PinchasZukermanperformedBeethoven’sViolinConcertowithMichaelTilsonThomasandtheNewWorldSymphonySaturdaynightattheArshtCenter.Photo:CraigHall/New

WorldSymphony

MTT and New World deliver inspired night of Copland and Beethoven By Lawrence Budmen WhentheNewWorldSymphonyisintopform,theMiami‐basedorchestralacademycanholditsownwithnearlyanymajororchestra.

TheensemblehasrarelysoundedbetterthanitdidSaturdaynightattheArshtCenter,offeringfinelytexturedBeethovenandasensationalperformanceofamajorAmericansymphonyunderthebatonofartisticdirectorMichaelTilsonThomas.PinchasZukermanwasthemajoraudiencedrawforaperformanceofBeethoven’sViolinConcertoinDMajor.Nowinhislatesixties,Zukermanhasbeenplayingfornearlyhalfacentury.Inrecentyears,hisperformanceshavesometimesseemedblandandmusicallyuninvolvedbut,withTilsonThomasurgingthesoloistandtheorchestraon,hegaveacommittedandsatisfyingreadingofthethrice‐familiarwork.Unlikesomeofhiscontemporaries,Zukerman’stechniqueisstillverystrongandhissingingtoneintact.ThedemandsofBeethoven’sviolinwritingweredispatchedwithconsiderablepanacheandaccuracy.TilsonThomashasalwaysbeenafineBeethovenconductorandhisperceptiveperformanceshaveonlydeepenedwithage.Theopeningorchestraltuttiwasclassicallyproportioned,themelodiclinesbalancedbyweightandincisivearticulation.Throughoutthe

Sunday, October 25, 2015

performance,Zukermanoftenplayedalongintheorchestralpassages.Thatextraheftcarriedoverintohisplaying.Inthefirstmovement,hecapturedthescore’slyricalessence,flavoredwithatouchofsinew.Zukermantorethroughthecadenzaatabriskclip,addingsomefiretotheleapsacrossthefingerboard.TilsonThomas’admirablyrestrainedorchestralintroductiontotheLarghettosetthestageforZukerman’sintimate,silkentonedrendition.ThefinalRondowasanAllegroindeed,fastandbouncywithplentyofbravuraintherapidfiremoments.Still,theevening’smajoreventwasTilsonThomas’terrificreadingofAaronCopland’sSymphonyNo.3.WrittenattheconclusionofWorldWarIIin1946,thesymphonyistheculminationofCopland’sAmericanaperiod.Coplandrecastthebuoyant,optimistictoneandfervorofhisballetscoresintoasymphoniccanvasswritlarge.ThismusicisinTilsonThomas’bloodstreamandheledasupple,dramaticandrousingperformance.Theopeningstringlines,basedonrepetitivequarternotes,wereshapedinlongarcs.TilsonThomasbuiltthebigclimaxeswithafirmhand,thebrasssoundclarionbutneverharsh.Throughoutthemovement,therewasbeautifuldetailingofinstrumentalstrands,especiallyinthesoftconcludingpages.TherewasatouchofShostakovichinTilsonThomas’pointingofthequirky

twistsintheboisterousAllegromoltosecondmovement.Thecontrastingmiddlesection,inthemannerofCopland’sdancescores,emergedwarmlysongful.Perhapsthesymphony’sheartisfoundinthethirdmovementAndantinoandtheeloquentstringplayinggavefullexpressiveforcetoCopland’sdarkermoments.Thefastsectionshadplentyofsnapandrhythmicfluidity.TilsonThomasbroughtoutCopland’slayeredtextures,thetwoharpstransparentandimportantfluteandbassoonpartsgivenprominence.Copland’sfamousFanfarefortheCommonManrangouttriumphantlyfromthebrasstolaunchthefinalewithhelpfromapotentpercussionbattery.Latin‐infusedrhythmshadplentyofenergyandorchestraltimbreswereclearandbalanced,thestringscomingthroughevenoverthefullensembleattheclimax.RussianconductorSergeKoussevitzkyconsideredCopland’sscorea“greatAmericansymphony.”WhenplayedwiththebrillianceandfervorofTilsonThomasandtheNewWorld,onecanonlyagree.Readmore:http://southfloridaclassicalreview.com/2015/10/mtt-and-new-world-deliver-inspired-night-of-copland-and-beethoven/

MichaelTilsonThomasandtheNewWorldSymphonypresented

“ASchumannJourney”FridaynightatNewWorldCenter.

New World Symphony serves up an ambitious and illuminating evening of Schumann By Lawrence Budmen TheNewWorldSymphony’sannualprogramsdevotedtoanoverviewoftheworksofasinglecomposerhavebeenconsistentlyfascinatingand

enlightening,withexcellentperformances,wellprepared.OnFridaynight,“ASchumannJourney”provedthemostambitiousofferingyetinthisseries.ArtisticdirectorMichaelTilsonThomascommentedonRobertSchumann’slifeandworksthroughoutthethree‐partprogramandrecordedreadingsofexcerptsfromthelettersanddiariesofRobertandClaraSchumann,Franz

Saturday, October 31, 2015

LisztandJosephJoachimwerejuxtaposedbetweenthenarrativeandmusicalselections.Familiarandless‐knownchamber,vocalandorchestralscoresillustratedthevarietyandscopeofSchumann’soutput.TheeveningculminatedinahighlyintenseperformanceoftheSymphonyNo.4inDminor.TilsonThomasnotedthatSchumann’sorchestrationsbecameincreasinglymurkyandhadspawnedadjustmentsandrearrangementsalmostsincethefirstperformances.Headdedthatheandtheorchestrahadexperimentedinrehearsalwithalterationstothesymphony’sinstrumentalcolorsandtextures.Thisrevisedversionsoundedbrighterandbigger,thestringlinesgaininglusterandcolorandthebrassyclimaxesregisteringwithgreaterimpact.Theperformance’svoltageandmomentumneverflagged.Eventhecontrastinglyricalmelodyinthefirstmovementwasimbuedwithunderlyingtension.InthesecondmovementRomanza,theoboesolowasplayedinastraightforwardmanner,bereftofunduesentimentality.ConcertmasterJuliaNoone’ssoaringtoneandelegantphrasingofthesolopassageswereadroitlyblendedwiththesurroundingtimbres.ThefasttempooftheScherzomayhavesetarecord,seemingalmostdevilishinthrust.ThesymphonywasprecededbytherarelyheardovertureTheBrideofMessina.Thiseight‐minuteworkfindsSchumannathisstormy,romanticzenith.ChristianReif,perhapsthe

NewWorld’smostgiftedconductingfellowtodate,ledabriskperformance,thetexturestransparentanddynamicsnicelyvaried.

RobertSchumann

Earlierintheevening,nolessthanfivepianoswereutilized—threeontheNewWorldCenter’smainplatformandtwoontheauxiliarybalconystages.AyaYamamotomayhavebeentheconcert’sheroine.SheopenedtheprogramwithstrongandagilereadingsofthreeofthePapillions.YamamotoandJohnWilsonshapedtheromanticthemeoftheAndanteandVariationsinlongphrases.ChangesoftempoweresmoothlyachievedandtheduoblendedskillfullywithcellistsAlexaCicirettiandAshtonLimandAlexanderLoveonFrenchhornforawell‐gaugedreading.

YamamotoalsowasastalwartpartnerforJoshuaHopkinsinfoursongsfromDichterliebe.TheCanadianbaritoneexhibitedawarmtimbreandeaseatthehighestandlowestextremes.HisardentreadingsofsomeofSchumann’sgreatestliederhadtheintimacyofaparlorperformancewhilegivingweightandexpressiontoHeinrichHeine’stexts.AtouchofedginessmarkedatraversalofthefinalmovementoftheStringQuartetNo.1inAminor,themusic’snervousenergyaccentuated.OboistMaxBlair’ssweettoneandflowingtempoinoneoftheThreeRomancesavoidedthesomnolenceoftenimpartedtothisvignette.StrandsofmelodyinanexcerptfromtheFairyTaleNarrationsprovidedafineshowcaseforclarinetistZacharyManzi’sdarkcoloring.

WithTilsonThomasandtheorchestra,HopkinsofferedabeautifulperformanceofDr.Marianus’descriptionofheavenfromScenesfromGoethe’sFaust.Love,AnthonyDelivanis,DavidRaschellaandJoshCotescaledthehighrangeandlyricallinesbrilliantlyinasectionfromtheKonzertstückforFourHorns.Readmore:http://southfloridaclassicalreview.com/2015/10/new-world-symphony-serves-up-an-ambitious-and-illuminating-evening-of-schumann/

EmanuelAxperformedBeethoven’s“Emperor”concerto

SaturdaynightwiththeNewWorldSymphony.Photo:Lisa‐MarieMazzucco

Ax, Heras-Casado deliver grandeur and excitement with New World Symphony By Lawrence Budmen AshewalkedonstageSaturdaynight,white‐hairedandslightlybent,EmanuelAxmaynothaveseemedan

obviouscandidatetoperformoneoftheworld’smostheroicpianoconcertos.YetwhenhesatatthekeyboardattheArshtCenterinMiami,herolledoutthesweepingopeningoftheBeethoven’sPianoConcertoNo.5,knownasthe“Emperor,”withanauthorityandgrandeurfewpianistscouldmatch.Whatfollowedwasanexemplaryperformanceofthispopularwork,bigandextroverted,butwithafeelingfornuanceandlyricism.AxperformedwiththeNewWorldSymphonyledbyPabloHeras‐Casado,principalconductoroftheOrchestraofSt.Luke’sinNewYork.ThetheSpanishconductorhasservedasguestconductorwithmanyoftheworld’sgreatorchestras,aswellastheMetropolitanOpera.Attheageof66,Axhasretainedhisformidabletechnique.TheoutermovementsoftheconcertowereexhilaratingexpressionsofBeethovenathismostlife‐affirming,playedwithasturdyconfidencethatsuitedthemusic.Particularlymemorablewashisplayingofafirst‐movementpassageinwhichheplaysthemainthemewithhisrighthandagainstathundering

Sunday, March 6, 2016

accompanimentofdownwardscalesinhisleft.ButplayingBeethovenisnotjust,ormainly,amatterofplayingloudandfast.Axplayedwithsubtletonecolors.Hebroughtajeweler’sprecisiontoaminor‐keyinterludeinthefirstmovement,drawingfromthepianoascloseanimitationofwoodwindinstrumentsasyou’relikelytohear.Andtheslowmovementwasamasterpieceofsustained,songlikeplaying.AxwillbebackinSouthFloridaMarch22forarecitalattheBrowardCenterinFortLauderdale.Theorchestragavearobust,butcompactaccompaniment.Heras‐Casadoappearedtotakeparticularpainstoemphasizethemomentsofquiettensionbeforethecloudsparted,makingtheconcerto’sbigmajor‐keythemescomeoffasthatmuchmoreaffirmative.Stringsgaveaglowingaccountoftheopeningthemeoftheslowmovement.Asanencore,Axgaveasereneandbig‐tonedperformanceofoneofBeethoven’smostfamousAdagios,thesecondmovementofthePianoSonataNo.8,knownasthe“Pathetique.”TheconcertopenedwithBartók’sDanceSuite,a1923workthatdrawsinspirationfromthefolkmusicofsoutheasternEurope.Heras‐Casadoledasuppleperformance,speedingupandslowingdowntheorchestrawithadance‐bandleader’ssenseofrhythm.Thisfolk‐inspiredmusic,passedthroughtheprismofBartók’sclassicaltraining,

cameoffasneithertoopristinenortooraucous.Theorchestra,withparticularlymuscularplayinginstringsandbrass,gaveapolishedperformancethatmaintainedanearthy,rhythmicspirit.

PabloHeras‐Casado

WhentheNewWorldSymphonycrossesBiscayneBaytoperformattheArshtCenter,italwaysprogramscelebritysoloists.ManypeoplehadapparentlyshownuponlytohearAx,judgingfromthenumberofemptyseatsafterintermission.TheymissedaresoundingperformanceofoneofDvořák’sgreatestorchestralworks,theSymphonyNo.7,apieceplayedlessfrequentlythatthetwosymphoniesthatwouldfollow.ThismusicmadethemostofNewWorld’splush,luxuriantorchestra

textures.Stringswererichbutwithasearingedgewhenrequired.Brasswereweightedandbrilliant,windsglowingandwarm.Inthestormyopeningmovement,Heras‐Casadodemandedawidedynamicrangefromtheorchestra–frompianissimotoblaring–thatgavegreatpowertoclimaxeswhentheycame.AfewtimessomeoftherichnessofDvořák’sorchestrawritinggotburiedundertheweightofthebrasssection,particularlythestrings,butinallitwasadramaticperformance,withafreneticexcitementatthecoda.Thefolk‐inspiredScherzowaspointedandgraceful,playedwithverveanddash.ThelastmovementprofitedfromthesenseofdramathatHeras‐CasadodisplayedintheBeethovenconcerto,ashedevelopedmomentofquiettensionandthenunleashedtheorchestraforaferociouscrescendo.Readmore:http://southfloridaclassicalreview.com/2016/03/ax-heras-casado-deliver-grandeur-and-excitement-with-new-world-symphony/

GeorgeCrumb’s“BlackAngels”wasperformedbyNew

WorldSymphonymembersSundayafternoon.

New World members offer a feast of rarities in chamber finale By David FleshlerThefouryoungmusiciansenteredinadarkenedstage.Asthelightscameup,theaudienceatNewWorldCentersawastringquartetequippedwithafewaccessoriesnotcalledforinthe18th‐century—gongs,rowsofgobletsandaclusterofelectronicspeakers.Theylaunchedintotheshrieking,shattered‐glasssoundofGeorgeCrumb’sBlackAngels,apathbreaking1970workinspiredbythecomposer’soppositiontotheVietnamWar,in

whatwouldbeacommittedperformancethatdidjusticetothetwisted,nightmarestyleofthemusic.BeforetheconcertSundayinMiamiBeach,MichaelLinville,theNewWorldSymphony’sdeanofchambermusic,cameonstageandofferedcongratulationstotheaudiencefor“yourcourageincomingtoaconcertbycomposersthatprobablymanyofyouhadneverheardofbefore.”Crumb’sworkisnotoneforperformerswhowouldprefertoremainwithinthequartetworldenvisionedbyHaydn.Thefourwomenonstagegaveafearlessperformanceofaworkthatrequiredthemtodrawtheirbowsagainstglassgoblets,produceelectronicallyamplifiedsoundswiththeirvoicesanddrawsomethingotherthanconventionallybeautifulsoundsfromtheirinstruments.TheworkisfullofdelicateEastAsia‐flavoredtones,putinoppositiontoWesternmusic.WhenviolinistMayaCohonplayedapassageindelicate,glassyharmonics,theotherviolinist,RebeccaReale,blasteditawaywithanassaultofchordsandruns.AmongthemosteffectivemomentswasthearrivalofaquotationfromSchubert’s“DeathandtheMaiden”quartet—the

Monday, April 18, 2016

musiciansbowedontheirfingerboardsnearthescrollsoftheirinstruments,producingauniqueenervated,ghostlyanddisorientingsound.TheconcertopenedwithAaronCopland’sCeremonialFanfare,aworkforbrassensemblecomposedtocelebratethe100thanniversaryoftheMetropolitanMuseumofArt.Aheroicsolotrumpetsoloturnsouttobeanattention‐gettingwayofopeningaconcert.Theworkalsocontainedsonorousmusicforfourhornsandgavetheaudiencethechancetohearthenot‐inconsiderablemelodicpossibilitiesofthetuba.TheAustraliancomposerCarlVine’sMiniaturesIII,isa1983workwrittenfortheoddcombinationofpiano,flute,percussionandtrombone.Theworkcontrastedpassageswithmanic,complexrhythmsandallinstrumentsbusy,withmoreinteresting,cool‐tonedsustainedsectionsthathadatouchofnight‐timejazzloungequality.Inthemelodiesofthesepassages,trombonistNicholasPlatoffcontributedtonesofgreatsonorityandstylethatneverdrownedouttheflute.TheAmericancomposerJenniferHigdon’sPianoTrio,writtenin2003,consistsoftwomovements,bothinspiredbyanattempttoportraycolorinmusic.Thefirstmovement,“PaleYellow,”wasbuiltaroundahomespunmelodythatwasalmostexcessivelysweet.PianistJohnWilsonplayedwithadelicatebutassuredtouchthatsuitedthisgentlemusic.ViolinistYupingZhou,despitesome

intonationissues,playedinasmoothandhoney‐tonedmanner.Theothermovement,“FieryRed,”wasademonic,perpetualmotionthatprovidedkeencontrast.ZhouandcellistMeredithBatesplayedinabrawny,hard‐drivingmanner,givingarousingperformanceofthis(more)effectivemovement.AlthoughthenameNinoRotamaynotbefamiliartomostAmericans,thatwouldnotbetrueofhismusic.HecomposedthehauntingscoresforTheGodfatherfilms.Healsocomposedsymphonies,concertosandoperas.ForhisNonet,thelastworkontheprogram,theNewWorldmusicianswerejoinedbyMartinChalifour,concertmasteroftheLosAngelesPhilharmonic.AfewghostsofTheGodfathercouldbeheardinthiswork,asmokychromaticfigureinthefirstmovementandthesonorous,swellingmelodyoftheAndante.Butforthemostpart,thiswaslight,cheerfulmusic,harkingbacktotheItalianoperamusicofthebelcantoerainsensibility,althoughharmonicallyitwasmoreup‐to‐date.Theensemblegaveafizzy,transparentperformance,withwell‐handledsolosinthewinds.Asfirstviolin,Chalifourkepttheperformancelightandenergetic,allowingRota’smelodicinventivenesstocarrytheday.Online:http://southfloridaclassicalreview.com/2016/04/new-world-members-offer-a-feast-of-rarities-in-chamber-finale/

MichaelTilsonThomasconductedtheNewWorld

SymphonySaturdaynightinmusicofSibeliusandBerlioz.

New World closes season with majestic Sibelius and vibrant Berlioz  

By David FleshlerTheNewWorldSymphonyopeneditsfinalweekendofseasonconcertsSaturday,withahugecrowdgatheredoutsidetowatchtheWallcastfromthelawn,indicatingthatthisisoneculturalinstitutionthatwillbesorelymissedoverthesummer.Theorchestra,whichservesasathree‐yeartransitiontothe

professionalmusicworldfortopconservatorygraduates,typicallyturnsoverathirdofitsmembershipoverthecourseofeachyear,asmembersgoontojobswithprofessionalorchestrasandotheremployment.Arecentannouncementoftheplansof18membersincludedjobswiththeAtlantaSymphony,HoustonGrandOpera,HoustonSymphony,AucklandPhilharmonic,PittsburghSymphony,SanFranciscoSymphonyandUtahSymphony.Theconcertopenedwithnotone,buttwo,Sibeliussymphonies.TheseweretheSixthandSeventh,thecomposer’sfinaltwoworksinthegenrebeforespendinghislastdecadesinmusicalsilenceinhiscountryhouseoutsideHelsinki.PackingtwoSibeliussymphoniesintothefirsthalfmayseemlikeanoddprogrammingchoice.ButtherewererewardstospendingsomuchtimeintheFinnishcomposer’ssoundworld.Onecouldsavortheintimacy,thebrassybombast,themelodicinvention,thecharacteristicuseofwoodwindsandotherunmistakableaspectsofhisorchestration.TheSixthbeginsandendsquietly,withthestrainsofviolins.AsdirectedbyTilsonThomas,thedynamicrange

Sunday, May 8, 2016

wasgreat,withoutburstsofbrassobliteratingquietmoments,yetlosingforceasthemusicpaled,weakenedandgrewfainter,foranoverallsenseofloss.AsenseofsunsetandelegyalsopervadestheSeventh,althoughthedepartureismoreextendedandbitterlyfought,moreinthemannerofMahler.Althoughsomeperformancesdrawoutmoreagonyfromthebrasslinesthatascendandfinallybreak,NewWorld’sperformanceeffectivelyconveyedthesenseofstruggleandhard‐wonpeacewithwhichtheworkends.UnderartisticdirectorMichaelTilsonThomas,thetwosymphoniesbothseemedsurprisinglyyouthful,withtheanthem‐likepassagescomingoffasmoreconvincingthanthebleak,Arctic,inward‐lookingones.Thecontrastsbetweenthetwoendsofthemusicwasparticularlymarked,withthebigbrasschoralesarrivingwithfloor‐shakingpower.Theorchestrawasintopform,withglowingtonescomingfromstringsandwoodwinds,andrefined,resonantonesfromthebrass.TheopeningoftheSixthwasparticularlyeffective,asausteretoneshighintheviolinsswelledwiththewarmthofwoodwindsandhorns.Inthequickthirdmovement,theorchestraplayedtherhythmicthemewithgreatprecision,awhip‐crackensembleunitythatsharplyenhanceditseffectiveness.Inthefinalmovement,afteraclimaxinthefullorchestra,thechorale‐liketonesoftheviolinsreturn,andTilsonThomasledalong

andeffectivefade‐outasthesymphonyquietlydisappeared.BeforeleadingaperformanceoftheSeventhSymphony,TilsonThomasgavebriefremarksinwhichhestatedthatforhimthesymphonywassodeepandslow‐movingthatitsoundedlike“theemotionalworldoftectonicplates.”Throughouttheperformanceofthissingle‐movementwork,therewasasenseofdeepundercurrents,asthemusicswelledtofortissimoandfadedback.Stringsandwoodwindsplayedwithaffectinggraceandlightnessinquickpassagesthatresolvedintoadarkmireofbrass.TrombonistNickPlatoffgaveafineperformanceoftherisingmajestictheme,playingwithweightedresonanceandsensitivity.Towindupitsseason,theorchestrabroughtinRobertoDíaz,presidentoftheCurtisInstituteofMusicandformerprincipalviolaofthePhiladelphiaOrchestra,foraperformanceofBerlioz’sHaroldinItaly.DíazisafamiliarfaceinSouthFlorida,whereheappearsregularlyontheFriendsofChamberMusicofMiamiseriesandservesasaNewWorldcoach.AsBerlioztellsthestory,HaroldinItaly,looselybasedonapoembyByron,wascommissionedbythedazzlingviolinvirtuosoNicolòPaganini,whowantedaconcertowithwhichtoshowoffhisnewlyacquiredStradivariusviola.Whenhesawtheresult,Paganinirefusedtoplayit,sayingthesolopartwasn’tsufficientlyprominent.

RobertoDíaz

AlthoughHaroldinItalyoffersmoremusicalexcitementthananyoftheflashybuttediousconcertosproducedbyPaganinihimself,thegreatviolinistwasrightthattheworkisnotatrueconcerto.Asidefromwhethertheviolagetsenoughplayingtime,thereisn’tthatsenseofthesoloinstrumentpittedagainsttheorchestrathatwascharacteristicofsomany19th‐centuryconcertos.Díazbroughtgreatindividualitytotheperformance,yetplayedinaself‐effacingmannerthatintegratedhispartintothatoftheorchestrainthemannerofacolleagueratherthanacompetitor.Heprovidedtextureandcolor,almostdisappearingintotheorchestra,whenthebrasstookthemelody.Inhishands,theviola’s

uniquetonalqualitiescamethrough–darkandthroatyinthelowerregister,plaintiveandmelancholyontop.Thesoloist’sindividualityshowedinhisplayingoftheopeningtheme,renderedwithathrobbingvibrato,singingthemusiclikeaVerdibaritone;thesecondtimeDíazplayeditinawhisper.InthearpeggiosthataccompaniedtheMarchofthePilgrimstheme,herolledhisbowacrossthestringsinagrainymannerthatcutthroughtheorchestraincisivelyyetdidn’tdrawundueattention.Andwhenthethemecamebackinoctavesagainstthefullorchestra,hebroughtamagnificenttonethatmarriedbrilliantlywiththesoundsoftheensemble.Berlioz’slight,transparentorchestration,withitssparelyaccompaniedsolosandsectionsolos,wasstrikingaftertherichnessofSibelius.Fromtheominous,chromaticmeanderingswithwhichtheworkopenstothelightthemesoftheItaliancountryside,NewWorldgaveavivacious,richlycoloredperformance.TheOrgyoftheBrigandsthemecameoffwithknife‐edgedprecision,givingitanextratouchofmenaceandviolence.Online:http://southfloridaclassicalreview.com/2016/05/new-world-closes-season-with-majestic-sibelius-and-vibrant-berlioz/