The Well-Tempered Ear

Classical music Q&A: Israeli pianist Inon Barnatan compares great music-making to great acting, and the concert hall to an exciting museum. He makes his MUST-HEAR Madison debut on this Friday night at 8 p.m. in Mills Hall in a solo recital program of works by Schubert, Barber, Franck and Ravel.

April 17, 2014
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EDITOR’S NOTE: Please note that some reviews of productions last weekend are being delayed to make room for previews of the many upcoming concerts and musical events this week.

By Jacob Stockinger

The prize-winning and critically acclaimed young Israeli pianist Inon Barnatan will make his Madison debut this Friday night at 8 p.m. in Mills Hall for the Wisconsin Union Theater, which has been closed for two seasons while being renovated.

Inon Barnatan

Barnatan’s MUST-HEAR program is ambitious and appealing; Franz Schubert’ late Sonata in G Major, the one that the young critic Robert Schumann praised so effusively; Samuel Barber’s Piano Sonata, which was premiered by Vladimir Horowitz; the “Prelude, Chorale and Fugue” by the late French Romantic composer Cesar Franck that was a favorite of Arthur Rubinstein; and Maurice Ravel’s dazzling “La Valse” for solo piano.

Tickets are $25 for the general public; $10 for University of Wisconsin-Madison students. For more information about Inon Barnatan and his recital, including reviews, program notes, audio clips and ticket information, visit:

http://www.uniontheater.wisc.edu/Season13-14/Inon-Barnatan.html

You might recall that Inon Barnatan won raves this past winter for his last-minute appearance with the Milwaukee Symphony Orchestra under Edo de Waart when he stepped in to substitute for an ailing Radu Lupu and played the titanic Piano Concerto No. 1 in D Minor by Johannes Brahms.

In 2009, he won a prestigious Avery Fisher Career Grant, and he has been recognized by the Irving S. Gilmore Foundation.

The Ear has been listening to his recordings: from violin works (the last Sonata by Ludwig van Beethoven and a Fantasy by Schubert) and his impressive readings of the famous last three sonatas and final impromptus and sonatas by Schubert to his performances of “Darkness Visible” by the contemporary British composer Thomas Ades. They all demonstrate his virtuoso technique but also his abundant musicality, subtle interpretations and full tone. Most impressive is his ability to play softly and lyrically. It leaves no doubt: Inon Barnatan is a major poet of the piano.

Clearly, Inon Baranatan is someone to watch, as his career continues to be extremely promising. You can listen to his interview for the Chamber Music Society of Lincoln Center in a YouTube video at the bottom. And here is a link to his own website:

www.inonbarnatan.com

And here is the email Q&A that Inon Barnatan did for The Ear:

Inon Barnatan face

You were just named the first-ever Artist in Association at the New York Philharmonic for the 2014-15 season. What plans do you have for that position? How could it affect your career?

What is so special for me about this position with the New York Philharmonic is that it is stretched over several seasons, so I will be performing with the orchestra both in New York and on the road for three consecutive seasons — which enables me to build a real relationship with this great orchestra as well as the audience.  It removes a little of the pressure of the debut– since I know I will be coming back the following season and the one after that.

Of course there is pressure to live up to the expectations and the faith that the orchestra and Alan Gilbert (both below) have shown in me, but it feels wonderful to know that the organization is behind me from the get-go. This appointment has only recently been announced but has already had significant effect on my career. New York is the center of so many things and when the New York Philharmonic does something, people take notice!  I really couldn’t be more thrilled with it.

New York Philharmonic Alan Gilbert

How would you describe your approach to playing and interpreting music? Are there other musicians, and especially pianists, either historical or current, whom you admire and why?

I feel that we classical performers are like actors — we have a text that we try to internalize and bring to life, but ultimately it is not ourself that is being presented, but the character, or, in our case, the music, that is being communicated. A great actor like Meryl Streep becomes whichever role she is playing, embodying it in such a way that she herself disappears and becomes the role.

That is what I think my job as a performer is.  I don’t want an audience to listen to me playing a piece — I would love for them to feel like the piece is being created at that very moment, the same way I would want to believe an actor IS the person that they are playing, not merely reading the text convincingly.

There are great performers, as well as actors, that are compelling not because they disappear in a role, but because of the very force of their personality. There are phenomenal actors and musicians that don’t change much with different roles or pieces, but bring their particular magnetism and virtuosity to every role.

When the performer is great both types can be very compelling, but I tend to gravitate towards the former. (Below is Inon Barnatan performing at Carnegie Hall in a photo by The New York Times.)

Inon Barnatan playing at Carnegie Hall NY Times

Your terrific and critically acclaimed new recording for the Avie label is an all-Schubert recital. But here you will perform a different big work, the G Major Sonata. What do you want to say about that particular work and its place in Schubert’s overall body of works? Why does Schubert hold particular appeal for you, and will you do more recording of his works, perhaps even a Schubert cycle?

Thank you! Back in 2004 I participated in a Schubert workshop with the great Leon Fleisher (below) at Carnegie Hall, and in some ways that was the start of my love affair with Schubert. I was familiar with his pieces, of course, but delving into the late sonatas as we did, I became intoxicated with the beauty and depth of the music.

Leon Fleisher

The music of Schubert (below), and especially the music he wrote later in his short life, became a staple of my repertoire.  I even curated a project of solo, chamber and vocal music from the miraculous last year — and both the Schubert CDs I’ve recorded so far feature pieces from that year.

That said, the G Major sonata, even though it was not written in the last year but a couple of years before, stands proudly amongst the greatest. It is one of his most lyrical and poetic pieces. It is not played nearly as often as the last three, and I am excited at the prospect of some audience members discovering it for the first time.

As for a possible Schubert cycle, it has been a dream of mine for a long while — perhaps I will keep playing his works one by one until I discover that I have recorded the whole cycle!

Franz Schubert writing

What would you like the public to know about your Madison program, which includes Franck, Barber (below) and Ravel?

This is a very special program to me. The pieces are magical: They manage to be at once very emotional and very intellectual, without compromising one for the other. The pieces all have a sense of nostalgia about them, in different ways.

The composers of the pieces in the first half take Baroque and Classical forms, such as fugues, chorales, sonatas, etc. and imbue them with their own innovation and emotion. The second half has more of a sense of fantasy, a sense of light that by the end of the recital turns to dark. I guess the second half goes from the sublime to the grotesque.

Samuel Barber

How do you think classical music can reach new and young audiences? And what advice would you give to aspiring young musicians and especially pianists?

That’s the million-dollar question. I think there are many things we need to do. It starts with education — putting an instrument in a child’s hand teaches them a lot about communications, listening and a huge variety of other important skills. It also encourages future curiosity about music and culture.

We also need to be more inclusive in some ways, make the concert experience something that would appeal to a young person as well as an older one.  Nowadays, when there are so many ways to consume culture without leaving your home, the concert experience needs to have an energy and excitement to it that is unique to the live experience.

A great museum knows that in order to attract a variety of ages and stay relevant, they need to have not only great art, but great curating.

The Museum of Modern Art in New York, for example, is always teeming with people of all ages, newcomers, repeat visitors, young and old, experts and lay people. They have a collection of some of the great, established artists as well as new exciting art and they are always providing new and interesting ways to look at things. People who go there expect to be challenged as well as be entertained. You may come to see Van Gogh’s “Starry Night” (below) but it’s the new or unexpected stuff around it that keeps you coming back. It’s that combination of edge and quality that makes it cool.

We can learn a lot from that. As performers we need to strive for the highest possible quality of performance, and at the same time try to present it in a context that is interesting, and sometimes challenging or unexpected.

VanGogh-starry_night_edit

 

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Classical music Q&A: Pianist Yefim Bronfman, who mixes power and poetry, talks about his stamina and the two piano concertos he will perform during this weekend’s all-Beethoven concerts by the Madison Symphony Orchestra.

March 4, 2014
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By Jacob Stockinger

He may not yet be a household name like Arthur Rubinstein, Vladimir Horowitz or Van Cliburn, but pianist Yefim Bronfman (below) — a prolific recitalist, concerto soloist and chamber music partner — commands great respect from critics and his fellow musicians.

Yefim Bronfman portrait

And with good reason.

“Fima,” as he known to friends and even his loyal followers, possesses a technique that other pianists envy plus a total commands of style, ranging from early period works through Romanticism and Modernism to new music.

He also is renowned for his stamina and power, but, at the same time, for subtle playing without banging. Combining power and poetry seems to be his signature.

Yefim Bronfman hansd in air

Here is a link to his website with his full biography — he emigrated to Israel from his native Tashkent — and critical reviews plus a discography, sound samples and other information:

http://www.yefimbronfman.com

People in the Madison area can hear Yefim Bronfman’s talents for themselves this weekend. That is when he joins the Madison Symphony Orchestra under its longtime music director and conductor John DeMain in a MUST-HEAR all-Beethoven program.

Bronfman will play the Piano Concerto No. 2 in B Flat Major, Op. 19, AND the famous Piano Concerto No. 5 in E-flat Major, Op. 73, also known as  “The Emperor.” Also on the program are the Symphony No. 1 in C Major, and “The Creatures of Prometheus” Overture that Beethoven incorporated into his epic Symphony No. 3 “Eroica.”

Performances are in Overture Hall on Friday at 7:30 p.m; Saturday at 8 p.m.; and Sunday at 2:30 p.m.

Tickets are $16.50-$82.50. Call the Overture Center box office at (608) 258-4141.

For more information, including audio samples of the various pieces and of playing by Bronfman, visit:

http://madisonsymphony.org/bronfman

For program notes by MSO trombonist and UW-Whitewater professor J. Michael Allman, visit:

http://facstaff.uww.edu/allsenj/MSO/NOTES/1314/6.Mar14.html

Yefim Bronfman recently agreed to an email Q&A with The Ear:

Yefim Bronfman playing a concerto

You are known for your stamina and power, as your cycle of the complete sonatas and concertos by Sergei Prokofiev and this Madison Symphony Orchestra concert with two Beethoven concertos prove. Are there special tricks or secrets you have to cultivate that kind of “marathon” playing and also avoid injury? Or is it just a natural gift?

It certainly helps to be in good physical shape, but recitals require the same kind of stamina and no one really questions that. Playing two concertos is actually less effort than playing a full solo recital.

Yefim Bronfman emotional

What are your current plans and future projects, both for live concerts and recordings, especially of works by living composers?

I just played a lot of new music in a chamber program with members of the New York Philharmonic, including the world premiere of a solo piano piece written for me by Marc Neikrug and a trio commissioned by Carnegie Hall several years ago by Marc-Andre Dalbavie. In Asia, on tour with the New York Philharmonic, we performed the Piano Concerto No. 2 by Magnus Lindberg (below, in a  photo by Saara Vuorkjoki), which is a co-commission with the Concertgebouw Orchestra of Amsterdam and Gothenburg Symphony of Sweden. (Editor’s note: Bronfman’s recording of it was nominated for a Grammy Award.)

I’m always on the lookout for talented composers. My natural curiosity makes me wonder about the language of composers of today who often give me ideas that contribute to playing the music of composers who are no longer alive.

Magnus Lindberg Saara Vuorjoki

You frequently perform Beethoven concertos and have made outstanding recordings of them with David Zinman and the Zurich Tonhalle Orchestra on the Arte Nova budget label. What would you like to say to the general public about Beethoven (below), about his Piano Concertos No. 2 and No. 5, the “Emperor”?

These two pieces belong to very different worlds. The first one belongs to the Mozartean period of Beethoven, very classical in structure and texture. But a lot happened between concertos No. 2 and No. 5.

They come from a composer with a great deal of desire to experiment, so those two concertos are like works of two different composers. Yet we never stop to wonder at the genius of someone able to do that. (At bottom is a YouTube video in which Yefim Bronfman, as Artist-in-Residence at the New York Philharmonic, and conductor Alan Gilbert discuss the complete cycle of Beethoven’s piano concertos they performed together.)

Beethoven big

I first heard you here years ago at the Wisconsin Union Theater in Beethoven’s Piano Concerto No. 1.  Do you have any special memories of or thoughts about Madison?

Madison and this particular theater have some wonderful memories from my youth because I played here some of the earliest concerts of my career. Playing Beethoven 1 with the St. Paul Chamber Orchestra in Madison could have been one of the first Beethoven 1’s I ever performed.

What advice would you give today to young pianists and young musicians in general about pursuing a career in music? And how can classical music reach more young people and new audiences?

Arts and culture in general enrich our lives, and we have to give that understanding to the young generation. Without it our lives diminish greatly, and we have to learn to cherish what past artists have left to us.

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Classical music: Here is update and analysis of this year’s Grammy Award winners in classical music. Plus, the Madison Symphony Chorus under conductor Beverly Taylor will sample American choral traditions this Sunday at 2 p.m. at the Overture Center.

February 1, 2014
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By Jacob Stockinger

The Ear’s friends at the Madison Symphony Orchestra have sent in the following announcement:

“Can you name all the different distinctly American choral traditions?

“Director Beverly Taylor (below, in a photo by Katrin Talbot) and the Madison Symphony Chorus will answer that question this Sunday afternoon, Feb. 2, at 2 p.m., when they’ll appear in “Apple Pie America: A Slice of Choral Americana” in Promenade Hall at the Overture Center for the Arts. (Taylor is also the head of the choral department at the university of Wisconsin-Madison, where she directs the UW Choral Union and UW Concert Choir, and is the assistant conductor of the Madison Symphony Orchestra. And sorry, I have so specific titles of works on the program but I have been told that the concert is closing in on being sold-out, with only a few tickets remaining.)

Beverly Taylor Katrin Talbot

The concert will start with classical music selections from Charles Pachelbel, Lukas Foss, Randall Thompson and others, while the second half will be dedicated to folk songs, hymns, and spirituals.

Many of the works will be accompanied by Madison Symphony Orchestra principal pianist Daniel Lyons (below).

Dan Lyons

Tickets are $15, and are available at http://madisonsymphony.org/Americana or at the Overture Center Box Office at (608) 258-4141 or 201 State Street.

Formed in 1927, the Madison Symphony Chorus (below, in a photo by Greg Anderson) gave its first public performance in 1928 and has performed regularly with the Madison Symphony Orchestra ever since.

It was featured at the popular Madison Symphony Christmas concerts in December, and it will be joined by four soloists for the MSO’s performance of Mozart’s Requiem on April 4, 5 and 6.

MSO Chorus CR Greg Anderson

The Chorus is comprised of more than 125 volunteer musicians from all walks of life who enjoy combining their artistic talent, and new members are always welcome. Visit http://madisonsymphony.org/chorus for more information.

CATCHING UP WITH THE GRAMMY WINNERS

Last Sunday was the Grammy Awards.

Here is a complete list of the nominees and the winners. It makes for a good listening list or buying list.

WINNER

Sibelius: Symphonies Nos. 1 & 4

Osmo Vänskä, conductor (Minnesota Orchestra)
Label: BIS Records

Atterberg: Orchestral Works Vol. 1

Neeme Järvi, conductor (Gothenburg Symphony Orchestra)
Label: Chandos

Lutosławski: Symphony No. 1

Esa-Pekka Salonen, conductor (Los Angeles Philharmonic)
Track from: Lutosławski: The Symphonies
Label: Sony Classical

Schumann: Symphony No. 2; Overtures Manfred & Genoveva

Claudio Abbado, conductor (Orchestra Mozart)

Stravinsky: Le Sacre Du Printemps

Simon Rattle, conductor (Berliner Philharmoniker)
Label: EMI Classics

74. BEST OPERA RECORDING

 WINNER  Adès: The Tempest
 Thomas Adès, conductor; Simon Keenlyside, Isabel Leonard, Audrey Luna & Alan Oke; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Label: Deutsche Grammophon

Britten: The Rape Of Lucretia

 Oliver Knussen, conductor; Ian Bostridge, Peter Coleman-Wright, Susan Gritton & Angelika Kirchschlager; John Fraser, producer (Aldeburgh Festival Ensemble)
Label: Virgin Classics

Kleiberg: David & Bathsheba

Tõnu Kaljuste, conductor; Anna Einarsson & Johannes Weisser; Morten Lindberg, producer (Trondheim Symphony Orchestra; Trondheim Symphony Orchestra Vocal Ensemble)
Label: 2L (Lindberg Lyd)

Vinci: Artaserse

Diego Fasolis, conductor; Valer Barna-Sabadus, Daniel Behle, Max Emanuel Cencic, Franco Fagioli & Philippe Jaroussky; Ulrich Ruscher, producer (Concerto Köln; Coro Della Radiotelevisione Svizzera, Lugano)
Label: Virgin Classics

Wagner: Der Ring Des Nibelungen

Christian Thielemann, conductor; Katarina Dalayman, Albert Dohmen, Stephen Gould, Eric Halfvarson & Linda Watson; Othmar Eichinger, producer (Orchester Der Wiener Staatsoper; Chor Der Wiener Staatsoper)
Label: Deutsche Grammophon

75. BEST CHORAL PERFORMANCE

 WINNER Pärt: Adam’s Lament
Tõnu Kaljuste, conductor (Tui Hirv & Rainer Vilu; Estonian Philharmonic Chamber Choir; Sinfonietta Riga & Tallinn Chamber Orchestra; Latvian Radio Choir & Vox Clamantis)
Label: ECM New Series

Berlioz: Grande Messe Des Morts

Colin Davis, conductor (Barry Banks; London Symphony Orchestra; London Philharmonic Choir & London Symphony Chorus)
Label: LSO Live

Palestrina: Volume 3

Harry Christophers, conductor (The Sixteen)
Label: Coro

Parry: Works For Chorus & Orchestra

Neeme Järvi, conductor; Adrian Partington, chorus master (Amanda Roocroft; BBC National Orchestra Of Wales; BBC National Chorus Of Wales)
Label: Chandos

Whitbourn: Annelies

James Jordan, conductor (Arianna Zukerman; The Lincoln Trio; Westminster Williamson Voices)
Label: Naxos
76: BEST CHMABER MUSIC/SMALL ENSEMBLE PERFORMANCE

 WINNER  Roomful Of Teeth

Brad Wells & Roomful Of Teeth
Label: New Amsterdam Records

Beethoven: Violin Sonatas

Leonidas Kavakos & Enrico Pace
Label: Decca

Cage: The 10,000 Things

Vicki Ray, William Winant, Aron Kallay & Tom Peters
Label: MicroFest Records

Duo Hélène Grimaud & Sol Gabetta

Labe;: Deutsche Grammophon

Times Go By Turns

New York Polyphony
Label: BIS Records

77. BEST CLASSICAL INSTRUMENTAL SOLO

 WINNER  Corigliano: Conjurer – Concerto For Percussionist & String Orchestra
Evelyn Glennie; David Alan Miller, conductor (Albany Symphony)
Track from: Corigliano: Conjurer; Vocalise
Label: Naxos

Bartók, Eötvös & Ligeti

Patricia Kopatchinskaja; Peter Eötvös, conductor (Ensemble Modern & Frankfurt Radio Symphony Orchestra)
Label: Naïve

The Edge Of Light

Gloria Cheng (Calder Quartet)
Label: Harmonia Mundi

Lindberg: Piano Concerto No. 2

Yefim Bronfman; Alan Gilbert, conductor (New York Philharmonic)
Track from: Magnus Lindberg
Label: Dacapo Records

Salonen: Violin Concerto; Nyx

Leila Josefowicz; Esa-Pekka Salonen, conductor (Finnish Radio Symphony Orchestra)
Label: Deutsche Grammophon

Schubert: Piano Sonatas D. 845 & D. 960

Maria João Pires
Label: Deutsche Grammophon

78. BEST CLASSICAL VOCAL SOLO

 WINNER Winter Morning Walks
 Dawn Upshaw (Maria Schneider; Jay Anderson, Frank Kimbrough & Scott Robinson; Australian Chamber Orchestra & St. Paul Chamber Orchestra)
Label: ArtistShare
winter morning walks

Drama Queens

 Joyce DiDonato (Alan Curtis; Il Complesso Barocco)
Label: Virgin Classics

Mission

 Cecilia Bartoli (Diego Fasolis; Philippe Jaroussky; I Barocchisti)
Label: Decca

Schubert: Winterreise

Christoph Prégardien (Michael Gees)
Label: Challenge

Wagner

Jonas Kaufmann (Donald Runnicles; Markus Brück; Chor Der Deutschen Oper Berlin; Orchester Der Deutschen Oper Berlin)
Label: Decca

79. BEST CLASSICAL COMPENDIUM

 WINNER Hindemith: Violinkonzert; Symphonic Metamorphosis; Konzertmusik
 Christoph Eschenbach, conductor
Label: Ondine

Holmboe: Concertos

Dima Slobodeniouk, conductor; Preben Iwan, producer
Label: Dacapo Records

Tabakova: String Paths

 Maxim Rysanov; Manfred Eicher, producer
Label: ECM New Series

80. BEST CONTEMPORARY CLASSICAL COMPOSITION

 WINNER Schneider, Maria: Winter Morning Walks
Maria Schneider, composer (Dawn Upshaw, Jay Anderson, Frank Kimbrough, Scott Robinson & Australian Chamber Orchestra)
Track from: Winter Morning Walks
Label: ArtistShare

Lindberg, Magnus: Piano Concerto No. 2

Magnus Lindberg, composer (Yefim Bronfman, Alan Gilbert & New York Philharmonic)
Track from: Magnus Lindberg
Label: Dacapo Records

Pärt, Arvo: Adam’s Lament

Arvo Pärt, composer (Tõnu Kaljuste, Latvian Radio Choir, Vox Clamantis & Sinfonietta Riga)
Track from: Arvo Pärt: Adam’s Lament
Label: ECM New Series

Salonen, Esa-Pekka: Violin Concerto

Esa-Pekka Salonen, composer (Leila Josefowicz, Esa-Pekka Salonen & Finnish Radio Symphony Orchestra)
Track from: Out Of Nowhere
Label: Deutsche Grammophon

Shaw, Caroline: Partita For 8 Voices

Caroline Shaw, composer (Brad Wells & Roomful Of Teeth)
Track from: Roomful Of Teeth
Label: New Amsterdam Records
And here is an excellent analysis of the classical Grammy winners that appeared on NPR’s “Deceptive Cadence” blog and the rise of new music — including work by the relatively unknown Minnesota composer Maria Schneider (below, in a photo by Michael Buckner for Getty Images), whose “Winter Morning Walks,” using the poems of Ted Kooser and the voice of soprano Dawn Upshaw, capture three Grammy Awards. You can hear a sample of the moving songs and accessible songs by the three cancer survivors in a YouTUbe video at the bottom:

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Classical music: Are iPhones and YouTube videos killing off live musical performances? The outspoken Polish pianist Krystian Zimerman said he thinks so as he walked out of a recital being illegally recorded in Germany.

June 10, 2013
5 Comments

By Jacob Stockinger

It seems that these days just about everybody has an iPhone or some other small, convenient and easily concealed smart phone that can take and email photos and videos.

iphone 5

And those photos and videos can change the world. They certainly fostered the Arab Spring  (below) and other populist uprisings and protests, including those that led to the democratization of Burma/Myanmar and to the current civil war in Syria.

arab spring

But it can also have downside, especially where the performing arts are involved and where questions of intellectual property are centrally involved.

Witness the recent episode in which the acclaimed and award-winning Polish pianist Krystian Zimerman (below), known for his playing of Chopin and his championing of Polish music, who was angry and annoyed when he stormed off the stage at a festival in Germany after someone in the audience refused to stop filming the recital on his iPhone.

krystian zimerman gray

It is food for thought, and it raises a lot of issues, including intellectual copyright as well as mass media and citizen reporting and blogging, to say nothing of private use.

It seems to The Ear that all of this is the logical outcome, change or consequence of the rise of social media like Facebook and Twitter and our changing notions of privacy. And it seems hard to allow it and praise it in one sphere of life yet try to contain its influence in another.

facebook logo

you tube logo

And of course it goes way beyond the rudeness of people who don’t turn off their cell phone that then ring during a performance. (The New York PHilhatmonic’s music director and conductor Alan Gilbert had to stop a performance of a slow movement of a Mahler symphony –- No. 9, I think it was — because of that kind of interruption.)

Now I myself don’t take unauthorized photos for this blog or authorized videos that I then put on YouTube.

But the issue is certainly close to me and relevant to the current performing arts scene.

But what do you think? The Ear wants to hear.

Did Krystian Zimerman do the right thing and sound an appropriate warning?

Or did he overreact as someone who is used to performing before thousands of audience members and even cameras and microphones? Is he trying to resist an inevitable social and technological change?

Read about it and leave your take in the COMMENT section.

Here are some links to stories about the incident:

http://www.latimes.com/entertainment/arts/culture/la-et-cm-krystian-zimerman-20130604,0,1139427.story

http://www.itechpost.com/articles/10191/20130605/youtube-destroying-music-pianist-krystian-zimerman-storms-out-middle-classical.htm

http://www.contactmusic.com/news/pianist-krystian-zimerman-storms-out-of-concert_3704347

http://www.thecmuwebsite.com/article/leading-classical-pianist-hits-out-at-smartphone-filming-fan/

Krystian Zimerman annoyed 001

Krystian Zimerman is not alone in his point of view. Here is a link to a BBC story about musical artists in all genres protesting YouTube:

http://www.bbc.co.uk/news/technology-22780812

If I recall correctly, it was the 19th-century French novelist Stendhal who remarked that mixing politics in literature is like firing a pistol during a concert — rude but something one ignores at one’s own peril.

Pianist Zimerman has a history of being outspoken about various political and social issues — including the presence of American missiles in his native country — during his performances.

Here is a good background piece from the British newspaper The Guardian:

http://www.guardian.co.uk/music/tomserviceblog/2009/apr/28/pianist-krystian-zimerman

And here is a video of a YouTube recording of the piece by 20th century composer Karol Szymanowski – appropriately his Variations of a Polish Folk Theme, Op. 10 — that has sparked some of Zimerman’s outbursts or comments, or at least provided a context for them.


Classical music: There is more to conducting than just waving your arms and pointing your fingers. The New York Times, the Juilliard School of Music and New York University’s Movement Lab offer a revealing deconstruction of a maestro’s movements and motions.

April 15, 2012
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By Jacob Stockinger

One of the most exciting and informative classical music stories to appear in a long time is the recent story about what the movements of an orchestra conductor mean.

The conductor is question was the New York Philharmonic Orchestra’s music director Alan Gilbert.

Thanks to the Juilliard School of Music, where Gilbert heads up the conducting program, and to New York University’s Movement Lab and its motion-capture computerized graphics, Gilbert was recorded conducting and then explaining what the movements mean.

It is like taking a mini-seminar is an art that takes many years to master, and even then some conductrors obviously do it much better than others. Some conductors — like Leonard Bernstein — flamboyantly sand dangerously danced around a lot on the podium while other conductor — like Fritz Reiner and Herbert van Karajan — were known for an almost total economy of movement.

Here is a link to the terrifically inventive, well researched and well written story by Daniel J. Wakin of The New York Times:

http://www.nytimes.com/2012/04/08/arts/music/breaking-conductors-down-by-gesture-and-body-part.html?pagewanted=all

It is fun to take in because it is printed and also an interactive video with highlighted comments by conductor Gilbert (below). Take a look:

http://www.nytimes.com/interactive/2012/04/06/arts/music/the-connection-between-gesture-and-music.html

And here is a link to a background story and video about how it was made in the lab. It is a fascinating and illuminating explanation that suggests we can expect a lot more in the future of seeing technology illuminate art:

http://50.16.231.236/index.html


Classical music news: The New York Times prints the full story of The Music Lover and The Ringing Cellphone that halted Alan Gilbert’s performance of Mahler’s Symphony No. 9 with the New York Philharmonic.

January 15, 2012
3 Comments

By Jacob Stockinger

If you want to know why so many people respect The New York Times – despite the all the pietistic carping on the right about how liberal and biased it is – just check out the fairness, accuracy and thoroughness the newspaper brought to one small story.

This past Tuesday night, conductor Alan Gilbert (below) halted a performance of Mahler’s moving Symphony No. 9, Mahler’s last completed symphony, with the New York Philharmonic in Avery Fisher Hall, because a loud cellphone went off during a particularly quiet and moving section of the music. He put down his baton and announced he would wait to resume until the phone was turned off.

Many news outlets, including NBC TV’s nightly newscast, reported on the incident, which had the other audience members cheering Gilbert and his admonishment to turn off the annoying and persistent marimba ring-tone of the phone before continuing .

But the Times went a step further.

It found out who was the person with the ringing cellphone, how the whole incident happened, and then reported on the reaction of the user of the offending iPhone (below) to the incident and what the follow-up story was. Knowing all the facts actually makes you at least somewhat sympathetic to the offender.

And then it published the story in the news section, rather than the arts section.

The coverage makes you respect both Gilbert and the offending cellphone owner, as well as the editors and reporters at the Times. It should also make you wary of alarms and other pre-set features of sophisticated smart phones.

Here is a link to the story:

http://www.nytimes.com/2012/01/13/nyregion/ringing-finally-stopped-but-concertgoers-alarm-persists.html

Here is the clever video that mixes Mahler’s Ninth (under Leonard Bernstein) and the marimba ring-tone:


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