Submit Content  |  Subscribe  |  Customer Service  |  Place An Ad 
* Weather * Events * Visitor's Guide * Classifieds * Jobs * Cars * Homes * Apartments * Shopping * Dating
*
Cincinnati.Com
Blogs

*
*
*

Cincinnati.Com

NKY.com
Enquirer
CiN Weekly
Community Press & Recorder
cincyMOMS.com
CincinnatiUSA
Data Center
*
*
*
*
*

*
Classical Music
Janelle Gelfand on the classical music scene


Janelle's pen has taken her to Japan, China, Carnegie Hall, Europe (twice), East and West Coasts, and Florida. In fact, Janelle was the first Enquirer reporter to report from Europe via e-mail -- in 1995.

Janelle began writing for the Cincinnati Enquirer as a stringer in 1991 while writing a Ph.D. dissertation in musicology at the University of Cincinnati College-Conservatory of Music. She joined the Enquirer staff in 1993.

Born and raised in the San Francisco Bay Area, where she graduated from Stanford University, Janelle has lived in Cincinnati for more than 30 years. In her free time, this pianist plays chamber music with her circle of musical friends in Cincinnati.

She covers the Cincinnati Symphony, May Festival and Cincinnati Opera, the Cincinnati Chamber Orchestra, chamber music ensembles, and as many recitals and events at CCM and NKU as possible.

Powered by Blogger

Saturday, September 30, 2006

Bruckner a pleasant surprise

OK, so I'm not the biggest Bruckner fan! Here's Friday night's symphony review in case you missed it:

The saying goes that Bruckner wrote the same symphony nine times, as conductor Paavo Järvi noted in his introduction to Bruckner's Symphony No. 6 Friday night. That myth, and a canceled soloist, may have kept the crowds away from the Cincinnati Symphony Orchestra concert in Music Hall.

It's too bad, because, despite the odds, it turned out to be an exceptional evening. The brilliant American cellist Alisa Weilerstein stepped in for Truls Mork to play the Schumann Cello Concerto on a few days notice, and Järvi and the musicians made a case for Bruckner's Sixth that would rival even the most majestic recording.

At just 24, Weilerstein has already been tapped as one of America's most promising young stars. The Cleveland Institute of Music graduate is one of the most individual voices you'll ever hear on the cello, and she tackled Schumann's Concerto in A Minor with a mixture of assured virtuosity and a large dose of emotion.

Although beauty of sound is not the first thing one notices about her playing, Weilerstein is an expressive player who makes her cello speak in a soulful, almost vocal manner. Her performance was an emotional journey that seemed to echo the composer’s tormented psyche, with a throbbing vibrato and freely rhapsodic phrases.

It was an arresting interpretation. The orchestra’s collaboration, though understated at first, richly underscored her playing.

Bruckner's Symphony No. 6 in A Major is one of the least played of his symphonies, but it may, in fact, be the most attractive. High drama (in brass and timpani) and rhythmic complexity are its hallmarks. Yet its appeal is a lyricism and intimacy one usually doesn’t associate with the Austrian composer.

Järvi found this balance of light and dark, and the orchestra rose to the occasion with truly stunning playing. The opening "Maestoso" had powerful brass climaxes of great, organ-like sonorities, balanced by moments of beauty that at times echoed Mahler in character.

The heart of this work is the slow movement. Järvi gave it a deeply felt reading, with beautifully shaped phrases and luminous strings, enhanced by contributions from acting principal oboist Shea Scruggs.

The somewhat quirky scherzo, with its mixture of brass fanfares, timpani rolls, horn calls and ringing cut-offs, somehow all made sense. Järvi brought the work to summation in a finale that was driving yet spacious, and the grandiose brass sound was something to behold.

The conductor opened the program with a work by his countryman, Estonian composer Eduard Tubin, and spoke in pre-recorded "First Notes" about the composer who was a family friend. His Symphony No. 11, left unfinished at his death in 1982, was a fascinating work that echoed many influences, from Carl Nielsen to the Russians and even, perhaps, Holst's "The Planets." It featured bold assertions in brass and timpani, angular themes and surprisingly lush strings.

The program repeats at 8 p.m. today. Tickets: 513-381-3300, or click here.
E-mail jgelfand@enquirer.com.


0 Comments:

Post a Comment*

* Our online blogs currently are hosted and operated by a third party, namely, Blogger.com. You are now leaving the Cincinnati.Com website and will be linked to Blogger.com's registration page. The Blogger.com site and its associated services are not controlled by Cincinnati.Com and different terms of use and privacy policy will apply to your use of the Blogger.com site and services.

By proceeding and/or registering with Blogger.com you agree and understand that Cincinnati.Com is not responsible for the Blogger.com site you are about to access or for any service you may use while on the Blogger.com site.

<< Home


Blogs
Jim Borgman
Today at the Forum
Paul Daugherty
Politics Extra
N. Ky. Politics
Pop culture review
Cincytainment
Who's News
Television
Roller Derby Diva
Art
CinStages Buzz....
The Foodie Report
cincyMOMS
Classical music
John Fay's Reds Insider
Bengals
High school sports
NCAA
UC Sports
CiN Weekly staff
Soundcheck


Site Map:   Cincinnati.Com |  NKY.com |  Enquirer |  CiN Weekly |  CincinnatiUSA
Customer Service:   Search |  Subscribe Now |  Customer Service |  Place An Ad |  Contact Us
Classified Partners:   Jobs: CareerBuilder.com |  Cars: cars.com |  Homes: HOMEfinder |  Apartments: apartments.com |  Shopping: ShopLocal.com
Copyright © 1996-2005:   Use of this site signifies agreement to terms of service and privacy policy updated 10/05/2005