concert review: San Francisco Symphony
Oct. 22nd, 2014 11:27 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
calimacGuest Christian Zacharias conducted and played solo piano in a rather eclectic concert:
Two high classics, Mozart's D-minor piano concerto, K. 466, the darkest of the set and one with a particularly exquisite slow movement, making it essence of Mozart; and Haydn's Symphony No. 93, one of the most genial and witty of his London symphonies, making it essence of Haydn.
Two 20C American works, Copland's Appalachian Spring Suite, from the third and greatest of his Americana ballets, making it essence of Copland; and Morton Feldman's Madame Press Died Last Week at Ninety, an unusual Feldman piece insofar as it lasts only about five minutes instead of more like two hours, making it an introduction to Feldman for the impatient or short on time, which is not the way to get to know Feldman, and for that reason this piece will probably drive anybody not already grooved into Feldman's idiom crazy, consisting as it does of ninety repeated "cuckoo" sounds.
For various possible reasons more likely to be me than the music, I found the performances adequate rather than inspiring, despite the enticing repertoire.
Two high classics, Mozart's D-minor piano concerto, K. 466, the darkest of the set and one with a particularly exquisite slow movement, making it essence of Mozart; and Haydn's Symphony No. 93, one of the most genial and witty of his London symphonies, making it essence of Haydn.
Two 20C American works, Copland's Appalachian Spring Suite, from the third and greatest of his Americana ballets, making it essence of Copland; and Morton Feldman's Madame Press Died Last Week at Ninety, an unusual Feldman piece insofar as it lasts only about five minutes instead of more like two hours, making it an introduction to Feldman for the impatient or short on time, which is not the way to get to know Feldman, and for that reason this piece will probably drive anybody not already grooved into Feldman's idiom crazy, consisting as it does of ninety repeated "cuckoo" sounds.
For various possible reasons more likely to be me than the music, I found the performances adequate rather than inspiring, despite the enticing repertoire.
