Tuesday, September 19, 2017
Elbphilharmonique Worldwide - livestream all week ! Sunday 27th August 20hr German time Shanghai Symphony Orchestra (founded 1879, fully orchestral 1907) Aaron Avshalomov Hutongs of Peking He Zhanhao, Chen Gang Konzert für Violine und Orchester »Butterfly Lovers« Dmitri Schostakowitsch Sinfonie Nr. 5 d-Moll op. 47 Maxim Vengerov, Conductor Yu Long Tuesday 29th August The Baltic Sea Symphony "Waterworks"conduted by Kristjan Järvi Gene Pritsker Water Possessed, Afresh Georg Friedrich HändelSuite Nr. 2 D-Dur HWV 349 (Auszüge) / Water Music / Charles ColemanDrenched Philip Glass Konzert für Violine und Orchester Nr. 2 »The American Four Seasons« Philip GlassAguas da Amazonia (Arrangement: Charles Coleman) Wednesday 30th Ingo Metzmacher conducts NDR Elbphilharmo Orhester Messaien Turangalîla-symphonie Thursday 31st August The Gershwin Project with the Ensemble Eterna Brugge Friday 1st September 1900 hr NDR Season Opening Gala Concert Ludwig van BeethovenSinfonie Nr. 4 B-Dur op. 60 Ludwig van Beethoven Musik zu Goethes Trauerspiel »Egmont« op. 84 NDR Elbphilharmonie Orchester, Klaus Maria Brandauer narrator conductor Thomas Hengelbrock Nachtstudio Katharina Konradi soprano Víkingur Ólafsson piano
My suggestion in a recent post that we are using a too narrow definition when discussing new audiences in particular and classical music in general leads me to Lalo Schifrin's Jazz Mass. In a Facebook comment on this thread Joshua Cheek astutely observed that "'crossover' is a dead end... it has become a genre unto itself". In crossover the imperative of the audience takes priority over the imperative of the music. But in the Jazz Mass art most definitely takes priority over audience despite Lalo Schifrin's reputation for acclaimed movie soundtracks. His Jazz Mass fearlessly challenges comfort zones: it incorporates contemporary modes, improvisation is a key feature and the Credo is aleatoric, with breathing cycles determining changes in vocal pitch and dynamics. The multifaceted and mystical flute virtuoso Paul Horn commissioned the Mass - which is sung in English - in 1964. His LP recording seen above, which was titled Jazz Suite on the Mass Texts as it does not strictly follow the structure of the Catholic Mass, won two Grammys. In 1998 Lalo Schifrin directed a concert recording in Cologne with the WDR Big Band which is equally commendable; this release used the less opaque title Jazz Mass. There are many other notable examples where the demarcation line between jazz and classical has been crossed. George Gershwin's Rhapsody in Blue was originally commissioned for solo piano and jazz band by Paul Whiteman, and only later orchestrated by Ferde Grofé. Dave Brubeck studied with Darius Milhaud, and György Ligeti acknowledged the influence of Bill Evans and Thelonius Monk on his Études for Piano. André Previn has recorded a number of successful jazz albums; his 1956 My Fair Lady with Shelly Manne and Leroy Vinnegar became a best-seller. Leonard Bernstein championed jazz, and on his 1956 Columbia spoken word LP "What Is Jazz?" he argued against the critics who preached that jazz is not art. In the 1950s Randy Weston's jazz trio was resident at the Music Inn resort in the Berkshires where its audience included Leonard Bernstein and musicians from the Boston Symphony Orchestra. The trio's bassist was the African American musician Sam Gill, who went on to become principal bass for the Denver Symphony. In the photo below Sam Gill is playing with Thelonius Monk (piano), Kenny Dorham (trumpet) and Willie Jones (drums) at Tony's, Brooklyn, NY.* New audiences remain top of the agenda, yet Lalo Schifrin's Jazz Mass is another work that is unfairly denied an audience. As jazz great Michel Legrand explained: "To me, both jazz and classical music have the same goal. There should be no lines of demarcation between them, for the end result should simply be - good music." * Sam Gill photo credit The Hospitality Suite. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.
Details of the Hall’s opening gala: We are excited to inform you that legendary jazz artist Chick Corea will join Lang Lang as featured soloists in a two-piano arrangement of Gershwin’s Rhapsody in Blue with The Philadelphia Orchestra, conducted by Yannick Nézet-Séguin, as part of the Opening Night Gala concert on Wednesday, October 4. Also performing at the keyboard with Lang Lang during the piece will be 14-year-old pianist Maxim Lando, an alumnus of the Lang Lang Foundation’s Young Scholars Program. Lando will partner with Lang Lang, as he continues to recover from an inflammation of his left arm.
Today My Classical Notes features a new recording by pianist Shai Wosner. It is titled “Impromptu” The selections we hear are as follows: Beethoven: Fantasia in G minor, Op. 77 Chopin: Impromptu No. 1 in A flat major, Op. 29 Impromptu No. 2 in F sharp major, Op. 36 Impromptu No. 3 in G flat major, Op. 51 Dvorak: Impromptu in D minor, B129 Gershwin: Impromptu in two Keys Ives, C: Three Improvisation, Nos 1 & 3 Liszt: Impromptu S191 1872 Schubert: 4 Impromptus, D935 All performed by Shai Wosner (piano) After his highly praised Haydn and Ligeti album, Shai Wosner returns to solo piano repertoire for his next project. As always with this artist, there is something very different on offer – Impromptus by Chopin, Dvorak, Liszt, Gershwin, and Schubert rub shoulders with Beethoven’s Fantasy Op.77 – the nearest thing we have to a Beethoven ‘improvisation’. The composer did indeed improvise this work at a private house performance, then went home and wrote it down from memory! The pianist said: “There is a rush that comes with losing yourself in an improvisation – the liberating feeling you get when that thing you are making up on the spot seems to take on a life of its own while you are just tagging along (there is also the thrill in the risk that whole thing might fall flat at any moment). I have loved it ever since” Here is Mr. Wosner in the Impromptu Opus 36 by Chopin:
Last week´s Buenos Aires Philharmonic´s concert was outside the norm, for symphonic repertoire was left aside and the orchestra, under our seasoned operatic conductor Mario Perusso, accompanied the brilliant debut of German soprano Diana Damrau and her husband, French bass baritone Nicolas Testé. She has a splendid twenty-year career and is a rarity: a soprano of enormous range (strong lows, stratospheric perfect highs), histrionic at all times, equally convincing in drama and comedy. She was imaginative as Rossini´s Rosina, florid and light in Meyerbeer (so rarely heard here), dramatic as Gounod´s Juliet, heart-rending in Bellini´s mad scene from "I Puritani". Testé was a surprise for many; not as famous as his wife, he is certainly one the best bass baritones nowadays, with a firm beautiful voice capable of fine shading but also of stark drama: from the cunning of Basilio´s "La Calunnia" (Rossini), to the comic bravado of "Pif, paf" (Meyerbeer´s "The huguenots"), the noble line from the French version of Verdi´s "Don Carlos"(clumsily not announced), the intense aria from Antonio Gomes´ interesting "Salvator Rosa" and the sinister Alvise in Ponchielli´s "La Gioconda". As contained as his wife is adrenalic, nevertheless the two combined admirably in the closing "Bess, you is my woman now" (Gershwin). In the encores, Puccini arias from both and a lovely duet from Bernstein´s "West Side Story". Perusso and the orchestra shone in orchestral pieces of Rossini, Gounod, Saint-Saëns and Bernstein. For Buenos Aires Herald
From the Lebrecht Album of the Week: …This is what makes Shai Wosner’s new release so frustrating. A fabulous pianist, incapable of touching an ugly note, Wosner interleaves miniatures of Schubert with matching — at times, surprising — snips by Dvorak, Chopin, Liszt, Beethoven, Gershwin and Charles Ives. I enjoyed the record first time round. I revelled in the connections, especially Ives, on second hearing. But now I am poleaxed by the question of where to put this record once it leaves my desk. Seriously, it’s a problem. How will I ever find ‘Impromptu’ again when I need it to compare with some other release? If you have a solution, do let me know…. Full review here. And here. And here.
George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), as well as the opera, Porgy and Bess (1935). He wrote most of his vocal and theatrical works, including more than a dozen Broadway shows, in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public. His compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs.
Great composers of classical music