Five Things about Concerto 4 3

I heard the world premiere of Jennifer Higdon's Concerto 4 3 Thursday night in Philadelphia. Part of the Bernstein Festival continuing through February 2nd.

1. I was interviewing Jennifer during the first half (watch this space for updates and a posting of it!) so I only heard the first half of Tchaikovsky and Bernstein via speakers, and left after the concerto because I had worked that morning and had to go to work the next day as well. But the program was well varied and it didn't seem that anyone left the second half, which had the world premiere with Time For Three and Tchaikovsky's Francesca da Rimini. Bassist Ranaan Meyer introduced the work briefly, giving the background of how the work came into being.

[The picture above left is at intermission, when we came into the hall - Jennifer was recognized by patrons, students and audience members, but we snapped this quick picture.]

2. The first movement of Concerto 4 3 is short, sweet and busy. It features the Trio prominently, with lots of extended blugrass techniques. Zachary DePue was stellar with his bow scraping in the right hand and bold leaps with his left. I was a little surprised that they didn't have stands or music, the trio played it from memory with flair, panache and let you know they were having fun. Maestro Eschenbach also seemed to be watching them alot and smiling.

3. The central slow movement is the longer of the concerto and certainly lets the orchestra blend with the trio, especially haunting and beautiful is a section with the oboes who melt your heart. Lines come and go, from the trio to the orchestra and back. The whole movement was seemless with the first and featured the trio in a cadenza that blew your mind. Meyer's bass was stunning in melodies, although often his movement seemed over the top.

4. The finale is wonderous and toe tapping. Again, Higdon's brilliant orchestration shines and allowed Time for Three to jam, where percussion leads to brass to the winds and strings, all while the soloists play the perfect mix of classical and bluegrass. Nick Kendall fiddled and swayed with timing just right with his comrades, often melding in unison lines.

5. The audience was on its feet, and shouts of "Bravo" echoed in the hall - you probably heard me whistle and hoot. While I thought perhaps "The Singing Rooms" will make the history books for its unique orchestration of Violin, Chorus and Orchetsra, I think Concerto 4 3 will long be remembered for its groundbreaking freedom of styles. I've never experienced such quality of music in varied styles, and with such tasteful, miraculous execution. Simply a masterpiece.

Stay tuned for a review of "The Singing Rooms" this next week and an interview to be posted at Composing Thoughts!

Read my previous posting about more of Jennifer's concerts here. Learn about her upcoming Composing Thoughts Live here.

Five Things about Kiri Te Kanawa

I heard the "Farewell Recital" of Kiri Te Kanawa at the Kimmel Center Wednesday night in Philadelphia.

1. The crowd was pretty boring and not very excited at the outset - a medium house couldn't be blamed on the rain - it was too bad because what followed for the night was exquisite. After intermission the energy was higher in the crowd. Everyone also applauded after every song, even when it was only a few minutes long - so while that wouldn't normally bother me - it was musically interuptive in the song sets. Dame Kiri would smile occassionally and nod, but all too often someone had to clap over the sublime sounds of Warren Jones at the keyboard. While their love for Kiri's artistry was great, there wasn't much respect for the music.

2. Having Kiri sing a set of Richard Strauss songs, including some of my favorites: Die Nacht and Morgen, was heavenly. One felt she was singing to just you, despite being in a large concert hall.

3. If something better could follow Strauss, it was the nasally and sumptous Duparc songs, with breathy and irresistible singing. Again, Warren Jones outdid himself as a collaborative pianist.

4. The second half was filled with more energy, and showed a lighter side to Dame Kiri, from her speaking about Jake Heggie and the everyday man (common if you will) humor of Copland's "Why do they shut me out of Heaven?". Several times Kiri checked notes or words placed slyly on the piano lid - who cares, it was magnificent!

5. The encores, Ginastera's "Song of the Olive Tree" was vibrant and sexy; Richard Rodney Bennett's "Goodbye For Now" was charming and sweet. You wanted more and knew unlike some artists who have performed well past their prime, that Dame Kiri is finishing at the top of her game - we'll look forward to her teaching and more intimate performances.

Catch Dame Kiri on this tour if you can, and while you're at it, buy her Traviata or Capriccio or Four Last Songs - you'll be glad you did.

Also see this post about Kiri, tea and me.

Five Things about eighth blackbird

Spectacular concert last night at the Perelman Theater at the Kimmel Center with eighth blackbird.

1. eighth blackbird continues to astound and amaze me with their killer ensemble playing and perfect balances in complex music. Saturday night was no exception, with a program to complement their latest cd, strange imaginary animals.

2. Especially striking in both quality and soundscape was Gordon Fitzell's violence, a work from 2001 - which Lisa Kaplan mentioned was one of the group's favorites - it certainly showed!

3. Recently recorded Indigenous Instruments by Steven Mackey was definitely a hit - coming right after intermission and followed a remix by Dennis DeSantis, which Mathew Duvall explained before he left the stage would be played at the end of intermission, and the dance floor would be open. Unfortunately, the beautiful Erin Palmer of the Kimmel Center staff didn't cut a rug with me - maybe next time Erin?

4. It was nice hearing Derek Bermel's Coming Together live, but a bit surprising since Michael Maccaferri started off stage right next to my seat, and had the house lights up on the left side of the hall. I'm scheduled to interview Derek in March, so it was great hearing and seeing his music in the hands of 8th bb. The piece was intense at times (although Michael's suggestion of the Peanuts' grownup sound "wah wahhh" was effective and humorous) and so when Michael said Nicholas' cello had literally exploded that afternoon in rehearsal and he was playing on a borrowed cello (thanks to Network for New Music's cellist), it didn't surprise me somehow! (I'm sure the weather hasn't really helped out things either.)

5. There were quite a few young musicians at the concert - which was great to see, although it wasn't a full house by any means. WRTI recorded it and will be broadcast next Sunday, you can hear it online here. The talkback was fun and entertaining as well.

You can read 8th bb's own blog here. And recall their Pierrot Lunaire in Gettysburg here and here.

Five Things about Joshua Bell

I heard the phenomenal violinist Joshua Bell on tour last night in Philadelphia at the Kimmel Center.
1. Josh was joined by pianist Jeremy Denk who was a wonderful match to collaborate with this program. The two were at ease with each other and have similar styles, both musically and technically.
2. The first half consisted of two romantic sonatas - close enough to be comparable and different enough to be contrasting. Both Schumann's first and Beethoven's last sonatas were played with passion and panache, not as if they were written two hundred years ago, but as if the ink was still fresh.
3. The ink was still fresh on Edgar Meyer's Concert Piece, but you wouldn't have guessed it from the stellar performance and interpretation - you'd guess it was an old friend that Bell and Denk could pull out anytime and just play, like the rest of the program which was "tba".
The inner movements of Meyer's piece were especially well crafted and exciting - looking forward to hearing this recorded soon. I also mentioned to a friend that I thought the Meyer stood up well against the Schumann and Beethoven. She mentioned another hearing would be awesome.
4. Bell and Denk then charmed the audience with Rachmaninoff's Vocalise, Ponce's Estrellita, and Sarasate's Introduction and Taratella. After a standing ovation, they came back for an encore - playing Tchaikovsky's None but the Weary Heart.
5. I've heard Josh many times live, and usually find something I adore about his playing. This performance it was his vibrato that captivated me. It was varied, sometimes used sparingly - I felt I had a lesson, from a narrow and quick arm vibrato to a more unique wrist motion, his sound is stellar.

Josh is touring with this recital and soon with the Academy of St. Martin in the Fields. Check his website for more information, he's in great form.
You can also hear an interview I did with Bell before the tour here.