Florent Schmitt

Florent Schmitt’s “Légende” and “Oriane et le Prince d’Amour” with Debussy and Rachmaninoff—the Buffalo Philharmonic under JoAnn Falletta

There’s something about Buffalo that is forever and wonderfully 1940. The city admittedly went through a difficult patch in the last decades of the century, before emerging today prosperous and half the size it was. From an artistic perspective, though, this may not be all bad. Buffalo escaped most of the Pizza Hut architecture and cereal box skyscrapers which typically afflict American cities. Today, great colonnaded turn-of-the-century hotels, banks and office buildings still reflect iconic dignity and Dreiserian business energy upon a downtown more formal and stylistically unified than most. When it comes to its resident orchestra, the Buffalo Philharmonic similarly avoided an onslaught of concrete, continuing to perform in Kleinhans Music Hall, designed by the Saarinens (father Eliel and son Eero) in 1940 and declared a national landmark in 1989.

Nelson Freire in Ozawa Hall. Photo Hilary Scott.

Nelson Freire at Tanglewood: Third Sonatas, Early and Late

Nelson Freire is a past master in multiple senses. His virtues as a pianist have been well-known for decades. But his playing brings to us hints of older school virtuosity, not only of his own generation (including his friend and musical partner Martha Argerich) but of even earlier schools of pianists, including the Hoffmann-Friedman-Rachmaninoff generation. He shares with those legendary virtuosi not only a technique that barely recognizes technical difficulties, but also a kind of sprezzatura, a slightly off-handed way of tossing off passages, runs, glittering ornaments, and the rest of the grand pianistic arsenal (or clap-trap, depending on your point of view) that others have approached with either gritty determination or a show-off’s urge to impress.

Pianist Stephen Porter

Stephen Porter to play late works by Beethoven, Schubert, Chopin and Debussy at the House of the Redeemer in Manhattan, Thursday May 1, at 7.30 pm—a presentation of New York Arts

I am extremely proud to present, as our single concert of this season, a piano recital by Stephen Porter, a musician of supreme intelligence, sensitivity, and learning. His pianism is equally developed on the fortepiano as on the modern piano, and we are fortunate that his curious ear for historical instruments has drawn him to the unique qualities of the House of the Redeemer’s Grotrian-Steinweg grand in the intimate acoustics of its Library.

Orchestra Concerts at Tanglewood, a Summer Retrospective

I’d have to affect an especially severe attitude to deny that this was a rewarding summer at Tanglewood, although the token single program by a period instrument group, which is always well-attended and in fact important to Tanglewood, if the festival is to represent music-making as it is today, was missing, and I found rather little to attract me into the Music Shed. The post-Levine formula of revered white-haired visitors is wearing thin, and now that a music director has been appointed, there is no longer the titillation of a possible  music director emerging from one of the younger guest conductors. The whit heads will carry on through the next seasons at Symphony Hall and Tanglewood, until Andris Nelsons, the Music Director Designate, takes over full-time…if that actually happens, we begin to wonder.

Jonathan Epstein (Tchaikovsky) in Shakespeare & Company's None but the Lonely Heart. Photo by Enrico Spada.

A Singer’s Notes 78: The Contraries

The wise have shown us down the generations that beautiful spirits can hold two contrary ideas in the mind, carrying their weight and feeling their lightness. Through some kind of serendipity these last weeks have asked this of me. First, motion and music. I am thinking of the suave Stéphane Denève and the awe-inspiring performance of Debussy’s Jeux he conducted with the orchestral Fellows at Tanglewood. He conjures shapes which in turn conjure sounds. Rythymic complexity becomes ease.

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