Friday, November 30, 2007

CD REVIEW: Bartok and Lutoslawski


November 30, 2007


Review by Gavin Borchert, eMusic

One of the orchestral world's best-kept secrets displays their best. Ironically, it's partly because of the economic troubles besetting the classical recording industry that the Cincinnati Symphony, one of the orchestral world's best-kept secrets, is gaining greater recognition as the virtuoso ensemble it is: its relationship with Telarc has remained firm while other more prominent orchestras have lost their major-label connections. This disc of two showpieces, a Concerto for Orchestra from 1943 by Bartók and one from 1954 by Witold Lutoslawski, displays their prowess no less in the slow passages (Lutoslawski's serene, slightly eerie "Corale") than in the fast ones (the whirlwind finale of the Bartók or the glistening, unearthly colors of Lutoslawski's "Capriccio" movement). Their virtuosity even extends to raucousness: the "interruption" in Bartók's fourth movement, an un-affectionate parody of Shostakovich's "Leningrad" Symphony, has never sounded ruder. As a bonus, there's Lutoslawski's 1985 "Fanfare for Louisville," a minute and a half of brassy in-your-face-ness.

Wednesday, November 28, 2007

Eesti dirigendid maailmalavadel


November 23, 2007

Recent news from an Estonian paper about Paavo.
Muusikamaailm
Priit Kuusk

Paavo Järvi võitis maineka Saksa heliplaadikriitikute aastapreemia Bremeni Deutsche Kammerphilharmoniega salvestatud Beethoveni III ja VIII sümfoonia CD eest firmalt Sony BMG/RCA. Preemiad anti üle Berliinis 17. XI. Et just on ilmunud ka nende Beethoveni sarja uus CD IV ja VII sümfooniaga, nimetas ajakiri Stereoplay neid salvestisi „Paavo Järvi Beethoveni-revolutsiooniks”. Cincinnati SOd juhatab Järvi sel kuul kolme kavaga, sh 2. – 10. XI viies kontseri Stravinski festivalil (ka Haydn, Beethoven, Šostakovitš). 8. XI anti Paavo Järvile üle aga Cincinnati MacDowelli medal.

http://www.sirp.ee/index.php?option=content&task=view&id=6348&Itemid=2

Alex Ross - Christmas present choice!


Gift ideas

I have updated my recommended CD list the left-hand column. I'm not quite ready to plunk down a best-of-the-year list, but the following CDs are certain to appear on it: GVSU's Music for 18 Musicians, Paavo Järvi's Beethoven symphonies, the astounding Teresa Stratas Salome DVD, and the Lorraine Hunt Lieberson Wigmore Hall recital.

CD REVIEW: Beethoven Symphonies 3 & 8

October 21, 2007

RCA« Rroognntuudjuuu ! » Järvi encore !!!

Ludwig van Beethoven (1770-1827) : Symphonies n°3 en mi bémol majeur op. 55 ; n°4 en si bémol majeur op. 60 ; n°7 en la majeur op. 92 ; n°8 en fa majeur op. 93. Deutsche Kammerphilharmonie Bremen, direction : Paavo Järvi. 2 CD RCA 88697029332 (n°4 et n°7) & 8697006552 (n°3 et n°8). Code barre : 8 86970 06552 (n°3 et n°8) et 8 86971 29332 (n°4 et n°7). Enregistré entre juin 2004 et août 2005 au à Berlin. Notice de présentation en anglais, français et allemand. Durée : 69. 32’et 69’23.
Nouveaux enregistrements et nouveaux miracles de la part du chef Paavo Järvi. Après avoir revisité en profondeur, les concertos pour orchestre de Bartòk et Lutoslawki, la musique anglaise, Rachmaninov et en attendant un album Tchaikovsky, le futur directeur de l’Orchestre de Paris décape Beethoven avec une rare efficacité. Il peut être difficile au lecteur de croire qu’après Harnoncourt il est encore possible d’aller plus loin dans les symphonies du grand sourd et à la tête d’un orchestre de chambre. Mais Jarvi, au lieu d’enfoncer les portes ouvertes avec une lecture rapide et brutale façon Antonini, prend le temps d’ausculter les moindres parcelles de musique à la recherche d’un éclairage ou d’un contre-chant inattendu. Dès lors, la force du musicien c’est de combiner l’horizontalité, la verticalité, avec le sens des détails et un beau travail sur les contrastes. Il suffit d’écouter la Symphonie n°8, souvent passage obligatoire des intégrales, et en particulier le délicat allegretto pour avoir une synthèse de son apport beethovénien. Dans un tempo allant, mais pas trop précipité, le chef tisse un véritable univers sonore suggestif où les allusions au métronome de Mälzel sonnent ici comme un véritable réveil matin alors que les nuances et les dynamiques sont saisissantes comme rarement. La Symphonie n°7 est l’autre merveille de ces deux albums, allégée à l’extrême la pâte sonore arrive à s’épancher et à danser avec des lignes qui s’imbriquent avec logique. On continue notre ascension des sommets avec une Symphonie n°4 qui se hisse au rang du légendaire enregistrement de Carlos Kleiber (Orfeo). Le sens des moindres détails et un irrésistible élan beethovénien arrachent absolument tout sur leur passage et toute indication de la partition prend ici un sens qu’il s’agisse d’un pizzicato des cordes ou d’une note grave du basson. La célèbre symphonie « héroïque » est emportée par la même rage. Mais un tel travail serait impensable dans un orchestre au diapason des intentions du chef. C’est là que la Philharmonie de chambre de Brême font un malheur par l’écoute mutuelle des vents et des cuivres et la précision radicale des cordes. On l’aura compris après les relectures pionnières des baroqueux, un nouveau stade de l’interprétation des symphonies de Beethoven est en passe d’être franchit : c’est un véritable bonheur pour l’oreille et l’esprit.

Wednesday, November 21, 2007

CD REVIEW: Jarvi puts own stamp on Beethoven

November 8, 2007
The Cincinnati Post
By Mary-Ellyn Hutton

Paavo Järvi: Deutsche Kammerphilharmonie Bremen. Beethoven, Symphony No. 3, "Eroica." Symphony No. 8. RCA Red Seal. A.
Beethoven's nine symphonies are the summit of musical inspiration and aspiration. Every conductor wants to record a complete set at least once. Cincinnati Symphony music director Paavo Järvi has made the plunge on RCA Red Seal with the Deutsche Kammerphilharmonie Bremen, of which he is artistic director. The first installment, Symphonies No. 3 and 8, was released in the U.S. to coincide with the DK's American visit during their 2007 world tour with Järvi last summer.
By all means buy it. It has won ecstatic reviews everywhere, including the top recording prize in Beethoven's home country (the 2007 German Record Critics Prize). Not only is it painstakingly performed and recorded - the character and presence of the sound will astonish you - but Järvi has given it a truly individual stamp. His goal, he said, was to find a middle ground between authentic performance practice (how the music would have been played in Beethoven's day) and later, more romantic conceptions.
Järvi has done so by allying Beethoven's famously brisk tempos and textural clarity with his updated feelings about the music. This is not Olympian Beethoven, elegant Beethoven or romantic Beethoven. It is gritty, down-to-earth, rock and roll Beethoven, genuinely in tune with the 21st century.
As performed by Järvi's 40 musicians, the music grabs the listener and doesn't let go. You can almost feel the whiplash of violin open strings, the vibrato-less tread of the "Eroica" Funeral March, the exuberant horn calls in the "Eroica" Scherzo. Järvi can move easily from head-banging intensity - Beethoven uses lots of "sforzando" (sudden accents) - to gentle lyricism as the musical moment requires. The Finale of the "Eroica" (one-minute slower, actually, than Michael Gielen's 1980 CSO recording) has tons of personality, from tongue-in-cheek wit to the hell-for-leather, Presto sprint at the end.
CD and SACD formats. Note: Sony BMG (owner/distributor of RCA Red Seal), indicates that this is the only Beethoven series recorded for hybrid Super Audio CD to date. The second installment, Beethoven's Fourth and Seventh Symphonies, will be released in the U.S. in 2008, with the third and fourth discs to follow at one-year intervals through 2009.
-- Mary Ellyn Hutton, The Post

CONCERT REVIEW: Mozart, Mahler Make Perfect Pairing



November 16, 2007

This is Mary-Ellyn Hutton's last review of Paavo and the CSO for the Cincinnati Post. The newspaper will cease to exist after January.

If I had been able to choose, I doubt I could have come up with a more fitting program for my last concert reviewing music director Paavo Järvi and the Cincinnati Symphony for the Cincinnati Post. Järvi, who after this weekend, doesn’t conduct the CSO until January (the Post closes Dec. 31) paired Mozart and Mahler Thursday evening at Music Hall. Mozart was the Piano Concerto No. 23 in A Major, a sunny work with a touch of melancholy in the slow movement. Soloist was Argentine pianist Ingrid Fliter in a sublime CSO debut. The neurotic, chronically unhappy Mahler was represented by his 80-minute Symphony No. 7, which ends in a state of wild euphoria. Fliter, 34, is a patrician artist. Winner of the 2006 Gilmore Artist Award (highly prestigious because you can’t compete for it), she shaped the opening Allegro in exquisitely calibrated tones It made one think of the Golden Mean, the “just right” middle between two extremes. The F-sharp minor Adagio came across more wistful than impassioned, though the tender second theme, announced by the CSO, had that much more impact. She delivered volleys of notes in the perky finale, winning a warm reception from the crowd. Mahler’s Seventh couldn’t have been a greater contrast. Composed in 1904-05 during a turbulent time in his life, it brooks no “means,” golden or otherwise. The composer takes the listener on a roller coaster ride, a journey through a night of fitful dreams to a sunlit awakening. It has been called “Song of the Night” because of its three inner movements, “Nachtmusik” I and II (“Night Music”) and Scherzo: “Schattenhaft” (“Shadowy”). Despite the work’s relative unfamiliarity – it’s the least performed of Mahler’s nine symphonies and hasn’t been heard at the CSO since 1988 the Thursday crowd couldn’t help being swept off their feet by it. The performance was uneven, particularly at the beginning, though the CSO players warmed to their task. Their obvious enjoyment (everyone has something exciting to do) and Jarvi’s inspired conducting augur better readings when the concert repeats. It opened with a commanding solo by Peter Norton on euphonium, answered shrilly by clarinets, oboes and trumpets. This devolved into an angry march that drifted occasionally into quiet moments reminiscent of the last day on earth in Mahler’s “Resurrection” Symphony (No. 2). “Nachtmusik” I opened with horn calls so like the buoyant Scherzo of Schumann’s “Rhenish” Symphony (No. 3) that the woodwind birdcalls, sharp, stinging effects and funereal touches, like cowbells against contra-bassoon, brought an ecological disaster to mind. The central Scherzo was a house of horrors, snarly and unsanitized, Järvi reveling in every creepy color and gesture. “Nachtmusik” II brought better dreams, opening with a downward-falling “answer” to an unspoken, doubtless romantic question. Principal hornist Elizabeth Freimuth delivered jocular solos and there were swoony passages tinged with mandolin (Paul Patterson) and guitar (Frank Ferrara). The really unleashed movement was the finale, where Mahler stirs in Wagner (Overture to “Die Meistersinger,” Fafner the dragon from “Siegfried”), Gilbert and Sullivan (“Mikado” complete with cymbal and bass drum) and snatches of schmaltz and the ever obsessive march. Toward the end it sounded as if it would break into Mendelssohn’s “Wedding March,” or perhaps “Star Wars.” In his six years with the CSO, Järvi has raised the bar on its achievement and brought a new sense of excitement to CSO performances. A wide dynamic range, vivid, transparent colors and no-quarter emotional appeal make the new CSO billboards in town (Järvi conducting against an electrical storm) right on target. The orchestra is in good hands. Repeats are 11 a.m. today, 8 p.m. Saturday at Music Hall.

Friday, November 16, 2007

CONCERT REVIEW: The CSO's Mahler universe

Thursday, November 15, 2007
The Cincinnati Enquirer
By Janelle Gelfand

Here's tonight's symphony review. Look for an interview with Ingrid Fliter in Friday's Weekend section.Gustav Mahler's Symphony No. 7 is his most misunderstood work, and a test of both orchestra and audience. On Thursday, after an absence of nearly two decades, Paavo Järvi and the Cincinnati Symphony Orchestra revisited this most enigmatic, quirky and ultimately, spectacular of symphonies.Mahler's Seventh, calling for massive forces, formed the evening's second half. Mozart's Piano Concerto No. 23 in A Major opened the program, in a sparkling reading by Ingrid Fliter.Mahler's symphonies all have underlying psychological meaning, and the Seventh seems to lay bare all of the composer's neuroses. Like his other symphonies, each of its five movements displays a universe of emotion in an endless quest for meaning.Järvi and the orchestra plunged energetically into the first movement, distinctive for its haunting sound of the euphonium (Peter Norton) and its rapid mood swings. Technically, its disparate threads didn't come together until midway, when frenzied passages dissolved into an atmospheric section of distant fanfares.Järvi's pacing was masterful and expression was red-blooded and full of bite. The contrasts of the three central scherzos were outlined in brilliant colors. "Night Music I," with its superbly-played horn calls, was hair-raising and grotesque; the second scherzo combined mystery and quirky humor.The most famously "Mahlerian" movement was "Night Music II," a pastoral serenade calling for mandolin and guitar. Winds and strings glowed in this rare moment of serenity.Despite its challenges, the musicians responded with exceptional playing. The finale was an exuberant display of symphonic glory, as brass and timpani unleashed their full power.To open, the Argentine pianist Fliter made her CSO debut in Mozart's A Major Concerto. The 34-year-old pianist was relatively unknown in America until about two years ago, when she won the Gilmore Competition, a $300,000 prize awarded to an unsuspecting pianist every four years.In a time of pianistic showmanship, it was a joy to see Mozart played with such beauty and without a trace of ego. Her touch was limpid, phrasing elegant and her phrases beautifully shaped.The slow movement was memorable for the pianist's singing tone and poetic phrasing. Its deeply interior quality was a stark contrast to the effervescent finale. The finale's fleet tempo and scampering runs left no doubt that this was composed in the time of "Figaro."Järvi, always with one eye on the keyboard, was at one with his soloist in this warm collaboration.The concert repeats at 11 a.m. today and 8 p.m. Saturday in Music Hall.


Thursday, November 15, 2007

Rising star plays Mozart with CSO

November 15, 2007

By Mary Ellyn Hutton
Cincinnati Post music writer

Whoever said cream rises to the top must have been thinking of Ingrid Fliter.

The Argentine pianist, 34, who makes her debut with the Cincinnati Symphony Orchestra this week, was the recipient of the 2006 Gilmore Artist Award.

Unlike other piano prizes, the quadrennial Gilmore award does not involve a formal competition; it is bestowed without regard to age or nationality through a confidential nomination and evaluation process. Judges, rather like restaurant critics, are anonymous and may observe a candidate for years before selecting a winner. Highly prestigious, the award carries a stipend of $300,000 and virtually guarantees a berth among the top rank of international pianists.

Fliter (pronounced FLEE-ter), a protégé of fellow Argentine pianist Martha Argerich, will perform Mozart's Piano Concerto No. 23 in A Major, K.488, at 7:30 tonight, 11 a.m. Friday and 8 p.m. Saturday at Music Hall. CSO music director Paavo Järvi, who led Fliter's debut at New York's Mostly Mozart Festival in August, will conduct.

The program juxtaposes Mozart's sunny concerto with Mahler's Symphony No. 7. Dating from 1904-05, Mahler's five-movement seventh is perhaps the least known and appreciated of his nine symphonies. In a way, though, it's the most engrossing because of its wide emotional range. Two of the inner movements are called "Nachtmusik" ("Night Music"). One utilizes guitar and mandolin. The third movement, called Scherzo, is marked "Schattenhaft" ("Shadowy"). The symphony has been called "Song of the Night" (not by Mahler) and viewed as a progression from night to day, with all the charms and terrors that may imply.

For a preview of the giddy finale, visit http://video.aol.com for Mahler guru Leonard Bernstein leading the Vienna Philharmonic (click "Categories," "Music" "Classical" then search for "Leonard Bernstein Mahler Symphony No. 7").

Admission is $12-$79.25, $10 for students. For tonight's concert only, admission includes a pre-concert buffet dinner in the Music Hall Ballroom (6:15-7:15 p.m.). Tickets are half-price for seniors for the evening concerts. Call (513) 381-3300, or order online at www.CincinnatiSymphony.org

Saturday, November 10, 2007

Paavo to receive the Cincinnati MacDowell Medal

November 8, 2007
The Cincinnati Post

Bravos to Järvi, who will receive the Cincinnati MacDowell Medal Sunday afternoon at CCM. The award, by the Cincinnati MacDowell Society, is made on an occasional basis to those "whose cultural contributions to the arts in the Cincinnati area are deemed most significant."
Järvi is only the 24th recipient in the society's 94-year history. Past honorees include artist John Ruthven, dancer/choreographer Frederic Franklin, opera bass Italo Tajo, Cincinnati Pops conductor Erich Kunzel and CSO music directors Max Rudolf and Jesus Lopez-Cobos.
Named in honor of American composer Edward MacDowell, the Cincinnati MacDowell Society is one of 13 groups in the United States that help support the MacDowell Artists' Colony in New Hampshire.
The Colony itself received the National Medal of Arts in 1997 for its nurture and support of creative artists including Thornton Wilder, Aaron Copland, Alice Walker and Leonard Bernstein.
By Mary Ellyn Hutton at http://www.musicincincinnati.com/.

Music director to be honored

November 3, 2007
Cincinnati Enquirer

The Cincinnati MacDowell Society will present the Cincinnati MacDowell Medal to Paavo Järvi, music director of the Cincinnati Symphony Orchestra, on Nov. 11 at the University of Cincinnati College-Conservatory of Music.
The medal is awarded for significant cultural contributions to the arts in Cincinnati. Järvi is the fifth Cincinnati Symphony music director to receive the award and the 24th recipient in the society's history of nearly 100 years. Other local medalists have included Cincinnati Pops conductor Erich Kunzel and opera legend Italo Tajo.
The MacDowell Society is named for American composer Edward MacDowell. Cincinnati's society was founded in 1913 through the friendship between the MacDowells and three Cincinnati women - Mary Emery, Clara Baur and Bertha Baur (the latter founders of the Cincinnati Conservatory of Music). It is one of 13 groups nationwide that support the MacDowell artist colony in New Hampshire, and it awards grants to local artists.

Janelle Gelfand

CONCERT REVIEW: Kim's tribute to Rostropovich is masterful

November 10, 2007
By Mary Ellyn Hutton Cincinnati Post music writer
Talk about virtuoso.
Cincinnati Symphony Orchestra principal cellist Eric Kim did honor to the greatest cellist of the 20th century (and probably any century) Friday night at Music Hall.
Kim was featured soloist in Dmitri Shostakovich's Cello Concerto No. 1, dedicated, as was the entire concert, to the memory of Mstislav Rostropovich who died last spring (the work was written for and premiered by him in 1959).
Rostropovich would have been proud to hear the work performed with such depth of insight and mastery. In fact, like Beethoven last weekend (his "Eroica" Symphony), Kim and Shostakovich stole the show.
The concert, led by CSO music director Paavo Jarvi, was the second of the CSO's ongoing Stravinsky Festival, a focus on some of the composer's less often heard works that continues with his "L'histoire du soldat," to be performed by the CSO chamber Players Nov. 16 at Memorial Hall.
The Stravinsky fare Friday was his Symphony in Three Movements, a deceptively titled work that has the punch of his popular ballets like "The Rite of Spring." (Those who left at intermission expecting something dry or cerebral missed a listening experience of the first order.)
Kim glorified Shostakovich's mid-century work in every way. He met its technical demands with ease - never have double stops in thumb position sounded so easy. And the sound Kim drew from his cello! Beautiful is inadequate to describe it.
The first movement is dominated by a motoric, four-note motif, announced by the cello, similar to the composer's "motto" theme (a spelling of his initials in musical notation). It was high-pitched excitement from the start, including some splendid solos by principal hornist Elizabeth Freimuth and a perfectly timed ending delivered like a rifle shot by principal timpanist Patrick Schleker.
The second movement unfolded against a plaintive fabric of violas. There were some uncanny woodwind sonorities and ethereal dialogues with Kim, who capped a passage of fingered harmonics with muffled bow strokes against a soft timpani roll.
The third movement cadenza was astonishing - not just a showpiece, but a deep musical immersion that brought a hush to the hall. Shostakovich's satiric bite returned in the finale (which supposedly quotes Soviet dictator Josef Stalin's favorite song), along with the motto theme and some great chattering and cackling by the winds. The applause and cheers for Kim and the CSO were long and well deserved.
The Symphony in Three Movements was written under the "influence" of world events, Stravinsky wrote, specifically World War II and brutality he witnessed in pre-war Nazi Germany. Whatever the inspiration, it has all the "Rite" stuff, from propulsive rhythms and swatches of melody reminiscent of the maidens' "Spring Ronds" to the whooping horns of the "Sacrificial Dance" in "Rite of Spring." Pianist Michael Chertock was a standout in the outer movements, where the piano plays an important role, as was principal harpist Gillian Benet Sella in the more lyrical Andante, whose origin as music Stravinsky wrote for a vision of the Virgin Mary in the 1940s film "Song of Bernadette" resonated once or twice.
The final movement, which the composer likened to a "plot" about the defeat of the Nazis by the Allies, began with march-like optimism devolving into a delightful, bumbling "fugue" by piano, trombone and harp. The Yankees came to the rescue in racing spiccato figures in the strings and an all-stops pulled assault ending with a ringing, jazzy chord.
Jarvi opened with Haydn's Symphony No. 98, chosen, perhaps, because, like so much of Stravinsky, it has a surprise in it. Audience members may have wondered what Chertock was doing sitting at the harpsichord until a few bars before the end, where he suddenly added some rushing figures on the keyboard.
Repeat is 8 tonight at Music Hall.

CONCERT REVIEW: CSO cellist delivers masterful performance

November 10, 2007
Cincinnati Enquirer

By Janelle Gelfand
Eric Kim’s performance of Shostakovich’s Cello Concerto No. 1 was, quite simply, a tour-de-force.
The cello concerto was the centerpiece of an enthralling
Cincinnati Symphony Orchestra program led by Paavo Järvi on Friday night, which opened with Haydn and ended with Stravinsky.
It was a well-matched program, and hearing Stravinsky’s remarkable “Symphony in Three Movements,” following last week’s “Symphony of Psalms,” made me wonder why we don’t hear this music more often. With the orchestra’s playing in peak form, it doesn’t get much better than this.

Shostakovich’s Cello Concerto in E-flat Major is unique for its powerful writing, despite its often chamber music-like textures. Järvi dedicated the performance to Mstislav “Slava” Rostropovich, who died in April and for whom it was written.Kim has been principal cellist of the orchestra since 1989. From the first note, his performance was assertive and confident, and he projected a big, mellow tone with a relaxed technique. He plunged ahead with a kind of relentless energy, and that made it all the more arresting.Shostakovich’s slow movement is introspective and moving. Here, the soloist’s view was haunting and coolly detached, and Kim’s high harmonics were stunning against the dazzling horn of principal player Elizabeth Freimuth. The finale, largely a solo cadenza, was gripping for its almost vocal color. Järvi and the orchestra were superb partners.What a treat it was to hear Haydn’s Symphony No. 98 in B-flat Major, not heard at the CSO since 1982, which opened the evening. Its hallmarks were clarity, freshness of spirit and warmth, as Järvi illuminated details with inventive turns of every phrase.The orchestra’s attack was crisp and orchestral soloists soared. If a movement stood out, it was the minuet, which was unexpectedly robust and earthy.Stravinsky was inspired by world events – especially World War II – for his “Symphony in Three Movements” of 1945. Musically, the work is a brilliant synthesis of everything he’s known for: rhythmic energy, bubbling ostinatos, primitive power, lush orchestral color and neoclassicism.Its extraordinary twists and turns of mood, profusion of melodies and ever-changing rhythms and meters make it complex to play. Yet the directness and drive of this performance made it all clear, and the result was irresistible.It was all there – the brilliance, the drama and the tongue-in-cheek humor, such as the piano and trombone duo that launches the last-movement fugue. The orchestra’s playing was precise, and became more relaxed and spontaneous as they progressed.The “Stravinsky Festival” repeats at 8 p.m. today in Music Hall. 513-381-3300.

http://news.enquirer.com/apps/pbcs.dll/articleAID=/20071110/ENT03/71109022/1025/LIFE

Friday, November 09, 2007

CSO serves up more Stravinsky



November 8, 2007

The Cincinnati Post


The CSO led by music director Paavo Järvi continues its focus on Igor Stravinsky with his 1945 Symphony in Three Movements at 8 p.m. Friday and Saturday at Music Hall.
Soloist will be CSO principal cellist Eric Kim in Shostakovich's Cello Concerto No. 1, to be performed in memory of Mstislav Rostropovich. The great Russian cellist (for whom the concerto was written) died last spring.

The concert opens with Haydn's Symphony No. 98.
Though written during Stravinsky's "neo-classic" period when he revisited classical and baroque forms, the material used in his Symphony in Three Movements reflects that of his early ballets like "The Rite of Spring."
Following Saturday's concert, there will be a "Bohemian Bash" in the Music Hall foyer, which will be transformed into a Parisian café recalling Stravinsky's years in the French capital. Admission is free to ticketholders and will include live jazz by the Faux Frenchmen, beverages and desserts.
Come at 7 p.m. Friday or Saturday and learn more about Stravinsky and the program in a pre-concert "Classical Conversation" by Joel Hoffman, professor of composition at the University of Cincinnati College-Conservatory of Music, and CSO assistant conductor Eric Dudley.
Tickets are $12-$75.25, $10 for students, half-price for seniors. Call (513) 381-3300, or order online at


Half-price tickets are available between 11 a.m. and 2 p.m. concert days at the CSO box office in Music Hall.
The CSO Chamber Players conclude the CSO's two-week "Stravinsky Festival" at 7:30 p.m. Nov. 16 at Memorial Hall with his theater piece "L'histoire du soldat," narrated by Stacey Woolley. Järvi is saving the "big bang," Stravinsky's "Rite of Spring," for the final concerts of the CSO season May 2 and 3 at Music Hall.

Stravinsky Festival: Part 2



November 9, 2007
The Cincinnati Enquirer
By Janelle Gelfand

Cincinnati Symphony Orchestra continues its Stravinsky Festival, celebrating the 125th birthday of the composer, at 8 p.m. today and Saturday in Music Hall.
Paavo Järvi leads Haydn's Symphony No. 98 and Stravinsky's extraordinary "Symphony in Three Movements." Eric Kim, the orchestra's principal cellist, will take the solo spot in Shostakovich's Cello Concerto No. 1.
On Saturday, the audience is invited to stay after for a free "Bohemian Bash" in the lobby, with jazz by the Faux Frenchman and desserts.
Tickets: $12-$75.25; $10 students. 513-381-3300,

Tuesday, November 06, 2007

BP Chicago Symphony Radio Broadcast Series

November 4, 2007
http://www.cso.org/

Listen again online November 5 - November 18

Program # CSO 07-31 Here is some fresh programming by guest conductor Paavo Järvi, from a concert in November, 2006. Besides the rarely-heard Kodály Concerto for Orchestra, he introduces a work by his Estonian compatriot, Erkki-Sven Tüür, and brings back the charming, folk-based Concerto for Orchestra by Polish composer Witold Lutosławski.
Kodály Concerto for Orchestra (CSO commission) Paavo Järvi, Conductor
Gershwin Piano Concerto in F Major Paavo Järvi, Conductor Wayne Marshall, piano
Tüür Zeitraum (U.S. premiere) Paavo Järvi, Conductor
Lutosławski Concerto for Orchestra Paavo Järvi, Conductor
Sibelius Finlandia Paavo Järvi, Conductor

http://www.cso.org/main.taf?p=15,1,37

CONCERT REVIEW: Lars Vogt, Frankfurt Radio Orchestra

October, 2007
Frankfurter Allgemeine Zeitung

Gewaltiger Klangstau
Paavo Järvi dirigiert Spätwerke und Sibelius

Mahlers letzte Sinfonie und Mozarts letztes Klavierkonzert sind Musikstücke, die durch typische Merkmale eines Spätwerks charakterisiert sind. Für Mozart gilt dies ungeachtet dessen, dass dem Komponisten lediglich 35 Jahre Lebenszeit beschieden waren. Doch die Gunst der Zeit war selbst ihm abhold. Das flüchtige Interesse der Gesellschaft war ihm längst abhandengekommen, und da man ihn schon hatte fallenlassen, musste er auch weniger Rücksicht auf Konvention, Gefälligkeit und das prickelnde Bedürfnis nach Virtuosität jener "Langohren" nehmen, die manchmal die Säle und Salons okkupierten. Mozarts Konzert für Klavier und Orchester Nr. 27 B-Dur KV 595, von dem die Rede ist, wurde jedenfalls ein introvertiert klingendes Werk voller Melancholie und stark gedämpfter Emotion. Lars Vogt, der Mozarts letzten Gattungsbeitrag jetzt zusammen mit dem hr-Sinfonieorchester unter der Leitung seines Chefdirigenten Paavo Järvi beim Freitagskonzert in der Alten Oper interpretierte, verband den Grundgedanken eines idealen Schwebezustands mit einer kristallin transparenten Anschlagtechnik, mit der er sich nirgends in den Vordergrund spielte. Alles blieb in dieser Darstellung moderat, auch Järvis Begleitung mit dem musikalisch gleichwohl stets präsenten hr-Sinfonieorchester. Ganz anders zu Beginn des Abends das Adagio aus Gustav Mahlers Sinfonie Nr. 10: Auch diese Musik scheint in ihrer Abgeklärtheit zuweilen wie aus einer anderen Welt zu kommen, doch birgt sie eine kumulative Kraft von zuweilen fast bedrohlicher Intensität. Denn wiewohl die Musik in sich zu kreisen und Entwicklungen zu verbergen vermag, spitzt sich der Klang doch kontinuierlich zu bis zu jenem legendären Neuntonakkord, mit dem Mahler in neue Dimensionen des Komponierens vordringt. Paavo Järvi, dessen suggestive und detailgenaue Darbietung - eine kleine Geigenirritation in Takt 164 ausgenommen - auf eine intensive Probenarbeit schließen lässt, ließ es sich nicht nehmen, auf die radikal modernen Elemente dieser Musik hinzuweisen. Erstaunlicherweise gelang ihm solches selbst in Jean Sibelius' Sinfonie Nr. 5 Es-Dur op. 82 mühelos. Das scheinbar harmlose, in Wahrheit ziemlich intrikate, mit klassischen Formen und Inhalten wenig kompatible Werk enthält harmonische Schärfen und rhythmische Besonderheiten, über die oft allzu oberflächlich hinwegmusiziert wird. Und obwohl diese Musik doch eher durch Orgelpunkte denn durch kontrapunktische Entwicklungen gekennzeichnet ist, erscheinen manche Phasen in rasendem Tempo, das jedoch in das Korsett einer quasi übergeordneten, abbremsenden Bewegung gezwängt wird, die mit der Kraft der Musik nicht konform geht. So entsteht ein gewaltiger Klangstau, der sich am Ende in heftigen, durch Generalpausen unterbrochenen Orchesterschlägen löst. In Paavo Järvis Darbietung klang dies sehr beeindruckend, was auch durch den starken Beifall bestätigt wurde.
HARALD BUDWEG

CONCERT REVIEW: Lars Vogt, Frankfurt Radio Orchestra


October 30, 2007


Frankfurter Rundschau

Autor: VON BERNHARD USKE

Lyrische Talente
HR-Sinfoniekonzert

Es war sinfonische und konzertante Lyrik, was Paavo Järvi und das hr-Sinfonieorchester zusammen mit dem Pianisten Lars Vogt im Abonnement-Konzert des Hessischen Rundfunks in Frankfurts Alter Oper boten. Die Kantilene der Bratschen zu Beginn des einzigen vollendeten Satzes aus Gustav Mahlers 10. Sinfonie präludierte das Klima des Abends: weit schwingende, leichte und mit eigensinnigen pagogischen Rückungen versehene Klangflüsse, für die der Chef der hr-Sinfoniker offensichtlich ein Händchen hat. Als würden die Intervallschritte immer kurz in die Knie gehen, bevor sie ihre jeweils neue lineare Höhe gefunden haben. So glitten die Melodiefäden dahin. Verblüffend, wie drastisch sich in diesem Adagio dagegen die kurzen, grellen Holzbläser-Interventionen, wie säulenhaft die wenigen Blechbläser-Manifestationen ausnahmen. Man fühlte sich an die Nacht-Musiken aus der 7. Sinfonie erinnert, an deren sanften, geschmeidigen Horror. Die fast 25-minütige Versenkung wirkte wie eine konzentrierte Sinfonie - in Zeitlupe.

Gegen Ende gab es drastische Ritardandi und schluchzige Momente – vielleicht etwas zuviel des Guten. Danach Mozarts letztes Klavierkonzert in B-Dur KV 595 - vorgestellt als jenseits aller Rokokogeläufigkeit und munterer Musikalität angesiedelter lyrischer Klassizismus.

Ausbalanciert zwischen Lars Vogt und Paavo Järvi, so als brächte die Potenzierung lyrischer Talente das Entscheidende dieses so wenig auffälligen Werks heraus: Musik ohne Blick auf den Effekt, sondern als Zentrum einer autonomen, apollinischen Ausdruckswelt. Danach hätte Jean Sibelius eigentlich das polternde, holzschnittartige Finale des Abends sein können. Aber die 5. Sinfonie, zwischen 1915 und 1919 entstanden, ist kein nationalmusikalischer Parforce-Ritt in die finnischen Weiten, sondern ein bizarr wirkender Versuch, stabile, räumliche Zustände in der Zeitkunst der Musik zu vermitteln. Das hr-Sinfonieorchester und Paavo Järvi brachten das Kunststück fertig, ein sinfonisches Auf-der-Stelle-Treten zu erzielen im pausenlosen Wispern und Wabern des pixeligen Motivgeflechts: Sibelius' harte Statik in weichem Fundament
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CONCERT REVIEW: Introvertierter Mozart

October 29, 2007
Frankfurter Neue Presse

Autor: Matthias Gerhart


Der Pianist Lars Vogt gastierte bei den Rundfunkkonzerten in der Alten Oper Frankfurt.

Die beiden Abende im Großen Saal standen ganz im Zeichen musikalischer Vermächtnisse. Das bedrückend-faszinierende Adagio aus Mahlers zehnter Sinfonie etwa, bei der die alte Stärke und Zuneigung des HR-Sinfonieorchesters zu dem Komponisten wieder erfahrbar wurde. Chefdirigent Paavo Järvi hatte die Streicher hervorragend eingestellt und sorgte damit für einen dichten, weichen Klangteppich. Mit Lars Vogt hatte man einen der führenden Pianisten unserer Zeit gewinnen können. Mozarts B-Dur-Konzert KV 595 ist sein letztes gewesen und atmet einen eher introvertierten Geist. Diese Atmosphäre herauszuarbeiten und plastisch- spannungsvoll zu demonstrieren war die anspruchsvolle Aufgabe des Solisten, die Lars Vogt sehr zur Faszination des Zuhörers gelang. Besonders die beiden lebhaften Sätze brachte Vogt technisch präzise zur Geltung, wobei er sich jederzeit bei dem aufmerksam und gut motiviert wirkenden Orchester Rückhalt holen konnte. Markant erschien wieder der Schluss des ganzen Werkes, der so zart und verhalten wirkt, als habe Mozart es bereits geahnt, dass er soeben mit dem 27. sein letztes Klavierkonzert vollendet hatte. Sibelius' fünfte Sinfonie brachte zum Abschluss ebenfalls viel herbstlich-nachdenkliche Stimmung in den Saal. Hier wäre besonders das idyllische Andante zu nennen. (Ge)

CONCERT REVIEW: Frankfurt Radio Orchestra- Alte Opera

October 29, 2007
Offenbach-Post

Schwanengesänge an Grenze der Tonalität
Konzert des hr-Sinfonieorchesters in Alter Oper Frankfurt

Letzte Komponistenworte eröffnen nach sehnsuchtsvoller Bilanz oft neue klangliche Wege. Gustav Mahlers Adagio aus der zehnten Sinfonie, von Paavo Järvi und dem hr-Sinfonieorchester in der Alten Oper Frankfurt akribisch erkundet, gedieh so zum ergreifenden Schwanengesang an der Grenze der Tonalität. Auf den Vermächtnis-Charakter zielte auch Lars Vogt als Solist in Mozarts letztem Klavierkonzert mit außerordentlichem Feingefühl. Zwar kein Endspiel, aber die sinfonische Form sprengend und Naturlaut in stimmungsvoller Klangprosa einbringend: In der Fünften des Finnen Jean Sibelius setzt ein Schwanenmotiv den malerischen Akzent, Finale des spannenden Funkkonzerts. Wie ein Bär mit Samtpfötchen wirkt Lars Vogt am Flügel, ein Idealfall für Mozarts B-Dur-Konzert, dessen liedhafte Anlage er noch zu sublimieren versteht. Ein Abgesang wie transzendental entrückt - mit unendlich feinem Tastensinn entwickelt der Pianist Mozarts sinfonischen Gehalt, stimmlich eng mit dem Orchester verknüpft. Selbst die figurativen Elemente, die perlenden Läufe und Arpeggien der stilistisch gut eingebundenen Kadenzen stehen wie unter einem erhabenen Bann. Große Gelassenheit beim Larghetto, das aus dem Innersten zu kommen scheint und das zudem durch das wie gehauchte Legato der hr-Sinfoniker empfindsam berührt.

Ohne Pause geht"s in die volksliedhaften Sphären eines "Komm lieber Mai und mache", von Lars Vogt so beschaulich wie nachdenklich zelebriert, was nicht zuletzt die Wendungen in sehnsüchtiges Moll bezeugen. Vogts subtile Anschlagskunst wie auch seine Fähigkeit, ein Werk seelisch tief zu loten, erinnern an die hohe Klavierkunst eines Alfred Brendel. Wie zur Bestätigung schickt der 37-Jährige Franz Schuberts Moment musical As-Dur nach, ebenfalls eine Spezialität des großen österreichischen Kollegen. Vorausgegangen war ein Mahler-Adagio, das Todesgewissheit atmet, dessen weit ausgreifende Intervallsprünge für hohe Expressivität sorgen, die Paavo Järvi bis zum berühmten Neun-Ton-Akkord dynamisch druckvoll erkundet. Auch ein Blick zurück ohne Zorn auf Wiener Streicher-Seligkeiten wie auf Mahlers gespenstischen Holzbläser-Girlanden, freilich weniger schrill tönend. Für nordische Sinfonik, ein Saison-Anliegen des estnischen Chefdirigenten des hr-Sinfonieorchesters, steht in diesem Konzert der Finne Sibelius und seine zu Beginn des Ersten Weltkriegs 1915 entstandene fünfte Sinfonie. Ihre Hochform bezeugen die hr-Blechbläser in geballter klanglicher Entwicklung, kontrastiert von milden Streicher-Pizzicati, die wie Mücken auszuschwärmen scheinen. Mit ihrem folkloristisch schlichtem Melos auf ostinatem Begleitgrund ist das typische Musik des Nordens, deren Naturstimmung in jenem Schwanenmotiv kulminiert, in das die wohltemperierten Hörner wellenförmig ausschwingen. Järvis dramaturgisches Gespür feiert im effektvollen Finale wahre Triumphe. Doch in Erinnerung bleiben eher Mozarts und Mahlers Schwanengesang ...
KLAUS ACKERMANN

CD REVIEW: Tchaikovsky Sumphony No. 6 "Pathetique"

Cincinnati Symphony Orchestra - Tchaikovsky's Pathétique (Telarc)
UK release date: 23 October 2007


This is an admirable recording of two of Tchaikovsky's undisputed orchestral masterpieces from the Cincinnati Symphony Orchestra. As the Finale of the Sixth Symphony drifted solemnly away, I was an emotional wreck.
Paavo Järvi draws from his orchestra dark, brooding textures at the opening of Tchaikovsky's Pathétique (a name that the composer would have removed, and one that has stuck to the work like a limpet). The doleful bassoon melody is given time, yet it seems jumpy and tense, every pause pregnant with anticipation. The statement of the 'proper' first theme arrives unexpectedly and intrusively, with pinpoint, perky and adolescent dialogues between woodwind and strings.
The famed second theme, that great rising fall of a melody, is sumptuously rendered, with lush, luxurious string tone and a pleasing bloom to the bass sound (but then the whole disc is recorded in gorgeous clarity); it is hard not to be dragged into the development section's fizzing violence or into the tragic fulfilment of the concluding descending scalic pizzicati.
Likewise, it is difficult not to feel implicated in the Allegro con grazia's daintily swinging syncopations and delicacy of ensemble, or the Allegro molto vivace's bubbling virtuosity, with its chuckling brass, fiery strings and twirling, swirling woodwind. I do sense, at the latter movement's conclusion, a deliberate sense of weariness: a sense that the music's overstated bombast has caused inner-collapse and reduced the final bars to empty rhetoric. It's an effective means by which to prepare us for the anguished Requiem of the Finale, which itself here is sweeping, horrified and tragic, beautifully detailed.
The opening performance of the Romeo and Juliet Fantasy Overture is equally effective and for the same reasons: the sound is luxurious, the playing is technically outstanding and Järvi moulds the score expressively and sincerely. The opening, once again dark and brooding, is brushed ironically with the brightness of the flute and the glistening of the harp glissandi; the orchestra introduce a sense of lugubrious, tired forward motion into their playing; the popular love theme boasts a hymn-like quality; after the 'suicidal' passage, the timpani's triplet figures prolong the drama with harrowing unease. But then this is a CD that grabs you and does not let go. Ever.
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Dave Paxton

Sunday, November 04, 2007

CONCERT REVIEW: Järvi, CSO heroic in Beethoven, Stravinsky

November 3, 2007

Cincinnati Enquirer
BY JANELLE GELFAND

If you do nothing else this season, go hear Paavo Järvi conduct Beethoven’s “Eroica” Symphony. His high-voltage interpretation of Beethoven’s Third with the Cincinnati Symphony Orchestra Friday night was revolutionary – in a program that matched two composers who revolutionized music.
Järvi was back in town to open his “Stravinsky Festival,” a two-week series anchored by works of Stravinsky. Friday’s program included the May Festival Chorus in the orchestra’s first performance of Stravinsky’s Chorale-Variations on “Vom Himmel Hoch Do Komm’ Ich Her” (From Heaven Above to You I Come) and the “Symphony of Psalms.”
Järvi’s view of the “Eroica” was light-years away from the orchestra’s last reading in 1994. In step with the trend of “period” performance, his tempos were exceedingly quick. Short bows, prominent timpani drumrolls and crisply articulated phrases created an unusual lightness of spirit. It was adrenalin-charged and the musicians played like virtuosos. Just occasionally did one miss Beethoven’s depth of sonority.
The first movement was fresh and vigorously played, with accents that came out like a shot. The funeral march was no dirge, but it flowed with soaring wind themes and riveting inventiveness of phrasing. The brilliance and explosive power of the scherzo was extraordinary. Järvi swept into the finale with one big flourish, giving the minor-keyed section tremendous color, as the clarinets raised their bells. It gripped from the first note to last, and the crowd was cheering at the cutoff.
The highlight of the first half was the “Symphony of Psalms,” Stravinsky’s 1930 Psalm setting in three symphonic movements. While not “religious,” it has a direct appeal, and the lack of violins and violas lends a distinctive, sometimes organ-like sonority.The chorus, prepared by Robert Porco, projected a vibrant sound, expertly navigating difficult, sometimes dissonant harmonies. The final “Alleluia” was a glowing summation of memorable beauty. Järvi’s orchestra was confident and richly colored.The opening Chorale-Variations, based on a Bach chorale, also featured unorthodox orchestration, giving it a unique sound. The choral timbre was dark against sparkling winds and spiky harmonies in the orchestra. Here, though, the orchestral playing wasn’t quite as clean and convincing.The concert repeats at 8 p.m. today and 3 p.m. Sunday in Music Hall. 513-381-3300.

Saturday, November 03, 2007

Stravinsky's music beyond words

November 3, 2007


By Mary Ellyn Hutton
Cincinnati Post Music Writer

Igor Stravinsky lied. Or he had yet to meet Paavo Jarvi and the Cincinnati Symphony Orchestra.
Famously known for having declared that "music is by its very nature, essentially powerless to express anything at all," Stravinsky used the mask of objectivity to craft his own powerful means of expression.
Jarvi noted in a "Classical Conversation" an hour before Friday night's CSO concert at Music Hall that when it comes to composers, "you should never trust anything they write," then demonstrated that with a performance of Stravinsky's Symphony of Psalms with the CSO and May Festival Chorus that packed an expressive punch that may have been beyond words, but certainly not beyond music.
That expressivity was fundamentally and profoundly religious. As such it was well paired with another Stravinsky work, his Chorale-Variations on "Vom Himmel hoch da komm' ich her" ("From Heaven High I Come to You") based on an organ work by J.S. Bach. A CSO premiere, it also resembled the Symphony of Psalms in its unusual instrumentation, both works utilizing reduced "dark" string sections and predominantly wind sonorities (just cellos and basses in the Symphony of Psalms, violas and basses in the Chorale-Variations).
The second half of the program, which opens a two-week CSO "Stravinsky Festival," consisted of Beethoven's Symphony No. 3 ("Eroica"). The choice was dictated, said Jarvi, by both composers having been musical revolutionaries.
Prepared by May Festival Chorus director Robert Porco, the chorus is as finely tuned vocally as the CSO is instrumentally and they made perfect collaborators.
The three movement Symphony of Psalms is a setting of verses from Psalms 38 and 39 from the Latin Bible (Vulgate, 39 and 40 in the King James version). The Psalms answer each other and it could be clearly discerned in the music.
"Hear my prayer" opened Psalm 38 in music that was stark and imploring, with a hard, relentlessly hammered two-note motif. Psalm 39, "I waited patiently ...and He inclined unto me" was the answer, beginning with a softly uttered, forlorn fugue rising to a loud declamation on "He hath put a new song in my mouth."
Psalm 150 ("Alleluia, Praise ye the Lord") became that new song, unfolding in sublime beauty (thrice-repeated "Alleluias") with crisp accents on "Laudate Dominum."
The concluding "Praise Him on the loud cymbals" lacked cymbals, but offered a vision of eternity instead, with a rhythmic and harmonic ostinato of ethereal beauty.
Beethoven's "Eroica" had the energy and transparency of a chamber ensemble with the sheen of a full symphony orchestra. Jarvi put his individual stamp on it with a first movement that was lyrical and dancelike, a noble Funeral March, a Scherzo dripping with mirth and a finale as filled with character as a puppet theater, with a breathtaking pell mell conclusion.
Repeats are 8 tonight, 3 p.m. Sunday at Music Hall. Don't miss Jarvi's "Classical Conversation" with CSO associate conductor Eric Dudley an hour before each performance.

Friday, November 02, 2007

CSO playing Beethoven, too

November 1, 2007
Cincinnati Post

By Mary Ellyn Hutton Post music writer
How do you like your Beethoven?
Plaster bust on the piano? Writing passionate love letters to his "Immortal Beloved?" Or unkempt, hair flying, with an un-emptied chamber pot in the corner?
Come to this weekend's Cincinnati Symphony concerts - 8 p.m. Friday and Saturday and 3 p.m. Sunday at Music Hall - and hear how music director Paavo Järvi and the CSO view him in his Symphony No. 3, "Eroica".
The concerts officially open the CSO's Stravinsky Festival (see related story, Page 3). Beethoven's familiar "Eroica" gives balance to the program, since the Stravinsky works, "Symphony of Psalms" and Chorale-Variations on "Vom Himmel hoch da komm' ich her," are heard less often on symphonic programs.
Järvi has been doing a lot of Beethoven recently, having won the German Record Critics' Prize in October for his RCA CD of Beethoven's third and eighth symphonies with the Deutsche Kammerphilharmonie Bremen. As opposed to some of the more Apollonian versions, Järvi and the DK go for an earthier, more fast-paced Ludwig.
(Järvi is the DK's artistic director, and he and they are recording all nine Beethoven symphonies. They took the symphonies on a world tour this summer.)
A setting of verses from Psalms 38 and 39 of the Latin Vulgate (39 and 40 in the King James version) and of the complete Psalm 150, Stravinsky's three-movement "Symphony of Psalms" (1930) is unique for its instrumentation. There are no violins or violas, just lower strings, plus a large wind and brass section, harp, timpani, bass drum and two pianos. Omission of the warmer upper strings heightens its emotional reserve, a trait Stravinsky cultivated, though he gives himself away in the soft, sublime "Laudate Dominum" at the end of Psalm 150.
The 1956 Chorale-Variations on "Vom Himmel hoch" (the Christmas carol "From Heaven High I Come to You"), after Johann Sebastian Bach, utilizes a similar wind-heavy orchestra.
Get a preview of the music with Järvi's "My Space" program notes, posted on the CSO Web site,
http://www.cincinnatisymphony.org/. Järvi and CSO assistant conductor Eric Dudley will present an in-person "Classical Conversation" one hour before each concert.
Tickets are $12-$75.25, $10 for students, half-price for seniors (evening concerts only), $5 for ages 6-18 for the Sunday matinee, available at (513) 381-3300 and through the Web site. Friday night is "College Nite"; college students attending the concert are invited to a reception afterwards in Corbett Tower at Music Hall, with free food, cash bar and music by Sasha's Gypsy Caravan.
Contact Mary Ellyn Hutton at
www.MusicinCincinnati.com.

Thursday, November 01, 2007

Tchaikovsky disk makes classical chart debut at No 18!


November 1, 2007





The Tchaikovsky disc, issued on the Telarc label and making its chart debut at no. 18, features Järvi and the Cincinnati SO (of which he is music director) in the Romeo and Juliet fantasy-overture and the "Pathétique" Symphony (No. 6).