REVIEW: Ann Arbor Symphony Orchestra – Dvorak Symphony No. 7

Despite having performed at the Michigan Theater several times as part of the Michigan Pops Orchestra, last Saturday was the first time I experienced the stage as an audience member. It is truly a gem on campus–the shining gilded walls, rich carpets, and warm lighting never fail to transport you to a different world. Plus, where else can you hop over to your nearby movie theater to see your local symphony orchestra play live?

On Saturday, March 18th, I had the pleasure of hearing the Ann Arbor Symphony Orchestra perform with violinist and International Tchaikovsky Competition medalist Kyung Sun Lee. Initially drawn in by the promise of Prokofiev’s Violin Concerto No. 2, I was also awarded lovely performances of Dvorak’s Symphony No. 7 and Debussy’s “Prelude to the Afternoon of a Faun”.

The concert opened with “Prelude to the Afternoon of a Faun”, featuring a solo meandering flute that is later joined by mellow horns and shimmery harp runs. Strings provide a soft, dreamy foundation for the woodwind melody to unwind and give the impression of a rolling, natural landscape. The ensemble did a wonderful job of melding sounds together into a cohesive form despite the fluid nature of the piece.

Following Debussy was the highly anticipated Prokofiev Violin Concerto No. 2, performed by Kyung Sun Lee. Lee’s sound was distinctly dark and rich, even through bright double stops and etude-like passages at the beginning of the concerto. The concert program mentioned that she plays a Guanerius violin, which was interesting to evaluate the sound quality live. I could go on and on about why I love this concerto, but here I will specifically highlight the second movement. The delicate violin solo is extremely exposed, both in terms of being octaves above the orchestra bed of lilting triplets and by having a different rhythmic feeling. Lee’s interpretation was a touch faster than what I was used to, but beautiful nonetheless. Because of the awkward rhythmic timing involved, entrances and exits are extremely difficult to place–I felt like the orchestra could have spent a little more time nailing these down with the soloist.

Concluding the concert was Dvorak’s Symphony No. 7. Juicy, triumphant, and distinctly Czech, this work was a pleasure to behold. Even as a somewhat regular classical concert-goer, I have difficulty digesting entire symphonies. However, the parts that definitely grabbed my attention were the second (Poco Adagio) and fourth (Finale Allegro) movements. The Poco Adagio features a rich string melody that gets passed off to the warm brass, while the Finale Allegro is a dark and explosive conclusion to the work.

Overall, I had a wonderful time listening to the Ann Arbor Symphony Orchestra. Looking forward, I hope to keep an eye out for the rest of the season to catch any interesting performances coming up!

PREVIEW: Ann Arbor Symphony Orchestra – Dvorak Symphony No. 7

This Saturday, March 18th, grab a seat at The Michigan Theater to hear A²SO’s take on Dvorak’s highly acclaimed Symphony No. 7 and Debussy’s charming “Prelude to the Afternoon of a Faun”. Additionally, violinist and International Tchaikovsky Competition medalist Kyung Sun Lee will be joining the orchestra to perform Prokofiev’s Violin Concerto No. 2. 

To be honest, nothing makes me feel more old than being able to look at a concert program and have a strong reaction to what pieces are included. However, when I saw Dvorak, Debussy, and Prokofiev all together on the Ann Arbor Symphony Orchestra’s next program, I got very excited. It seemed *just my cup of tea*–as the concert-going grannies might say. 

I expect this particular combination of pieces to create a really lovely soundscape–Dvorak’s dreamy Czech melodies along with Debussy’s distinct impressionist sound will provide the perfect stress-relieving break in the midst of exams. On top of that, Prokofiev’s Violin Concerto No. 2 is among my favorite pieces of all time. While on the more conservative, melodically-rich side of Prokofiev’s work, the concerto is a patchwork of heartwrenching melodies and darker, turbulent passages.

Ticket information: https://a2so.com/event-directory/dvorak-7/?utm_source=sendinblue&utm_campaign=Bookers%20%20Dvorak%207%20%20Symphony%20Snaps&utm_medium=email

 

REVIEW: Itzhak Perlman and Friends

By nature of the profession, musicians are extremely passionate people. Yet, Itzhak Perlman’s dedication and personality somehow stand out among the rest. At 77 years of age, Perlman continues to share his music with audiences across the globe with laid-back, freeform concerts and has no plans of stopping. I had the pleasure of witnessing his collaboration with fellow musicians Emanuel Ax, Jean-Yves Thibaudet, and the Julliard String Quartet in last Friday evening’s concert titled Itzhak Perlman and Friends. This special program will only be performed in two other locations: Toronto’s Roy Thomson Hall and NYC’s Carnegie Hall. 

Because I’ve primarily only heard entire orchestras perform in Hill Auditorium, I was a little taken aback when Perlman and violinist Areta Zhulla strolled onstage to immediately launch into Jean-Marie Leclair’s Sonata for Two Violins in e minor. With the two voices alone, the performance felt very exposed–yet abundant chords, trills, and echoing melodies kept the piece satisfyingly rich. Perlman and Zhulla exhibited stunning coordination in articulation, playing with the same creaminess in melodic sections and crispy short notes in the faster parts. Following the piece, we were first introduced to Perlman’s playful practice of fist-bumping his fellow performers. 

The next piece, Mozart’s Piano Quartet No. 2 in E-flat Major, featured Perlman alongside pianist Emanuel Ax, violist Molly Carr, and cellist Astrid Schween. Amidst the characteristic delicacy-with-underlying-energy Mozart sound, I felt Ax’s phenomenal ability to inject dynamics and subtle nuances into each phrase shined through in the performance.

Concluding the concert was Chausson’s Concert for Violin, Piano, and String Quartet featuring Perlman with pianist Jean-Yves Thibaudet and the Julliard String Quartet. This ended up being my favorite piece of the program due to the dramatic ebb and flow of sound and “pretty” quality. The piece plays with a bold, 3 note motif that melts into different passages with singing strings and underlying harp-like piano gymnastics. Perlman’s subtle use of emotional stylistic slides was the cherry on top.

Concerts like this remind me of the immense privilege we hold to experience world-class musicians brought to the university. I highly encourage students to keep an eye out for UMS’s future programming so they don’t miss these amazing opportunities!

PREVIEW: Itzhak Perlman and Friends

There are many versions of Itzhak Perlman floating around in popular culture. For many, he is the iconic, gutwrenching violin solo from Schindler’s List. For concertgoers, he is an international rockstar, having played with every major orchestra and venue out there. For students and music enthusiasts alike, his recordings are textbook–and the recipient of 16 Grammy awards. 

Despite his decorated career, Perlman has always maintained a warm, friendly personality. For his 12th UMS-sponsored visit to Hill Auditorium this Saturday evening, he is bringing along several “friends” (a.k.a highly renowned pianists Emanuel Ax and Jean-Yves Thibaudet as well as the Julliard String Quartet) for an Avengers-esque mixed chamber music performance. 

Apart from the big names coming together in this performance, I am excited to experience more types of chamber music. The program will feature Jean-Marie Leclaire’s Sonata for Two Violins in e minor, Mozart’s Piano Quartet No. 2, and Ernest Chausson’s Concert for Violin, Piano, and String Quartet. While I played in my own quartet throughout high school, anything beyond the standard 4-part instrumentation is totally beyond my scope of knowledge!

REVIEW: Berliner Philharmoniker (Friday Program)

One thing my childhood piano teacher of twelve years always told me was that a good performance made you feel taken care of. If you feel nervous on stage, so does your audience. If you are comfortable, the natural rise and fall of the music emerges and your listeners can comfortably breathe along each phrase. 

Last Friday, I had the pleasure of seeing the Berlin Philharmonic play at the Hill Auditorium. Pen and notebook in hand, I was reminded of my teacher’s words when the pages stubbornly remained relatively blank. When faced with the golden standard of the orchestral world, I suddenly found it very difficult to come up with any constructive comments. For the concert’s two-hour duration spanning raucous 21st-century sounds to Mozart’s pristine motifs, all I could do was sit back and think: this is so nice.

As the orchestra members made their way to their seats, I was surprised to see the second violins and cellos settle down in each other’s usual sections, with the basses gathered on the left side of the stage behind the cellos. While this seating arrangement made sense for the Mozart concerto later in the program, it was interesting to hear it used for Unstuck, a recent composition by Michigan native Andrew Norman. It is difficult to describe what happens in the piece–eerie, yet beautiful melodies are sandwiched between messy, frantic climaxes. Blurry tutti slides carry the listener from one idea to the next to the point where you forget where the piece even started. I rarely get a good view of the basses when I watch concerts, but this time around I was able to observe how they were constantly employed to add subtle, textural elements–slaps, snaps, dry scrubbing–to the ensemble.

Next up was the Mozart Violin Concerto No. 1 in B-flat Major performed by concertmaster Noah Bendix-Balgley. I don’t typically listen to Mozart over other composers, but Bendix-Balgley’s interpretation felt like a return to the fundamentals and allowed me to appreciate his music. His solo part was impeccably clean and sweet with a bell-like quality. The hardest part of playing Mozart is to make it sound effortless–both the ensemble and soloist mastered this element. The candenzas, written by Bendix-Balgley himself, were complex and brilliant.

Concluding the concert was the Korngold Symphony in F-Sharp Major. There is a lot of discourse surrounding Korngold and his validity as a serious composer due to his career writing music for films–an argument I find silly. The cinematic lushness and bold tuttis give the piece a distinct mood, while the free-spirited clarinet solo at the beginning of the first movement introduces an engaging story of conflict and resolution throughout the work. 

Part of the reason why the Berlin Phil is able to produce such a distinct sound is the combination of intense coordination and soloistic playing. By matching the exact speed and positions of each bow, the strings are able to meld together and mask any sense of bowings. I can only hope that everyone could have the chance to hear them perform live because it is truly a magnificent experience.

PREVIEW: Berliner Philharmoniker (Friday Program)

UMS really outdid themselves this season. I remember my jaw dropping when I heard the lineup announcement–Trevor Noah, Emerson Quartet, Itzhak Perlman, Joshua Bell? Now, through Bert’s Ticket Program (which you should be taking advantage of), I get to hear the Berlin Philharmonic for free this Friday at 8 PM in the Hill Auditorium. 

While the classical music world may be foreign to a lot of people, the Berlin Philharmonic carries powerful brand name recognition across musicians and the general public alike. Founded in 1882, the orchestra boasts a rich history of being led by some of the greatest conductors of all time. Adding onto the legacy, maestro Kirill Petrenko will be conducting two different concerts over two nights in Ann Arbor. Friday’s program will feature Andrew Norman’s Unstuck, the Mozart Violin Concerto No. 1 in B-flat Major performed by concertmaster Noah Bendix-Balgley, and the Korngold Symphony in F-Sharp Major.

As a violinist, I felt drawn to the first night’s program because of the opportunity to hear Bendix-Balgley in his element solo. However, I also look forward to hearing the Korngold Symphony for the first time. From the late-Romantic period, Korngold’s compositions tend to have a grand, cinematic quality that I especially enjoy in his Violin Concerto in D Major. Given that Andrew Norman is a contemporary composer, I expect Unstuck to be wild and cacophonous–qualities that I am excited to hear adapted into the Berlin Philharmonic’s iconic sound.

Event information: https://ums.org/performance/berliner-philharmoniker-2022/

If you missed getting tickets, orchestra members will also be hosting master classes for SMTD students open to the public throughout Friday and Saturday!