Recent News
01.13.19
James Conlon
Dull Bruch from Zuk, blazing Bartók from Conlon and New World at Arsht
South Florida Classical Review
01.11.19
Sir Andrew Davis
With conductor Andrew Davis, the BSO considers the big picture
The Boston Globe
01.10.19
Louis Lortie
PIANIST LOUIS LORTIE JOINS THE ROSTER
01.10.19
Alvin Ailey American Dance Theater
ALVIN AILEY AMERICAN DANCE THEATER CELEBRATES GROUNDBREAKING FOUNDER DURING 60TH ANNIVERSARY NORTH AMERICAN TOUR FEBRUARY 1 – MAY 12, 2019
Ailey PressRoom
01.07.19
Teddy Abrams, Inon Barnatan, The Knights
WQXR Presents “19 for 19”: Artists to Watch in the Upcoming Year
WQXR
01.02.19
Ward Stare
Auld acquaintance is not forgotten at the St. Louis Symphony Orchestra's New Year's Eve concert
KDHX
01.01.19
Marin Alsop, Lawrence Foster, Miguel Harth-Bedoya, Mariss Jansons, David Robertson, Donald Runnicles, Patrick Summers, Emmanuel Villaume, Conrad Tao, Andrew von Oeyen, Inon Barnatan, Daniil Trifonov, Blake Pouliot, Isabelle Faust, Edgar Moreau, Yo-Yo Ma, Alisa Weilerstein, Colin Currie Group , Brooklyn Rider , Symphonieorchester des Bayerischen Rundfunks, Munich , Lisette Oropesa, Michelle DeYoung, Anthony Roth Costanzo, Christian Van Horn, Storm Large
Best of 2018
12.17.18
Richard Kaufman
Cleveland Orchestra, Choruses make it feel like Christmas at Severance Hall
Cleveland Plain Dealer
12.17.18
Vienna Boys Choir
Vienna Boys Choir mix it up with a cosmopolitan “Christmas in Vienna”
New York Classical Review
12.14.18
Storm Large
High-energy holidays with Storm Large at the Sun
KDHX

News archive »

Connecting the Dots Between 2 Composers

09.16.10
Shai Wosner
New York Times

By Anthony Tommasini

The accomplished young Israeli pianist Shai Wosner, who performs regularly with chamber music ensembles in the United States and Europe, has a new recording that fascinatingly juxtaposes works by Brahms and Schoenberg. On Wednesday at Symphony Space, as part of the weeklong New York Chamber Music Festival, Mr. Wosner again showed a knack for drawing connections between composers.

For this rewarding program, lasting just over an hour, Mr. Wosner began with Schubert’s Sonata in D (D. 850), sometimes called the “Gasteiner” because it was composed during three weeks in 1825 when Schubert was staying in Bad Gastein, an Austrian spa town. Then Mr. Wosner was joined by Hyunah Yu, a gifted young South Korean-born soprano, in six Mahler songs from “Des Knaben Wunderhorn.”

Before the Mahler group, having just played the sonata, Mr. Wosner spoke about the links he saw between these seemingly disparate composers. The song genre was central to them, he said, and they shared powerful attachments to both the idyllic and the tragic realms of life.

Mr. Wosner went further, playing themes and phrases from the sonata just heard and pointing out similar bits in the Mahler songs. He did not claim that Mahler was actually quoting Schubert, but the correspondences were striking.

Mr. Wosner gave a lively and sensitive account of the demanding Schubert sonata. The buoyant first movement shifts between bursts of fanfarelike themes and rippling passagework. Though Mr. Wosner took a brisk tempo, his playing was lithe and articulate. The breathless energy of his conception was captivating, though he could occasionally have taken just a moment extra to set up the next episode or phrase.

The second movement is marked Con Moto (With Motion), and Mr. Wosner played it that way: though he was always sensitive to passages of harmonic and expressive intensity, his ambling pace never allowed the poignancy to take over. He deftly dispatched the feisty scherzo and ended with a supple account of the dancing rondo, played with impressive lightness and clarity.

Ms. Yu’s lyric soprano voice is light and youthful, yet its warmth and creamy richness make it well suited to Mahler.

The resonances of Schubert in the Mahler songs came through vividly in these original versions for voice and piano. Most of the Mahler songs, including these six from “Des Knaben Wunderhorn,” are best known from their orchestrated versions. Ms. Yu and Mr. Wosner ended with “Das himmlische Leben,” widely familiar as the final movement of Mahler’s Fourth Symphony. Increasingly, I find the versions for voice and piano more direct, subtle and intimate, especially in performances as beautiful as this one.