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October 31, 2009

A little more on the BSO/Robert Spano reunion

You must get tired of my excuses, but I fell behind Friday working on stuff for Sunday's paper, then writing a review of the Baltimore Symphony with guest conductor Robert Spano, then rushing off to catch a concert celebrating the 50th anniversary of the Cathedral of Mary Our Queen. What I forgot to do was post the BSO review on the blog, which I had promised to do in my quick-shot post Friday morning.

Now you know not to trust me about anything. Except my impeccable judgment and good taste, that is.

Anyway, my review, if you still care (and even if you don't), is in Saturday's paper. To reiterate, the combination of Spano and the BSO really was notable Thursday night, and I am sure Saturday's Off the Cuff concert focusing on "Scheherazade" will be well worth catching (Spano will chat about the work before leading a complete performance).

What impressed me greatly Thursday was

the conductor's affectionate phrasing, a sense that the music meant much more than notes and structure. And the players sure sounded as if they were right on the same wavelength all the way.

I also should note again how powerful Leila Josefowicz was in the Adams Violin Concerto, one of the most substantive additions to the repertoire of the past few decades. It's a fascinating work, with so many things packed into it, a journey propelled by darkly beautiful harmonies and often arresting rhythmic motion. It was great to hear such challenging -- and rewarding -- music so vividly performed.

Posted by Tim Smith at 11:21 AM | | Comments (1)
        

Comments

Beg to differ with you about the Adams Concerto. Dissonances don't faze me (one of the 1st pieces I liked as a teen was "The Rite of Spring") but what I heard Thursday was a sour-sounding and overlong 1st movement. And some of Ms. Josefowicz's physical movements looked and made the music downright ugly. Musically, only the 2nd & 3rd movements came together for me. I've heard this concerto live before (plus its initial Nonesuch recording), but I still think it's not quite the masterpiece others feel it is.

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About Tim Smith
I was born in Washington, D.C., and grew up there. Initial thoughts of becoming a cocktail pianist faded when I realized I hated taking requests. I decided to study music history instead, and got a B. A. in that field from Eisenhower College in Seneca Falls, New York, and an M.A. from Occidental College in Los Angeles. After free-lance gigs for the Washington Star and the Washington Post, I worked as classical music critic for the South Florida Sun-Sentinel during the 1980s and '90s, a period when I also ventured into radio, contributing to NPR and hosting a weekly show on a West Palm Beach station. Since April 2000, I've been classical music critic at the Baltimore Sun. Over the years, I've written occasional articles for the New York Times, BBC Music Magazine and other publications, and I'm a longtime, regular contributor to Opera News and the U.K. magazine Opera. You may still be able to find on the remainder racks my one and only book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002).
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