ASO: Thomas Søndergård with Daniel Moody, Jessica Rivera, Stephanie Lauricella, Thomas Cooley, & Andrea Mastroni

The last time that I heard Thomas Søndergård conduct the Atlanta Symphony Orchestra, I wasn’t terribly pleased with his interpretations of the French Impressionist works on the program but thought that he might actually be pretty good with a program of German works. Well…I’m not quite ready to completely write him off, but between that concert and the one I attended last night, I’m thinking that he may have a pretty narrow range and some pretty bad ideas. The concert wasn’t a disaster by any means, but it also wasn’t very good and it’s largely due to his interpretations of the pieces on the program.
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ASO: Robert Spano with Elizabeth Koch Tiscione, Laura Ardan, Andrew Brady, Brice Andrus, & Jeremy Denk

This weekend’s concert by the Atlanta Symphony Orchestra featured good performances of works that aren’t necessarily my favorite. It opened with Gandolfi’s Imaginary Numbers. When I first heard it in 2015, I thought that it had some interesting ideas but that a concerto for oboe, clarinet, bassoon, and horn wasn’t entirely the best thing ever. I felt more or less the same way this time: I did enjoy it and appreciate the performances by ASO principals Elizabeth Koch Tiscione, Laura Ardan, Andrew Brady, and Brice Andrus; but I frequently just felt that the music wasn’t quite taking me anywhere.
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ASO: Robert Spano with Daniel Hope, David Finckel, and Wu Han

Last night’s Atlanta Symphony Orchestra concert was particularly festive. The concerto for the evening was Beethoven’s Triple Concerto and the triplets for this performance were Daniel Hope, the associate artistic director of the Savannah Music Festival, along with David Finckel and Wu Han, who are the founding artistic directors of Music@Menlo Chamber Music Festival. Robert Spano, the music director of the Aspen Music Festival and School, conducted. Even the concertmaster, David Coucheron, is the Artistic Director of the Kon Tiki Chamber Music Festival. This program will be performed again tonight at the Savannah Music Festival. With that much festivity on one stage, there really should have been a lot more sequins.
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ASO: Robert Spano with Johannes Moser

Thursday’s Atlanta Symphony Orchestra concert was proceeded by a chamber recital featuring three pieces. First was Shostakovich’s Five Pieces for Two Violins and Piano. It’s a good set of pieces and it was played well enough, though I found nothing exciting or exceptional about either the works nor the performance. The next piece featured the first three movements from Smetana’s String Quartet no. 1 with the order of the second and third transposed. This was performed by the Peachtree String Quartet. It’s a good piece but I found the performance a little weak around the parts that required slow and quiet playing. In particular, I felt that the second violin failed to maintain a good sound with his bow wandering up and down the strings. In terms of musicianship, I felt that the final piece was the best played and I ended up enjoying it the most of the three. Arthur Berg’s Woodwind Quartet in C Major came across as particularly upbeat following the Smetana; even the adante middle movement was kind of uplifting. I found myself feeling like it was a delightful shelf upon which to rest my mind while waiting for the orchestra to begin playing the main program for the evening.
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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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