Concert Review: Sticking to his Strengths

The Vienna Philharmonic plays Mozart and Bruckner.
by Paul J. Pelkonen

The conductor Franz Welser-Möst.
Photo by Nikolaus Similache.© 2012 The Cleveland Orchestra.

For the second concert of the Vienna: City of Dreams Festival, the Vienna Philharmonic and conductor Franz Welser-Möst chose a program squarely in the comfort zone of this storied orchestra. Symphonies by Mozart (No. 28) and Bruckner (No. 6) framed the first Carnegie Hall performance of a Johannes Maria Staud's On Comparative Meteorology. This was an ambitious program for Mr. Welser-Möst, as the symphonies chosen are rarely played in concert.

Concert Review: Peace, Love and Beethoven

The West-Eastern Divan Orchestra plays Carnegie Hall.
by Paul J. Pelkonen

Daniel Barenboim. Photo © 2013 EMI Classics.

This past week at Carnegie Hall featured one of the most eagerly anticipated events of this young calendar year, four concerts by Daniel Barenboim and the West-Eastern Divan Orchestra. Founded by the Israeli conductor in 1999, the orchestra is an assemblage of young musicians from Spain, Israel, Palestine and other Middle Eastern countries. Its goal: promoting peace, love and understanding between the peoples of the Holy Land through Western classical music.

For these concerts, Mr. Barenboim chose the nine symphonies of Ludwig van Beethoven, which range from wry humor to inconsolable rage, ending in the profound, mystic choral finale of the Ode to Joy. This review is of Saturday performance, which featured the Sixth and Seventh Symphonies, and the Sunday matinee with the Second and the Ninth.

Mr. Barenboim's conducting has been a matter of divided opinion over the course of a long podium career. Like his hero Wilhelm Furtwängler, Mr. Barenboim takes a loose, organic approach to the tempo of a piece, with the result of unusually fast or slow music-making. Occasionally he will bend and scoop the air, drawing a swell from a particular section, or point and thrust with his baton to indicate volume from a woodwind. Otherwise, he appeared almost nonchalant, leaning back and letting the orchestra do their jobs without vigorously beating time.

Concert Review: The Philosopher's Stone

Christoph Eschenbach conducts Bruch and Bruckner.
by Paul J. Pelkonen

Knowing the score: conductor Christoph Eschenbach.

This week's New York Philharmonic concerts bring together the Romantic violin flourishes of Max Bruch with the staid, cathedral-like sound of Anton Bruckner. At first look, the two composers have nothing in common except for the first four letters of their last names.

It was the task of conductor Christoph Eschenbach to bridge these two very different sound-worlds. He accomplished that by juxtaposing Bruch's Violin Concerto, a stirring, Romantic favorite with the Bruckner Sixth, the shortest and least performed of the Austrian composer's mature symphonies. On Wednesday night, the two works proved to have a potent one-two punch under Mr. Eschenbach, the pianist-turned-conductor who currently heads the National Symphony Orchestra in Washington D.C.

For the concerto, the orchestra was joined by Pinchas Zukerman. Mr. Zukerman played the solo part with rich low tones and a supple sound that swelled in volume as it rose in pitch.Mr. Eschenbach kept the concerto flowing smoothly forward from the Introduction to the central Adagio, supporting the soloist with rich color in the brass and woodwinds. The strings formed a lush support for the solo line in this slow movement, allowing Mr. Zukerman room to expand the central theme. The final Allegro dance allowed fresh opportunities for virtuoso flights and rhythmic drive as Mr. Eschenbach led the orchestra in Bruch's kinetic dance.