| Home |
| About |
| Archives |
| Links |
| Anime |
| Arts |
| Books |
| CDs |
| Decluttering |
| Disney |
| DVDs |
| Family |
| Games |
| Japanese |
| Jpop |
| Life |
| Manga |
| Memories |
| Movies |
| Pals |
| Photos |
| Poetry |
| Trips |
| Videos |
|
Latest Flickr
|
|
Latest Twitter
|
 Feed |
 Twitter |
 Facebook |
| Austin Symphony / Barbara Nissman : 4 of 5 | |
|
3.01.2010
5:21 PM | Link0 comments |
 Although I wasn't familiar with Barbara Nissman, who was the featured pianist for the Austin Symphony's latest concert, the program selections featuring Rachmanioff and Shostakovich looked too interesting to pass up, and my friend Matt and I thoroughly enjoyed the performance! The concert opened with Rachmaninoff's Vocalise, a short work that was instantly recognizable to me (and still singing through my mind for the rest of the evening), and then continued with Rachmaninoff's third piano concerto, considered one of the most difficult pieces for the instrument. After seeing so many "young and upcoming" featured performers with the Austin Symphony, it was interesting to watch Barbara Nissman, who has certainly spent a lifetime perfecting this incredible piece of music, which kept her fingers flying! I really enjoyed the work, which has lyrical moments combined with incredible flourishes that must make the score look like an explosion of notes. The audience's applause was so long that Nissman decided to play an additional solo piece that was beautiful (I love it when soloists are kind enough to do that!). The second half of the program featured Shostakovich's 5th symphony, which is quite an epic work that requires a huge orchestra including two harps and additional percussion. I have listened to very little Shostakovich, since he's a bit modern for my usual taste, but I was really impressed by this interesting work (and Matt considers it the best piece he's heard the Austin Symphony perform so far), so I'd like to study it further! As always, listening to the Austin Symphony was an inspiring experience, and I appreciate the opportunity to be introduced to more flavors of classical music.
|
| Austin Symphony / Chee-Yun : 4 of 5 | |
|
10.12.2009
8:17 PM | Link0 comments |
 I was looking forward to the latest concert of Austin Symphony's 99th season for quite a while, since I love Mendelssohn's famous violin concerto and I was interested to see the soloist Chee-Yun for the first time. Maestro Peter Bay began with some friendly, insightful comments - although there were technical problems with his microphone, it was a good opportunity to show off the acoustics of the Long Center, since he was easily heard just speaking normally from the stage! He mainly spent time preparing the audience for Bruckner's 4th Symphony, which was entirely new to most of the audience (including me). But first was the Mendelssohn, and I thoroughly enjoyed it! I've always loved the first movement the most because of its emotional intensity, and Chee-Yun brought that out beautifully. I tend to enjoy hearing the "mechanics" of the instrument, and I enjoyed the somewhat "rough edge" feeling to her playing (not to mention that her 300-year old Stradivarius violin was fantastically resonant!). After a beautiful second movement, the incredibly difficult third movement was executed wonderfully. Although I'm always astounded at the technicality of this movement, unfortunately I've heard it so many times that it's hard to just sit back and enjoy it anymore. It was time for Bruckner after the intermission, and even though the piece wasn't something I would want to listen to everyday, I was happy to be exposed to it. Everything Peter Bay mentioned was certainly true, with each section playing lots of rhythmic unison like parts of an organ, and the full brass section sounded particularly spectacular (I just wish there had been more percussion than tympani). I had trouble appreciating Bruckner's extensive repetition, but I had a nice time watching all of the musicians and enjoying their intense concentration as they played. As usual, it was another great night at the symphony and I'm looking forward to the rest of the season!
|
| Austin Symphony / Sarah Chang : 3 of 5 | |
|
5.05.2009
5:43 AM | Link0 comments |
 I don't think I ever realized the importance of a symphonic program as a whole until I experienced the Austin Symphony's latest concert, which featured three works that were individually OK, but became kind of a disjointed mess when put together. I think this was probably just a case of bad timing, since the first work was a modern symphony written as a gift for Maestro Peter Bay's 10th anniversary with the symphony, and Sarah Chang was probably scheduled to appear way in advance, so there was only room to throw in some quick Tchaikovsky to fill out the evening. Unfortunately, each work was a little disappointing, starting with the world premiere of Welcher's Symphony No. 5, which should be called the "use every crazy percussion instrument you can find" symphony. It was almost laughable to see the four percussionists constantly switching between everything from bongos to bowed cymbals, and truthfully it was a bit trying to listen to the whole thing (although I did enjoy many of the musical themes). It was really nice to see Sarah Chang perform, since she is such a renown violinist, but her stage presence was a little less refined than I had hoped (I liked the passion behind her walking around the stage, but her uncontrollable bow flourish got old quickly). Of course, she was technically magnificent, and I would definitely enjoying hearing more of her playing on CD! Finally, Tchaikovsky's Capiccio Italien is like a musical cartoon, which is wonderful on it's own, but was simply bizarre sounding after the first two works of the evening. My pals Matt & Kumiko and I still had a wonderful time at the symphony, but we all agreed that this strange program left us hoping for some better choices next time.
|
| Austin Symphony / Garrick Ohlsson : 4 of 5 | |
|
1.13.2009
6:05 PM | Link0 comments |
It's an amazing feeling when there's a melody you've known forever, and suddenly you're presented with the original source for the first time. That was my experience listening to the third movement of Rachmaninoff's 2nd Symphony, beautifully performed by the Austin Symphony! I really enjoyed the entire work - although the first movement seemed a little rambling, I was really drawn into the syncopated rhythms of the second, the famous emotional phrases of the third, as well as the excitement of the fourth. The Rachmaninoff symphony was a fantastic finale to an evening of Russian composers, starting with a gentle intro piece by Mussorgsky (incredibly quiet for an opening work) and followed by a Dvorak piano concerto featuring guest performer Garrick Ohlsson. He was really interesting to watch, since his body remained relatively still while his hands effortlessly flew over Dvorak's romantic full chords and chromatic runs. The orchestra was reduced quite a bit for this piece, which made the piano more prominent, though I missed all of the absent horns. After the concerto, Garrick Ohlsson decided to play a short "bonus" work not on the program (an easily-recognized Rachmaninoff piece), which was generous and unexpected! I usually go to the symphony alone, but this evening my pals Matt & Kumiko went with me, and it was fun talking about the music and seeing their reactions to everything (they were especially impressed with their first visit to the Long Center)! As always, the symphony was a wonderful experience, and I've been introduced to some wonderful works that I hope to hear again sometime.
|
| Austin Symphony / Anton Nel : 4 of 5 | |
|
10.21.2008
8:18 PM | Link0 comments |
This particular symphony experience was unique for a couple of reasons. First, I decided to experiment with balcony seats (I usually sit up close), and although I really enjoyed the great view of the full orchestra (I like to watch the percussionists in the back), I felt a little disconnected being that far from the sound (although the acoustics were excellent). Second, this was the first program in a long time where I wasn't already familiar with any of the pieces being performed, so it was nice to be introduced to totally new works! The concert began with Messiaen's The Ascension, which was much more modern than I expected, but the way the movements used different sections of the orchestra was fascinating. The guest performer was pianist Anton Nel, who played on two major works (which was nice, since most guests only do one piece) - a short Schumann and the Mendelssohn concerto, which were both incredible. The slow movement of the concerto was particularly fantastic, and it really makes me want to hear more Mendelssohn (I don't have much of him in my iTunes library)! But my favorite work of the evening was Respighi's Church Windows, which uses huge instrumentation (including an onstage piano) and is filled with booming drama and symbolism. I'm a big fan of Pines of Rome (which I first heard in Fantasia 2000), so it's no wonder that I enjoyed this four movement masterpiece so much - I've already put the CD on my wish list! As usual, going to the symphony was an exciting and peaceful experience - but I think I'm going to see what the Mezzanine feels like next time!
|
| Austin Symphony / Leila Josefowicz : 4 of 5 | |
|
9.21.2008
3:14 PM | Link0 comments |
 At the last minute I decided to treat myself to the Austin Symphony's season opening concert, and once again I realized how much I love going to the symphony! This was the first non-opera event I've seen in the Long Center, and I was really amazed at the acoustics. I always enjoy people watching at arts events - I was inspired by an elderly woman sitting next to me, since I hope I'm still going to see concerts when I'm her age! The guest artist was violinist Leila Josefowicz, who played Beethoven's Violin Concerto in D Major with flamboyance and energy. She really stood out from the orchestra in her blue and gold, gypsy-like dress, and she even wrote her own cadenzas (even including tympani in one of them). The concert also included the world premiere of Field of Infinite Forms, which is a combination orchestral and electronic work that was commissioned by the Austin Symphony. I have to say this was a really bizarre piece, but the use of speakers throughout the hall was very cool (I just had a problem with all the Doctor Who synthesizer sounds!). The finale was Stravinsky's Firebird Suite, which I have listened to a million times, but it was absolutely incredible to hear it live. I'm always astounded at how much it sounds like a movie score - modern films really owe a lot to Stravinsky's groundbreaking work. I was also struck by the thought that audiences back in 1919 probably thought The Firebird sounded just as weird as the electronic piece I had just heard - maybe that's why it was chosen for the program! There's absolutely nothing like hearing a live orchestra - I think everyone, regardless of how they feel about classical music, should go at least once!
|
| Austin Symphony / Andre Watts : 5 of 5 | |
|
3.15.2008
10:54 AM | Link0 comments |
 I decided to see the Austin Symphony's last performance at Riverbend Center (since their next will be at the new Long Center), and I'm so glad I did, since this special night of French composers was one of the best concerts I've seen in the past few years! The program began with Francaix's The Flower Clock, which was interesting since it uses about a half-size orchestra, and because of the great solo oboe by Beth Sanders, a long-time member of the symphony. This was followed by Roussel's Suite in F, which expanded the number of musicians on-stage, and this piece was theatrical and exciting with lots of percussion! After the intermission, Andre Watts was the featured performer for Saint-Saens' Piano Concert No. 2, and I can't even begin to describe how great it was! The first movement is full of fire, and it just keeps increasing - by the time the third movement began, I was sure Andre Watts had three hands, and they were flying! Normally when the applause starts, there's the usual lag time before people start deciding to stand up. But when he hit the last note, the entire audience jumped to their feet - it was an instant standing ovation! It was certainly some incredible energy and enthusiasm for a "refined" classical concert! Finally, the program ended with Debussy's La Mer, which I've been a fan of for some time, and it was wonderful to see the orchestra expand even more for this huge piece. It's amazing that it takes two harps to pull it off! This was certainly an exciting night at the symphony, and I'm looking forward to seeing them again at their new venue!
|
| Austin Symphony / Benedetto Lupo : 4 of 5 | |
|
1.16.2008
9:22 PM | Link0 comments |
One of my goals for 2008 is to experience more art, so I made sure to see the Austin Symphony's first concert of the season. I've always enjoyed the symphony, since it's just amazing to me that so many musicians can perform together so precisely, and while I'm listening to the music I almost always have interesting thoughts or come up with new ideas. This concert was at Riverbend Center, so even though I had to deal with the uncomfortable pews, it was nice to have an easy drive without heading downtown (although it took me forever to find my car after the concert!). It looks like every performance this season includes works by Beethoven, so this concert began with the King Stephen Overture (which I had never heard, but it was simple and enjoyable), and ended with the Symphony No. 5 (yes, it's the one you're thinking of!). Truthfully, I wasn't too excited about hearing the Fifth Symphony, but actually I had forgotten what the other movements were like besides the first (that everyone in the world can hum), and the 4th movement was incredible! The featured performer was the pianist Benedetto Lupo, who played Brahms' Piano Concerto No. 1 (another first hearing for me), which was full of dark emotion that was well-explained by the program notes. Lupo was fantastic, though I wish I could have seen his hands on the keys (my seat was great otherwise!). It was a really nice evening, and I felt really peaceful just enjoying the music, people watching, and marveling at some new classical works that I'd like in my library!
|
| Austin Symphony / Alisa Weilerstein : 4 of 5 | |
|
3.05.2006
2:27 PM | Link0 comments |
 Yesterday I went to another wonderful concert of the Austin Symphony. Since I don't have season tickets, I just buy whatever seat I can get online, and believe it or not, I managed to snag the exact same fourth row seat that I had last time (and I got to say hello to the same guy I met before)! This time I didn't regret sitting so close, since the featured cellist, Alisa Weilerstein, was absolutely amazing! Her style was dramatic and full of energy, and it was wonderful to watch her face express what she was playing (and her good looks didn't hurt either). Seeing her up close was incredible, especially noticing details like playing an extremely high note off the fretboard of her instrument! The guest conductor, Ernest Hoetzl, was entertaining, too - he chose the program as a "panoramic tour of Austrian music" (from his introduction), and you could tell he was proud to show off the music of his home. Unfortunately, the long Schubert symphony was kind of flighty and lacked emotion, but they made up for it with several shorter works, including some polkas, and ended with the Blue Danube Waltz (which was the first time I've heard it performed live). The entire orchestra even did a short encore piece! I wonder if I'll get the same seat next month?
|
| Austin Symphony / Janina Fialkowska : 4 of 5 | |
|
2.06.2006
5:55 PM | Link0 comments |
Since I enjoyed the last symphony so much, I decided to go again, and I was lucky enough to get a 4th row seat just by booking online! (Now I wish I had purchased season tickets, but if I keep going it will be fun to see what kind of seat I can get.) Sitting that close was perfect for watching the guest pianist Janina Fialkowska perform the Chopin Piano Concerto No. 1, and I even had a great angle so I could watch her hands on the keys the whole time. The disadvantage to my seat was that all I could see were the strings, and I like to watch the woodwinds and percussion, too, but they were hidden to me. The pianist was really remarkable, playing with absolute precision, but I think she sounded much better in the slow expressive passages - the fast sections seemed a little mechanical, but still spectacular! The concert opened and closed with Mozart, which is always wonderful, starting with the overture to The Abduction from the Seraglio, which is up-tempo and full of percussion, and ending with the 41st Symphony, which has the incredible fugue-like section in the 4th movement. It was a really enjoyable evening, and also interesting since an older man sitting next to me was really friendly and talkative (actually, he reminded me of my Uncle Glenn because of his curiosity about my opinions on things). Going to the symphony is such a relaxing evening of entertainment, so I hope I can go again soon!
|
| Austin Symphony / Nadia Salerno-Sonnenberg : 5 of 5 | |
|
1.22.2006
9:58 AM | Link0 comments |
I love going to the symphony, but according to the WEBmikey archives, the last time I went (and wrote about it) was in 2000! It was definitely time to go again (as another part of my resolution), and I was lucky enough to see Nadia Salerno-Sonnenberg as violin soloist. The concert began with two Shostakovich works (as part of the 100 year anniversary, just like the recent opera), including the Violin Concerto No. 1, which is full of brooding and fire, but also great comedy in the Scherzo. Nadia was truly amazing, working up actual perspiration as her fingers flew. She was also very much in touch with the audience - when a few folks mistakingly applauded after the first movement, she just spoke up to say "It's not over yet!" During the intermission there was a huge line for autographs (which I watched from afar), including "groupies" who brought musical scores for her to sign. The final work was the Sibelius Symphony No. 1, which I had never heard before (I had to be able to identify Finlandia in college, but that was it). It's a beautiful symphony, with grand sweeping melodies that used everything in the orchestra, including two harps and lots of percussion, which I always enjoy. It was so nice to be back at the symphony - I actually remembered some of the faces of the musicians, and it's so amazing to let the beautiful sound of the orchestra wash over me. I'm definitely planning to see their next concert!
|
| Austin Symphony October Concert : 3 of 5 | |
|
8.01.2000
9:23 PM | Link0 comments |
 After seeing my first symphony during my college years, I have always made an effort to go. The ASO October concert featured selections to go with the seasonal Halloween theme: Berlioz' Faust (selections), Berlioz' Symphonie Fantastique, and an excellent Beethoven piano concerto thrown in to highlight the featured pianist. I decided to go alone at the last minute, which turned out to be a great decision, since I was offered a free ticket by a season ticket holder whose husband was home with their sick daughter (I paid for it by listening to her talk incessantly). Fantastique is one of my favorite pieces, and the ASO did a fine job, except for one lousy tuba mistake that cannot go unmentioned. ASO has such nice strings, why can't they get some brass that will stay awake?
|
