ASO: Robert Spano and Louis Lortie

While Robert Spano was conducting the Atlanta Symphony Orchestra in Christopher Theofanidis’ Symphony no. 1, I found myself thinking about something one of my college philosophy professors said about Immanuel Kant. She said something along the lines that he would put thoughts and ideas in a box until it was filled and then write a book out of what was in it. I have no idea as to the veracity of this story, but I kind of got the feeling that this was how Theofanidis composed his symphony because it seemed like a bunch of unconnected aesthetic ideas mashed together into an oddly and impressively coherent whole.
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ASO: Donald Runnicles

Well, that was embarrassing. I found myself moved after Donald Runnicles and the Atlanta Symphony Orchestra finished Mahler’s Symphony no. 10 (Cooke III version) so, naturally, I stood during the ovation. And nobody else did. And for some reason nothing was moving on the stage. And I sat down again, not entire sure that it was over, even though they’d come to the last pages of the score and I was certain that all of the movements had been played. And then some other people started standing and finally I got over myself and stood again only to feel a jolt shooting down my sciatic nerve. And then my knee started to get really sore. And I started worrying that I wouldn’t be able to walk to my car to go home. Thankfully, I stretch some and was able to walk out of there with everyone else. For some odd reason, my big toe on that side still hurts, but I’ve done some stretches at home now and everything seems fine. Fortunately, I have a chiropractic appointment for Monday. Yeesh! Anyway, clearly the lesson here is to have the courage of one’s convictions and not to back down so easily in the face of uncertainty.
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ASO: Donald Runnicles with Evelina Dobračeva, Thomas Cooley, & Russell Braun

As I was walking to my car from Memorial Hall last night, I overheard a couple of people talking about the Atlanta Symphony Orchestra’s concert. One said that she couldn’t remember his name, but that the conductor was English and she liked him.

Me: He’s Scottish and his name is Donald Runnicles.
Woman: He’s Scottish? Not English?
Me: Yep.
Woman: I like him even better!
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ASO with Jun Märkl and Giora Schmidt

Saturday’s Atlanta Symphony Orchestra with guest conductor Jun Märkl seemed to get off to a rocky start. The first piece on the program was Berlioz’ Benvenuto Cellini Overture, which is a charming and colorful piece with which to start an evening of music. Unfortunately, the orchestra was a bit muddy, particularly at the beginning. I suspect that things might have come out better if Märkl had waited a few seconds to get everyone’s attention before cuing the performance’s start: he leapt upon the podium and began the piece nearly immediately, significantly faster than I’ve seen from any other conductor. It wasn’t terrible but it also wasn’t the best way to start the evening.
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ASO: Robert Spano with Kirill Gerstein

I have the softest little black bag that the Atlanta Symphony Orchestra gave to me as a subscriber at the concert last night with a little Post-It calendar in it and I feel like it should be useful but I haven’t figured out what to do with it yet. It goes with the new color of the walls in the hallways of Symphony Hall, which were painted black. There are new portraits of the musicians, too, which are in vibrant color and in which everyone is dressed smart casual instead of how they dress on stage. I’m honestly not happy about the dark wall – it now feels even more cramped when the auditorium is emptying out. And the pictures seem kind of disingenuous if they’re going to keep the men of the orchestra performing in tails. It’s not really that bad, though: just not what I’d do. I was pretty happy at first to see that they got rid of the two projection screens hanging off of the proscenium on either side of the stage in favor of one large one suspended from between some of the acoustic shell’s drop panels – sitting in row C made the old ones a bit uncomfortable to watch – but then I noticed that they kept the projector in one of the little compartments in the mezzanine so now we have three lines through anything they put up there from the shadows cast by the hanging microphones over the stage. They do get credit for trying, though, and I think they finally fixed the torn cloth cover over one of the built-in speakers, which is unquestionably a positive. Maybe if I ever become a multi-decamillionaire then I’ll grant them the money for a real renovation.
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ASO: Robert Spano with Inon Barnatan

So, if you don’t know me and you haven’t read the About Me page on this blog, then let me warn you that I am neither a critic nor a journalist. This is really just where I dump my thoughts on some of the things that I go to so that I can remember them later. That said, I’m starting this blog entry with something whiny and unrelated to the concert itself.
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ASO: Robert Spano with Yo-Yo Ma

This evening’s special concert of the Atlanta Symphony Orchestra with cellist Yo-Yo Ma was very good. It could have been great, though. I sometimes suspect that the ASO doesn’t really take anything seriously that was composed from the Classical Period to WWII if it didn’t come from somewhere between the German states and the Russian Empire. It’s almost like they want to say that all serious music of that period was confined to some pale of settlement that stretched between the Rhine and Volga rivers. This concert reinforced that suspicion.
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