ASO: Robert Spano with Jorge Federico Osorio

The first piece on the program was Krists Auznieks’ Crossing. Aside from a few pieces that I found online when I looked him up earlier this week, I don’t believe that I’d ever heard anything by him so I really didn’t know what to expect. It turns out that I was absolutely delighted by this piece. It started kind of like an overture to some pastorale and I got an image in my head of a protagonist going out onto a meadow to do a Maria-Hills-Are-Alive thing but then tripping and falling. They get back up and try again only to run into a cliff face. So they turn another direction and find that they’re wandering out of the meadow and onto rocky, unpleasant terrain. Through obstacle after obstacle the protagonist tries to stay positive and to do their little turn in the meadow but a sinister undertone grows underneath their theme and things keep going in a different direction. Eventually the protagonist hits their breaking point and has a “What new hell is this?!” moment where they can no longer maintain a positive outlook. By the end they are defeated, reliving a dark, warped vision of the whole thing in their broken mind. It was such an evocative piece that I found myself smiling and suppressing chuckles in the early parts of the piece and by the end I was really concerned for my imaginary protagonist whom Auznieks was leading into such a miserable place.
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ASO: Jun Märkl with Catalina Cuervo and Bertrand Chamayou

I ended up going home at the intermission of Saturday’s Atlanta Symphony Orchestra concert. I’m actually pretty sure that the final piece on the program, Beethoven’s symphony no. 4, would have been handled well by conductor Jun Märkl and played well by the orchestra, but I decided that I didn’t want to sit through it. I can take or leave the work itself and my hip was bothering me. Plus, the main work that I was excited to hear was played poorly and there was an excellent encore after the concerto that I preferred to have in my head over the Beethoven.
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