Recent News
12.12.18
Keith Lockhart
KEITH LOCKHART JOINS THE ROSTER
12.10.18
Vienna Boys Choir
Classical Album of the Week: Vienna Boys Choir Sings Strauss
WRTI
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Aaron Diehl
Pianist Diehl in jazz trio plays varied concert in Palm Beach
Palm Beach Daily News
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World

News archive »

Honeck leads PSO in triumphant 'Eroica' symphony

10.27.17
Alisa Weilerstein
Pittsburgh Post-Gazette

By Jeremy Reynolds

Samuel Barber’s “Adagio for Strings” is one of the great works of the 20th century, a piece that began its life as a movement for string quartet before Barber made transcriptions for string orchestra and, later, choir.

Friday’s Pittsburgh Symphony Orchestra concert in Heinz Hall featured a work of reverse origin, the world premiere of Irish composer Sir James MacMillan’s “Larghetto for Orchestra,” originally composed as a chorale work (“Miserere”) in 2009 and orchestrated in 2017 as a PSO commission.

Music director Manfred Honeck led the performance, which also included Schumann’s Concerto in A minor for Cello and Orchestra with soloist Alisa Weilerstein and Beethoven’s Symphony No. 3, “Eroica.”

Mr. MacMillan’s commission began somberly, transitioning slowly from fraught to gentle reverence during its 13-minute run. The composer treated the orchestra as multiple choirs, with strings, winds and brass each contributing chorale-like sections as well as blending to create new shades of sound.

The music was most effective in its brassy moments of fanfare. Here, Mr. MacMillan added a range of volume and feeling that no choir in the world can replicate. Principal trombone Rebecca Cherian’s solos in particular squeezed every drop of expression from an arrhythmic, repeated note. Most of the rest of the music, however, sounded as though the musicians were playing choral music, which they were. Both versions are worth a listen.

Ms. Weilerstein’s Schumann was engaging throughout, her melody arresting from the first note. She projected well, and the orchestra played with vigor without covering her sound (easy to do with a lower pitched solo instrument such as the cello). It’s easy to hear why her playing has so captivated the world—she sings each note with a warmth and care that is at once familiar and unique.

Read the rest of the review
.