Archive for the ‘Concert Concats’ Category

Concert Concat 2025

Published by peter on 2024-12-30 in Concats, Concert Concats, Concerts, Jazz and Music. Closed

This post is one in a sequence which lists (mostly) live music I have heard, as best as memory allows. I write to have a record of my musical experiences and these entries are intended as postcards from me to my future self. All opinions are personal, although music historians from the 25th Century may find some of them of interest.

Other posts in this collection can be found here. The most recent prior post in this sequence is here.

  • The London Orlando Orchestra under Claudia Jablonski with soloist
    Ugnė Liepa Žuklytė     (violin) in a concert in St Cyprian’s Church, Clarence Gate, London on Sunday 19 January 2025. The programme:

    • Sibelius: Concerto for Violin
    • Prokofiev: Symphony No. 1 “Classical”

    About 35 people attended this free concert in St Cyprian’s Anglican church. The Orlando Orchestra comprises mostly student musicians and was founded by Ms Jablonski in 2023. As with their second performance in June last year, this performance was again outstanding. The acoustics of the church are excellent, and the orchestra filled the space completely. Ms Žuklytė played the Sibelius superbly, and the third movement, with its dark, northern winter energy, was sublime.

    I heard the Southbank Sinfonia play Prokofiev’s Classical Symphony last February. I still find Prokofiev’s melodic and harmonic spikiness mostly alien to my musical thinking, but the work is growing on me, as I hear it again. Ms Jablonski’s interpretation was lighter and more humorous than I recall the Sinfonia version being. More power to her elbow!

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Concert Concat 2024

Published by peter on 2024-04-11 in Concats, Concert Concats, Concerts, Jazz and Music. Closed

This post is one in a sequence which lists (mostly) live music I have heard, as best as memory allows. I write to have a record of my musical experiences and these entries are intended as postcards from me to my future self. All opinions are personal, although music historians from the 25th Century may find some of them of interest.

Other posts in this collection can be found here. The most recent prior post in this sequence is here.

  • A concert to launch a scholarship for musicians from Russia, Belarus and Ukraine in memory of the late Russian pianist Pavel Kushnir in the Swiss Church, Endell Street, London on Saturday 21 December 2024. The Foundation sponsoring this event was hosting a similar event simultaneously in Paris, two days later in Berlin and Amsterdam, and two days later again (on 25 December 2024) in Tel Aviv.

    The London Swiss Church serves both French-speaking and German-speaking Protestant communities, and perhaps both because of its Protestantism and its dual nature, the Church has a very austere interior. The building has recently been redecorated, apparently. The altar appeared to be just a wooden writing desk raised on a single step, and next to it on the step was a simple nativity scene. There was no chair for the pastor nor even a pulpit. A grand piano stood in front of the raised step.

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Transcendent music

Published by peter on 2023-12-11 in Concert Concats, Concerts, Jazz, Minimalism and Music. Closed

Some years ago, I compiled a list of purposes that may motivate composers, performers or listeners of music, under the heading What is music for?

An objective that may motivate many performers is that of reaching a transcendent state, as the Russian-Israeli pianist Boris Giltburg, describes here. His blog post was written after he had performed all five Beethoven Piano Concertos with the Brussels Philharmonic (under Thierry Fischer) across three evenings, in February 2020 (blog entry of 18 February 2020):

The high point for me was No. 4, during which I experienced something which until now I’ve only felt while playing Russian music: a kind of floating, when your brain disengages or splits in two. One (small) part is alert and following the performance, and perhaps directs the musical flow a little bit, the other (much larger) part is completely sunk into the music, experiencing it in a kind of visceral, instinctive way which precludes logical thinking and seems wired directly to your deepest feelings, without any buffers or defenses. After that concerto I was drained, bewildered, exhilarated – a complete mess. But what an unforgettable night.”

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Concert Concat 2

Published by peter on 2023-11-16 in Concats, Concert Concats, Concerts and Music. Closed

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This post is one in a sequence which lists live music I have heard, as best my memory allows, from the Pandemic onwards. I will update this as time permits. In some cases, I am also motivated to write about what I heard.

Other posts in this collection can be found here.

  • Ariel Lanyi – piano recital at the Wigmore Hall, London, 27 December 2023. The program was:
    • Beethoven: Sonata #2 in A, Op 2 No 2 (1794-5)
    • Franck: Prelude, Aria et Final (1887)
    • R. Schumann: Etudes Symphoniques Op 13 (with posthumous etudes) (1834-7)

    A very refined performance to a house about 3/4 full. Many people seemed to know each other. I was not able to stay for the Schumann.

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Concert Concat 1

Published by peter on 2011-06-04 in Concats, Concert Concats, Concerts, Music, Reviews and Violin. 0 Comments

As part of the diverse mental attic that this blog is, this post simply lists live music I have heard, as best my memory serves, up until the pandemic. In some cases, I am also motivated to write about what I heard.

Other posts in this series are listed here.

  • Gulce Sevgen, piano, in a concert at the Gesellschaft fur Musiktheatre, Turkenstrasse 19, Vienna 1090, Austria, 15 November 2018.   This venue turned out to be a small room holding 48 seats in a converted apartment.  There were 20 people present to hear Ms Sevgen play JS Bach’s Chromatic Fantasie & Fugue in d-minor BWV903, Beethoven’s Pastorale Sonata, excerpts from Prokofiev’s “Romeo and Juliet”, Mendelssohn’s Variations Serieuses, Op. 54, and Liszt’s Concert Etude E/M A218 and Zweite Ballade, E/M A181.  Ms Sevgen’s performance throughout was from memory, a quite remarkable feat.  Her playing was perhaps too loud for the size of the room, even with the piano lid half-down. The Bach, Beethoven and Mendelssohn were all excellent.  I have remarked before that I do not “get” the music of Prokofiev.  His music for Romeo and Juliet is a prime example:  the famous dance with its large-footed stomping bassline conjures up, for me, Norwegian trolls not feuding Italian merchant families, as if the composer had read a different play altogether. (Mendelssohn’s and Shostakovich’s incidental music to Shakespeare, by contrast, both make perfect sense.)  The playing of the Liszt works was fluent and articulate, but devoid of any meaning; it is perhaps unfair to ask performers to add meaning where there was none, since these are simply show-off pieces, all style and no substance.  But it is not unfair to ask performers not to play such vapid, meaningless music in public.

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