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Author: Paul Hertelendy

GOING TO BAT FOR BARTOK  

GOING TO BAT FOR BARTOK  

What were the outstanding orchestral works reacting with eloquence to tragedy or major losses of life in the 20thcentury? Berkeley composer John Adams cited several of them in writing for New Yorker magazine (dated Dec. 11), pieces written by Shostakovich, Schoenberg, Britten and Richard Strauss, in reaction to massive losses of life in world wars. He also emphasized his own turning down a commission to write a 9/11 piece, saying it was too immediate for New York City itself, with…

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THE CHRIST CHILD, WITH LATINO PERSPECTIVES

THE CHRIST CHILD, WITH LATINO PERSPECTIVES

STANFORD, CA—A touring concert version of John Adams’ Christmas oratorio showed both strengths and weaknesses as presented here by AMOC, alias the Julia-Christian show. The touring version, “El Niño: Nativity Reconsidered” had to be streamlined, deleting the original film supplement to “El Niño,” along with some of its impact portraying the plight of today’s migrating Latinos as seen through the lens of the Bible. It is a close-to-the-vest neoclassical piece crying out loudly for a choral component. Adams’ closest “relative”…

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CHORUS: DOZENS UPON DOZENS

CHORUS: DOZENS UPON DOZENS

MILL VALLEY, CA—Singing on pitch with no instrumental guidance is the trademark of the all-male Chanticleer ensemble, back home in Northern California for some dozen holiday concerts by these dozen male virtuosos of the ever-changing “Chanticleer Christmas” program. The wondrous group is offering holiday pieces written at the time of Columbus’ journeys right up to living composers and modern spirituals, spanning at least seven nations and three languages. The very breadth of the repertory changing every year is mind-boggling. The…

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HYBRIDIZING ‘DIDO AND AENEAS’

HYBRIDIZING ‘DIDO AND AENEAS’

SAN FRANCISCO—The imposing early English opera “Dido and Aneas” by Purcell came to us with an incomplete score for string orchestra. In an important U.S. premiere, the latest completion comes to us via Errollyn Wallen’s “Dido’s Ghost,” unveiled by Philharmonia Baroque at the Herbst Theatre in a semi-staged version. It turns a torso into an engrossing masque-opera of great vitality running nearly two hours in length, assuming you can follow the complex interweave of characters. Purcell’s 17th-century drama, based on…

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FIRES, FORESTS AND CRINGE-WORTHY EXERCISES  

FIRES, FORESTS AND CRINGE-WORTHY EXERCISES  

The weekend’s S.F. Symphony programs were downbeat more than upbeat leaving little to cheer about except the robust SFS Chorus under Jenny Wong. Well, maybe not that either. “Yes, they sang in Russian, but you couldn’t understand much of it,” a patron fluent in Russian divulged. This was the masterful oratorio of a Russian celebration by Igor Stravinsky, “Les Noces” (the Wedding), telling his century-old tale in his staunch neoclassical way, with soprano Lauren Snouffer playing the lead role of…

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RADICAL INVENTIVENESS IN STRING FOURSOMES

RADICAL INVENTIVENESS IN STRING FOURSOMES

BERKELEY—Striking enough were the unruly progressive touches in the Beethoven E Minor (“Razumovsky”) string quartet. On top of that came another four-movement string quartet, “Flow,” by Nokuthula Endo Ngwenyama, 47, breaking traditional bounds and expanding sonic boundaries with her world premiere. All this was poured out by the veterans of the Takács Quartet before a sizable audience at Hertz Hall on the UC campus Nov. 12, with the premiere composer in attendance. Enigmatic music is the new composer’s hallmark, giving…

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NEW AND NOVEL SOUNDS

NEW AND NOVEL SOUNDS

BERKELEY—-With some 100 groups participating, the California Festival: A Celebration of New Music  sprang to life with a bang as the San Francisco Symphony visited the Berkeley with all-modern music that was well-attended—a daring concert venture indeed. When it came to the world premiere, the students in the house were vociferous in their enthusiasm, perhaps most responsive to the rock-music blended into the orchestra by the black composer Jens Ibsen with his “Drowned in Light.” In his stimulating quarter-hour two-movement…

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FOLKSINGER’S MIDAS TOUCH WITH OPERA

FOLKSINGER’S MIDAS TOUCH WITH OPERA

The latest sensation in opera is the unorthodox “Omar,” written by the polymath folksinger Rhiannon Giddens, winner of a Pulitzer, MacArthur “genius” award and Grammy. With co-composer Michael Abels, she turned out the multicultural drama now staged at the San Francisco Opera. It is based on the true story of Omar ibn Sayyid, a 19th-century African-Arab Islamic savant and author who had been forced into slavery and shipped off to the cotton fields. The work is unique in opera annals,…

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BEETHOVEN’S 9TH, GALLOPING IN WHEN MOST NEEDED: A NIGHT TO TREASURE

BEETHOVEN’S 9TH, GALLOPING IN WHEN MOST NEEDED: A NIGHT TO TREASURE

It was a night all will recall, dripping with nostalgia and sentiment as the semi-retired MTT returned to conduct Beethoven’s Ninth Symphony. With the elderly, ailing podium laureate back, the tributes by the full house were never more pronounced. Yes, a love-in, by any measure. And with not one but two wars raging on the far side of Earth, never were Beethoven’s choral messages of hope, “All men will be brothers,” with the following “Be embraced, ye millions,” more needed….

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THE NEW CONCERTO: A MINI OR A MAXI?

THE NEW CONCERTO: A MINI OR A MAXI?

The whirlwind known as the Swedish composer Anders Hillborg sprang his world-premiere “MAX” Concerto (No. 2, if you’re keeping count) on the world Oct. 12. It’s a curious piece, just 21 minutes long, in a single movement. By today’s standards, that might be identified as a mini-concerto for piano, offering subsections entitled Toy Piano, Soft Piano, Hard Piano, Ascending Piano, Mists and “Chorales and Echo Chamber,” with quasi-baroque segments. It’s like a salad containing delectable components from all over the…

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