I don’t usually think of the Brahms as “glorious” — “glorious” would apply to a superb performance of Beethoven’s Missa Solemnis and the immaculately trained Chorus in that (singing with perfect intonation) — but “glorious” is indeed how this performance feels to me at times with this stellar Orchestra and Chorus, when they nearly bring tears to my eyes from their choral excellence, and brings back memories of my Orchestra Chorus experience when we performed the Brahms when I was in Norman Scribner’s Choral Arts Society of Washington (that performance was with The Cleveland Orchestra in the Kennedy Center Concert Hall; they didn’t tour with The Cleveland Orchestra Chorus, Robert Page – Chorus Director) and also with the San Francisco Symphony Chorus (Margaret Hillis and Vance George, Chorus Directors) in Davies Symphony Hall. Read article here.
Rachmaninov – Piano Concerto No. 4 – pianist Simon Tedeschi – Sydney Symphony Orchestra. Here is a splendid performance of Sergei Rachmaninov’s Piano Concerto No 4 in g minor, Op 40 (1941 Version) with pianist Simon Tedeschi and the Sydney Symphony Orchestra conducted by Benjamin Northey in the Sydney Opera House. This is a performance from 2017 and overall the best one I’ve heard. Read article here.
Why do they use the word “maestro?” I think it’s to give the appearance they know something about music.
Who are these people? Wanna-be pianists? Who didn’t possess the talent to train as a pianist? Ah yes, the classical music self-appointed armchair critics. I find them damn annoying, and I can’t relate to them.
The Lully Te Deum performed by Collegium 1704 and Vocale 1704, conducted by Václav Luks (they’re from the Czech Republic): One of my favourite pieces. It’s for Double Chorus. Sometimes the Chorus is visibly split but in this performance it is not, unless you say it’s split with the Children’s Chorus in the middle. The video of their performance is on a third-party site so I’m not embedding the video because I don’t want the copyright nazis at G**gle to delete it, so you can watch the performance here. There’s not much information about the performance. I don’t have any information about the trebles (boys with girl choristers). Perhaps they are from the parish or cathedral church where the performance took place. It’s quite a setting. It’s a superb performance. Most, if not all, of the soloists are from the Chorus as it should be. They blend their voices beautifully together, which I rarely say about any other soloists, especially soloists dragged in to symphonic choral performances from the screaming opera genre who seem to have never been trained how to blend one’s voice with another voice. All they seem to know how to do is to scream over each other, with few exceptions to that. Sad. Václav always selects the best soloists. His musicians are genuine artists, as is he. He’s a wonderful musician and I think he would be a pleasure to work with.
Yes, you can turn off vocal vibrato. Real musicians do it all the time. As heard in this performance of Zelenka’s Missa Omnium Sanctorum by Collegium 1704, conducted by Václav Luks.
Here are two interviews with Nicolas Baldeyrou, Principal Clarinetist of L’Orchestre Philharmonique de Radio France. He played in the above performance of the Brahms:
The Encore: Debussy’s Clair de Lune. I forgot to mention that after his performance of the Ravel, Francesco’s encore was the well-known piece Clair de Lune (which translates as Light of the Moon or Moonlight) by Debussy. It’s the third movement from his Suite Bergamasque. I’m glad he played it because I don’t think it could be better played than the way Francesco played it here (video below). His playing of this piece was also aided by the Hamburg Steinway & Sons’s Model D piano he was playing. The orchestral musicians seemed to enjoy it by the looks on their faces. The Debussy begins at around 23.50 into the video. And what was with some in this audience? There were school kids on the front row — nice that they could be there — and some of them seemed to be sleeping, including the girl sitting about a foot away from Francesco. Perhaps the performance was at night and they had had a long day and were tired, and they found the music very soothing and comforting. The most annoying person in the audience was that woman with short hair and glasses and a floral shirt whose face could be seen at the keyboard end of the piano. She was sitting on the second row. What was her head trip? She was damn annoying. She was laughing and talking and doing other annoying gestures all during the performance of the Ravel. It appeared that the guy she was there with was the real “entertainment” for her and not the superb musicians on stage. At one point she had to put her hand over her mouth (laughing). Whatever he was saying, she listened attentively. Often when Francesco was playing she wasn’t even looking at him. Loca./Crazy. One sensed her friend was doing “commentary” throughout the performance and she found it all funny. What is funny about the Ravel Piano Concerto in G? People like that are damn annoying and need to learn concert etiquette. If you have something to say to the person next to you, take the pen that you brought with you per concert etiquette and write your comments in the margins of your programme and covertly slide it over to the person for them to read. That way you are being considerate of others who came there for the performance, and not for you to ruin it for them with your talking, laughing, giggling and other childish, inconsiderate gestures. What is wrong with people today? Sigh. Nobody has that much time!