 12 May 2011 – 8:00 PM

• Saturday, 14 May 2011 – 8:00 PM

• Tuesday, 17 May 2011 – 8:00 PM

Ensemble: The Philadelphia Orchestra
Conductor: Charles Dutoit
Artist: Gil Shaham (Violin)

Program:

• William Walton: Concerto for Violin in B minor

• Gustav Holst: The Planets, Op. 32

More information HERE

Here’s a wonderful video of Gil Shaham, talking about, and playing Violin Concertos that were composed in the 1930’s:

Tags: Event, Concert, Philadelphia Orchestra, Gil Shaham, Walton Concerto

It is not often that the small town of Aptos, California is able to attract an artist of the caliber of Yevgeny Sudbin. For me this was great, because my home is in Aptos. The night before, I had travelled for 45 minutes one way to listen to the Tokyo String Quartet. Last night, however, my travel required 10 minutes to arrive early at the Cabrillo College parking lot and head for the new Crocker Theater.

It was unfortunate that the public had to endure a commercial talk on behalf of the Yamaha Piano Company before the music began. I felt that this was somewhat of an insult to the performer.

Sudbin’s playing is very impressive! In his opening work, the Haydn Sonata in B Minor, Hob. XVI:32, he immediately established that he has the sensitivity and technique to be taken very seriously. He performed the Haydn with the seriousness required in the second movement, as well as the humor and percussiveness required by the final Presto.

Sudbin’s performance of the four Shostakovich Preludes demonstrated that he knows how to capture the wit and sarcasm so characteristic of these pieces; and I immediately decided that I wanted to hear more of these Preludes, and also more of Yevgeny Sudbin’s playing.

Next on the program we heard a terrific performance of the Chopin Ballades 3 and 4. The performer showed us great variety in textures, strong transitions in tone color and sound intensity and fascinating technique.

After intermission, Sudbin’s virtuosity was completely out there for the listener’s admiration: He played the Liszt Transcendental Etude, Harmonies du soir, and Ravel’s great masterpiece, Gaspard de la nuit. What a display of sound that was! And the whole choice of the compositions on the program was actually strongly satisfying, as well.

After a well-deserved standing ovation, Sudbin played two Rachmaninoff Preludes as an ovation. Wonderful concert!

Here is Yevgeny Sudbin, performing Ravel’s “Gaspard de la nuit” Ondine:

Tags: Yevgeny Sudbin, concert review, Cabrillo College April 23 2011

The TSQ is a chamber music group that was established many years ago by four Japanese musicians. Over the years, two new players have joined the group, so that now only the second violinist, Mr. Kikuei Ikeda, and the violist, Mr, Kazuhide Isomura remain as original members. The newer members are Martin Beaver, first violin, and Clive Greensmith, Cello. The Tokyo String Quartet is the quartet in residence at New York’s 92nd St. Y.

The concert was in Carmel, California. The program included:

• W. A. Mozart: Quartet #15 in D-Minor, K. 421

• Szymanowski: Quartet #1, in C-Major, Op. 37

• Beethoven: Quartet in C-sharp minor, Op. 131

The playing of the amazingly beautiful Mozart D-minor immediately established this group as fine players. The music had a very nice balance and an outstanding style. This is one of the 6 quartets that Mozart dedicated to Haydn. And upon reviewing these works, Haydn said to Mozart’s father, that the world will talk a lot about his son in the coming years. And Haydn was certainly correct. This music was composed in 1783, and we are still talking about it! The second movement (Andante) was particularly enjoyable because of the nice execution of the dynamics. There were some fine pianissimos here! The 3rd movement Menuetto was very sprightly and stylish, and the concluding movement was very satisfying, as well. On occasion I found the Cello to be too loud, and I was sitting in the back of the concert hall…

I personally was unable to connect with the music of Polish composer Karol Szymanowski. I experienced his music as a whole set of disconnected musical ideas that – for me – did not relate to each other. There much use of sliding on the strings, playing in high registers, use of harmonics and tremolos, but somehow it did not make sense to me.

The evening’s final piece was the Beethoven C-sharp minor quartet which was one of the last compositions that Beethoven created before his death in 1827. This is an acknowledged major masterpiece. In fact it represents one of the great pillars of all chamber music, and indeed was a revolutionary composition for its time. I found that the notes were all there, yet I was unable to fully enjoy the music. For one thing, the tempi were frequently rushed. Again, as in the Mozart, the Cello, with its amazingly lush sound, was somewhat too prominent in spots and this created a distraction.

I was glad that I attended. I have a great friend who is a pianist; she was born in Warsaw; I’ll have to ask her to coach me on Szymanowski’s music…

Here is a video of the Mozart String Quartet No. 15 in D minor, KV 421, II. Andante, as performed by the Neues Leipziger Streichquartett:

Tags: Tokyo String Quartet, Mozart, Szymanowski, Beethoven, Carmel California, April 2011

HERE’S A WONDERFUL CONCERT FOR THOSE OF YOU IN NYC TONIGHT:

Shorter compositions! Lighter, fun, neat violin encores and well-known jewels…

Lincoln Center: Avery Fisher Hall
New York, New York
Monday, 11 April 2011 – 7:30 PM

Presenter: New York Philharmonic
Ensemble: New York Philharmonic

• Conductor: Alan Gilbert
• Artist: Itzhak Perlman (Violin)

Program :

Tchaikovsky: Romeo and Juliet Fantasy-Overture

Morricone: Cinema Paradiso

• Composer: Ennio Morricone
• Artist: Itzhak Perlman (Violin)

Hupfeld: As Time Goes By

• Composer: Herman Hupfeld
• Artist: Itzhak Perlman (Violin)

Barry: Out of Africa

• Composer: John Barry
• Artist: Itzhak Perlman (Violin)

Williams: Schindler’s List

• Composer: John Williams
• Artist: Itzhak Perlman (Violin)

Gardel: Por una cabeza

Mozart: Die Zauberflöte, K 620 (The Magic Flute)

Schubert: Rosamunde, D 797/Op. 26

Kreisler: Liebesleid

• Composer: Fritz Kreisler
• Artist: Itzhak Perlman (Violin)

Kreisler: Liebesfreud

• Composer: Fritz Kreisler
• Artist: Itzhak Perlman (Violin)

Kreisler: Schön Rosmarin

• Composer: Fritz Kreisler
• Artist: Itzhak Perlman (Violin)

Kreisler: Tambourin chinois, Op. 3

• Composer: Fritz Kreisler
• Artist: Itzhak Perlman (Violin)

Beethoven: Leonore Overture no 3 in C major, Op. 72b

Beethoven: Leonore Overture no 3 in C major, Op. 72b

Here is Itzhak Perlman playing Tchaikovsky’s Valse Scherzo Op. 23

Tags: Perlman, concert, Event, New York

The MET Orchestra, under conductor James Levine represents the very best in music making. They are giving a concert this afternoon that I’d love to attend:

Performers:

The MET Orchestra
James Levine, Music Director and Conductor

• Evgeny Kissin, Piano

Program:

• ARNOLD SCHOENBERG Five Pieces for Orchestra
• FRÉDÉRIC CHOPIN Piano Concerto No. 1 in E Minor
• JOHANNES BRAHMS Symphony No. 2

Evgeny Kissin is now 39 years old and he’s been thrilling audiences since his teens. Here’s your chance to hear him:

Stern Auditorium, Carnegie Hall, New York city at 3 PM

More information HERE:

Here is Kissin as a youngster, playing Chopin’s concerto #1:

And you’d like to see him play as an adult? Here you go: He’s doing Chopin’s Concerto #2:

Tags: Carnegie Hall concert, Sunday April 10th, 2011, Kissin

As many of you already know, Anne-Sophie Mutter is one of my favorite violinists. I have been known to travel coast-to-coast to hear her play…

Well, for those of you in NYC, here’s a concert that you should not miss:

Lincoln Center: Avery Fisher Hall
New York, New York

• Thursday, 31 March 2011 – 7:30 PM

• Friday, 1 April 2011 – 8:00 PM

• Saturday, 2 April 2011 – 8:00 PM

Ensemble: New York Philharmonic
Conductor: Michael Tilson Thomas
Artist: Anne-Sophie Mutter (Violin)

Program:
• Prokofiev: Overture for Chamber Orchestra in B flat major, Op. 42 “American”

• Gubaidulina: Concerto for Violin no 2 “In Tempus Praesens”

• Tchaikovsky: Symphony no 2 in C minor, Op. 17 “Little Russian”

Here is a nice video with Ms. Mutter, explaining what Felix Mendelssohn means to her…

Here she is, talking about Mendelssohn’s early life:

Tags: Anne-Sophie Mutter, New York concert 2011, Gubaidulina

The Vienna Philharmonic Orchestra has been rated as one of the 5 best orchestras world-wide, in the past. Their ability to perform the masterpieces of Beethoven, Mozart, Haydn and many other composers is well known. After a 20-year lull, they came to Berkeley this past weekend, and I heard two of their three concerts. The orchestra does not have a permanent conductor. They give concerts with a series of well-known guest conductors.

It was Russian conductor Semyon Bychkov who led the two concerts I attended, and I must regretfully say that I was disappointed.

The concert on Saturday evening, Feb, 26, 2011 started with the Schumann Symphony #2. This is one of my all-time favorite musical works. I played it when I was a member of a New York orchestra years ago. While all the notes were there, what I missed was a sense of the pathos, sadness, and resignation that the composer expressed in the 3rd movement. That is the one movement that is slow, and even the program notes for the evening told us of the fact that the composer was physically and emotionally ill, and that much of his tragedy of his life is expressed in that 3rd movement. Yet… I must say that I did not even hear a true pianissimo executed by the orchestra! I know that the players are capable of it, because I have heard them perform under a different conductor, where there was much greater adherence to the dynamic markings in the music.

My sense is that the overall total framework of this work was certainly properly played. What was missing, however, was any sense of finer detail, subtle changes in tempi, and the shadings of color and phrasing that distinguish an outstanding performance from an ordinary one.

The second half of Saturday’s program was the Symphony #2 of Johannes Brahms. Here again, this music that this orchestra could likely play from memory. They might produce a credible performance even without a conductor. While the music was OK… the interpretation did not allow the listener to hear anything new. I did not hear a single section in which this group revealed anything new or exciting. Sure, the music as written by the composer has to be followed. However, a conductor should attempt to show us some sort of inner detail, some level of color, detail or musical expression that makes the interpretation special. It is that aspect that was once again missing for me.

On Sunday at 3 PM, the VPO performed music composed by one of their former conductors, Gustav Mahler. They played his Symphony #6. This is a very long and complex work, and I have to say that certain sections, particularly the opening movement were satisfying and well-played. Again, for me there was an absence of true commitment to dynamic changes, and lack of emphasis on producing an intimate, quiet sound. Yes… the louder spots in this work are much more prevalent. It was not until the very end of the final movement that the very dramatic pizzicato ending was nicely produced.

Tags: Vienna Philharmonic Orchestra, Berkeley concert, review