少し驚かれるかも知れませんが,New York Philharmonic の契約内容は1年52週間なのだそうです.つまり夏休みナシですね. the players have turned their attention to, well, more concerts: freebies (like the annual tour of the city’s parks), out-of-town performances (the orchestra’s residency at the Vail Valley Music Festival in Colorado) and unusual projects (a Varèse concert at this year’s Lincoln Center Festival). The postseason schedule also includes Summertime Classics, a series in which programs of favorites are made even more user-friendly, now in its seventh season. というのです.
New York Philharmonic, joined by Bramwell Tovey, right, and Mikhail Simonyan, on Tuesday at its first Summertime Classics concert. It is not a pops series, exactly: with few exceptions the programs are drawn from the mainstream classical repertory. But the presentation is light and cheerful. Bramwell Tovey, the music director of the Vancouver Symphony Orchestra, conducts the concerts and is also the host. In past years he has filled time between pieces with comments about the music, peppered with topical observations and one-liners.
he did less quipping, speaking instead about more substantive matters, like the history of the Tchaikovsky Violin Concerto, or Glazunov’s place in the pantheon of late-19th- and early-20th-century composers (second level but not to be dismissed lightly) とかなり充実した話をしたようです.
なかなかプログラム・ノートが読みづらいことを考えると,夏のコンサートはこういう形式に意味があるのでしょう.この記事のタイトルは Conductor as Guide on a Trip to Russia とあります.
あとはご自由にご渉猟下さい.
Music Review
Conductor as Guide on a Trip to Russia
By ALLAN KOZINN Published: June 30, 2010
The formal concert season has ended, but the New York Philharmonic’s musicians have a 52-week contract. So with the year’s subscription concerts behind them, the players have turned their attention to, well, more concerts: freebies (like the annual tour of the city’s parks), out-of-town performances (the orchestra’s residency at the Vail Valley Music Festival in Colorado) and unusual projects (a Varèse concert at this year’s Lincoln Center Festival). The postseason schedule also includes Summertime Classics, a series in which programs of favorites are made even more user-friendly, now in its seventh season.
Hiroyuki Ito for The New York Times
New York Philharmonic, joined by Bramwell Tovey, right, and Mikhail Simonyan, on Tuesday at its first Summertime Classics concert.
It is not a pops series, exactly: with few exceptions the programs are drawn from the mainstream classical repertory. But the presentation is light and cheerful. Bramwell Tovey, the music director of the Vancouver Symphony Orchestra, conducts the concerts and is also the host. In past years he has filled time between pieces with comments about the music, peppered with
topical observations and one-liners.
Mr. Tovey may be reconfiguring his approach. He still did plenty of talking during the series opener, a Russian program, on Tuesday evening at Avery Fisher Hall. But he did less quipping, speaking instead about more substantive matters, like the history of the Tchaikovsky Violin Concerto, or Glazunov’s place in the pantheon of late-19th- and early-20th-century composers (second level but not to be dismissed lightly).
You could argue, of course, that this is what program notes are for. And to be fair, Mr. Tovey suggested as much, at one point, when he mentioned in passing that Glazunov’s “Raymonda,” from which the orchestra played a few dances, was worth reading about.
In any case, neither the works nor the performances needed special pleading. Mr. Tovey began with the March and Scherzo from Prokofiev’s “Love for Three Oranges,” a pair of energetically brassy movements that sizzled here. Tchaikovsky’s “Marche Slave” and the dances from Act III of “Raymonda” were similarly splashy, and though these scores offer lovely moments for the strings, they are mainly opportunities for the orchestra’s brasses, woodwinds and percussion to revel in the sheer power and precision of their collective sound.
Mikhail Simonyan was the soloist in Tchaikovsky’s Violin Concerto, and if his tone was thin at first, he refocused it nicely in time for a sweetly lyrical reading of the Canzonetta and an impressively speedy reading of the finale. He was at his best, though, in an encore, Rodion Shchedrin’s “Gypsy Melody,” a richly detailed, unaccompanied showpiece. The orchestra played an encore too, a nimble, light-textured account of the “March of the Toys” from Tchaikovsky’s “Nutcracker.”
2010-07-02 17:19
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