Paranormal Activity- Fact or Fake...

AMC has been very neglectful, mostly because of being very busy with other matters, so readers will have to be content with some short reviews.

• The Atlanta Symphony Orchestra performed a concert with Music Director Robert Spano conducting Strauss and Holst.  This was a magnificent concert- every thing seemed to be right.  Every section of the orchestra was outstanding and the guest soloist was wonderful- oh wait, there wasn't one.  AMC was happy to hear this wonderful orchestra play big, late romantic music without having to have a concerto.  There should be more concerts like this.  The orchestra was augmented in the Holst with many contract performers.  There can be no doubt that hearing such a large orchestra play such rousing music is an experience that is truly spine-tingling.  Both the Strauss and Holst pieces require an organ, but no, you say, Symphony hall doesn't have one.  Not true, Not true. It has an electronic organ that can pump out the bass notes with the best of the pipe variety.  It also generated the female chorus sounds in the Neptune section of The Planets.  AMC has no problem with electronic organs if they are musical and sympathetic to the music as was the case here.  David Coucheron was called upon to play several solos in these pieces and he performed them in grand style.  The ASO musicians have been appearing in the lobby to entertain and schmooze with patrons lately.  AMC thinks this a wonderful idea.  Now only if Mr. Spano would loosen up. 
• AMC was in San Diego recently and had the good fortune of coming across the restored Balboa Theater (adjacent to the ageing Horton Plaza) in downtown San Diego. Click here for more information about the theater: http://en.wikipedia.org/wiki/Balboa_Theatre.   And Lo and Behold- there was a concert by the Mainly Mozart Festival Orchestra (http://en.wikipedia.org/wiki/Mainly_Mozart_Festival).  The mainly Mozart Festival offers 43 musical events in 44 days, ranging from chamber ensembles to jazz classical fusion groups.  The Festival orchestra is comprised of many leading musicians from across the country, including Concertmaster William Preucil, who is the concertmaster of the Cleveland Orchestra.  Other notables include Martin Chalifour, concertmaster of the LA Philharmonic,  and Jun Iwasaki, concertmaster of the Nashville Symphony.  The conductor for this concert was David Atherton (http://en.wikipedia.org/wiki/David_Atherton).  The clarinet soloist was Anthony McGill, the orchestra's principal clarinetist.  The violin soloist was none other that Nadja Salerno-Sonnenberg. The piano soloist was Anne-Marie McDermott.  The Lutoslowski piece was written for a chamber-sized orchestra.  It is a series of dances that alternate in mood.  Maestro Atherton conducted, but AMC thought it might have been a bit of overkill given that there were only nine players. AMC is sure that Mr. Preucil could have conducted from his chair, but small matter.  The performance was virtuosity and the acoustics of the smallish theater suited this size ensemble quite nicely.  The Mozart Clarinet concerto was beautifully played by Mr. McGill.  The second movement is a beautiful adagio and  in Mr. Gill's hands (or mouth?) it was elegantly smooth.  Miss McDermott also played the Concert Rondo with aplomb, but Mozart' music makes AMC's mind wander because it seems so predictable.  But enough of that.  The final piece was the Piazzolla "The Four Seasons of Buenos Aires, with Ms. Salerno-Sonnenberg.  She was soloist with the ASO this season playing the same piece.  She obviously loves the piece and plays it with fire and inspiration.  Heavily influenced as it is by the Tango, the piece also includes allusions to Vivaldi's Four Seasons.  This was a passionate performance that left the crowd wanting more.  But a few observations about the audience- there was a "claque" in the balcony that insisted on applauding after every movement. At one point, they started applauding before the end of one of the seasons.  It obviously distressed Ms. Sonnenberg, who waived her bow in a fruitless effort to quiet them down.  There was also a man in front of me using smokeless tobacco who was spitting into a plastic bottle.  Really?  UGH!  Save these few atmospheric points, it was a great concert in a refurbished hall.  
  

• AMC lucked into one of the Balboa Park Concerts on the Great Spreckels outdoor organ (http://en.wikipedia.org/wiki/Spreckels_Organ_Pavilion  The soloist was Dr. Carol Williams.  This is the largest outdoor organ in the Northern hemisphere and there is a campaign to add a few pipes to ensure that it is the largest in the world.  The program included several Bach pieces and Souza Marches. (Unfortunately, AMC chucked out a copy of the program, so AMC is working from memory here). There were two pieces by Karl Jenkins, a Welsh composer, who was responsible for the albums  Adiemus: Songs of Sanctuary.  The two pieces played by Ms. Williams included Palladia and Adagio.  They are very beautiful and spiritual works; for samples go here: http://www.youtube.com/watch?v=Vrhgk8Fa_QE and http://www.youtube.com/watch?v=E5jtKuQeq0w.  The organ concerts are played in a large plaza that is not shaded.  The organ society provides rental umbrellas for shade.  AMC, being very fair skinned, still suffered an extreme sunburn- all this suffering for art.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  

• The final ASO concert of the season featured an all-Brahms program, conducted by Principal Guest Conductor Donald Runnicles.  Maestro Runnicles is among that elite group of conductors who is major name across the globe and its no wonder.  AMC is always impressed with his high quality interpretations and control of the orchestra.  The guest piano soloist was Lars Vogt in the Brahms First Piano concerto.  AMC loves Brahms because of his wonderful ability to construct beautiful melodies with just a few notes.  There is no better example of this than in the String Sextet No. 1 where is yearning and deeply felt theme appears in the second movement. Brahms dark luscious orchestrations are also lovely.  But AMC is no fan of his Piano Concerto No 1 that strikes AMC as odd piece. It seems lumbering, unmelodic, and poorly structured.  Even the opening to the fist movement is clumsy, at least to AMC's ears.  This performance was good.  Vogt has been criticized for his odd phrasing and its not difficult to hear.  He emphasizes notes that others downplay.   Vogt's interpretation added to the work's weaknesses.  Also, what was going on with the duets between the Coucheron and Vogt? The violin could barely be heard and they were oddly out-of-synch.  Brahms totally hits the target in his Symphony No. 1 however.  It is lush yet with tight structure.  It is full of beautiful and even serene melodies.  What's not to like?  Runnicles and the ASO performed at their peak, which was a fitting end to the season.  AMC can only hope that we hear more of Runnicles and less of some of the guest conductors that the ASO schedules.  
  

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 god  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.

Mahler's sublime Second Symphony

On January 26, The Atlanta Symphony Orchestra, under Principal Guest Conductor, Donald Runnicles, presented Gustav Mahler’s Symphony No. 2 in C minor, “Resurrection.”  The soloists were Nicole Cabell, Soprano, and Kelley O’Connor, Mezzo-soprano.  The Atlanta Symphony Orchestra Chorus was prepared by Norman Mackenzie.

This symphony is one of the greats in the late romantic period.  Mahler wrote large, but never sprawling, symphonies whose themes usually have to do with those things that make us human.  I have been listening to Mahler for decades, but must admit that I never really understood them.  But recently, I had the pleasure of hearing Maestro Manfred Honeck and the Pittsburgh Symphony Orchestra play Mahler’s First.  Honeck’s interpretation highlights the folk-themes of the music and he plays particular attention to the layering of the music so that the inner voices do not get lost in a smear of sound.  Honeck’s interpretation is wonderful and moved me to a much greater appreciation of Mahler’s genius.

 

The ASO performance was stunning.  Runnicles has started to seat the sections of the orchestra in the European style (basses to the left, second violins to the right, with the celli adjacent to them).   This arrangement causes the soundboards of the low strings face directly into the auditorium.  Mahler’s music is rich with low strings and the seating arrangement provides a wonderful showcase for it. 

Mahler wrote this symphony for a very large orchestra, augmented with enhanced percussion, two harps, and organ.  At several points throughout the work, musicians leave to play-off stage.  The effect is stunning, particularly when Mahler’s music describes the clarion call of the four horsemen of the apocalypse.   Mahler wrote some grand fortes, using the full resources of the orchestra, but especially the low brass, tam-tams, and, two sets of tympani.  In spite of Symphony Hall’s problematic acoustics, this mass of sound was rich without being strident.  I noticed that some of the musicians took to wearing earplugs at the height of the sound, especially with the French horn players sitting next to the cymbals and tam-tams.   In several passages the reeds were required to play with their bells facing out toward the audience so as to increase their volume when they were massed with the rest of the orchestra.  The reeds never sounded harsh or squeaky.  Special kudos goes to Christina Smith, principal flute, and David Coucheron, concertmaster for outstanding solo work. 

Much has been said about the glories of the ASO chorus.  Their diction is precise, as if only one voice was singing.  Their performance was outstanding, bringing strength and beauty to Mahler’s lyrics.  Both Cabell and O’Connor are strong soloists.  Both were able to produce volume without losing their tonal quality.   Ms. O’Connor has a warm mezzo voice that fit perfectly with Mahler’s musings about earthly life, death, and eternity.  Both women had to sit and face the audience for a long time before their solos.  Ms. O’Connor took the opportunity to revel in Mahler’s music.  It was nice to see a musician enjoy the music to which she is a part. 

There was one long standing ovation for this performance.  It was well deserved and it seemed so much more genuine than the obligatory S.O. that ASO audiences give at nearly every performance.   

Finally, there was nary a seat empty in Symphony Hall.  That was nice to see. 

  

The ASO and James Ehnes

On January 19, the Atlanta Symphony, conducted by Principal Guest conductor Donald Runnicles, featured a program including:

Britten:  Violin Concerto, Opus 15

Beethoven:  Symphony No. 3 in E-flat Major, Opus 55 (Eroica)

The soloist in the Britten was James Ehnes. 

Mr. Ehnes is a Canadian violinist who has performed extensively internationally and has released several solo recordings.  I had the pleasure of hearing the Ehnes string quartet last year in a noon-time performance at Mercer University in Macon, GA.  It was, for me, one of the best chamber recitals last season.  It included a powerhouse performance of a Bartok String Quartet.  So as a result, I think I was predisposed to like Mr. Ehnes’ performance with the ASO.  And, as fate would have it, I did.  He plays with a rich, golden tone that is never strident.  His bowing is precise and he and Maestro Runnicles seemed to have unified vision about the Britten. 

The ASO performed the Eroica as one would expect, that is, with first class playing.  This is one of Beethoven’s oft played works and sometimes it requires a special performance to make it special again.  The ASO did just that.