Concert Review: Husbands, Wives and Dictators

Alan Gilbert conducts the New York Philharmonic.
by Paul J. Pelkonen

Husband and wife: Lisa Batiashvili (left) and oboist François Leleux.
Photo courtesy the New York Philharmonic.

Wednesday night at the New York Philharmonic was no ordinary concert. This is the last time that New York gets to hear its hometown band until May, as the orchestra is about to embark on a massive European tour. Also, it occurred following the appointment of Frank Huang as the band's new concertmaster, a post that will begin in the Fall. Finally, it marked the U.S. premiere of Thierry Escaich's Concerto for Violin and Oboe, sandwiched between works by Bach and Shostakovich.

Concert Review: Once the Hammer Dropped

David Zinman conducts the New York Philharmonic.
by Paul J. Pelkonen

New York Philharmonic Artist in Residence Lisa Batiashvili.
Photo by Chris Lee © 2015 The New York Philharmonic.

It began with the blow of a hammer.

"It," in this case was Thursday night's New York Philharmonic concert at Avery Fisher Hall, the first of three this week. The hammer-blow marked the start of the first work on the program: Iscariot, a 13-minute tone poem by outgoing composer-in-residence Christopher Rouse, a 1989 work that was receiving its first Philharmonic performance. David Zinman was this week's guest conductor, in a program that also featured 20th century compositions by Samuel Barber and Sergei Rachmaninoff.

Concert Review: Meet the Residents

Christopher Rouse and Lisa Biatashvili at the New York Philharmonic. 
by Paul J. Pelkonen

Lisa Batiashvili and friend.
Photo courtesy the Berlin Philharmonic.

The residency program, an announced affiliation with an artist or composer is a key component of schedule-building for large orchestras. At the New York Philharmonic, resources are deep enough to allow the orchestra to have both an artist-in residence (this year, violionist Lisa Batiashvili) and a composer-in-residence (for the past three years, Christopher Rouse). This week's program, heard on Saturday night at Avery Fisher Hall allowed listeners to experience both.

Concert Review: In the Brisk Mid-Winter

Alan Gilbert conducts the New York Philharmonic.
by Paul J. Pelkonen

Lisa Batiashvili nd friend. Photo by Anja Meara © 2013 Deutsche Grammophon.

There are two ways for a modern symphony orchestra to play Beethoven. An orchestra can make his music the main focus, usually featuring at least one of the symphonies and maybe a concerto. The other: juxtaposing Beethoven with other composers, putting his work in context. This week's Philharmonic program (heard Friday night under the baton of music director Alan Gilbert) took the latter approach, alternating Beethoven compositions with works by Shostakovich and Gershwin.

Concert Review: The Gifts of Prometheus

Yannick Nézet-Séguin brings Beethoven to Mostly Mozart.
by Paul J. Pelkonen

Yannick Nézet-Séguin. Photo by Chris Alonso.

On Thursday night, the Chamber Orchestra of Europe gave the first of two Mostly Mozart concerts this year under the baton of Yannick Nézet-Séguin. The fiery young Québécois (who is about to start his first season as Music Director of the Philadelphia Orchestra) led energetic accounts of two Beethoven war-horses: the Violin Concerto (with soloist Lisa Biatishvili) and the Eroica Symphony.

Both pieces (staged on the modest, acoustically crisp stage of Alice Tully Hall) were exceptionally well played by this fine London ensemble, which recorded the complete symphonies 20 years ago under period specialist Nikolaus Harnoncourt. The modest orchestra has some instrumental quirks: small copper-kettle timpanis and a penchant for slide trumpets. This was epic Beethoven: a performance that attendees can annoy their friends (by bragging about) it a decade from now.