#nationalsymphonyorchestra — Public Fediverse posts

https://www.europesays.com/ie/421157/ ‘I hope to be here for the grand reopening’ – The Irish Times #BreakingNews #BreakingNews #Éire #FeaturedNews #FeaturedNews #Headlines #IE #Ireland #LatestNews #LatestNews #MainNews #MainNews #NationalSymphonyOrchestra #NationalConcertHall #News #OfficeOfPublicWorks #PatrickODonovan #RTÉ #TopStories #TopStories #weekendreview

Trump to close Kennedy Center after takeover. Here’s everything we know

https://fed.brid.gy/r/https://www.advocate.com/politics/national/all-about-kennedy-center-closure

Canceled shows and record lows: How Trump is killing the Kennedy Center

https://fed.brid.gy/r/https://www.advocate.com/politics/donald-trump-kennedy-center-cancellations

Canceled shows and record lows: How Trump is killing the Kennedy Center

https://web.brid.gy/r/https://www.advocate.com/politics/donald-trump-kennedy-center-cancellations

Canceled shows and record lows: How Trump is killing the Kennedy Center

https://web.brid.gy/r/https://www.advocate.com/politics/donald-trump-kennedy-center-cancellations

Mozart & Bruckner at the National Concert Hall

It was a dark and stormy night but I braved the inclement weather to travel to the National Concert Hall in Dublin for what will be my last concert of 2024. It look like being a nearly full house when I booked my ticket, but in the end there were quite a few empty seats perhaps because various groups decided not to make a journey owing to Storm Darragh. My own travels went without a hitch and in fact I even managed to walk from Connolly to the NCH before the performance and back to Pearse after it without getting rained on.

Anyway, there were two items on the menu: Violin Concerto No. 5 in A Major by Wolfgang Amadeus Mozart, with soloist Stefan Jackiw, and the Symphony No. 7 in E Major by Anton Bruckner. The National Symphony Orchestra was conducted by Hans Graf.

Mozart wrote at least five violin concertos, and he was at most 20 when he wrote the last of the five that are known. During last night’s performance I was thinking a lot about all I had failed to achieve by the age of twenty! Influenced by his father Leopold, the violin was Mozart’s first instrument, but he later moved on and preferred to play keyboard instruments. Perhaps he wanted to escape from his father’s domination, which might explain why he didn’t write any more pieces for solo violin in the rest of his (short) life.

The 5th Violin Concerto is sometimes called “The Turkish” though there isn’t much of a Turkish influence in the music. Whatever the name, it is a very enjoyable piece in three movements, played quite beautifully last night by Stefan Jackiw and by the pared-down NSO. The soloist got a very warm ovation and responded with a solo encore in the form of a largo movement from a Bach violin sonata.

After the wine break we returned to find the stage much fuller with a large brass section and extra strings added to the smaller forces required for the Mozart. Bruckner’s Seventh Symphony is a huge and varied work lasting over an hour in performance. The radiant first movement, with its noble melody soaring over shimmering violin tremolos is very reminiscent of Wagner, as is much of the rest of the Symphony (especially in terms of the orchestration). Bruckner famously idolized Wagner and this composition is at least partly a tribute to his musical hero. It is said that Bruckner had a premonition of Wagner’s death in 1883 and the cymbal crash during the second (slow) movement symbolizes the moment that he found out that his premonition had come true. That whole movement (marked Sehr feierlich und sehr langsam; very solemn and very slow) is very moving: sombre though not excessively mournful. The third movement Scherzo is marked Sehr Schnell (very fast) but I found the tempo last night vigorous, but not epecially fast. I was expecting something a bit wilder. The last movement actually sounded to me more like Mahler than Wagner, with a resounding climax.

The Seventh is probably Bruckner’s best known and most performed Symphony. It was certainly a big hit for him when it was first performed in 1884. The composer was born in 1824 and last nigtht’s concert was billed as Bruckner 200. I think the 7th was a good choice to mark the occasion and the performance, with superb playing by the brass section (including the Wagner tuben), and the orchestra very well marshalled by Hans Graf, was a fitting tribute.

My next trip to the NCH won’t be until January, but I’m already looking forward to the Leningrad Symphony after the Christmas break!

#BrucknerSymphonyNo7 #HansGraf #MozartViolinConcertoNo5 #NationalConcertHall #NationalSymphonyOrchestra #StefanJackiw #WolfgangAmadeusMozart

Yesterday I once again headed off after work into Dublin by train to attend a concert by the National Symphony Orchestra this time under the direction of guest conductor Dinis Sousa (whose name is new to me). The programme consisted of two very familiar works, Grieg’s Piano Concerto in A Minor by Grieg and Elgar’s Enigma Variations by Elgar.

To start with, however, we heard a very interesting short piece by Anna Clyne called Masquerade which I enjoyed very much. This is only about five minutes long in performance, but full of energy and dynamics, and was a very suitable appetizer for the courses to follow.

The soloist for the Grieg Piano Concerto was Louis Schwizgebel who played it very well indeed. His articulation was crisp where necessary but also flowing when called for in the more romantic sections. The performance was very well received by the audience and by me. Actually I think that was the best performance of this work that I’ve heard live. Incidentally, I’m told the piano on which he performed was a brand new Steinway. Also incidentally, Edvard Grieg was only 24 when he wrote this piece.

During the second movement a member of the viola section of the orchestra had to leave the stage. I don’t know if she had broken a string or was just feeling unwell. I suppose both of these most happen from time to time in concerts, but I’d never seen it before. Thankfully she was back for the second half.

The Enigma Variations is another piece that is performed quite frequently. I’m not a huge fan of Elgar but this work definitely has its moments and I think anyone who doesn’t find Variation IX (“Nimrod”) uplifting must have something wrong with them. That said, that part is often played too slowly for my taste and can sound funereal rather than inspirational. Anyway, I hadn’t heard this in live performance for a long time so it was very pleasant to hear it again. I had forgotten that there is an organ part to this, actually, and it was good to hear the splendid NCH instrument used especially in the finale.

Overall it was a short (just 66 minutes playing time) but enjoyable concert. I’ll certainly be looking out for Louis Schwizgebel’s name on recordings in future as I think he is a fine soloist.

https://telescoper.blog/2024/10/05/grieg-and-elgar-at-the-national-concert-hall/

#classicalMusic #DinisSousa #edvardGrieg #EdwardElgar #EdwardGrieg #EnigmaVariations #music #NationalConcertHall #NationalSymphonyOrchestra #Piano #PianoConcertoInAMinor