![]() ![]() ![]() It was nearly five years ago that leon Botstein led the American Symphony Orchestra in a concert performance of Richard Strauss’s Die Ägyptische Helena, the fifth and, according to conventional wisdom, the least of the composer’s six operatic collaborations with Hugo von Hofmannsthal. The Chicago Symphony has scarcely suffered under Barenboim’s leadership, and the sheer instrumental excellence of the playing was more than enough to start off Carnegie Hall’s new season on a high. I suppose anyone with many years of concertgoing might recall more stylish readings of these works (surely Ravel performances reached some kind of peak during Charles Munch’s reign over the Boston Symphony in the fifties), but I’m not inclined to complain. The CSO was also more or less on its own while Barenboim tended to the relatively modest yet omnipresent piano part of Falla’s Nights in the Gardens of Spain. Luckily, Barenboim allowed the music to speak for itself – he even stood mostly motionless, hands at his side, during the Boléro and let his virtuoso band develop this orchestrational tour de force. ![]() Such grandiose sophistry is hardly necessary, but this conductor has always had a way of making simple things seem complicated. Still, it seemed a bit much for conductor Daniel Barenboim to suggest that the four Ravel scores – Rapsodie Espagnole, Pavane Pour une Infante Défunte, Alborada del Gracioso, and Boléro – were consciously ordered to correspond to the traditional movements of a symphony. Nothing wrong with that – New York’s musical institutions have launched their new seasons with far less substantial fare, and the works heard on this occasion are popular for very good reasons. That gives you an idea of the easy-listening musical tone of the evening, an affair dominated by the Spanish-flavored works of Manuel de Falla and Maurice Ravel. Photo: Hiroyuki Itoįor its final encore at carnegie Hall’s opening concert of the season, the Chicago Symphony Orchestra sailed into “Tico-Tico,” a Brazilian specialty number made famous 60 years ago by that small icon of forties film camp, pop organist Ethel Smith. 79 / Trio, op.EASY LISTENING: Barenboim leads the CSO in a safe program at Carnegie. Gabriel Fauré – 4 : Dolly / 4 mains / Masques et bergamasques / Fantaisie, op. The Flute King: Music From the Court of Frederick the Great Haydn Haydn‐Ensemble Berlin, Hansjörg Schellenberger, Emmanuel Pahud Johann Sebastian Bach Emmanuel Pahud, Trevor Pinnockį. Nielsen Sabine Meyer, Emmanuel Pahud, Berliner Philharmoniker, Simon Rattleĭalbavie, Jarrell, Pintscher Emmanuel Pahud Vivaldi Australian Chamber Orchestra, Richard Tognetti, Emmanuel PahudĬlarinet & Flute Concertos / Wind Quintet Ibert, Khachaturian Emmanuel Pahud, Tonhalle‐Orchester Zürich, David ZinmanĬésar Franck, Charles‐Marie Widor, Richard Strauss Emmanuel Pahud, Éric Le Sage Telemann Emmanuel Pahud, Berliner Barock Solisten, Rainer Kussmaul 5, Etc.Įmmanuel Pahud, Berliner Barock Solisten, Rainer Kussmaul, Christine Schornsheim & Georg Faust Johann Sebastian Bach, Brandenburg Concerto No. Sofia Gubaidulina Emmanuel Pahud, Mstislav Rostropovich The Canticle of the Sun / Music for Flute, Strings and Percussion Mozart Emmanuel Pahud, Marie‐Pierre Langlamet, Berliner Philharmoniker, Claudio Abbadoīrouwer, Mangoré, Ponce, Villa‐Lobos, Gnattali, Grenet, Lauro, Piazzolla Manuel Barrueco, Barbara Hendricks, Emmanuel Pahudĭebussy: Syrinx / Bilitis / La plus que lente / Ravel: Chansons madécasses / Prokofiev: Flute SonataĬlaude Debussy, Maurice Ravel, Sergei Prokofiev Emmanuel Pahud, Stephen Kovacevich Sonate en si bémol majeur / Sonate en fa majeur opus 17 / Sérénade en ré opus 41įlöten Konzerte 1 & 2 / Konzert für Flöte und Harfe ![]()
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