Donald Runnicles opened this evening’s Atlanta Symphony Orchestra program with the world premiere of a new piece by Marc Neikrug, “The Unicorn of Atlas Peak.” It is, apparently, named for a mutual acquaintance of Runnicles and Neikrug’s who, it seems, lives on Atlas Peak and may actually be a unicorn…or a guru…or just some dude whom they’ve both made up to hide the real way that they met, which probably involved some kind of scandalous intrigue or another. It began softly, with a kind of forced sense of mystery, and built up to something best described as meh. By the end it was completely uninteresting. It just never seemed to go anywhere nor to express anything meaningful. The parts that I found the most interesting seemed more like sketches of something that needs to be developed at a later time. It was not a strong start to the concert.
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Tag Archives: Tchaikovsky
ASO: Laura Jackson with Avi Avital
This evening’s Atlanta Symphony Orchestra concert under the baton of Laura Jackson was novel for a few reasons. First, it featured a mandolinist as the soloist. It’s a fairly quiet instrument to put on the stage of Symphony hall and I’m not aware of a mandolin concerto being programmed since I’ve been attending ASO concerts. Secondly, it featured two concerti instead of the usual one, both featuring mandolinist Avi Avital. Finally, the first three of four pieces on the program featured a slimmed down orchestra. There was one Baroque era piece and one Romantic era piece that adapted Baroque era pieces, both of which included a harpsichord in the orchestration. The third piece for small orchestra was from the 21st century but featured the mandolin, which would be overpowered by a full orchestra.
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ASO: Robert Spano with Joshua Bell
Despite being down a principal 2nd violinist, a principal percussionist, and a principal trombonist, the ASO began its season with an incredibly well performed concert of Tchaikovsky’s music last night. The evening began with Suite no. 1 from the Nutcracker. This was the first time that I can recall hearing any of the music from the ballet live. It was refreshing not to hear it tied to anything Christmassy and I found that it was enjoyable and had some pretty interesting things in it that I’ve never really noticed before on the radio. There was nothing really exciting about the performance, though Christina Smith’s gorgeous and masterful flute playing really stood out for me in the Dance of the Reed Flutes.
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ASO: Cristian Macelaru with Karen Gomyo
Tonight’s ASO performance was another backwards program, with the concerto after intermission followed by a short piece at the end. It was played, once again, with the musicians seated in the unmodified American layout, with the cellos downstage-right of the violas. And, under the baton of Cristian Macelaru, they played this backwards program well.
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ASO: Robert Spano with Tom Sherwood & Charles Settle
I’ve only attended one or two of the ASO’s pre-concert talks that are hosted by Metzler — they aren’t bad but they also aren’t really my thing — but I went to the one this evening because, frankly, I had nothing better to do than get there early. It was actually pretty interesting: Avner Dorman, the composer of the first piece on the program, ‘Spices, Perfumes, Toxins!,’ was there to talk about his work and he was actually somewhat interesting. The piece, it seems, originated as just a percussion duo and was later expanded to become a concerto. This really showed in the piece as the orchestra merely filled out the sound a little in the first movement but played a more complementary role in the second and third movements. He said of the title that he had decided to write each movement around an idea that was both enticing and dangerous: Spices taste wonderful but, in excess, can cause digestive issues (you can tell the man is Jewish); Perfumes “seduce but can also betray;” and Toxins can be quite intoxicating as well as being deadly.
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