- 'Basetrack Live' moving, disturbing theater
Stewart Copeland & Jon Kimura Parker & Co
- Stewart Copeland will tackle chamber music at Clowes
- Johannes Moser Signs as Exclusive PENTATONE Recording Artist
- Schubert and Schnittke, a Chamber Music Society of Lincoln Center Concert
New York Times
Jon Kimura Parker
- Gramophone talks to Jon Kimura Parker
- A pair of elegant guests join the Oregon Symphony for polished Prokofiev and a fantastic 'Fantastique'
Sir Andrew Davis
- Damnation of Faust: Sir Andrew Davis leads Terfel, Staples and choirs in Berloiz opera
Sydney Morning Herald
- Nashville Symphony Announces Inaugural Composer Lab & Workshop
Music Industry News Network
Jeremy Denk, Academy of St Martin in the Fields
- Academy of St. Martin in the Fields, Jeremy Denk create intimacy in an inventive repertoire
The Kansas City Star
- Beethoven's early work brought to life at Fort Worth concert
Orpheus Chamber Orchestra
The Washington Post
Exactly one year ago, when the conductorless Orpheus Chamber Orchestra performed at the Music Center at Strathmore in a program that included two Mozart piano concertos, I wondered here in print whether going it alone in that repertoire was really optimal, given the complexity of the scores and the naturally opposing forces of soloist and orchestra.
Nothing impresses me more than chutzpah, and Thursday night the same forces in the same hall upped the ante considerably, putting on the gargantuan Brahms Piano Concerto in D Minor, this time with Yefim Bronfman riding shotgun. I doubt whether such a thing had been attempted before, anywhere.
Every musician onstage was a consummate professional who relished this unprecedented challenge. The results were impressive -- every Orpheus performance is -- but it was a stunt nonetheless. The head-bobbing required of the concertmaster to commence and maintain the Adagio, for example, made many of us nervous. The brief, intense three-voice canon that precedes the solo entry in the first movement was unbalanced, and there was a distinct sense of the musicians "hanging on to" one another throughout. Even Bronfman was called upon to give cues, and he had his hands full.
The additional tension did not seem to faze him, however; the solo part was spread on a wide, colorful canvas, and the big second-subject solos in the first movement were masterfully built up. Earlier, Orpheus gave sparkling readings of three Brahms Hungarian Dances and Schoenberg's lush Chamber Symphony No. 1.