If you weren't fortunate enough to get to Jones Hall to hear the Houston Symphony Orchestra this past weekend (or can't get to Carnegie Hall tonight), I feel sorry for you. Seriously, you missed out on a truly epic concert. It was a concert that made me love Shostakovich more that I already did. It made me sad to realize the classical season for the orchestra is almost over! It made super excited for all those who will be in attendance tonight at Carnegie Hall--I think they will be in for a treat.
The concert began with his Anti-Formalist Rayok, which is a piece that Shostakovich had to keep quiet about during his lifetime. He had been censured during his career (two times actually) and this was sort of a way of getting back at the ridiculous regime that had cost Shostakovich so much--his teaching posts, for example.
In this piece, Shostakovich blatantly makes fun of the stupidity of those in power, who did things like censure him and other composers. The bass vocalist acts out the part of four different people (including Stalin) and there's a chorus of supporters, singing along at times agreeing with whichever speaker it is. Bass Mikhail Svetlov was literally PERFECT in his portrayal of the four characters. He'd change hats or add glasses to represent different characters, and so smoothly went from one to the next. He was able to capture the absurdity of those people, and I couldn't help but feel so sorry for Shostakovich, for what he had to go through in his time. Imagine having your creative powers squelched by the government. It literally broke my heart, even while I was laughing at the funny performance, as Svetlov was channeling those characters so well. Add to his ability to act out and tell a story, he has a beautiful, beautiful, voice. Strong, commanding, yet never severe, it brought the words to life--a very humorous, ludicrous and sad life at times. Anti-Formalist Rayok is a GENIUS piece of music, and I promise you, if you ever see a performance of it, you'll love it. Sheer genius, as usual from Shostakovich.
The second half of the program was his Symphony no. 11, "The Year 1905), and Hans Graf and the HSO just blew this out of the water. Plain and simple, from top to bottom, beginning to end, it was stunning.
In most ways this piece is full of dread. It is awful, in the sense that it's about the Russian Revolution. In it you hear the massacre in the square (second movement) and the mourning of the deaths in the third movement. It's so visceral, so nearly tangible. It's disarming at times.
There was a point in the second movement as the orchestra was playing--it was during the "gunfire" of the massacre part, and I kept thinking to myself how terrifying this sounded. Literally, there were musical bullets flying, and to hear it nearly hurt. As unpleasant as that was, and as unpleasant it was to think of how horrifying the Revolution must have been I was thrilled and wanted more of it. I WANT an orchestra to dig deep to bring this stuff up. I want to feel a piece deep in my skin. I don't want to just say "yeah, the cellos and bases really nailed all that chromatic stuff in the beginning of the second movement". I don't care about that stuff when there's something much more significant to be had. Did the cellos and basses rock it? They did, with flying colors, but that's not want I was interested in that night.
I wanted to hear how well the Maestro Graf and the HSO could bring Shostakovich to life, and my god, did they ever! This performance made me hate communism more than I already do. This concert showed me the deep, musical maturity of this orchestra and her music director. This program made me lament about not owning more Shostakovich than I do. Are these not the signs of a great concert? I couldn't really even write any notes (which I wanted to do, I had my pen ready and everything) because I was afraid I'd miss out on something. I didn't want to miss a minute of intensity, because I felt really involved in the works, emotionally speaking.
The result of such involvement Friday night? Complete and total musical satisfaction. Whoever is at Carnegie Hall tonight is in for some seriously good music. Seriously EPIC music.
Best of luck tonight, Houston Symphony Orchestra. I'm thrilled for your guys right now!
Monday, May 7, 2012
Monday, April 30, 2012
Two Faces of Shostakovich
This weekend the Houston Symphony Orchestra will be playing a powerful all-Shostakovich program, entitled "Two Faces of Shostakovich". It features his Anti-Formalist Rayok and Symphony no. 11, The Year 1905. This will be an intense concert, to say the least, yet a totally awesome one. (it's Shostakovich....how can it be anything BUT awesome?)
I have probably rambled about it before, but I have had the distinct pleasure of playing Symph. no. 11, and found it to be quite a challenge, both technically, mentally, and even emotionally. The intensity of it is almost too much to take at times, but well worth it. Since first hearing that work, it has remained on my "all time favourites" list, and I'm thrilled to be able to hear it live. I'm curious to see/hear what the Maestro Graf and the HSO do with it.
This concert is what the HSO will be taking to Carnegie Hall for their May 7th concert. They are opening the "Spring for Music" Festival, and if I could be there, I would! Carnegie Hall, a great orchestra, and great music--what a combo! Congrats to the HSO for being invited to such a prestigious hall, and for being the festival openers! There's a video about their upcoming concert, which you can check out here. I know the HSO will do Texas proud!
If you aren't able to get to New York City for the concert, they are playing it twice in Houston, and this is a concert I would urge anyone who loves Shostakovich to attend. Or if you are a fan of really intense music in general, this one would be right up your alley. Personally, I can't wait for it! Perhaps I'll see you there!
I have probably rambled about it before, but I have had the distinct pleasure of playing Symph. no. 11, and found it to be quite a challenge, both technically, mentally, and even emotionally. The intensity of it is almost too much to take at times, but well worth it. Since first hearing that work, it has remained on my "all time favourites" list, and I'm thrilled to be able to hear it live. I'm curious to see/hear what the Maestro Graf and the HSO do with it.
This concert is what the HSO will be taking to Carnegie Hall for their May 7th concert. They are opening the "Spring for Music" Festival, and if I could be there, I would! Carnegie Hall, a great orchestra, and great music--what a combo! Congrats to the HSO for being invited to such a prestigious hall, and for being the festival openers! There's a video about their upcoming concert, which you can check out here. I know the HSO will do Texas proud!
If you aren't able to get to New York City for the concert, they are playing it twice in Houston, and this is a concert I would urge anyone who loves Shostakovich to attend. Or if you are a fan of really intense music in general, this one would be right up your alley. Personally, I can't wait for it! Perhaps I'll see you there!
Monday, April 2, 2012
Holy Hahn!
I could seriously get used to the awesome feeling I've had after the last couple Houston Symphony Orchestra concerts. Yet again, they dug their heels in this past weekend and produced some remarkable music. The orchestra dug its claws in to me again, I'm happy to report!
Britten's Four Sea Interludes From Peter Grimes started the evening out, and what a sublime piece it is. The orchestra really pulled out all the stops for this performance. (except the violins. I hate to rag on them, but yet again they left much to be desired). Major props also go to conductor Alexander Shelley, who clearly had a vision for this work. I mean that all quite literally--his conducting is very clear and precise, and it was obvious that he had ideas, visions, and goals for the works we was conducting. You could easily hear the story in the music, the seagulls, waves, storms, and so forth.
After that, Hilary Hahn graced the stage and absolutely blew Prokofiev's Violin Concerto no. 1 out of the water. I mean she nailed it, she owned it, she perfected it, she tore it up! (in the good way, of course) Here is this odd little concerto that could easily go sour if in the wrong hands. In the right hands though, it leaves you wondering why it's not heard more often, and makes you go home and download a recording of it because it is just such a great piece. Hahn did that, and then some! I wish I had enough words to describe her playing. I could write endlessly on her perfectly smooth and lush tone. Her ability to shape phrases--I swear it must come as easily to her as regular conversation. The way she just nails high notes, and with such confidence! I had one of my moments in the Prokofiev. I can't even remember which movement, but it was a very ethereal part, and I remember feeling kind of sucked in to the music and Hahn's playing, and for just a few brief seconds, I felt as if I was in a bubble of sorts. I always say that I go to a concerto to be emotionally affected, I go to a concert to experience and feel deeply, and for a brief moment, I had all my musical wants and desires met, and unsurprisingly, tears formed. It was a moment when, as corny as this sounds, the music made me forget about anything else. Not only that though, I felt like I was the only one in the room. The music became intensely personal. It only lasted a few seconds, but it was fantastic! After the Prokofiev, Hahn wowed us with some Bach, I think...perfect, yet again. As expected, everyone was on their feet after she was done. Gosh, what a delight it was to hear her. If you missed out, I feel sorry for you!
The second half of the concert was all Elgar, starting with the short piece Sospiri, which was simply gorgeous. I learned that sospiri in Italian means "Sigh" and how well he put that to music! It was quite beautiful--intense, but beautiful.
The program ended with his Enigma Variations, a wonderful work made up of thirteen sketches of his friends and wife, and what a neat bunch they must have all been! Every movement is filled with such character! The orchestra did a great job of bringing each personality out. The famous Nimrod variation was sublime. I could kiss everyone in the orchestra for that movement--it was another tearjerker for me.
I've so dug the last couple HSO performances, big time. They've seem so fresh to me, so alive, and full of vitality. I dunno what it is. Perhaps it's me? Perhaps it's the guest conductors, bringing something new and fresh each time to the orchestra? Perhaps it's the great rep they've been playing? Who knows. Whatever it is, it's fantastic!
Britten's Four Sea Interludes From Peter Grimes started the evening out, and what a sublime piece it is. The orchestra really pulled out all the stops for this performance. (except the violins. I hate to rag on them, but yet again they left much to be desired). Major props also go to conductor Alexander Shelley, who clearly had a vision for this work. I mean that all quite literally--his conducting is very clear and precise, and it was obvious that he had ideas, visions, and goals for the works we was conducting. You could easily hear the story in the music, the seagulls, waves, storms, and so forth.
After that, Hilary Hahn graced the stage and absolutely blew Prokofiev's Violin Concerto no. 1 out of the water. I mean she nailed it, she owned it, she perfected it, she tore it up! (in the good way, of course) Here is this odd little concerto that could easily go sour if in the wrong hands. In the right hands though, it leaves you wondering why it's not heard more often, and makes you go home and download a recording of it because it is just such a great piece. Hahn did that, and then some! I wish I had enough words to describe her playing. I could write endlessly on her perfectly smooth and lush tone. Her ability to shape phrases--I swear it must come as easily to her as regular conversation. The way she just nails high notes, and with such confidence! I had one of my moments in the Prokofiev. I can't even remember which movement, but it was a very ethereal part, and I remember feeling kind of sucked in to the music and Hahn's playing, and for just a few brief seconds, I felt as if I was in a bubble of sorts. I always say that I go to a concerto to be emotionally affected, I go to a concert to experience and feel deeply, and for a brief moment, I had all my musical wants and desires met, and unsurprisingly, tears formed. It was a moment when, as corny as this sounds, the music made me forget about anything else. Not only that though, I felt like I was the only one in the room. The music became intensely personal. It only lasted a few seconds, but it was fantastic! After the Prokofiev, Hahn wowed us with some Bach, I think...perfect, yet again. As expected, everyone was on their feet after she was done. Gosh, what a delight it was to hear her. If you missed out, I feel sorry for you!
The second half of the concert was all Elgar, starting with the short piece Sospiri, which was simply gorgeous. I learned that sospiri in Italian means "Sigh" and how well he put that to music! It was quite beautiful--intense, but beautiful.
The program ended with his Enigma Variations, a wonderful work made up of thirteen sketches of his friends and wife, and what a neat bunch they must have all been! Every movement is filled with such character! The orchestra did a great job of bringing each personality out. The famous Nimrod variation was sublime. I could kiss everyone in the orchestra for that movement--it was another tearjerker for me.
I've so dug the last couple HSO performances, big time. They've seem so fresh to me, so alive, and full of vitality. I dunno what it is. Perhaps it's me? Perhaps it's the guest conductors, bringing something new and fresh each time to the orchestra? Perhaps it's the great rep they've been playing? Who knows. Whatever it is, it's fantastic!
Tuesday, March 27, 2012
Hahn in Houston
Heads up everyone! A major violin pimp (in this case, pimpstress) will be playing with the Houston Symphony Orchestra this weekend, and you should NOT miss it. Yep, Hilary Hahn will be in town to rock out Prokofiev's Violin Concerto no. 1. If you are unsure of who she is, I suggest you first get out from under the rock you've been living, and second, Google her. You'll find raving review after raving review, seriously. I'm pumped for this, in case you couldn't tell.
I'm a fan of Hahn, obviously. I'm also a fan of her violin case. Yes, sounds odd, but it occasionally tweets about where it is, what it's seen, etc etc. Totally hilarious and awesome and unique. I love it.
Hahn recorded a video for the Houston Symphony Orchestra's blog recently, and you should check it out! She talks a lot about the Prokofiev (obviously) and it's cool to hear her thoughts on it, and get a glimpse in to her personality as well.
Also on the program is Britten's Four Sea Interludes from Peter Grimes, Elgar's Enigma Variations and Sospiri. Major good repertoire, my friends. So, if you aren't going for the Prokofiev (which makes you weird in my book), you have many other fantastic works to choose from. Be there!
I'm a fan of Hahn, obviously. I'm also a fan of her violin case. Yes, sounds odd, but it occasionally tweets about where it is, what it's seen, etc etc. Totally hilarious and awesome and unique. I love it.
Hahn recorded a video for the Houston Symphony Orchestra's blog recently, and you should check it out! She talks a lot about the Prokofiev (obviously) and it's cool to hear her thoughts on it, and get a glimpse in to her personality as well.
Also on the program is Britten's Four Sea Interludes from Peter Grimes, Elgar's Enigma Variations and Sospiri. Major good repertoire, my friends. So, if you aren't going for the Prokofiev (which makes you weird in my book), you have many other fantastic works to choose from. Be there!
Monday, March 19, 2012
I'm Officially Addicted to the Houston Symphony Orchestra
I've been enjoying hearing the Houston Symphony Orchestra for the past year or so. I have always looked forward to going to concerts, and getting to know my new hometown orchestra. I haven't always felt chemistry with them, or felt that spark, but it finally happened this past weekend. I mean, I've heard them play SPECTACULAR concerts, but they've never fully gotten a hook in to my heart, as it were. This weekend that changed, and it was glorious.
Vasily Petrenko was conducting a program consisting of Elgar's Cockaigne (In London Town), Bruch's Violin Concerto no. 1 with Chloe Hanslip as soloist, and Prokofiev's Symphony no. 5. Right from the off in this interesting mix works there was a sense of real fire and vigor about the music. It was as if the orchestra had been hydrated and this program or conductor or who knows what, was like a tall glass of cold water, and revived them. There was energy galore, and it was intoxicating.
The Elgar was as much Elgar is, wonderfully pompous. It's a work that is to be performed nobly, and it was indeed, to the point of arrogance, and it was delightful. It kind of fit with Petrenko's conducting, which I found to be kind of arrogant as well--all though I don't hold that against him in any way, shape, or form---he was no doubt a major part of why the orchestra sounded so incredibly alive.
The Bruch was....well, Bruch. I shouldn't be so drab about it, really. Chloe Hanslip played very well (despite missing a few notes and having a rather tight vibrato) and after hearing that concerto played nearly all my life by my violinist friends and becoming sick of it, her rendition was actually refreshing. She creates a really beautiful and sweet sound on her instrument, and is to be commended for that, absolutely. I have a few recordings of hers, and I really enjoy them.
The jewel of the evening though, was the Prokofiev, and what a jewel it was. This is when the orchestra truly became alive! My enthusiasm was such that my date kind of worried for me slightly--as if he thought I might jump out of my seat to run up to the stage and kiss a musician or something. (I didn't do that, but if I could do that, I'd kiss all the brass, as they are my favourite section by far).
First I'll get the bad out of the way, before I continue you on about how awesome this performance was. The spirit, the emotion, the intention was all there in spades, and was that that really got me hooked--the mistakes and issues didn't stop that. (they are however, on my mind quite a bit).
As I've said before, the first violins are the orchestras weakest section. And this symphony unfortunately showcased their weakness a lot. Intonation issues were everywhere, and compared to every other section in the orchestra, they put out a rather wimpy sound. They lack conviction, and confidence. I really hope this is issue is being addressed. This is a problem I have heard with them at most concerts, sadly.
The cello choir part of the fourth movement was also a bit of a mess. It's a big, exposed part, and I wonder if anyone actually took a part home to practice. Now, we all make mistakes and have the odd off day and whatnot, but when it's a major part like this, like an entirely exposed cello choir and it sounds bad, you have to wonder what was up. Everyone having a bad night at once? Probably not. Lack of preparation is more like it. Because it's such an out there part, it bothered me to hear it played so poorly.
OK, the bad is out of the way. On to the good.
Prokofiev said of this work that he intended it to be "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit." This work captures that so well, doesn't it? The themes of the first movement resonate his vision so incredibly well that they are nearly tangible. To hear the orchestra play it with such belief was breathtaking--literally. When I heard the trumpet soaring, my heart leapt, and I skipped a breath somehow. A hymn to free and happy Man indeed! The spirit of that was truly alive in the performance, and the spirit really made it's mark in the first movement.
The second movement was as if the orchestra had teeth, and weren't afraid to use them. Such a bite they had! It was on edge but never out of control, and it was EXCITING. It was cheeky at times too, which is quite appropriate, as Prokofiev was quite the cheeky composer at times, wasn't he?
The third movement was this strange yet pleasurable mix of sensual and creepy. I had goosebumps for this entire movement, quite literally. It was actually scary at a point too, when it comes to that huge climactic part (if you know the work, you know exactly what I speak of). The orchestra REALLY dug in for this movement. They seriously dug up every bit of energy and emotion they had and poured it in to every measure. It was so satisfying to hear the work played with such integrity.
The fourth movement rounded it all up well (with the exception of the cello choir intro). This is what got me--Prokofiev wants to take you to all these different places, emotionally, and does so with such incredible lines and themes, and he does it all the way. There's nothing half-way about his writing, and the playing really has to match that for his works to come alive. The orchestra didn't just match that, but exceeded it. Talk about bringing your A game! I was beside myself by the time the fourth movement came around. I was so taken in by such a range and depth of expression in the orchestra, and then to have it all rounded up and reiterated to me in the fourth movement that I really felt like the orchestra reached out and grabbed me. It was as if they were saying "Look what we can bring, look what we can do, look at this extreme". I was mesmerized by this performance.
I am an addict for performances like this one. This is why I make boring 4-10 hour drives to hear orchestras. This is why I hop on planes to head to another city just for a night to hear a work. I am addicted to hearing hearts and souls poured in to works. I am addicted to goosebumps that don't go away. I am addicted to being addicted to performances, if that makes sense. I'm addicted to the desire to run up and kiss entire sections (be thankful I don't actually do that). I got all the fixes I needed on Friday night with the Houston Symphony Orchestra, and I want to come back for more of it. Not just to come back and get to know the orchestra a bit more, although I do want to do that.
I want my fix though! That's what I'm after, Houston Symphony Orchestra, and you provided it Friday night, and I hope you can continue providing it!
Vasily Petrenko was conducting a program consisting of Elgar's Cockaigne (In London Town), Bruch's Violin Concerto no. 1 with Chloe Hanslip as soloist, and Prokofiev's Symphony no. 5. Right from the off in this interesting mix works there was a sense of real fire and vigor about the music. It was as if the orchestra had been hydrated and this program or conductor or who knows what, was like a tall glass of cold water, and revived them. There was energy galore, and it was intoxicating.
The Elgar was as much Elgar is, wonderfully pompous. It's a work that is to be performed nobly, and it was indeed, to the point of arrogance, and it was delightful. It kind of fit with Petrenko's conducting, which I found to be kind of arrogant as well--all though I don't hold that against him in any way, shape, or form---he was no doubt a major part of why the orchestra sounded so incredibly alive.
The Bruch was....well, Bruch. I shouldn't be so drab about it, really. Chloe Hanslip played very well (despite missing a few notes and having a rather tight vibrato) and after hearing that concerto played nearly all my life by my violinist friends and becoming sick of it, her rendition was actually refreshing. She creates a really beautiful and sweet sound on her instrument, and is to be commended for that, absolutely. I have a few recordings of hers, and I really enjoy them.
The jewel of the evening though, was the Prokofiev, and what a jewel it was. This is when the orchestra truly became alive! My enthusiasm was such that my date kind of worried for me slightly--as if he thought I might jump out of my seat to run up to the stage and kiss a musician or something. (I didn't do that, but if I could do that, I'd kiss all the brass, as they are my favourite section by far).
First I'll get the bad out of the way, before I continue you on about how awesome this performance was. The spirit, the emotion, the intention was all there in spades, and was that that really got me hooked--the mistakes and issues didn't stop that. (they are however, on my mind quite a bit).
As I've said before, the first violins are the orchestras weakest section. And this symphony unfortunately showcased their weakness a lot. Intonation issues were everywhere, and compared to every other section in the orchestra, they put out a rather wimpy sound. They lack conviction, and confidence. I really hope this is issue is being addressed. This is a problem I have heard with them at most concerts, sadly.
The cello choir part of the fourth movement was also a bit of a mess. It's a big, exposed part, and I wonder if anyone actually took a part home to practice. Now, we all make mistakes and have the odd off day and whatnot, but when it's a major part like this, like an entirely exposed cello choir and it sounds bad, you have to wonder what was up. Everyone having a bad night at once? Probably not. Lack of preparation is more like it. Because it's such an out there part, it bothered me to hear it played so poorly.
OK, the bad is out of the way. On to the good.
Prokofiev said of this work that he intended it to be "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit." This work captures that so well, doesn't it? The themes of the first movement resonate his vision so incredibly well that they are nearly tangible. To hear the orchestra play it with such belief was breathtaking--literally. When I heard the trumpet soaring, my heart leapt, and I skipped a breath somehow. A hymn to free and happy Man indeed! The spirit of that was truly alive in the performance, and the spirit really made it's mark in the first movement.
The second movement was as if the orchestra had teeth, and weren't afraid to use them. Such a bite they had! It was on edge but never out of control, and it was EXCITING. It was cheeky at times too, which is quite appropriate, as Prokofiev was quite the cheeky composer at times, wasn't he?
The third movement was this strange yet pleasurable mix of sensual and creepy. I had goosebumps for this entire movement, quite literally. It was actually scary at a point too, when it comes to that huge climactic part (if you know the work, you know exactly what I speak of). The orchestra REALLY dug in for this movement. They seriously dug up every bit of energy and emotion they had and poured it in to every measure. It was so satisfying to hear the work played with such integrity.
The fourth movement rounded it all up well (with the exception of the cello choir intro). This is what got me--Prokofiev wants to take you to all these different places, emotionally, and does so with such incredible lines and themes, and he does it all the way. There's nothing half-way about his writing, and the playing really has to match that for his works to come alive. The orchestra didn't just match that, but exceeded it. Talk about bringing your A game! I was beside myself by the time the fourth movement came around. I was so taken in by such a range and depth of expression in the orchestra, and then to have it all rounded up and reiterated to me in the fourth movement that I really felt like the orchestra reached out and grabbed me. It was as if they were saying "Look what we can bring, look what we can do, look at this extreme". I was mesmerized by this performance.
I am an addict for performances like this one. This is why I make boring 4-10 hour drives to hear orchestras. This is why I hop on planes to head to another city just for a night to hear a work. I am addicted to hearing hearts and souls poured in to works. I am addicted to goosebumps that don't go away. I am addicted to being addicted to performances, if that makes sense. I'm addicted to the desire to run up and kiss entire sections (be thankful I don't actually do that). I got all the fixes I needed on Friday night with the Houston Symphony Orchestra, and I want to come back for more of it. Not just to come back and get to know the orchestra a bit more, although I do want to do that.
I want my fix though! That's what I'm after, Houston Symphony Orchestra, and you provided it Friday night, and I hope you can continue providing it!
Monday, February 20, 2012
Houston Symphony Orchestra Goes in to Orbit
I am left scratching my head about this past weekend's Houston Symphony Orchestra performance. I raved on for a while in a previous entry about how much I was looking forward to this concert, and what an incredible program it was. I didn't mention it in the entry, but I was happy to know that Giancarlo Guerrero was conducting, as I am a fan of his--I have had the fortune to see him conduct in several different places, and have always been impressed. I've always been impressed, as you might have read before, with the Houston Symphony Orchestra. Yet this past weekend's concert didn't really grab me like I thought it would, and I'm sad about that.
The orchestra started off with a work they commissioned a few years back, Christopher Theofanidis' Rainbow Body. This was a very other-worldy piece to me. It had very beautiful elements of medieval chant, yet sounded sweetly enigmatic, graceful, and almost distant. It was very mesmerizing at times actually, much like when you go in to an old cathedral, and find yourself staring at the very high ceiling.
Copland's Appalachian Spring followed, and unfortunately this left a lot to be desired. My first issue was with the violins. I have found them to be one of the weaker, if not weakest, sections in the HSO. Intonation is a constant issue with them. So that put things off for me not long from when they started. Then, I don't know what it was, but there was real heart to the playing. The sweet spots just seemed kind of there, and the exciting moving parts had no real zing, no sense of life to them. I don't get it, because Guererro's conducting certainly was energetic. I don't understand the disconnect. Was it just me? Rarely do I ever question myself like this, but things just weren't computing for me.
The second half of the concert was the film with live orchestra, Orbit: And HD Odyssey, produced and directed by Duncan Copp. John Adams' Short Ride in a Fast Machine started things off. The film during this part was fascinating--it was of a NASA shuttle getting ready for takeoff, and its actual takeoff. It was fascinating to see, and I think the music fit it well. I wanted to be on my edge for this work, because I so often am when I hear it. Yet, I simply sat back. It wasn't the electric work I am used to hearing. It wasn't BAD, it just didn't have a groove to it, of sorts. Again, I was scratching my head. Well played, but no real soul.
The second half of the film was incredible footage of the earth from space, put to R. Strauss' Also Sprach Zarathustra. The footage really was stunning at times--the earth is so beautiful from space! Musically speaking, things were...ok. Again, no zest! I do think part of that was the tempos--I thought much of it was a tad on the slow side. However, I wonder if they had to play Also Sprach at a certain tempo to fit the video. Even so, however, the piece lacked the confidence, and dare I say, arrogance, that is needed to really pull the work off--any Strauss tone poem, really. Don't get me wrong, they played well in general. The brass section as usual, killed it. (that's a good thing). The winds worked their tails off. The strings overall were great. (again, violin issues). Yet there was no bravado....no macho-ness to the performance. The crowd disagreed with me, and leapt to their feet. Then, after a lot of clapping, Guerrero decides to do an encore, and they play the Adams work again. This time however, there was some serious zest to it, some life, some spark! Perhaps it was the high that comes off of playing Also Sprach, who knows. (I have been fortunate enough to play that with an orchestra in college...afterwards I believed that I could beat up several lions with my bare hands.) The encore was fantastic--much better than the first time around. I really dug it, and again, so did the audience.
So, for me, it was an odd concert. It was filled with favourites of mine, with a conductor I really dig, and an orchestra I enjoy too, yet the pieces didn't seem to fit together as well as they could. I'm left scratching my head.
However, I'm also left looking forward to hearing the Houston Symphony Orchestra again. I'm slowly but surely getting to know them a bit better, and am looking forward to hearing them more and more.
The orchestra started off with a work they commissioned a few years back, Christopher Theofanidis' Rainbow Body. This was a very other-worldy piece to me. It had very beautiful elements of medieval chant, yet sounded sweetly enigmatic, graceful, and almost distant. It was very mesmerizing at times actually, much like when you go in to an old cathedral, and find yourself staring at the very high ceiling.
Copland's Appalachian Spring followed, and unfortunately this left a lot to be desired. My first issue was with the violins. I have found them to be one of the weaker, if not weakest, sections in the HSO. Intonation is a constant issue with them. So that put things off for me not long from when they started. Then, I don't know what it was, but there was real heart to the playing. The sweet spots just seemed kind of there, and the exciting moving parts had no real zing, no sense of life to them. I don't get it, because Guererro's conducting certainly was energetic. I don't understand the disconnect. Was it just me? Rarely do I ever question myself like this, but things just weren't computing for me.
The second half of the concert was the film with live orchestra, Orbit: And HD Odyssey, produced and directed by Duncan Copp. John Adams' Short Ride in a Fast Machine started things off. The film during this part was fascinating--it was of a NASA shuttle getting ready for takeoff, and its actual takeoff. It was fascinating to see, and I think the music fit it well. I wanted to be on my edge for this work, because I so often am when I hear it. Yet, I simply sat back. It wasn't the electric work I am used to hearing. It wasn't BAD, it just didn't have a groove to it, of sorts. Again, I was scratching my head. Well played, but no real soul.
The second half of the film was incredible footage of the earth from space, put to R. Strauss' Also Sprach Zarathustra. The footage really was stunning at times--the earth is so beautiful from space! Musically speaking, things were...ok. Again, no zest! I do think part of that was the tempos--I thought much of it was a tad on the slow side. However, I wonder if they had to play Also Sprach at a certain tempo to fit the video. Even so, however, the piece lacked the confidence, and dare I say, arrogance, that is needed to really pull the work off--any Strauss tone poem, really. Don't get me wrong, they played well in general. The brass section as usual, killed it. (that's a good thing). The winds worked their tails off. The strings overall were great. (again, violin issues). Yet there was no bravado....no macho-ness to the performance. The crowd disagreed with me, and leapt to their feet. Then, after a lot of clapping, Guerrero decides to do an encore, and they play the Adams work again. This time however, there was some serious zest to it, some life, some spark! Perhaps it was the high that comes off of playing Also Sprach, who knows. (I have been fortunate enough to play that with an orchestra in college...afterwards I believed that I could beat up several lions with my bare hands.) The encore was fantastic--much better than the first time around. I really dug it, and again, so did the audience.
So, for me, it was an odd concert. It was filled with favourites of mine, with a conductor I really dig, and an orchestra I enjoy too, yet the pieces didn't seem to fit together as well as they could. I'm left scratching my head.
However, I'm also left looking forward to hearing the Houston Symphony Orchestra again. I'm slowly but surely getting to know them a bit better, and am looking forward to hearing them more and more.
Monday, February 13, 2012
Houston Symphony Orchestra: Orbit - An HD Odyssey
The Houston Symphony Orchestra is offering up a seriously cool concert this weekend, entitled "Orbit-An HD Odyssey". It had a visual component to it, which is what helps make it such an interesting and inviting concert.
But first off, the repertoire is simply killer. Richard Strauss' Also Sprach Zarathustra. Aaron Copland's Appalachian Spring. John Adams' Short Ride in a Fast Machine. (There's another work on the program that I'm not familiar with, Christopher Theofandis' Rainbow Body) I've been so fortunate as of late to hear programs that are right up my alley, and this is another one of those. I just want to kiss whoever put these tunes together!
In addition to good music, there will be high definition images shown, of NASA missions to Earth's orbit. This will be quite a bombardment of the senses--aurally AND visually stimulating!
I think the combo of the visuals AND the absolutely killer program makes this concert one that you shouldn't miss out on. Get your tickets here!
But first off, the repertoire is simply killer. Richard Strauss' Also Sprach Zarathustra. Aaron Copland's Appalachian Spring. John Adams' Short Ride in a Fast Machine. (There's another work on the program that I'm not familiar with, Christopher Theofandis' Rainbow Body) I've been so fortunate as of late to hear programs that are right up my alley, and this is another one of those. I just want to kiss whoever put these tunes together!
In addition to good music, there will be high definition images shown, of NASA missions to Earth's orbit. This will be quite a bombardment of the senses--aurally AND visually stimulating!
I think the combo of the visuals AND the absolutely killer program makes this concert one that you shouldn't miss out on. Get your tickets here!
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