A critical brouhaha is developing over Sumi Hahn’s review of Lang Lang and the Seattle Symphony. In the classical music world that means five comments or so. Sumi and I have different opinions of the concert; she didn’t like Lang Lang’s performance, while I did. Nevertheless, what seems to be bothering folks the most is her style and the way she describes music and the performances she heard. I actually like Sumi’s style quite a bit. Sometimes it is a little over the top. Maybe she is too descriptive too often. But, I can tell you from my own experience that writing about music is one of the hardest things anyone can do. I blankly stared at my computer monitor on more than one occasion trying to find the right words to describe a piece of music or a performance. I wish I could write with as much color as Sumi does. Give Sumi a break. Disagree with her opinion of the performance, but don’t fault her style. That goes for what is published on TGN as well. Comments are always welcome, especially if you are challenging our authority as classical music opinion shapers.
Reminder: Chamber vs. Chamber tomorrow
Just a quick reminder, Chamber vs. Chamber happens tomorrow. Come if you can, it should be great – great performances and great conversation. Information and links below from the original post earlier this week.
Oregon Symphony collaborates with two guests and finds Ravel a gem
The Oregon Symphony made music with two guest artists on Saturday evening (October 31st) at the Arlene Schnitzer Concert Hall. The ensemble was led by Claus Peter Flor, a German conductor who is the music director of the Malaysian Philharmonic Orchestra and is well-known for his work with the Dallas Symphony over the past decade. Guest violinist Stefan Jackiw, a 29-year-old American virtuoso also made his debut with the orchestra, which played works by Ravel, Mozart, and Beethoven. Continue reading Oregon Symphony collaborates with two guests and finds Ravel a gem
Maestros
I have been on an American maestro kick the last few weeks. You Tube is a great resource for obsessions like this. Here is one of my favorite finds, Leopold Stokowski conducting Debussy’s L’après-midi d’un faune with the London Symphony. When you get past Leopold Stokowski’s eccentricities he was a conductor who revolutionized classical music through his fierce advocacy of new music – he premiered numerous Shostakovich symphonies, Schoenberg’s Gurre Lieder, Mahler’s Symphony of a Thousand – and by shaping the sound of the Philadelphia Orchestra. They don’t make ‘em like Leopold anymore. Enjoy!
Review: Lang Lang and the Seattle Symphony
Lang Lang is a rare commodity in the world of classical music today. On the one hand, he is a star. Put him on a program with the local symphony orchestra and the house will sell out. His stardom arises from his limitless talent and unorthodox displays of ecstasy, joy, and fitful energy at the keyboard. On the other hand, Lang Lang is an artist conscious of the box stardom could erect around him. Lang Lang’s most recent CD, a program of chamber music, is a first for the pianist. He is also participating in Carnegie Hall’s Chinese music festival performing alongside other musicians from China and on November 10 in a performance with the Shanghai Symphony. Defining this pianist is a difficult proposition. Lang Lang is proving that stardom and artistry can coexist.
Chamber music concert continues Russian tradition in Seattle
I have been to three of the four concerts put on by the Russian Chamber Music Foundation of Seattle. Each time, I have high hopes for the future of this local group. The last concert I attended, a Rachmaninov retrospective performed by musicians from the Chamber Music Society of Lincoln Center, was poorly attended and I wondered if the foundation would survive in Seattle. This worry was dispelled by Friday night’s concert which might mark a turning point for the foundation. Three fine guest musicians – Sean Osborn (clarinet); Erin Keefe (violin); and Alexander Tutonov (piano) – joined Natalya Ageyeva, a pianist and the foundation’s founder. A large crowd turned out for the performance, and, on paper, the program looked interesting.
Continue reading Chamber music concert continues Russian tradition in Seattle
Intemperate Mahler from temperate San Francisco
San Francisco might seem like an unlikely place for a Mahler tradition to take root. Mahler’s epic, heaven shaking symphonies don’t exactly match up seamlessly with the casual atmosphere of the Bay Area, its progressive politics, and foggy, clement summer days. But, that is exactly what has happened in San Francisco since Michael Tilson Thomas stepped onto the podium as the orchestra’s music director in 1995.
Before MTT joined the orchestra, the SFS was already known as one of the West Coast’s innovative orchestras. Former music director Edo de Waart advocated the music of American minimalists and Herbert Blomstedt followed up De Waart’s successes with electric performances of non-standard repertory by Hindemith, Wourinen, and Nielsen.
Continue reading Intemperate Mahler from temperate San Francisco
Subsidized tix
Henry Fogel wonders if subsidizing ticket prices will help diversify concert audiences.
A boy’s best friend is his mother
Last year it was Richard Strauss’s Elektra that got Seattle’s classical music lovers in the Halloween spirit, this year it is three concert showings of Alfred Hitchcock’s classical film Psycho. A concert performance of Psycho is definitely not your typical Seattle Symphony concert. There was no symphony, dazzling, prodigy soloist, and definitely no stuffy atmosphere – just a classic movie and one of the most memorable film scores in history.
Simple Measures joins forces with Seattle Dance Project
In my “upcoming” post a few days ago I neglected to mention Simple Measures’s performances at Spectrum Dance Theater and the Fremont Abbey. Simple Measures has built a reputation in Seattle for progressive concert programming that is accessible. It is a mission that founder Rajan Krishnaswami and all of the musicians associated with the group take very seriously. Their 2009-2010 season continues in this tradition with a classic Simple Measures event simply called “Earth.”
Earth, showcases the talents of both the Simple Measures musicians and the dancers from Seattle Dance Project by combining modern dance with classical music and pop music arrangements. This season opening event will run longer than a normal show. There will be three performances at the Spectrum Dance Theater next weekend, followed by three more at the Fremont Abbey.
Gathering Note 