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Contemporary Record Society |
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Culture About Town
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On Sunday April 23 2006, the Curtis Institute of Music presented a concert featuring, soon to retire Gary Graffman, Director
and pianist. The program included the Stravinsky Suite from the Firebird (1919 version), the Ravel Concerto for Piano (Left
Hand) and the Bartok Concerto for Orchestra with conductor Christoph Eschenbach, at the podium. These three prolific compositions,
individually, are easily considered the highlight of any program. Here, they combine to make this concert an unforgettable
experience for any listener. The Orchestra performed with considerable bravura as they warmly showed their respect and support
for one of the Institutes exceptional Directors. Graffman performed the Ravel Concerto with great ease and insight. His performance
displayed that this veteran has not faltered with age, but rather increased in wisdom and clarity of musical interpretation.
The gifted members of the Orchestra performed each work in the highest order under the sensitive direction of Mr. Eschenbach...
The Chamber Orchestra of Philadelphia under its’ esteemed conductor Ignat Solzhenitsyn performed at the Kimmel Center
for the Performing Arts on March 25 and 26 with soloists, Mikhail Yanovitsky, piano and Doris Hall-Gulati, clarinet. The
program featured works by Nielsen, Strauss and Mozart. The Nielsen Little Suite, Op. 1 (1888-89) in three distinct movements
showcased the dexterity of both orchestra members and Maestro Solzhenitsyn. The Nielsen Clarinet Concerto, Op. 57 dates from
1928. This composition is of demanding scope for soloist, conductor and orchestra. It is one of the most technically challenging
compositions and it was performed with great ease by Gulati and said ensemble. Mr. Yanovitsky performed the Strauss Burleske
in pristine order with total understanding of the demands of this composition. The program ended with an exquisitely fine
performance of the Symphony No. 35, “Haffner” by Mozart. Both Solzhenitsyn and orchestra members performed with
depth and insight into this classic gem.
One rarely gets the opportunity to observe, in part, each of the two rehearsals prior to the concerts. In particular, it was
inspiring to observe this gifted conductor, Ignat Solzhenitsyn, mold the demanding Nielsen Clarinet Concerto in record breaking
time, (35 minutes) before a complete reading of this massive Concerto. Indeed, not only was the conductor exceptional and
the clarinetist very competent, but the Orchestra members were above and beyond world-class artists in status!
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On Friday evening, December 2nd a concert was presented by Network for New Music, highlighting guest artist, pianist, Leon
Fleisher. The program at the Perelman Theater also featured resident performers and guest composers works by, Dina Koston,
George Perle, George Rochberg and Erich Korngold.
The first work on the program, Messages completed 2002, for solo piano featured Fleisher. His performance was endearing but
the music, at times, lacked direction. The Perle composition, Musical Offerings for Left Hand Alone, was written in 1989 for
Fleishers seventieth birthday. The movements are dedicated to three of Fleishers colleagues, while at Tanglewood. The performance
was intellectually sound and brilliantly played. This is a crafted composition with widely changing textures and contrasting
phrases. The Rochberg Octet, (Fantasia) is reminiscent of some of his earlier works, which makes sound use of dissonance and
displays a delightful contrast between the instrumental combinations. I was particularly impressed with Ms. Reichert, who
performed admirably. Cramer, Oka, Fay, and Bar-David provided substantial artistic
support among the colleagues. The last work on the program is a Suite, Op. 23 (1830) by Erich Wolfgang Korngold, which
featured Hirono Oka, Gloria Justen, violins Ohad Bar-David, cello and Leon Fleisher at the piano. This composition though
not what one would define as very modern, was extensive in length and displayed a wide range of drama, while presenting the
piano for one hand in a performance with a complete range of expression. Mr. Fleisher performed this massive work with ease
and grace. The pizzicato playing by the strings was amazing and the excitement created by those sections, in support of the
piano, was one of the musical high points of this composition. Mr. Fleisher eloquently spoke of the importance of supporting new music. One
might end with a reconcilable statement on behalf of composers. The contemporary composer is perhaps the most neglected of
musical personalities. Certain quarters do not acknowledge composers at all. Others give a nod of recognition and some organizations/performers
slander their good efforts. Time will tell about the contributions made by our fellow composers.
*************************** Philadelphia and surrounding communities continued to amaze its constituents with a variety of cultural events, many which
compete for attention and many who generously deserve recognition for the sheer energy of each organizations input into our
cultural life. Being near other major cities, especially, New York City, Baltimore and Washington, one might expect a waning
of interest in our own contributions to the cultural society at large. This is not so, as we continue to find new avenues
of cultural expression. There are several Universities and Conservatories, Art Centers and Dance Companies to add to the mix.
The Curtis Institute of music has in addition to the Alumni Concert Series a free series of Student Recitals.
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Philadelphia Orchestra On July 25th The Philadelphia Orchestra
performed at the Mann Music Center, works by Britten, Prokofiev and Shostakovich. The program was well received by a substantial
audience both in the dome and throughout the open landscape. The weather was perfect and the music was exquisite. The
variations and Fugue on a Theme of Purcell, Op. 34 by the British composer, Benjamin Britten places a spotlight on the lyrical
quality of each member and section of the orchestra. It can be compared to the Prokofiev composition on this program, with
the exception that Prokofiev is represented in the form of “program music.”
Britten takes members of each section with a swift and smooth transition, great craftsmanship and ease of presentation.
The narration to Peter and the Wolf, Op. 67 of Prokofiev was most effective together with an excellent descriptive video on
screen. Each section of the Orchestra represented the characters of the story
with exquisite charm and brings memories of ones own childhood experiences, bringing these fantasies to life. Each instrument
depicts a character with its own brilliant sound quality. The final work on this program, the Violin Concerto No. 1 by Dmitri Shostakovich, Op. 77 is cast in four distinct movements;
1. Nocturne: Moderato, 2. Scherzo; Allegro, 3. Passacaglia: Andante-Cadenza and 4. Burlesque: Allegro con brio. I was particularly
impressed with the rapport displaying a keen sense of camaraderie between conductor Milanov, soloist, Elissa Lee Koljonen
and members of the orchestra. I never cease to be amazed at how little time there is to rehearse such deserving music and
how well the end result is accomplished. The music of Shostakovich is my favorite among Russian composers, where Leonard Bernstein
in his prime brought to the attention the Shostakovich 5th Symphony to millions of Americans, after his visit to
Russia. This concerto has sections which are reminiscent to the symphonies, 5 and 10 but with
special care in exploiting the many qualities of the solo violin part. Violinist, Ms. Koljonen is a gifted artist who
brings both beauty of tone and mastery of expression to her chosen instrument. The Cadenza, longer than most, was performed
with insight and great technical proficiency on the violin. One may venture to say, her parents, both musicians, should be
proud!
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Let us know if there are any events or updates you would like to share with fellow members.
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