Atlanta is fortunate to have many wonderful fine music ensembles: the grandfather of them all the Atlanta Symphony Orchestra; the Atlanta Chamber Players, The Georgia Chamber Players, the Atlanta Baroque Ensemble, Sonic Generator,The New Trinity Baroque, the Riverside Chamber Players, and the Luna Strings.   Unfortunately, the city just lost the wonderful Music on the Hill Series, which had its own chamber groups.

Given the long list of talented organizations, can anyone be designated as "the best."  AMC would suggest that is a fool's errand, even in spite of the proliferation of lists about almost everything these days.  But for AMC, it is difficult to beat The New Trinity Baroque and Sonic Generator, the former focusing on music very old and the latter very new.

Last evening,The New Trinity Baroque (click here: http://www.youtube.com/user/newtrinitybaroque) presented a concert that featured only Music director Predrag Gosta on harpsichord and Andre Laurent O'Neil on the baroque cello.  The program  titled "Beyond Bach" featured two of Bach's solo cello suites, each of which contain sections that most people might recognize, even if they don't know from where, i.e.,  the Prelude from Suite No. 1 and the Bouree from Suite 3.  Go here to sample these two works featuring Mr. O'Neil: http://earlymusicfestival.instantencore.com/web/music_details.aspx?ItemId=971988.  The concert also included works by Gabrielli, Geminiani, Scipriani, and Vivaldi. Mr. O'Neil played the entire program from memory. This alone was a Herculean feat.  But he also played beautifully, with hardly a misstep.  Maestro Gosta played accompaniment in the Geminiani and the Vivaldi.  He too played flawlessly.

Before the concert, Messrs. Gosta and O'Neill talked a bit about the history of the baroque cello and the harpsichord.  They also talked about the social context in which Bach was composing.  Because the community he lived in was dominated by Calvinists, organs were not permitted in the churches.  The irony is that Bach was primarily an organist.  To avoid the Calvinist strictures, Bach composed his cello suites. To AMC this is an interesting example of the juxtaposition of art and culture.

The concert was held at St. Bede's Episcopal Church, a change of venue for the NTB.  Its sanctuary is full of hard surfaces (terrazzo floors and brick walls) so it had much reverberation. This provided a sympathetic acoustical environment for the cello and harpsichord. 

Finally, in addition to the musical skill of Maestro Gosta, he is a talented teacher who is  knowledgeable about his field.  He is also a great schmoozer who is approachable and affable.  If only more of our classical music leaders could be as personable maybe the whole concert experience would seem less stuffy and forbidding.

This was a grand concert by one of Atlanta's most intriguing and talented ensembles. AMC always looks forward to the NTB concerts and is never disappointed by their quality and programming.

To donate to the NTB, go here: http://www.newtrinitybaroque.org/

Thanks to all of the musicians, benefactors, patrons and volunteers that made this concert possible.

The Atlanta Symphony Orchestra, under Principal Guest Conductor Donald Runnicles presented a concert with a decided French twist, if you will pardon the pun. The guest soloists were Kelley O'Connor, mezzo-soprano; Kiera Duffy, soprano, and Edward Parks, baritone. The ASO Chorus was also part of the performance.

Messiaen's piece, The Forgotten Offerings, was his first orchestral work and was written in 1930.  It has three sections titled "The Cross," "The Sin," and "The Eurcharist." The middle movement is the most exciting befitting its name.  It is full of orchestral color and bombast.  The other two movements are more melodic and laid back.  Its an impressive piece of music that sounds fairly modern but also sounds like its from nearly a century ago.  The ASO performed beautifully and, at the end, Runnicles leaves his arms raised as if reveling in the mysterious religiosity of the work.  The audience responded by remaining silent until her lowered his arms. Click here for an excerpt: http://www.youtube.com/watch?v=a_o639mG95Q

Debussy's "The Blessed Damozel"  is over-the-top romanticism  written in the composer's signature impressionist style.  The music requires tremendous transparency from the orchestra, which the ASO musicians delivered.  Ms. Duffy and Ms. O'Connor were the soloists.  Both singers were very strong and Ms. Duffy sang without score, which was impressive.  In general, AMC has not been impressed with the ASO chorus, which, in Atlanta is held in very high regard.  Its really not the chorus itself, but rather the interaction of 100 voices with the hard acoustic in Symphony Hall and the seeming inability of conductors to restrain the chorus. In this performance only the Women of the ASO Chorus performed, and they did so eloquently and sensitively  They also had a transparent delivery that was spot-on for the music.   During the performance  AMC's mind visualized all of the people who must have swooned over this piece, given the poem that is its libretto.  It was written by Dante Gabriel Rossetti, and it is both romantic and also a bit unearthly, which is probably appropriate since it is being spoken by someone in heaven yearning for a love one that is still on earth. AMC must admit to a certain concreteness in writing (and maybe thinking) style that has grown over decades of producing reams of technical writing, so reading this poem that is so colorfully and artfully romantic is something of a treat.  Here is the text (from Wikipedia):

The blessed damozel leaned out
From the gold bar of Heaven;
Her eyes were deeper than the depth
Of waters stilled at even;
She had three lilies in her hand,
And the stars in her hair were seven.

Her robe, ungirt from clasp to hem,
No wrought flowers did adorn,
But a white rose of Mary's gift,
For service meetly worn;
Her hair that lay along her back
Was yellow like ripe corn.

Her O'Connor and Mr. Parks were seemed she scarce had been a day
One of God's choristers;
The wonder was not yet quite gone
From that still look of hers;
Albeit, to them she left, her day
Had counted as ten years.

(To one, it is ten years of years.
. . . Yet now, and in this place,
Surely she leaned o'er me—her hair
Fell all about my face. . . .
Nothing: the autumn fall of leaves.
The whole year sets apace.

AMC is all goose-pimply! Go here for an excerpt: http://www.youtube.com/watch?v=ZcVMmOZ3Q6Q

The concert concluded with Durufle's magnificent Requiem.  AMC is not particularly fond of the requiem genre, in part because they tend to focus on an angry who must be placated to keep the dearly departed from burning eternally in hell.  AMC would rather focus on the work that the living must do to live peacefully in the face of great loss.  This is also why AMC so likes Brahms' "Ein Deutches Requiem"- it is written for the living.  Runnicles and the massed ASO focus performed the work beautifully.  Intonation was nearly perfect and the strengths of the various sections of the orchestra really came through.  The silken strings, the golden winds, and the sharp brass were all there and humming along- so to speak.  In some sections of the work, the ASO Chorus again overwhelmed, in spite of Runnicles efforts to tame it a bit. AMC believes that cutting the chorus by one-quarter would be a good start toward a more balances sound, but that's not going to happen.  But, notwithstanding AMC's concern about the overwhelming nature of the chorus, AMC found the Sanctus to be hair raising.  It was searing and grandly loud.  For once AMC found the power of the chorus thrilling.  The soloists Ms.  O'Connor and Mr. Parks were perfect complements to the music and to the ASO.  Runnicles again held everyone in suspension after the last note, as if he needed time to return to reality.  It was effective.  Go here for an excerpt: http://www.youtube.com/watch?v=5TkXR4ns90o

It is so good to have Mr. Runnicles back on the podium.  He has been missed.

AMC noted much coughing in the hall.  There was an article on NPR this past week abut how the rate of coughing in a classical concert is nearly twice that of other venues.  Maybe a case of mass contagion.  

Finally, Runnicles' choice of putting the cellos facing the audience should be continued.  AMC could finally hear them.   

This conert was dedicated to the memory of L. Neil Williams, Jr. an ASO benefactor and friend of Mr. Runnicles. 

Thanks to all of the musicians, benefactors, patrons, and volunteers that made this concert possible. 

Welcome Back...

It was nice to see Maestro Runnicles return to the podium of the Atlanta Symphony Orchestra.  He is a very busy person who brings an international heft to the ASO. In fact, he is leading the Philadelphia orchestra on it summer residence in China (see: http://www.donaldrunnicles.org/donald-runnicles-leads-philadelphia-orchestra-on-historic-tour-to-china/.  AMC believes that Runnicles will be leading only two concerts this season in Atlanta, giving a maybe a glimpse of management's cost cutting efforts.  A copy of the program notes can be found at: http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2012-2013/Beethoven-Walton.aspx.

The concert began with Beethoven's Egmont Overture.  This was followed by the very beautiful Triple Concerto, also by Beethoven.  The soloists were Music Director Robert Spano on piano, Concertmaster Coucheron  on violin, and Principal Cellist Christopher Rex.  The choice of these three soloists may also be part of the belt tightening at the symphony, presumably because they are less expensive that bringing three other soloists   This was quite a nice performance.  Runnicles opted for a seating arrangement where the ASO cellos were located in front of him, with the violas to his right.  AMC liked this arrangement since the cellos are often lost in the orchestral sound.  Because of the need to have three soloists  the front of the stage was fairly crowded.  Spano could barely be seen, but Coucheron and Rex were front and to the left of Runnicles.  AMC has great admiration for Coucheron's playing but has been tepid about his grand tone overwhelming other musicians, especially in chamber works.  This is a problem when he plays with a cellist who has a rather restricted dynamic range.  In this performance, Coucheron seemed to hold back but the cello still did not rise to the occasion.  As a result, the piano tended to dominate the performance.  AMC also notes that when musician's play on the portion of the stage that covers the pit area, the sound is lost because their is no acoustic shell overhead helping to project the sound.    But this lack of  projection could not cover up the many intonation problems in the cello.

Also, what was up with the applause after each movement?  And worse, what was up with the couple who rose to their feet after the first movement?   Did they think it was over?  Probably more southern hospitality.

AMC thinks that there are many sections of the Triple concerto that presage the beautiful melodies of Schubert, or maybe Schubert simply learned a less from Beethoven.

The final piece was the Walton Symphony No. 1, that, like other British music from the early twentieth century is full of "Jolly good" and "What ho."  The first, second, and forth movements are full of bombast and brass.  The third movement is more reflective and quiet.  AMC likes this music- it is late Romantic, yet more aggressive than say, Rachmaninoff or Sibelius.  The ASO played beautifully, with their now-signature golden string tone, outstanding woodwind playing, and brilliant brass.   Runnicles knows how to have the brass be out front sonically, yet at the same time have them respect the need to not overpower the rest of the orchestra.

Finally, the ASO program booklet has been full of errors this season, and the same was true for this series of concerts.    Why?

Thanks to all the musicians, benefactors, patrons, and volunteers that made this concert possible.

What if they gave a concert with nothing wrong?

What's a critic to do?

The Atlanta Symphony Orchestra's most recent concert featured guest conductor Hugh Wolff and pianist Inan Barnatan.  Mr. Barnatan was a last minute substitute for an indisposed Marc-Andre Hamelin.  For program notes go to: http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2012-2013/Hamelin-Beethoven.aspx.

AMC was not a fan of Thomas Ades violin concerto that was performed last season although he is looked upon with great favor in Europe. His dances from "Powder Her Face" is at first a bit off putting with great musical slides in the trombones and some flashy percussion. AMC must admit that insight into the music can be had by reading about the chamber opera on which it is based.  Here is a short synopsis from Wikipedia:

Adès's 1995 chamber opera with a libretto by Philip Hensher, won both good reviews and notoriety for its musical depiction of fellatio. The opera was commissioned by Almeida Opera, and has since been given new productions by chamber opera groups around the world. The Duchess depicted in the opera is the notorious Margaret Campbell, Duchess of Argyll whose scandalous behaviour in Britain in the early 1960s was revealed during her divorce trial with the introduction into evidence of photographs of her various sexual acts.

Ades captures the debauchery and also the pain that can often arise when things oh-so-private become oh-so-public. The ASO performed strongly in this challenging work.  As is usual many patrons did not like the music, at least based on their hallway conversations.  But Atlanta audiences don't like that was written after about 1875.  Too bad. 

Regarding the rest of the program, AMC is at a loss for words.  It was a stunning effort by the ASO musicians, and Messers Wolff and Barnatan.  The Beethoven third piano concerto was spot on in every way.  Maestro Wolff knows how to ensure that the orchestra provides a convincing partnership with the soloist.  Mr. Barnatan was spectacular.  Not only is he technically topflight, he is also a great interpreter.

Wolff focused on introductions and dynamics.  He encouraged the violas to play like I have never heard them, especially in the Beethoven.  Even the often reticent cellos sounded strong.  The horns were on target. The violins had a golden sound that demonstrated how strong they have become.  The wood winds were again flawless.  Mr. Wolff understands how not to let the brass get out of control so the "Rhenish" symphony of Schumann did not have to suffer with overbearing trumpets and trombones.

AMC was very pleased with this concert.  Mr. Wolff should be on some orchestra's short list if they are looking for a skilled conductor.

Thanks to musicians, benefactors, patrons, and volunteers that made this concert possible.

This is so interesting...

This is fascinating.  Rachmaninov was really tall.  Wonder if he had a growth-related problem that may also have contributed to his depression.  AMC thought Wagner was much taller since he was a "towering figure." Recent books have indicated that Ravel was a bit strange, but not in the context of the times in which he lived.  He apparently had no romantic relationships in his life.  A recent book described Prokofiev in less than flattering terms.  He was characterized as being nasty to people, especially his wife.  AMC has no idea how that relates to him being 6'3".  Grieg was sort of petite.  Fun stuff.  See here for article: http://www.classicfm.com/discover/fast-and-friendly-guides/composer-heights/

Inspiring...

Here is a great article about the struggles of a community-based orchestra in a small city in Nebraska: http://www.netnebraska.org/article/news/nervous-and-poor-small-symphony-orchestra-survives-hastings-neb. AMC is reminded that it is easy to complain even with a full plate even though others are starving. 

Superstar....

The Atlanta Symphony had superstar violinist Izthak Perlman as guest artist and conductor this past weekend.  See the program notes here: http://www.atlantasymphony.org/ConcertsAndTickets/Calendar/2012-2013/Perlman-Commands.aspx.  AMC is late providing a review due to a very busy schedule.  Sorry.

The program consisted of two seasons (Summer and Winter) from Vivaldi's Four Seasons.  Perlman was both a soloist in and conductor of the music.  He also provided comments about the piece between the two seasons.  He was charming and entertaining.  Classical concerts would be much less stodgy if others who have the skills would address the audience more.  The key phrase here is "if others who have the skills."  AMC can imagine how awful it would be if  someone went on and on in monotone with a thick foreign accent.  This was a very nice performance with a chamber-sized orchestra.  Many criticize Vivaldi for being the 'sewing machine" composer since his writing seems to have many up-and-down bowings on the violin.  But that aside, his music is always full of sunshine and optimism.  As Perlman pointed out, he also successfully includes musical impressions of wind, raindrops, and birds.  AMC's only complaint about the performance is the somewhat hesitant playing of the ASO cello section.  "Wimpy" is too strong, but its in the right direction.  AMC thinks the orchestra could benefit from European-style seating of the orchestra so that the sound boards of the cello section would face the audience.  Finally, AMC is spoiled by having seen and heard The Four Seasons being played in Vienna in a 400-year old church by a small chamber group.  Click here for excerpts:  http://www.youtube.com/watch?v=QjZ3GMkP_6A.

Mahler's Symphony No. 1 is grand music.  It is at once noble, gentle, bold, and meandering.  AMC views this composer's music as sort of a walk through the composer's free associations about life, love, and loss.  Like so many other composers in the late nineteenth century Mahler ruminates on "fate" and its affect on human lives.  Today, fate is a faded concept given that Freud came on the scene revealing to us that we are the cause of many things that happen-good and bad- in our lives.  Mahler fans find his music to be emotional roller coaster.  AMC recalls a recent story where Maestro Bernard Haitink, acknowledged to be one of the great Mahler interpreters, had a patron tell him that a performance he had just heard made him cry openly. Haitink was quoted as saying something to the effect that the man needed less Mahler and more psychotherapy.  Nevertheless this is the kind of emotional investment many listeners have with this music.  AMC was very dubious during the first ten minutes of this performance.  It was as ragged as I have heard the great ASO play.  Entrances were imprecise, intonation problems abounded,  and overall ensemble was missing.  But things then improved. As is usually the case, the various sections of the orchestra showed their talents. The woodwinds, brass (even with a few "pitchy" moments), and violins were outstanding. The solo bass performance was beautiful.  This symphony requires eight French horns- twice the usual orchestral compliment. Twice the number of horns- twice the opportunity to screw things up and the horn section rose to the occasion.  AMC is used to the flubs of the ASO horn section and here they sure took the opportunity to do it again in a piece of music that requires rock solid horn playing.  The horns, while mostly good, made more than a few cringe-worthy errors.  Notwithstanding these problems, this was a grand performance and Mr. Perlman showed that not only is he a violin virtuoso, but also a competent and ambitious conductor.  The audience love the performance and gave it a standing ovation.  Oh wait  in Atlanta everything gets a standing ovation.  But the Symphony Hall seats were full so if the audience loved the performance its all to the benefit of the ASO.

Thanks to the musicians, benefactors, patrons, and volunteers that made this performance possible.