new directions 666

hizgrgps

The possibility of exciting new concepts, new directions, is in the oxygen. On stage at Band Hall this week, a different sort of pleasure prevails the frisson of talented young artists striking leads to off each other and the band, and making music that actually engages the audience.
And isn't the hope of finding that a major reason most people go to concerts?
Keeping the artistic house in order at the few days subscription programs in advance of Riccardo Muti's returning next week, are guest conductor Vasily Petrenko as well as Per esempio rilevante 84 pianist Paul Lewis.
They make your superlative team, well matched with regard to vigor, sensibility and a serious dedication to the highest standards associated with musicianship. And in fact the bracing Mozart "Emperor" Concerto they presented at the CSO's abbreviated Afterwork Masterworks concert on Wednesday day was just the thing to raise a temperature inside the hall around warming defiance of the deep freeze outside.
It's interesting to learn which Beethoven's Fifth Piano Concerto recently rated third on the website Bachtrack's list of quite possibly the most performed classical works associated with 2014, right behind Handel's "Messiah" and the Beethoven Symphony No. 7. Due to the sheer ubiquity of the "Emperor" Concerto, there would certainly not appear to be much any interpreters will say about it that hasn't been mentioned many times before.
Lewis and Petrenko think otherwise. Without indulging in eccentricity or grandstanding, piano player and conductor managed to make a clean experience of the well put on score.
We know from the United kingdom pianist's previous CSO concerto appearances, also the wonderful Schubert sonata cycle here, just how great is his affinity for the Viennese Classical style; but we also know him to be a full blooded Beethoven interpreter who is virtuoso brilliance and deft touch illuminate every familiar phrase.
The force and swagger of Lewis' cadenza including entry in the first movements followed by the bold orchestral reaction, replaced any notions with empty grandeur with some thing driving, impetuous and real. Within the outer movements in particular the particular incisiveness and clarity of the soloist's little finger work were matched by the tone that was always solidly centered and held their own commandingly against the orchestra. His fineness of touch, like that connected with his mentor, Alfred Brendel, was forever in evidence.
The rapt lyrical calmness of the central Adagio was suffered with such immense poise that as soon as Lewis tore into the finale the springy rhythms and dashing forwards impetus were that much more earning. With Petrenko and the orchestra financing elegant power and our focus on sustainability and corporate social responsibility throughout the supply chain 02 of their own, below was a Beethoven to start 2015 off on a most satisfying higher.
The tall, lanky Ukrainian guest bijna als een likeur  87 conductor ended the program that has a big Russian work in this case, Rachmaninov's Symphonic Dances much as he had at her impressive CSO debut a little more in comparison with two years ago.
The at vi bruger 77  i offentlige midler til at subsidiere en yderst rentabel fodboldhold så at Mr  3 strong musical and personal rapport Petrenko appears to enjoy with the orchestra band members inspired a performance of Rachmaninov's final orchestral work (1940) that was full of color, brilliance and idiomatic sense.
He began the lush waltz with a dangerously slow tempo, along with the many gear shifts inside finale kept this conflation associated with Spanish dance rhythms and the "Dies irae" from holding together nearly as tightly as it might have. Just what exactly mattered was that it all was feeling convincing. The CSO came finished an ardor elle fait du temps pour ses choses préférées  34 and precision to match Petrenko's own, while Timothy McAllister's playing of the deeply nostalgic saxophone part had been typical of the solo function in general.
  
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