This week’s Atlanta Symphony Orchestra program concert was designed to show how a pair of its most talented musicians has the “right stuff” to fill the stage with grand performances and memorable music. Concertmaster, David Coucheron, soloist in the Brahms Violin Concerto, was appointed in the 2010-11 season and has improved the playing and sound of the ASO strings. As a result, his performance of the Brahms was highly anticipated. See the complete review here: https://bachtrack.com/review-kurth-coucheron-spano-atlanta-february-2016
Showing posts with label David Coucheron. Show all posts
Showing posts with label David Coucheron. Show all posts
Monday, February 8, 2016
Wednesday, September 23, 2015
Ladies in Red....
Remember that song by Chris DeBurgh? Never mind...
The School of Music at Kennesaw (GA) State University sponsored a recital with the clever title of "Dueling Duos." It featured, in various combinations, the talents of David and Julie Coucheron and Michael and Helen Kim. The first piece, played by Ms. Coucheron and Mr. Kim, was the Brahms Hungarian Dances for Piano Four-Hands, Nos. 5 and 6. Hearing this piece in the piano version spotlighted the humor in the music. Brahms was said to have a great sense of humor, so it was fitting. This performance seemed to suffer a bit from warm-up problems. There were some uneven tempos between the two performers that gave the piece a uncoordinated feeling.
The second piece was Wieniawski's Etude Caprice for 2 violins, op. 18, no 1 by Mr. C and Ms. K. This work includes some great playing on the G string, which Mr C played quit nicely with no hint of growl. Ms. K's bowings and fingerings were both musically and technically brilliant. AMC has never heard her sound so focused and inspired.
The third piece featured the Coucheron's playing their fellow country man Edward Grieg's Sonata No. 3 in C minor. Grieg is one of those composers that has a few big concert hall hits (the piano concerto, the music from Peer Gynt, and the Holberg Suite), but otherwise doesn't really get much attention. He wrote brilliantly romantic music loaded with melody. True for this sonata too. It is replete with allusions to water, to folk dance, and to nature. There are few duos who played together as well as these siblings. David has a really big tone, and Julie is more than a sympathetic accompanist. She never stoops to playing "second fiddle" (Ugh!). Their playing together is balanced and there is total alignment in their interpretation and balance. When they play together, there is only great technical skill and incredible artistry.
The next piece was Cesar Franck's Sonata in A Major by the Kim's. Franck is one of those composers that we don't hear a lot of either, but mostly for good reason. Even in his time he was considered conservative and uninspiring. His Symphony in D Minor is heard occasionally today and it is rather turgid because Franck, an organist, tried to turn the symphony into an organ. However, this sonata provides sharp contrast to that overblown symphony Likely it is because it is difficult to make two instruments sound like a large church organ. The first movement in particular is surprising. It almost sounds like a very early impressionist work, with its lean melody and structure. The three other movements are very rooted in romantic passions. The Kims share the same simpatico that the C's have. Their playing was technically top-notch, and musically on target.
The final work was Sarasate's Navarra for 2 violins performed by Mr. and Ms. C and Ms. K. Sarasate is known for his technically challenging compositions for violin, in order to show the stuff of the violist. Both of these very talented artists were absolutely phenomenal. Their left hand fingers were flying across their respective finger boards and their right hands were bowing and bouncing those bows just as Sarasate hoped. AMC has hear Mr. C and Ms. K play many times. Neither sounded better or were more impressive. Ms. C did her usual solid piano work that perfectly complemented the two violins. Mr. K was the page turner, and the pride on his face in reaction to the violin playing was wonderful!
Ms. C and Ms. K were both dressed in red, hence the reference at the beginning. And somehow they managed to choose nearly the same shade of red.!
A final note- parking at Kennesaw State was abysmal, and signage was lacking.
The School of Music at Kennesaw (GA) State University sponsored a recital with the clever title of "Dueling Duos." It featured, in various combinations, the talents of David and Julie Coucheron and Michael and Helen Kim. The first piece, played by Ms. Coucheron and Mr. Kim, was the Brahms Hungarian Dances for Piano Four-Hands, Nos. 5 and 6. Hearing this piece in the piano version spotlighted the humor in the music. Brahms was said to have a great sense of humor, so it was fitting. This performance seemed to suffer a bit from warm-up problems. There were some uneven tempos between the two performers that gave the piece a uncoordinated feeling.
The second piece was Wieniawski's Etude Caprice for 2 violins, op. 18, no 1 by Mr. C and Ms. K. This work includes some great playing on the G string, which Mr C played quit nicely with no hint of growl. Ms. K's bowings and fingerings were both musically and technically brilliant. AMC has never heard her sound so focused and inspired.
The third piece featured the Coucheron's playing their fellow country man Edward Grieg's Sonata No. 3 in C minor. Grieg is one of those composers that has a few big concert hall hits (the piano concerto, the music from Peer Gynt, and the Holberg Suite), but otherwise doesn't really get much attention. He wrote brilliantly romantic music loaded with melody. True for this sonata too. It is replete with allusions to water, to folk dance, and to nature. There are few duos who played together as well as these siblings. David has a really big tone, and Julie is more than a sympathetic accompanist. She never stoops to playing "second fiddle" (Ugh!). Their playing together is balanced and there is total alignment in their interpretation and balance. When they play together, there is only great technical skill and incredible artistry.
The next piece was Cesar Franck's Sonata in A Major by the Kim's. Franck is one of those composers that we don't hear a lot of either, but mostly for good reason. Even in his time he was considered conservative and uninspiring. His Symphony in D Minor is heard occasionally today and it is rather turgid because Franck, an organist, tried to turn the symphony into an organ. However, this sonata provides sharp contrast to that overblown symphony Likely it is because it is difficult to make two instruments sound like a large church organ. The first movement in particular is surprising. It almost sounds like a very early impressionist work, with its lean melody and structure. The three other movements are very rooted in romantic passions. The Kims share the same simpatico that the C's have. Their playing was technically top-notch, and musically on target.
The final work was Sarasate's Navarra for 2 violins performed by Mr. and Ms. C and Ms. K. Sarasate is known for his technically challenging compositions for violin, in order to show the stuff of the violist. Both of these very talented artists were absolutely phenomenal. Their left hand fingers were flying across their respective finger boards and their right hands were bowing and bouncing those bows just as Sarasate hoped. AMC has hear Mr. C and Ms. K play many times. Neither sounded better or were more impressive. Ms. C did her usual solid piano work that perfectly complemented the two violins. Mr. K was the page turner, and the pride on his face in reaction to the violin playing was wonderful!
Ms. C and Ms. K were both dressed in red, hence the reference at the beginning. And somehow they managed to choose nearly the same shade of red.!
A final note- parking at Kennesaw State was abysmal, and signage was lacking.
Tuesday, September 23, 2014
Anything but terminal...
The ATL Symphony Musicians (the group composed of, well maybe, former Atlanta Symphony Orchestra musicians) played a widely successful concert last evening at Terminal West, which a venue usually hosting rock groups. The concert lasted nearly three hours with two intermissions. It was truly standing room only and the crowd was absolutely ecstatic. No matter what happens with the ASO, management should pay attention to this very successful venture.
The program was opened by the Brass Quintet of the ATL Symphony Musicians. They opened with Duka's "La Peri," a fanfare that set of this concert in fine fashion. There was so much wonderful stuff in this set and special attention must be placed on the playing of Nathan Zgonce on trombone. His intonation and dynamics were incredible. The highlight was an orchestral transcription of the ragtime piano piece "That's a plenty."
The next set was played by the Franklin Pond String Quartet, with English Horn soloist Emily Brebach. She is one of the hugely talented players in the woodwind section of the orchestra. Jun-Ching Lin narrated this section with a graceful sense of humor.
Next came the orchestra. It was chamber music sized and it sounded just as one would expect- nearly perfect. In spite of playing in a venue not designed for a symphony orchestra, AMC never heard the cellos and bass sound better. Pieces included a transcription of Rachmaninoff's Prelude in C# Minor, and Holst's "Saint Paul Suite." In the former, the the strings sounded powerful and appropriately dark. In the latter, the percussion was handled deftly, led by Tom Sherwood. AMC has never heard this piece played in such a way as to highlight the Gaelic-nature of the piece. The real crowd pleaser of the set was Bach's concerto for Violin and Oboe in C minor BWV 1060. The soloists were concertmaster David Coucheron and oboist Elizabeth Koch Tiscione. Both are elite players and they matched each other in dynamics and interpretation. Both can generate a big sound without strain or mistake. they also seemed to enjoy their musical dual. This performance was so good that it should be recorded and issues on CD. It was near perfection. This set ended with an arrangement of an Albinoni piece that was sort of a Pop/New Agey thing, and it was a fine way to end the evening. The conductor for this event was Mary Hoffman, normally a choral conductor but she seemed to have a great relationship with the ATL musicians.
So here they are- the great players of the locked-out Atlanta Symphony Orchestra. How absurd and shortsighted the management of the Woodruff Arts Center and the ASO are. They will attempt to nickle and dime the musicians in order to break the union and reduce the quality of the orchestra, protesting the whole time that this is not what they want. AMC is sure that the ASO management "went to school" on the Minnesota lock out last year. Only they forgot to read the last chapter of that sorry book. So where could a reconstituted Symphony Orchestra for Atlanta play?
By the way, the ever-busy Domenic Salerni joined the orchestra to show his support.
A special thanks to that special person composer-bassist Michael Kurth, who helped spearhead this fine concert. This soft-spoken talented artist is also a fine leader.
Please make a donation to help the musicians at: http://www.atlsmfoundation.org/. Also watch related activities here: https://www.facebook.com/pages/Save-Our-Symphony-Atlanta/763900620340800 and here: https://www.facebook.com/ATLSymphonyMusicians
The program was opened by the Brass Quintet of the ATL Symphony Musicians. They opened with Duka's "La Peri," a fanfare that set of this concert in fine fashion. There was so much wonderful stuff in this set and special attention must be placed on the playing of Nathan Zgonce on trombone. His intonation and dynamics were incredible. The highlight was an orchestral transcription of the ragtime piano piece "That's a plenty."
The next set was played by the Franklin Pond String Quartet, with English Horn soloist Emily Brebach. She is one of the hugely talented players in the woodwind section of the orchestra. Jun-Ching Lin narrated this section with a graceful sense of humor.
Next came the orchestra. It was chamber music sized and it sounded just as one would expect- nearly perfect. In spite of playing in a venue not designed for a symphony orchestra, AMC never heard the cellos and bass sound better. Pieces included a transcription of Rachmaninoff's Prelude in C# Minor, and Holst's "Saint Paul Suite." In the former, the the strings sounded powerful and appropriately dark. In the latter, the percussion was handled deftly, led by Tom Sherwood. AMC has never heard this piece played in such a way as to highlight the Gaelic-nature of the piece. The real crowd pleaser of the set was Bach's concerto for Violin and Oboe in C minor BWV 1060. The soloists were concertmaster David Coucheron and oboist Elizabeth Koch Tiscione. Both are elite players and they matched each other in dynamics and interpretation. Both can generate a big sound without strain or mistake. they also seemed to enjoy their musical dual. This performance was so good that it should be recorded and issues on CD. It was near perfection. This set ended with an arrangement of an Albinoni piece that was sort of a Pop/New Agey thing, and it was a fine way to end the evening. The conductor for this event was Mary Hoffman, normally a choral conductor but she seemed to have a great relationship with the ATL musicians.
So here they are- the great players of the locked-out Atlanta Symphony Orchestra. How absurd and shortsighted the management of the Woodruff Arts Center and the ASO are. They will attempt to nickle and dime the musicians in order to break the union and reduce the quality of the orchestra, protesting the whole time that this is not what they want. AMC is sure that the ASO management "went to school" on the Minnesota lock out last year. Only they forgot to read the last chapter of that sorry book. So where could a reconstituted Symphony Orchestra for Atlanta play?
By the way, the ever-busy Domenic Salerni joined the orchestra to show his support.
A special thanks to that special person composer-bassist Michael Kurth, who helped spearhead this fine concert. This soft-spoken talented artist is also a fine leader.
Please make a donation to help the musicians at: http://www.atlsmfoundation.org/. Also watch related activities here: https://www.facebook.com/pages/Save-Our-Symphony-Atlanta/763900620340800 and here: https://www.facebook.com/ATLSymphonyMusicians
Tuesday, January 31, 2012
An acoustical nightmare
The Georgian Chamber Players presented a concert titled “Aus Wien” on January 28, 2012 at the Trinity Presbyterian Church in Atlanta. The program included:
Schubert: Quartettsatz in C Minor, D. 7-3
Beethoven: Grosse Fuge in B-Flat Major, Op. 133
Brahms: Quintet in F Minor for Piano and String Quarter, Op. 34
The Brahms piece featured Julie Coucheron on the piano.
This concert was a miss, not even a near miss. The acoustics in the Trinity auditorium are flat, causing the sound to be thin and lacking in bass. This is echo but little reverberation. This concert was a study in how bad acoustics can torpedo a performance.
The Beethoven was performed disappointingly. There were moments with major intonation problems and poor violin bowing, leading to an occasional screech. This was a disappointment given that this group includes the Principals of the violin, cello, and viola sections of the Atlanta Symphony Orchestra. As much as Christopher Rex is a great cellist, his tone always seems mild and is often lost in overall soundscape.
Last year I heard David and Julie Coucheron play at Spivey Hall. They were magnificent, and Spivey’s acoustics do a great job of supporting a great performance. Unfortunately, this time the Brahms quintet was a less than ideal. It’s not that the playing was bad, but the sound was blurred and harsh. This is certainly not the players fault, but nevertheless the performance suffered as a result.
Alas, not every concert can be great and failures can be the result of many things. As much as anything, the poor acoustics of the venue let down the Georgian Chamber Players.
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