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Tag Archive for ‘Brahms’

Paul Romeo and Nathan Stith in Oldcastle Theatre Company's production of " Moonlight and Magnolias,

A Singer’s Notes 135: Moonlight and Magnolias at Oldcastle Theatre and the Chiara String Quartet at Mohawk Trail Concerts

In a play that basically pursues one action only, that of completing a script for the film of Gone With the Wind, four excellent actors kept us laughing. There was certainly excess in virtually every aspect of the performance, but it was funny excess.





Duo pianists Mark Evans and Gili Melamed-Lev.

Three Concerts at Camphill Ghent, two Past, one to Come

Off-season musical life is not as thin in the Hudson Valley as it is in the Berkshires, but, whatever the general situation, the Concerts at Camphill Ghent, founded and directed by pianist Gili Melamed-Lev, stand out for their exceptional quality, one month after another. As I have mentioned elsewhere, these concerts, which usually sell out weeks before the concert date, take place in the intimate performing arts hall of Camphill Ghent, a residential community for elders in Chatham, New York. This particular article will offer a preview of the upcoming March concert, which is actually based on an abbreviated version of the program the Lev-Evans Duo played at a house concert in Stockbridge last month, and reviews of two previous concerts at Camphill Ghent.





Artistic Director Gili Melamed-Lev

The Concerts at Camphill Ghent 2016 – 2017: Season Opening Concert Coming Up, October 15, 3pm

A relatively new chamber music series in our area, The Concerts at Camphill Ghent, extending through the rather sparse autumn through spring months, has just recently come to my attention, and it looks well worth a season subscription. Every concert is compelling, and they all fit together as a whole. Clearly some strong consideration has gone into the selection of both the music and the musicians. The series was founded and is managed by a musician, the outstanding pianist, Gili Melamed-Lev, who oversees the programming and participates extensively herself. This is by no means exceptional in itself, but the particular stamp she has put on it stands out.





Nelson Freire in Ozawa Hall. Photo Hilary Scott.

Nelson Freire at Tanglewood: Third Sonatas, Early and Late

Nelson Freire is a past master in multiple senses. His virtues as a pianist have been well-known for decades. But his playing brings to us hints of older school virtuosity, not only of his own generation (including his friend and musical partner Martha Argerich) but of even earlier schools of pianists, including the Hoffmann-Friedman-Rachmaninoff generation. He shares with those legendary virtuosi not only a technique that barely recognizes technical difficulties, but also a kind of sprezzatura, a slightly off-handed way of tossing off passages, runs, glittering ornaments, and the rest of the grand pianistic arsenal (or clap-trap, depending on your point of view) that others have approached with either gritty determination or a show-off’s urge to impress.





Louis Lohraseb, Conductor

A Singer’s Notes 107: Louis Lohraseb Conducts the Amadeus Orchestra at the Troy Savings Bank Music Hall, with Cicely Parnas, Cello; Gerard Schwarz and the Mozart Orchestra of New York

The first, the Amadeus Orchestra, conducted by the twenty-something Louis Lohraseb—a friend and erstwhile student of mine. These young musicians came to the hall from New Haven in a bus, played a rehearsal, and then an unforgettable concert thereafter. Featured was the excellent young cellist Cicely Parnas in the Haydn Concerto no. 1, which she played with great energy and style, the orchestral accompaniment pristine.





Cicely Parnas, Cellist

The Amadeus Orchestra – Louis Lohraseb, Conductor, soloist Cicely Parnas: Bruckner, Haydn, and Brahms at Troy Savings Bank Music Hall, Sunday, April 19, 3 pm

n 1862–63 Anton Bruckner composed the Overture in G minor. In contrast with the earlier Four Orchestral Pieces and the next Symphony in F minor, the Overture appears a much more mature work. Bruckner’s characteristics are already present: the opening subject with his octave interval in unison – as that of the main theme of the Ninth Symphony, the full orchestral chords followed by semiquaver runs, and the second slower subject with its large interval leaps, which is prefiguring the descending motive of the Adagio of the Fifth Symphony. The work contains at bars 271–275 a descending scale similar to the “Sleep leitmotiv” of the not yet composed Act 3 of Wagner’s Walküre.





A Schubertiade. Moritz von Schwind, watercolor

The Bard Music Festival at 25: Franz Schubert and his World

My leading thought goes against much of what the Bard Music Festival and my own values, for that matter, stand for. And just read Keith Francis’ provocative series, The Great Composers?, the latest installment of which has just been published. I’ve missed only one Bard Festival since 2006, and I’ve heard great music by Elgar, Prokofiev, and Sibelius. And, well, Saint-Saëns was too gifted to be great, and that really didn’t interest him in any case. Of the composers included in the festival, only Wagner and Stravinsky turn up on common lists of the greatest—not that those stupid lists do anything but harm. Still, during the two weekends devoted to Franz Schubert I felt I was living with the gods, and the lingering impression of those weekends swelled accordingly.





Andris Nelson conducts the BSO at Tanglewood. Photo Hilary Scott.

Two Weekends in the Country: The BSO and the Festival of Contemporary Music at Tanglewood, Jacob’s Pillow, the new Clark, Mass MoCA, and Boston Midsummer Opera’s Bartered Bride

As life in the city slows down, life in the country west of Boston ratchets up. I went out to the Berkshires to catch as much as I could of Tanglewood’s fiftieth Festival of Contemporary Music, this year curated by Boston composers and longtime Tanglewood faculty members John Harbison (a composition fellow in 1959) and Michael Gandolfi (a fellow in 1986).