Concert log 2023-2024 by classicasobi
9.30.2023
Met Opera
JAKE HEGGIE Dead Man Walking
Conductor Yannick - Nézet-Séguin
Sister Helen Prejean - Joyce DiDonato
Joseph De Rocher - Ryan McKinny
10.5.2023
Chicago Symphony Orchestra
Riccardo Muti, Conductor
Program
PHILIP GLASS The Triumph of the Octagon (NY Premiere)
FELIX MENDELSSOHN Symphony No. 4, "Italian"
R. STRAUSS Aus Italien
Encore:
VERDI Overture to Giovanna d'Arco
10.28.2023
Simon Bode, Tenor
Jonathan Ware, Piano
Program
WAGNER "Westwärts schweift der Blick" from Tristan und Isolde
DUPARC "Le manoir de Rosemonde"
DUPARC "Sérénade"
DUPARC "Chanson triste"
DUPARC "Phidylé"
DUPARC "Extase"
LISZT "Es war ein König in Thule"
LISZT "Freudvoll und leidvoll," S. 280
LISZT "Es muss ein Wunderbares sein," S. 314
LISZT "Kling leise, mein Lied"
LISZT "Die Loreley"
WOLF Selections from Mörike Lieder
Encore:
WOLF "Verborgenheit" from Mörike Lieder
11.2.2023
Sergei Babayan, Piano
Program
LISZT Ballade No. 2 in B Minor
VLADIMIR RYABOV Fantasia in C Minor, Op. 21, in memory of Maria Yudina
RACHMANINOFF Étude-tableau in E-flat Minor, Op. 39, No. 5
RACHMANINOFF Étude-tableau in C Minor, Op. 39, No. 1
RACHMANINOFF Allegretto in E-flat Minor from Moments musicaux, Op. 16, No. 2
RACHMANINOFF Maestoso in C Major from Moments musicaux, Op. 16, No. 6
LISZT "Der Müller und der Bach" from Müllerlieder von Franz Schubert
LISZT "Aufenthalt" from Lieder aus Franz Schubert's Schwanengesang
LISZT "Auf dem Wasser zu singen" from 12 Lieder von Franz Schubert
LISZT "Die Stadt" from Lieder aus Franz Schubert's Schwanengesang
LISZT "Gretchen am Spinnrade" from 12 Lieder von Franz Schubert
R. SCHUMANN Kreisleriana
Encores:
BABAYAN Nach R. Schumann
BEETHOVEN Presto from Piano Sonata No. 6 in F Major, Op. 10, No. 2
J. S. BACH Aria from Goldberg Variations
11.4.2023
Joana Mallwitz, conductor
Anna Vinnitskaya, piano
Program
KODÁLY Dances of Galánta
TCHAIKOVSKY Piano Concerto No. 1
SCHUBERT Symphony in C, The Great
11.13.2023
Schaghajegh Nosrati, Piano
Program
J. S. BACH Chromatic Fantasia and Fugue in D Minor, BWV 903
BEETHOVEN Piano Sonata No. 15 in D Major, Op. 28, "Pastoral"
HAYDN Fantasia in C Major
ALKAN Symphony for Solo Piano from 12 Etudes in All the Minor Keys, Op. 39
Encores:
ALKAN Barcarolle from Troisième recueil de chants, Op. 65, No. 6
HAYDN Finale (Presto) from Piano Sonata in E-flat Major, Hob. XVI: 52
11.16.2023
Sir András Schiff, Piano
Program
J. S. BACH Aria from Goldberg Variations
J. S. BACH Capriccio in B-flat Major, BWV 992, "On the Departure of a Most Beloved Brother"
J. S. BACH Chromatic Fantasia and Fugue in D Minor, BWV 903
FELIX MENDELSSOHN Variations sérieuses
BEETHOVEN Piano Sonata No. 17 in D Minor, Op. 31, No. 2, "The Tempest"
HAYDN Variations in F Minor, Hob. XVII: 6
BEETHOVEN Piano Sonata No. 21 in C Major, Op. 53, "Waldstein"
Encores:
COHEN National Anthem of Israel (arr. Sir András Schiff)
MOZART Allegro from Piano Sonata in C Major, K. 545
R. SCHUMANN "Fröhlicher Landmann, von der Arbeit zurückkehrend" from Album für die Jugend
11.30.2024
Staatskapelle Berlin
Yannick Nézet-Séguin, Conductor
Program
ALL-BRAHMS PROGRAM
Symphony No. 1
Symphony No. 2
12.1.2024
Staatskapelle Berlin
Yannick Nézet-Séguin, Conductor
Program
ALL-BRAHMS PROGRAM
Symphony No. 3
Symphony No. 4
12.12.2024
Daniil Trifonov, Piano
Program
RAMEAU Suite in A Minor from Nouvelles suites de pièces de clavecin
MOZART Piano Sonata in F Major, K. 332
FELIX MENDELSSOHN Variations sérieuses
BEETHOVEN Piano Sonata No. 29 in B-flat Major, Op. 106, "Hammerklavier"
Encores:
GREEN "I Cover the Waterfront" (after Tatum)
SCRIABIN Andante from Piano Sonata No. 3, Op. 23
MOMPOU Excerpts from Variations on a Theme of Chopin
12.28.2023
Wagner Tannhäuser
PRODUCTION Otto Schenk
CONDUCTOR Donald Runnicles
Elizabeth Elisabeth Elza van den Heever
Venus Ekaterina Gubanova
Tannhäuser Andreas Schager
Wolfram Christian Gerhaher
Landgraf Hermann Georg Zeppenfeld
1.20.2023
The Cleveland Orchestra
Franz Welser-Möst, Music Director and Conductor
Program
KRENEK Little Symphony
G. MAHLER Adagio from Symphony No. 10 in F-sharp Major
BARTÓK String Quartet No. 3 (arr. Stanley Konopka for double string orchestra)
BARTÓK Suite from The Miraculous Mandarin
1.21.2024
The Cleveland Orchestra
Franz Welser-Möst, Music Director and Conductor
Program
PROKOFIEV Symphony No. 2 in D Minor, Op. 40
WEBERN Symphony, Op. 21
PROKOFIEV Symphony No. 5
2.14.2024
Maron Khoury, Flute
2.15.2024
Soloists of the Kronberg Academy
Performers
Soloists of the Kronberg Academy
- Maria Ioudenitch, Violin
- Geneva Lewis, Violin
- Brannon Cho, Cello
- Julia Hamos, Piano
Tabea Zimmermann, Viola
Program
BRAHMS Clarinet Trio (transcr. for viola)
HINDEMITH String Quartet No. 4, Op. 22
KORNGOLD Piano Quintet, Op. 15
3.1.2024
Vienna Philharmonic
Franz Welser-Möst, Conductor
Program
BRUCKNER Symphony No. 9
BERG Three Pieces for Orchestra, Op. 6
3.2.2024
Vienna Philharmonic
Franz Welser-Möst, Conductor
Program
HINDEMITH Konzertmusik für Blasorchester, Op. 41
R. STRAUSS Symphonic Fantasy from Die Frau ohne Schatten
SCHOENBERG Variations for Orchestra, Op. 31
RAVEL La valse
3.3.2024
Vienna Philharmonic
Franz Welser-Möst, Conductor
Program
G. MAHLER Symphony No. 9
3.6.2024
Hagen Quartet
- Lukas Hagen, Violin
- Rainer Schmidt, Violin
- Veronika Hagen, Viola
- Clemens Hagen, Cello
Program
HAYDN String Quartet in C Major, Op. 76, No. 3, "Emperor"
BARTÓK String Quartet No. 2
BEETHOVEN String Quartet in A Minor, Op. 132
3.9.2024
Rotterdam Philharmonic Orchestra
Lahav Shani, Chief Conductor
Daniil Trifonov, Piano
Program
ARVO PÄRT Swansong
MOZART Piano Concerto No. 9 in E-flat Major, K. 271, "Jeunehomme"
PROKOFIEV Selections from Romeo and Juliet
3.16.2024
Orchestre de Paris
Klaus Mäkelä, Music Director and Conductor
Program
ALL-STRAVINSKY PROGRAM
The Firebird
The Rite of Spring
4.8.2024
The Tallis Scholars
Peter Phillips, Conductor
Program
R. WHITE Lamentations for Five Voices
DAVID LANG sun-centered (NY Premiere, co-commissioned by Carnegie Hall)
NICO MUHLY "Recordare, Domine"
ERIC WHITACRE Sainte-Chapelle
PARSONS "Ave Maria"
BYRD All Saints Propers
Encore:
MOUTON "Salva nos, Domine"
4.12.2024
Ensemble Modern
HK Gruber, Conductor
Wallis Giunta, Mezzo-Soprano
amarcord, Vocal Ensemble
Program
HINDEMITH Kammermusik No. 1, Op. 24
KORNGOLD Much Ado about Nothing Suite
SCHOENBERG Accompaniment to a Cinematographic Scene (arr. Johannes Schöllhorn)
WEILL The Seven Deadly Sins (text by Bertolt Brecht; version for 15 players by HK Gruber and Christian Muthspiel; NY Premiere)
Encores:
EISLER "Ballade vom Wasserrad"
WEILL "Canon Song" from Kleine Dreigroschenmusik
4.12.2024
Ensemble Modern
Stefan Asbury, Conductor
Program
TANIA LEÓN Indígena
NANCARROW Study No. 7 (transcr. Yvar Mikhashoff in cooperation with Charles Schwobel)
ANDILE KHUMALO Invisible Self
NANCARROW Study No. 6 (transcr. Yvar Mikhashoff in cooperation with Charles Schwobel)
CHRISTOPHER TRAPANI no window without a wall (NY Premiere)
NANCARROW Study No. 12 (transcr. Yvar Mikhashoff in cooperation with Charles Schwobel)
TANIA LEÓN Rítmicas
Encore:
MORRICONE per i 40 anni
4.20.2024
Emily D'Angelo, Mezzo-Soprano
Sophia Muñoz, Piano
Program
BARTÓK "If I climb"
BARTÓK "Black is the earth"
BARTÓK "Dance of Buchum"
KODÁLY "Evening Song"
HANDY "Morning Star"
JEANINE TESORI "Night Drive / The Desert" from Grounded
JEANINE TESORI "Moon Change" from Caroline, or Change
FRANCIS McPEAKE "Wild Mountain Thyme"
BRITTEN "The Last Rose of Summer"
CLARKE "The Cloths of Heaven"
MacNUTT "Take me to a green isle"
BARBER "Of that so sweet imprisonment"
CLARKE "Down by the sally gardens"
VAUGHAN WILLIAMS "The Brewer"
G. MAHLER "Starke Einbildungskraft"
A. MAHLER "Laue Sommernacht"
A. MAHLER "Die stille Stadt"
A. MAHLER "Waldseligkeit"
A. MAHLER "In meines Vaters Garten"
A. MAHLER "Bei dir ist es traut"
KORNGOLD "Liebesbriefchen"
ULLMANN "Wenn je ein Schönes mir zu bilden glückte"
VITO LEVI Prelude for Piano No. 8
ZEMLINSKY "Heilige Nacht"
ZEMLINSKY "Turmwächterlied"
ZEMLINSKY "Klagen ist der Mond gekommen"
ZEMLINSKY "Briefchen schrieb ich"
Encore:
CHAPÍ "Carceleras" from Las hijas de Zebedeo
4.24.2024
Bamberg Symphony
Jakub Hrůša, Chief Conductor
Hélène Grimaud, Piano
Program
WAGNER Prelude to Lohengrin
BRAHMS Symphony No. 3
R. SCHUMANN Piano Concerto
WAGNER Overture to Tannhäuser
Encores:
BRAHMS Hungarian Dance No. 18 in D Major
BRAHMS Hungarian Dance No. 21 in E Minor
5.2.2024
Bavarian Radio Symphony Orchestra
Sir Simon Rattle, Chief Conductor
Lester Lynch, Baritone
Program
HINDEMITH Ragtime (Well-Tempered)
ZEMLINSKY Symphonische Gesänge, Op. 20
G. MAHLER Symphony No. 6
5.2.2024
Bavarian Radio Symphony Orchestra
Sir Simon Rattle, Chief Conductor
Program
WAGNER Prelude and Liebestod from Tristan und Isolde
THOMAS ADÈS Aquifer (US Premiere, co-commissioned by Carnegie Hall)
BEETHOVEN Symphony No. 6, "Pastoral"
Encore:
DVOŘÁK Slavonic Dance in C Major, Op. 72, No. 7
5.8.2024
Regula Mühlemann, Soprano
Tatiana Korsunskaya, Piano
Program
SCHUBERT "Viola," D. 786
SCHUBERT "Die Gebüsche," D. 646
SCHUBERT "Der Musensohn," D. 764
R. STRAUSS Mädchenblumen
R. STRAUSS "Ständchen," Op. 17, No. 2
ARGENTO Six Elizabethan Songs
BRIDGE "Golden Hair"
BRIDGE "Mantle of Blue"
BRIDGE "Isobel"
BRIDGE "Berceuse"
BRIDGE "Go Not, Happy Day"
BRIDGE "Love Went A-Riding"
Klaus Mäkelä, 28, to Lead American Top Orchestra
Mäkelä will become the music director of the Chicago Symphony Orchestra.
He said it has “that intensity — that same sound from the past.”
This is article from New York Times by Javier C. Hernández
“You felt as if anything you would ask, they could actually improve and do more,” he said, recalling his recent guest appearances there. “For a conductor, that is a very, very special feeling because you see that there really are no limits to what you can achieve.”
The orchestra hopes that Mäkelä can help attract new audiences to classical music, including younger concertgoers.
“There is nothing wrong with old people,” Mäkelä said. “But of course, ideally, we would have a very wide-ranging diverse audience.”
During his tenure, Mäkelä said he hoped to tackle standard repertoire like Mahler’s “Resurrection” Symphony and Bach’s St. Matthew Passion, as well as less commonly performed works like Monteverdi’s “Vespro della Beata Vergine” and William Walton’s choral work “Belshazzar’s Feast.”
He also said he would make commissioning new pieces a priority, naming Unsuk Chin, Thomas Larcher, Andrew Norman and Anna Thorvaldsdottir as some of his favorite contemporary composers.
“I feel that we can have a completely new chapter for the orchestra in terms of repertoire, in terms of developing the same amazing sound,” he said, “but having it as flexible as possible.”
The Chicago Symphony is also working to bring more women and people of color into the ensemble. The orchestra has 59 men and 34 women, and only a few Black and Latino members.
Because the pandemic delayed auditions, the orchestra has an unusually high number of vacancies, 15, which Mäkelä said was an “opportunity for change.” He will start weighing in on auditions immediately, the orchestra said.
Mäkelä, who trained at the Sibelius Academy in Helsinki, said some of his models were Esa-Pekka Salonen, a fellow Finn who recently announced he was stepping down from the San Francisco Symphony, pointing to his experiments with music and technology. And he expressed admiration for Kirill Petrenko, the chief conductor of the Berlin Philharmonic, saying he had shown courage in programming.
Kirill Petrenko conducts Strauss’s “Elektra”
A woman in an exceptional situation: Electra is driven by grief, pain and hatred. She wants to avenge the death of her father. The tragedy of the Greek king’s daughter was ideal operatic material for Richard Strauss, who describes the psychological profile of a desperate woman in stormy scenes. Kirill Petrenko conducts a concert performance of the opera. Nina Stemme, an acclaimed soloist in dramatic parts, sings the title role.
4.7.2024 1pm est.
Berliner Philharmoniker
Kirill Petrenko
Michaela Schuster
Nina Stemme
Elza van den Heever
Wolfgang Ablinger-Sperrhacke
Johan Reuter
WORKS
Richard Strauss
Elektra, opera in one act (concert performance)
Michaela Schustermezzo-soprano (Klytemnestra)
Nina Stemmesoprano (Elektra)
Elza van den Heeversoprano (Chrysothemis)
Wolfgang Ablinger-Sperrhacketenor (Aegisth)
Johan Reuterbass-baritone (Orest)
Anthony Robin Schneiderbass (Tutor to Orest)
Anna Denisovasoprano (Trainbearer of Klytemnestra)
Lucas van Lieroptenor (Young servant)
Andrew Harrisbass (Old servant)
Kirsi Tiihonensoprano (Overseer)
Katharina Magieraalto (1st Maid)
Alexandra Ionismezzo-soprano (3rd Maid)
Lauren Fagansoprano (5th Maid)
Marvic Monrealmezzo-soprano (2nd Maid)
Dorothea Herbertsoprano (4th Maid)
Serafina Starkesoprano (Confidante of Klytemnestra)
Staatskapelle Dresden • Karl Böhm
Balse Concerti 2025 LA
1.5.2025
Los Angeles Philharmonic
Robin Ticciati, conductor★
Lisa Batiashvili, violin★
Program
DVOŘÁK Prague Waltzes
BEETHOVEN Violin Concerto★
DVOŘÁK Symphony No. 8
2.2.2025
Los Angeles Philharmonic
Susanna Mälkki, conductor★
Verneri Pohjola, trumpet
Program★
SCHUBERT Symphony No. 8, “Unfinished”
SAARIAHO HUSH U.S. premiere LA Phil commission★
STRAUSS Death and Transfiguration★
3.9.2025
Los Angeles Philharmonic
Gustavo Dudamel, conductor★
Sasha Cooke, mezzo-soprano★
Program
A. MAHLER Five Songs★
G. MAHLER Symphony No. 5★
3.16.2025
Los Angeles Philharmonic
Joana Mallwitz, conductor★
Augustin Hadelich, violin★
Program
Marko NIKODIJEVIC GHB/tanzaggregat
TCHAIKOVSKY Violin Concerto★
SCHUBERT Symphony No. 9, “The Great”★
3.27.2025
Le Concert d’Astrée★
Emmanuelle Haïm conductor★
Program★
HANDEL The Triumph of Time and Disillusion, HWV46a
4.24.2024
Evgeny Kissin, piano★★★
Program★
BEETHOVEN Piano Sonata No. 7
CHOPIN Nocturnes
CHOPIN Polonaise in A major, Op. 40, No. 1
SHOSTAKOVICH Piano Sonata No. 2
SHOSTAKOVICH Preludes and Fugues
5.9.2024
Max Richter★
5.11.2025
Artists
Los Angeles Philharmonic★
Esa-Pekka Salonen, conductor★
Pierre-Laurent Aimard, piano★
Program★
BOULEZ Notations IV, for solo piano
BOULEZ Notations IV, for orchestra
DEBUSSY Images: 1. Gigues
BOULEZ
Notations VII, for solo piano
BOULEZ
Notations VII, for orchestra
DEBUSSY Images: 3. Rondes de printemps
BOULEZ Notations II, for solo piano
BOULEZ Notations II, for orchestra
DEBUSSY Fantaisie for Piano and Orchestra
DEBUSSY La mer
by Classicasobi
On-Air Bartok, Cleveland and Berlin - Welser-Möst and Petrenko
We will see Bartok from Cleveland and Berlin. Welser Most and Petrenko will be on air.
The Cleveland Orchestra
Franz Welser-Möst, conductor
KRENEK Kleine Symphonie
MAHLER Adagio from Symphony No. 10
BARTÓK String Quartet No. 3 (arr. for string orchestra)
BARTÓK Suite from The Miraculous Mandarin
Radio Streaming WCLV 1.13.2024 8pm EST
Berliner Philharmoniker
Kirill Petrenko conductor
Henri Dutilleux
Symphony No. 1
Béla Bartók
The Wooden Prince, Pantomime Ballet Music, Sz 60
Tannhauser, the old-school at Met, proves just as presentable — and arguably more necessary in 2023
Schenk's Tannhäuser, which premiered in 1977 at the Metropolitan Opera on December 2023, was a real song contest by all singers and related artists. They were polishing each other on each stage, relishing their roles, and the last one was memorable, especially the Pilgrims’ Chorus.Tannhauser is not religious teachings or confirmation of personal identity because I am not both Christian or German, but “Discover in Tannhäuser an emotional purgative or therapy – it powerfully exercises feelings of compassion.” Thanks to Joe Horowitz's review (the link at the bottom).
He mentioned Andrew Porter's review in 1977, “To do a Wagner opera in the way Wagner asked for it to be done.” also said, “Schenk Tannhäuser, proves just as presentable — and arguably more necessary — in 2023.”
He explained about Schenk's production, “Many points of conjunction between what the ear hears and the eye sees are unforgettably clinched. The action begins with the erotic Venusberg. Wagner asks for “a wide grotto which, as it curves towards the right in the background, seems to be prolonged till the eye loses it in the distance. From an opening in the rocks, through which the daylight filters dimly, a greenish waterfall plunges down the whole height of the grotto, foaming wildly over the rocks; out of the basin that receives the water a brook flows to the further background; it there forms into a lake, in which Naiads are seen bathing, while Sirens recline on its banks.” Schneider-Siemssen wisely doesn’t attempt all of this – but he poetically renders enough of it to get the job done. At the climax of the Venusberg orgy, Wagner makes everything suddenly and cataclysmically vanish, to be replaced by “a green valley. . . blue sky, bright sun. In the foreground is a shrine to the Virgin. A Shepherd Boy is blowing his pipe and singing.” A credulous rendering of this transformation, abetted by Wagner’s musical imagination, proves as breathtaking today as half a century ago.”
“The arts are today vanishing from the American experience. There is a crisis in cultural memory. How best keep Tannhäuser alive? Flooded with neophytes, the Metropolitan Opera audience is very different from audiences just a few decades ago. What I observed at the end of Tannhäuser was an ambushed audience thrilled and surprised. The Met is cultivating newcomers with new operas that aren’t very good. A more momentous long-term strategy, it seems to me, would be to present great operas staged in a manner that reinforces – rather than challenges or critiques or refreshes – the intended marriage of words and music. For newcomers to Wagner, an updated Tannhäuser would almost certainly possess less “relevance” than Schenk’s 46-year-old staging – if relevance is to be measured in terms of sheer visceral impact. ”
The main artists were, Andreas Schager, Tannhauser, the passionate Wagner voice, "his artistry ran the gamut from joy to despair." Christian Gerhaher, wolfram, "an elegant and intelligent lieder singer, his easy projection was a revelation, carrying the gentleness of his tone and impeccable articulation. Such a feeling of intimate connection to a voice is rare in this enormous building." Ekaterina Gubanova, Venus, "voluptuous sound was thrilling." Elza van den Heever, Elisabeth, " guileless faith with a light, shining tone and feathery vibrato - effortless projection. " Donald Runnicles, the conductor, "keeps an ideal pace, and the orchestra plays with a near-magical blend of color and warmth, full of details, glowing. "
After Gerhaher as Wolfram, sang "Abendstern" at 3rd act, it was tranquillo, the serenity. I've never felt my heart empty at Met like that. Then the key changed, suggesting Sharger Tannhauser's conflicts. He told the story about Rome. His serious Wagner singing was all coming into me because Gerhaher made me ready to observe Sharger's Wagnl art. In the one before the last performance, he was more emotional like Mime in Siegfried. The last day's Van den Heever's openness! I felt her concentration from pianissimo to fortissimo. It was the extra glossy voice, really bravissimo. I saw her mouth open and her jaw almost came off, but such effortless innocence notes and operatic dynamics were naturally associated with her characteristics and the role. Gubanova as Venus, mainly sings in 1st act. There is the famous aria, but I found her beauty in the later when she sang with Scharger, mid-long note, vibrato was more than Van den Heever has. I saw her 1st class mezzo vocal art.
Schager left his message on his SNS, “Being able to stand on stage in front of almost 4,000 enthusiastic visitors every time is something special. Here people laugh, cry and clap during the performance. I think that's great and this energy reaches us on stage and inspires us. Art, which is so often declared dead, is alive, and what's more, it shows us a way in which coexistence among people can work. Art is about emotions and skill and in the end a huge amount of effort goes into making the audience happy and moving.“
This is his word from the heart and We can see that the world's best musicians, audiences, and critics share a common awareness. It is a light in the people who are passionate about classical music.
Lastly, Met Choir's Pilgrims’ Chorus. The amount of voice replaced my all-good memory at Met in 20 years. It remains overwhelming.
Links
Beglückt darf nun dich, o Heimat, ich schauen -Tannhauser
Beglückt darf nun dich, o Heimat, ich schauen,
und grüssen froh deine lieblichen Auen;
You can now be happy, O homeland, I look,
and greet your lovely meadows with joy;
nun lass' ich ruhn den Wanderstab,
weil Gott getreu ich gepilgert hab'.
now I'll let the walking stick rest,
because I have made a pilgrimage true to God.
Durch Sühn' und Buss' hab' ich versöhnt
den Herren, dem mein Herze frönt,
I have reconciled through atonement and repentance
the Lord, in whom my heart indulges,
der meine Reu' mit Segen krönt,
den Herren, dem mein Lied ertönt.
who crowns my repentance with blessing,
the Lord to whom my song sounds.
Der Gnade Heil ist dem Büsser beschieden,
er geht einst ein in der Seligen Frieden!
Salvation is granted to the penitent by grace,
He will one day enter blessed peace!
Vor Höll' und Tod ist ihm nicht bang,
drum preis' ich Gott mein Lebelang.
He is not afraid of hell and death,
Therefore I will praise God as long as I live.
Halleluja in Ewigkeit!
Halleluja in Ewigkeit!
O du, mein holder Abendstern - Tannhauser
O du, mein holder Abendstern,
wohl grüsst' ich immer dich so gern:
vom Herzen, das sie nie verriet,
grüss sie, wenn sie vorbei dir zieht,
wenn sie entschwebt dem Tal der Erden,
ein sel'ger Engel dort zu werden!
Oh thou my fair evening star,
I'm always happy to greet you:
from the heart that never betrayed her,
greet her when she passes you,
when she floats away from the valley of the earth,
to become a blessed angel there!
おお、我が美しい宵の明星よ、
いつも喜んでご挨拶させていただきます:
彼女を決して裏切らなかった心から、
彼女があなたとすれ違ったら挨拶してください。
彼女が地の谷から漂っていくとき、
そこで祝福された天使になるために!
Dich, teure Halle -Tannhauser
Dich, teure Halle, grüss' ich wieder,
froh grüss' ich dich, geliebter Raum!
I greet you again, dear Halle,
I greet you with joy, beloved space!
もう一度ご挨拶します、親愛なるハレ、
喜びをもってあなたをお迎えします、最愛の空間!
In dir erwachen seine Lieder,
und wecken mich aus düstrem Traum. -
Da er aus dir geschieden,
wie öd' erschienst du mir!
Aus mir entfloh der Frieden,
die Freude zog aus dir. -
His songs awaken in you,
and wake me from a dark dream. -
Since he left you,
how desolate you seemed to me!
Peace escaped from me,
the joy came from you. -
彼の歌があなたの中で目覚め、
そして暗い夢から私を目覚めさせてください。 -
彼があなたと別れてから、
あなたは私にはなんと寂しいように見えたのでしょう!
平和が私から逃げ出し、
喜びはあなたから来ました。 -
Wie jetzt mein Busen hoch sich hebet,
so scheinst du jetzt mir stolz und hehr;
der dich und mich so neu belebet,
nicht länger weilt er ferne mehr.
As my bosom now heaves high,
you now seem proud and noble to me;
that revitalizes you and me so much,
He no longer lingers far away.
私の胸が今高く盛り上がるにつれて、
あなたは今、私にとって誇り高く高貴に見えます。
それはあなたと私をとても活気づけます、
彼はもう遠くに留まることはありません。
Sei mir gegrüsst! sei mir gegrüsst!
Greetings! Greetings!
こんにちは! こんにちは!
Geliebter, komm! Sieh dort die Grotte - Tannhauser
Geliebter, komm! Sieh dort die Grotte,
von ros'gen Düften mild durchwallt!
Beloved, come! See the grotto there,
Mildly suffused with rosy scents!
愛する人よ、来てください! そこの洞窟を見て、
ほんのりバラの香りが漂います!
Entzücken böt selbst einem Gotte
der süss'sten Freuden Aufenthalt:
Even a god can be delighted
the sweetest joys stay:
神様も喜ぶ
最も甘い喜びが残ります:
besänftigt auf dem weichsten Pfühle
flieh' deine Glieder jeder Schmerz,
soothed on the softest of beds
flee your limbs from every pain,
最も柔らかいベッドで癒されました
あらゆる痛みから手足を逃れ、
dein brennend Haupt umwehe Kühle,
wonnige Glut durchschwell' dein Herz.
let coolness blow around your burning head,
blissful glow swells through your heart.
燃える頭の周りに涼しさを吹き込みましょう。
至福の輝きがあなたの心に広がります
Aus holder Ferne mahnen süsse Klänge,
dass dich mein Arm in trauter Näh' umschlänge:
Sweet sounds remind us from a gentle distance,
that my arm would wrap around you in intimate closeness:
優しい距離から甘い音が思い出させてくれる、
私の腕が親密にあなたを包み込みますように。
von meinen Lippen schlürfst du Göttertrank,
aus meinen Augen strahlt dir Liebesdank: -
from my lips you sip the drink of the gods,
Thanks to you shines from my eyes: -
あなたは私の唇から神の飲み物を飲みます、
あなたのおかげで私の目は輝きます: -
ein Freudenfest soll unsrem Bund entstehen,
der Liebe Feier lass uns froh begehen!
there shall be a celebration of joy for our covenant,
Let us celebrate the celebration of love with joy!
私たちの契約に対する喜びの祝賀が行われます。
愛の祭典を喜びをもって祝いましょう!
Nicht sollst du ihr ein scheues Opfer weihn, -
nein! - mit der Liebe Göttin schwelge im Verein.
You shouldn't offer her a shy victim, -
no! - revel in the association with the love goddess.
彼女に内気な犠牲者を差し出すべきではない -
いいえ! - 愛の女神とのつながりを楽しみましょう。
Mein Ritter! Mein Geliebter! Willst du fliehn?
My knight! My beloved! Do you want to escape?
私の騎士よ! 私の愛する人よ! 逃げたいですか?
Contemporary Artist,Trifonov at New York 12.12.2023
He was considered a classical music concert pianist, but just a contemporary artist to me. His live art would fundamentally change New York's commercial art scene, but it was taken place at Carnegie Hall on 12.12.2023.
Hammerklavier sounded like paint being thrown onto a huge canvas.
It was a sound installation that blew away my knowledge and experience.
"Finger is heart", he said in this interview. What I saw was like his spirit through Steinway.
Program and Program note
RAMEAU Suite in A Minor from Nouvelles suites de pièces de clavecin
MOZART Piano Sonata in F Major, K. 332
FELIX MENDELSSOHN Variations sérieuses
BEETHOVEN Piano Sonata No. 29 in B-flat Major, Op. 106, "Hammerklavier"
Encores:
GREEN "I Cover the Waterfront" (after Tatum)
SCRIABIN Andante from Piano Sonata No. 3, Op. 23
MOMPOU Excerpts from Variations on a Theme of Chopin
*Link
"His greatest strengths lie in how he revels in the soft and pristine. His slow movements routinely resonate with an uncannily haunting distance. What’s more, he lingers tastefully in all the right places; this is virtuosity that emanates as much inward solace as outward extravagance." -Aaron Keebaugh
“Trifonov’s risk-taking: “You feel like you’re almost going off the rails, but he knows what he’s doing.” -Gilbert
“He has tenderness and also the demonic element.” -Argerich
Bruckner 8th by Julliard Orchestra 12.11.2023
Fresh Bruckner 8th by Juilliard Orchestra, conducted by Donald Runnicles. So precious to have their discovery and sensation together under amazing the maestro’s navigation.
Juilliard Orchestra
Donald Runnicles, Conductor
BRUCKNER Symphony No. 8 in C Minor
In the Crypt Session 12.8.2023
Crypt=Tomb
The Crypt Session, Andrew Ousley curated, a tiny-sized but intimate super essential musical session with about 40-50 audience at a church basement somewhere in Manhattan on December Friday night
Four Voces and Minimized Effective Instruments one-hour work by David Lang,
“Everytihing was essencial to me. They were very well prepared to provide us with a good environment to have good music. I can touch every note, acoustic by curved stones. The sound layer shows over 2000 Westan musical development to David by Ekmeles. The feeling and story came through my whole body and the sound touched me differently from any designed concert hall and as precious as the sound experience in New York.”
Artist
Jeffrey Gavett, conductor
Charlotte Mundy, soprano
Amber Evans, soprano
Tomás Cruz, tenor
Steven Hrycelak, bass
In the Crypt Session
12.8.2023
David Lang, The Little Match Girl Passion
ekmeles
Staatskapelle Berlin's Brahms, "Heart and Mouth and Deed and Life"
Brahms's architecture reminded me of "With all manner of subtle symmetries", his integration of Bach's structure, Beethoven dynamism, Schubert's lyricism, Schumann's romanticism, and his deep respect for German folk music. Also, their play evoked Wagner and Strauss's modernity to me. Brahms also had a deep respect for the Baroque style such as Schütz, Gabriel, and Handel, which was not common for his time.
Staatskapelle Berlin had all Brahms’s symphony Concerts at Carnegie Hall with Yannick Nézet-Séguin. New York Times said, "sometimes excitingly volatile, sometimes unsettled." But my focus was Brahms's integration and innovation as the Symphonist and this is once in a while to experience the artist's whole cycle together. Daniel Barenboim and his orchestra also carried all Schumann, Beethoven, Mahler, and Bruckner to New York in the last 20 years.
Jack Sullivan explained, "his music has dark sonorities with brightly sensuous moments. The sound has a density, not found in Beethoven, even though Brahms did not favor the increasingly large orchestras that came into vogue during his lifetime. He also mentioned "Hanslick, Brahms supporter, explained the passacaglia finale on the 4th as “a dark well”, and he said, "the longer we look into it, the more brightly the stars shine back.” I felt also Schoenburg, the untraditional who was "passionate admirer" because of its architectural complexity, and he was often regarded as too cerebral for large audiences." Those make sense to his favorite phrase "Frei aber Einsamkeit"
Each orchestra member gave life to Brahms by their body with the New York Opera Maestro. There were some moments, when his idea just happened in front of me, especially the last movement of the 2nd symphony, "Sturm und Drang" turbulence with daunting power. In the different part, with the very stable support with Cello and Base, the passage was projected by soloists, sometimes, virtuosic and very Operatic especially, Viola and 1st violin principals. The unison of the flute reminds me of Strauss's Rosenkavarier. The choral brass section reminds me of the very end of Wagner's ring. the part of the 1st symphony was Schenburg. The sound blending of Obe and Flute was one of the top beauties and senses in my life. It was touching to Brahms's humanity as well as all musicians and audiences to share the nights.
Concert Credit
Staatskapelle Berlin
Yannick Nézet-Séguin, Conductor
11.30.2023
12.1.2023
ALL-BRAHMS PROGRAM
Symphony No. 1
Symphony No. 2
Symphony No. 3
Symphony No. 4
Concert detail
How those were sounded to Brahms in his time
Bösendorfer sound by Schiff at New York
In András Schiff's recital at Carnegie Hall without program announcement, it was so at home with his audience. He talked and played. But his sound was, "In experiencing Mr. Schiff at the piano — spilling out all this Bach from memory; looking preternaturally confident and relaxed, to the extent of spreading his right leg in a sort of sprawl, and exuding a proprietary air; sounding utterly spontaneous in his little embellishments — you felt that you were observing old Bach himself, making things up on the spot." Oestreich mentioned at New York Times review on Nov. 1, 2013.
This is not only Bach.
Especially Mendelssohn and Haydn "sounded utterly spontaneous"
He takes care of each voice line clearly, and simply, but so bold, that we can see the storyline very easily, and his play is very open so it is to many different type of people who have their own taste.
Symphonic Artist, Schaghajegh Nosrati, Carnegie Debut 11.13.2023
"Hope and doubt, spirituality, and worldliness, and it's this ambivalence that, I think, gives his music its great humanity."
"Whenever I hear Bach, I always feel like my soul opens it's music that lifts us up and always, even in its darkest moments exhibits confidence and a basic trust that the world is good and meaningful the way it is Bach's music can give us strength and solace."
Nosrati talks about Bach in the clip. This is not only about Bach but her humanity connects to her program on her debut recital at Carnegie Hall, Weill Recital Hall. She was so symphonic, with dramatic dynamics and temps on these,
J. S. BACH Chromatic Fantasia and Fugue in D Minor, BWV 903
BEETHOVEN Piano Sonata No. 15 in D Major, Op. 28, "Pastoral"
HAYDN Fantasia in C Major
ALKAN Symphony for Solo Piano from 12 Etudes in All the Minor Keys, Op. 39
In her play, her mentor, Barenboim's Dynamics, and Schiff's clarity came to me at the same time as if they were playing together and more such her gifted humanity projected her vision through the works.
It was incredible. I have never felt the sound feeling in the passage and harmonies that she created. Those are not the amount of volume or her technique, but her innermost connection to Beethoven, for example, how she produces the beginning of the Pastoral sound, how she feels Haydon's evenness of tremolo, and Her unlimited curiosity about Alkan's Piano Symphony. I saw the full concert Steinway was shaking at Weill Recital Hall first time, but again, that was not how loud but how deeply she generated her art.
She gifted us two Encores,
ALKAN Barcarolle from Troisième recueil de chants, Op. 65, No. 6
HAYDN Finale (Presto) from Piano Sonata in E-flat Major, Hob. XVI: 52
After Alkan, those two sounded like Symphonic works, all instruments had resonated inside of me.
11.13.2023 at Weill Recital Hall
Symphonic Artist, Schaghajegh Nosrati, Carnegie Debut 11.13.2023 by classicasobi
Anna Vinnitskaya at Boston 11.4.2023
Anna Vinnitskaya from Claas Abert on Vimeo.
Tchikovsky’s Piano Concert is heard at the beginning of this clip. “Scherzo-like interlude in the middle of the second movement is a song, “Il fau s’amuser, danser et rire,” from the repertoire of Désirée Artôt, a superb Belgian soprano whom Tchaikovsky courted briefly in the winter of 1868-69. Vinnitsukaya said ”Singing is most important for me” in the clip. I was in front of her and heard her singing in Boston. The review says “There’s a rhapsodic freedom to her playing that’s never self-indulgent“
She played her Appassionato as "a seething, eruptive outburst of an inner monologue" by Rachmaninoff Étude-tableau in E-flat Minor Op. 39, No. 5 for the encore, that was what I heard Babayan playing two days ago in his recital in New York. "Babayan's playing rejects the cliché of the late romantic gesture", Le Figaro has praised his “unequaled touch, perfectly harmonious phrasing, and breathtaking virtuosity.”
Yes, Babayan was, but I filled up with Vinnitsukaya’s passion with no reason at Boston.
11.4.2023
Boston Symphony Orchestra
Symphony Hall, Boston, MA
Joana Mallwitz, conductor
Anna Vinnitskaya, piano
KODÁLY Dances of Galánta
TCHAIKOVSKY Piano Concerto No. 1
SCHUBERT Symphony in C, The Great
Mallwitz debut Boston Symphony with Schubert 9th
Why Mallwitz’s Schubert is so good? From Schubert's 9th - 4th movement, the string keeps playing dotted rhythms, brass softly starts singing, then gradually connecting to the String by crescendo, becoming to massive sound wave as if I am in Ocian exposing myself to the symphonic point. Boston sound provided Schubert’s Freunde soul by Malwitz’s positive energy take me to its summit, his joy - finally reached after demonic unfinished symphony. She was sending us super positive and active energy throughout the piece. Mallwitz's inspiration for Schubert wasn't affected by other repertoires in a little later period until Brahms.
This is a super interesting point of this work by Jan Swafford from the program note, "It did not really find a place in the repertoire until the early 20th century— and still longer for the Unfinished, premiered at last in 1865. These works never had the influence on the mid-century Romantic symphonies they could have had. It was only with the arrival of Brahms that a composer of genius absorbed them and knew what to do with the directions they pointed: Beethoven plus Schubert is the essence of Brahms’s creative foundation."
Other points why this work and Mallwitz works-
"His path guided by his fertile gift for melody"
Schubert handles the old outlines with great freedom, taking them in his own directions to what Robert Schumann, who discovered the piece years later, called “heavenly length.”
Its distinctive sound is the steady presence of trombones.
Just when the listener is settling into this music, with its lyricism alternating with orchestral explosions, an Allegro non troppo erupts with a furious burst of energy that never flags through the course of a huge movement.
Sudden orchestral explosions, dotted rhythms, a tendency to divert in a flash to unexpected keys.
It was a lavish display in the symphony.
Mallwitz made her Salzburg debut in 2020, Gramophone mentioned her conducting, "Mallwitz really makes Mozart’s score zing, keeping the Vienna Philharmonic light on their toes. I’ve been super-impressed with her conducting in a number of lockdown streams during the past year. Currently music director at Staatstheater Nürnberg, she is certainly one to watch."
She will record Kurt Weill and Haydn for DG, and will make her concert debut with the Wiener Philharmoniker early in 2024, during the Salzburg Mozartwoche, and will conduct the Berliner Philharmoniker for the first time in 2025. London audiences will have the opportunity to hear her in July when she conducts six performances of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, in Sir David Vickers's production.
11.4.2023
Boston Symphony Orchestra
Symphony Hall, Boston, MA
Joana Mallwitz, conductor
Anna Vinnitskaya, piano
KODÁLY Dances of Galánta
TCHAIKOVSKY Piano Concerto No. 1
SCHUBERT Symphony in C, The Great
Broadcasting and Her interview
Sergei Babayan Recital at Carnegie Hall
Carnegie Hall audiences last heard Sergei Babayan in jaw-dropping concerts with his protégé, Daniil Trifonov. The veteran pianist returns in a recital comprising some of his most-celebrated repertoire. It begins with Liszt’s second ballade, as notable for its aching restraint as its thunderous eruptions; short piano works by Rachmaninoff, a composer especially close to Babayan’s heart; and a fantasia by Vladimir Ryabov, which, after a recent performance by Babayan, was called “the most startling discovery of the evening … something strikingly novel” (Bachtrack). The second half of the concert features a series of songs by Schubert, popularly transcribed for solo piano by Liszt, and Robert Schumann’s dramatic and many-faceted Kreisleriana, one of the composer's favorite works.
Thursday, November 2, 2023 7:30 PM Zankel Hall
Performers
Sergei Babayan, Piano
Program
LISZT Ballade No. 2 in B Minor
VLADIMIR RYABOV Fantasia in C Minor
RACHMANINOFF Étude-tableau in E-flat Minor, Op. 39, No. 5
RACHMANINOFF Étude-tableau in C Minor, Op. 39, No. 1
RACHMANINOFF Allegretto in E-flat Minor from Moments musicaux, Op. 16, No. 2
RACHMANINOFF Maestoso in C Major from Moments musicaux, Op. 16, No. 6
LISZT "Der Müller und der Bach" from Müllerlieder von Franz Schubert
LISZT "Aufenthalt" from Lieder aus Franz Schubert's Schwanengesang
LISZT "Auf dem Wasser zu singen" from 12 Lieder von Franz Schubert
LISZT "Die Stadt" from Lieder aus Franz Schubert's Schwanengesang
LISZT "Gretchen am Spinnrade" from 12 Lieder von Franz Schubert
R. SCHUMANN Kreisleriana
Rachmaninoff put it, music is the sister of poetry, but her mother is sorrow.”
Despite all his virtuosity, Babayan's playing rejects the cliché of the late romantic gesture. This technically brilliant pianist responds to the emotional turmoil of the first (Allegro agitato) or the fifth (Appassionato) piece from the Etudes Tableaux op. 39 with a turbulently speaking musical design, rather than with a thundering paw. This sounds like a seething, eruptive outburst of an inner monologue. At the same time, his playing can get lost in a wonderfully glittering manner in the impressionistically lit inner landscapes of the slow pieces. All beauty is at the same time permeated by deep melancholy, according to Rachmaninoff's statement that music is the sister of poetry, but its mother is grief. (Deutsche Grammophon)
Sergei Babayan is one of the leading pianists of our time. Hailed for his emotional intensity, bold energy and remarkable levels of color, Sergei Babayan brings a deep understanding and insight to an exceptionally diverse repertoire. Le Figaro has praised his “unequaled touch, perfectly harmonious phrasing and breathtaking virtuosity.” Le Devoir from Montreal put it simply: “Sergei Babayan is a genius. Period.”