Chamber Music Festival.
Monday evening I attended the opening of the Seattle Chamber music's 28th season and thoroughly enjoyed myself.
The evening started (after a meal at Macaroni's in Northgate mall) with pre-concert recital of Ottorino Resphighi's Sonata for violin and piano.
James Ehnes-violin and Andrew Armstrong-piano.
Not too terribly impressed with that, seemed pretty vague, but whadda I know?
I know that I really liked Claude Debussy's Sonata for violin and piano which started the main part of the concert.
Amy Schwartz Moretti-violin and Andrew Armstrong-piano.
It is a tautly constructed piece which sparkled with invention.
A display case of lovely gems.
After which we heard Robert Schuman's Trio for violin, cello, and piano.
Augustin Hadelich-violin, Robert deMaine-cello, and Jeremy Denk-piano
The first movement seemed to lack the energie und leidenschaft promised, but the middle two movements were rich, sonorous and moving.
The last movement labeled "Mit Feuer" definitely was fiery.
After the intermission we were treated to Johannes Brahm's quartet for piano and strings (violin, viola, cello) the final movement of which was as energetic and exciting as Brahms gets.
James Ehnes-violin, Richard O'neill-viola, Bion Tsang-cello, and Adam Neiman-piano.
It's hard to say why Brahm's bothers me as it does.
Maybe it's just that it seems to try so carefully not to be Beethoven.
Wish it could be a bit more heedless, I guess.
Duo, trio, quartet, nicely arithmetic and rhythmic at the same time.
So anyway, the most interesting bit, aside the excellent page turning, was, as usual, Jeremy Denk.
Our seats were to the far right of the hall so there was no chance of seeing Mr. Denk's hands but we had a beautiful view of his head and shoulders framed by the piano lid and the cellist.
The man has terrific embouchure, so very important to any endeavor involving the use of ones hands.try gluing a couple small things together without making a face, just try it. And it's more than the face work, he uses his whole body to direct the piece.
His conducting choreography really helps me to follow and understand the music.
Great blog site too.
Anyway, I've got to stop fooling around with raketts, mandoras, facebook videos, (I posted a video of myself playing a wheezy version of "Sing, Sing, Sing" on my facebook profile) and get back to writing music, something I promised myself to take seriously.
I'm beginning to sense a symphony looming. I should try to resist, considering that the first ten were garbage, but what is life if not challenge?
It's getting late, I should proofread, but I'm tired.
More chamber music tomorrow.
Good night and goodnight Ms. Ophelia, wherever you are.
The evening started (after a meal at Macaroni's in Northgate mall) with pre-concert recital of Ottorino Resphighi's Sonata for violin and piano.
James Ehnes-violin and Andrew Armstrong-piano.
Not too terribly impressed with that, seemed pretty vague, but whadda I know?
I know that I really liked Claude Debussy's Sonata for violin and piano which started the main part of the concert.
Amy Schwartz Moretti-violin and Andrew Armstrong-piano.
It is a tautly constructed piece which sparkled with invention.
A display case of lovely gems.
After which we heard Robert Schuman's Trio for violin, cello, and piano.
Augustin Hadelich-violin, Robert deMaine-cello, and Jeremy Denk-piano
The first movement seemed to lack the energie und leidenschaft promised, but the middle two movements were rich, sonorous and moving.
The last movement labeled "Mit Feuer" definitely was fiery.
After the intermission we were treated to Johannes Brahm's quartet for piano and strings (violin, viola, cello) the final movement of which was as energetic and exciting as Brahms gets.
James Ehnes-violin, Richard O'neill-viola, Bion Tsang-cello, and Adam Neiman-piano.
It's hard to say why Brahm's bothers me as it does.
Maybe it's just that it seems to try so carefully not to be Beethoven.
Wish it could be a bit more heedless, I guess.
Duo, trio, quartet, nicely arithmetic and rhythmic at the same time.
So anyway, the most interesting bit, aside the excellent page turning, was, as usual, Jeremy Denk.
Our seats were to the far right of the hall so there was no chance of seeing Mr. Denk's hands but we had a beautiful view of his head and shoulders framed by the piano lid and the cellist.
The man has terrific embouchure, so very important to any endeavor involving the use of ones hands.try gluing a couple small things together without making a face, just try it. And it's more than the face work, he uses his whole body to direct the piece.
His conducting choreography really helps me to follow and understand the music.
Great blog site too.
Anyway, I've got to stop fooling around with raketts, mandoras, facebook videos, (I posted a video of myself playing a wheezy version of "Sing, Sing, Sing" on my facebook profile) and get back to writing music, something I promised myself to take seriously.
I'm beginning to sense a symphony looming. I should try to resist, considering that the first ten were garbage, but what is life if not challenge?
It's getting late, I should proofread, but I'm tired.
More chamber music tomorrow.
Good night and goodnight Ms. Ophelia, wherever you are.
posted by Lane Savant at 9:37 PM
2 Comments:
I sometimes wonder if you are referring to me with the "goodnight Ophelia" sign off.
However, I did not drown myself over lost love, or whatever. I had a full life, a life I lived on my own terms.
however, I am dead, so perhaps you intend to refer to all that is lost or irretrievable in life.
All those gone, lost, or strayed but not forgotten.
Or maybe you are just being cute.
.......Emily
Hallo, Lane!
Here I DO understand your blog, partly because I also attended the same concert and liked most of it, except the Schumann,despite Jeremy's usually-fascinating body (and facial) language. And I did like the Respighi, both the composition and its performance!
See you at tonite's concert; hope you and Mererdith (and I!!) like it, too!!!!
Tschuess,
Anonomann
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