- On Heels of "World-Class" Premiere of Bates's Cello Concerto, Joshua Roman Named First Artistic Advisor of Second Inversion
21C Media Group
Calidore String Quartet
- The Chamber Music Society of Lincoln Center Announce CMS Young Ensemble Winners 2015
The Chamber Music Society of Lincoln Center
Calidore String Quartet
- The Calidore String Quartet Team Up with the Emersons
All Things Strings
- National Philharmonic and guest soloist Haochen Zhang enchant
Les Violons du Roy
- Review: Les Violons du Roy
Santa Fe New Mexican
Teddy Abrams, Storm Large
- Storm Large wows the Mercury Ballroom
Cirque Mechanics Pedal Punk , Cirque Mechanics for the Orchestra
- This weekend's Cincinnati Pops concert will be so much more than great music
Nadja Salerno-Sonnenberg, Philadelphia Orchestra
- Orchestra, soloist show us why we go
- 'Basetrack Live' moving, disturbing theater
Stewart Copeland & Jon Kimura Parker & Co
- Stewart Copeland will tackle chamber music at Clowes
Conductor is instrumental in concert success
By Catherine Robb
Recently appointed as the BBC SSO’s artist-in-association, on Saturday evening Matthias Pintscher conducted his concert debut with charm and self-assurance.
During his interview in the first half, Pintscher described the orchestra as a delicate instrument in itself – it is evidently one he knows how to play. The orchestra opened and closed as a reduced ensemble, with the sharp and insistent rhythmic sounds of Edgard Varèse. Octandre (1923) and Intégrales (1925), although angular and percussive, were performed with an intimate quality that gave rare melodic passages their own space and the climaxes room for growth. This subtlety was again evident during the performance of Wolfgang Rihm’s Verwandlung 3, which had a Strauss-esque hint, adding to its already philharmonic intensity.
The concert, recorded for Radio 3’s Hear and Now contemporary music composer portrait, not only displayed the technical ability of the SSO, but also showcased Pintscher as an expressive composer. Celestial Object 1 delved into a world of subtle textures, where solo trumpeter Mark O’Keeffe was denied a typical brass-like concerto, and instead interacted with different sonorities and sounds. Transir for solo flute was unremarkably similar: self-indulgent and more gestural than concrete.
Although the evening could have suffered from the slightly disjointed programme, it did not. The SSO emerged with an fluidity which made for an approachable interpretation. Under the baton of Pintscher we were offered a welcome departure from exclusivity and guided through demanding music with an air of modest confidence.