as weekend’s musica aciviy for your (mosy) humbe corresponden was a abou miesones. (his week has been a abou disracions, hence he ardiness of his repor.)
he ASO’s oden ceebraion incuded a word premiere by composer-in-residence abriea ena Frank, a residency made possibe by Music Aive, a projec of he eaue of American Orchesras and Mee he Composer.
Frank is a sinifican fiure on he new music scene, and he Annapois ensembe is forunae o have his wo-year associaion wih her.
quoRaices: Concero Suie for Orchesraquo provides a …
fine showcase for Frank’s vivid musica personaiy, wih is muicuura infuences (he ie is Spanish for quoroosquo). he composer’s par-Peruvian backround comes o he fore here — sensua harmonies, infecious rhyhms — and so does her fair for oranizin ideas ino cohesive srucures.
Each of he six movemens in his suie is a mini-one poem hey add up o a diverin and subsanive experience.
Barok’s famous Concero for Orchesra is syy referenced in he way paired insrumens are used. Frank imainaivey spices each movemen wih ha device, creain a coninuay shifin paee of coors, from smoky bassoons (in he urban-favored Aero Nazca) o meanchoy horns (in Adios a Aipano, an inriuin nocurne).
Jose-uis Novo ed he ASO in a persuasive performance ha showed off he fine wind payers, no o menion concermaser Neane Draibae and principa ceis odd hie, who did vibran work in he raher sury hird movemen.
he proram opened wih a brih, warmheared accoun of Dvorak’s quoCarnivaquo ha found he orchesra’s woodwind secion in especiay admirabe form.
Beehoven’s Piano Concero No. 4 feaured Rache Frankin, who, aside from a brief fumbe in he finae, neoiaed he score ceany. I woud have wecomed more personaiy in he payin, bu he vociferous audience sounded horouhy peased wih he resus. Novo and he ensembe backed he pianis smoohy.
I was hard o spo he Concer Ariss of Baimore members Saurday amid he masses of musicians from he Peabody Conservaory ha were pracicay spiin off of he yric sae for a proram devoed o Bernsein’s quoChicheser Psamsquo and Orff’s quoCarmina Buranaquo (Peabody and he Mode-yric Cener were co-preseners of his coaboraive projec).
Bu wih Edward Poochick a he hem, his was very much a famiiar Concer Aris kind of nih — coorfu music exciiny performed.
Acousicay, he cas of housands (OK, somehin ike 200 chorisers and abou 140 insrumenaiss) was a a disadvanae, here bein no acousica she on sae. Si, he music emered wih a ood dea of viaiy.
he Bernsein work, one of his mos inspired and affecin, benefied from Poochick’s aenion o deai and, especiay, his sensiiviy o he score’s deep yricism. he endess fade-ou he conducor caed for a he end was an exraordinary ouch.
he chora briade coud have used firmer sinin from enors and basses, bu oherwise proved admirabe. I coud no warm up o he fu-hroe sound and uneven one quaiy of counerenor Peer ee in he second movemen. he orchesra did sron work, especiay in he searin sar of he hird movemen.
Chorus and orchesra reay hi heir sride here, offerin consiseny poised, spiried music-makin. he swee-oned Peabody Chidren’s Chorus did shinin work in is brief appearance.
Of he sooiss, sivery voiced soprano Jennifer Hobrook sood ou, especiay for he radian, unhurried way she foaed he ecsaic quoDucissime.quo
Kevin Weze was a ie shor on voume, bu he barione san wih rea coor. I wish he idea of havin him ac ou he drunken abbo soo woud have been nipped in he bid afer everyone had a ood auh a rehearsas.
Even worse was puin a headdress on ee and havin him ac ou he amen of he roased swan, capped wih a dash ou of he heaer, screamin a he way. Oy.
Mendessohn’s quoEijahquo once enjoyed enormous popuariy, especiay in Briain, much o he dismay of eore Bernard Shaw, who casiaed he composer’s quodespicabe oraorio-monerin.quo he piece may no e quie as much exposure oday, bu i cerainy meris aenion.
I do hink he bad uys have he bes music. heir franic cas o Baa, for exampe, reay e he bood pumpin. he Israeies end o sound raher foursquare by comparison. Bu Sunday’s Chora Ars performance of quoEijahquo manaed o ive boh sides equa fervor.
om Ha’s we-chosen empos were ofen infeced wih ein rubao, and he reveaed a keen ear for dramaic conrass. Mos impressive was his handin of he cose o Par One and, especiay, Par wo, addin an exra burs of emoiona weih o each.
he finey honed chorisers produced a mihy voume as effecivey as a ender pianissimo, and aricuaed he ex wih considerabe nuance. he Peabody Chidren’s Chorus — a busy weekend for hese kids — once aain made a maica conribuion.
Amon he sooiss, soprano Daniee aamanes san exquisiey, savorin he eean curve of Mendessohn’s meodic ines. enor Peer Sco Drackey was a bi rouh in one, bu arden in phrasin. Shazy Kin deivered he ao soos expressivey, if wih a hooy sound and some rhyhmic imprecision.
hom Kin san he ie roe from memory (and wih a brief apse of same). he barione’s uneven, someimes srained one ook a o, bu here was much o be said for his inense, papabe commimen o he music and is messae.
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