Outside Perspective

Art in the City

Friday night was the first Pittsburgh Cultural District Gallery Crawl of the summer.  And I had tickets for the Pittsburgh Symphony Orchestra for that night.  Ingredients that promised a fun evening. 

A game of searching

My fiancee and I went Friday night for the PSO, with Emanuel Ax, for the second time this season. This time we came with four college music students, bringing them down to experience the Cultural district on a Friday night. Dinner was learning all about college life, and my fiancee quizzing the students, among other things asking if any of them looked up that night's program. None of us (including me) did.

A new perspective (or, the greatness of the PSO)

I saw Heinz Hall through new eyes on the 15th, as I took my friend who comes from a small town in Wisconsin to see Pittsburgh’s beloved PSO. I wanted the halls to be graced by women in evening gowns with tuxedoed men waiting on them, adding to the elegance and timelessness of the shimmering red hallways and white pillars. Yet even with people wearing regular 21st century clothing, I know she was impressed by the grace of Heinz Hall.

Corigliano's 5*-4*-3* TriplePlay

My fiancee and I went to the Pittsburgh Symphony last Saturday, looking forward to another Corigliano piece, this time a TriplePlay, which the PSO gets to premiere. My first question: Has John Corigliano, in his many visits to Heinz Hall, found a closet to hide in when his piece is being performed for the first time?

Two Concerts of Musical Symmetries - Corigliano with His Reflective Mirrors - Naomi Yoran

The last two concerts before the PSO went on its European tour impressed me with their strong symmetries of program, performance and mood.

Both concerts featured "our American Resident Composer" John Corigliano, offering contemporary music based on literary imagination rooted in a romantic past, two string virtuosi: PSO's Principal Cellist Anne Martindale Williams and the Violinist Joshua Bell, two "minor composers": Edward Elgar and Samuel Barber whose music is so perfectly crafted and emotionally penetrating, two "major composers": Mozart and Mussorgsky offering popular "signature pieces".

Back in Heinz Hall: Joshua Bell and old friends - Ruthie Snoke

It was with great anticipation that I arrived at Heinz Hall on Saturday night and took my seat in the audience. Not only had I been missing the sublime PSO since moving to Chicago, I had also been greatly disappointed to think that I would miss Joshua Bell’s performance of ‘The Red Violin.’ So my excitement upon realizing that I would still be in town during the show was, needless to say, immense.   

A composer, a violinist and a red violin - Louis Luangkesorn

I remember a year ago, my then girlfriend, now fiancee, was asking about going to a specific concert, featuring some violinist named Joshua Bell. And not going because we were be out of town in the weekend in question. Fast forward to the summer, reading a Washington Post story about an experiment, where one of the most talented and sought after violinists of our generation would bring skills and talent, and play in front of a Washington DC Metro (train) station. And the name of the virtuoso was Joshua Bell. My thought then was "Brilliant". And so when this year's schedule came out, I was looking forward to this concert.

Returning to the symphony - Louis Luangkesorn

It has been many months since I've been to a Grand Classics concert. My fiancee (recent development) and I had dinner in the cultural district, the head to Heinz Hall. While looking on a violin, flute, harp trio, we were greeted by a friend, the first of several for the evening. Of those who greeted us, some had not seen us since our engagement, and several had not seen me since my deployment to Afghanistan. The greetings were joyful and full of warmth. Even though I have not been in Pittsburgh that long, being greeted like that helps in calling this city my home.

From a Burlesque to Roman Festivals: a Sample of Italian & Russian Temperament - Naomi Yoran

My perception of the recent two concerts, both conducted by the Italian Maestro Gianandera Noseda was like attending a mini festival celebrating interplay of Italian and Russian modern music. If anyone would have asked me about a motif to such a program I would have expected it to embrace passion. Instead, wit, playfulness and drama took center stage.

Recording Brahms: The 3rd & 4th Symphonies - Naomi Yoran

November 11th marked the conclusion of Brahms' four Symphonies live recordings. Once again the PSO is adding its voice to the eternal treasures of recorded music. I imagine that in a couple of months, when listening to these recordings, knowing that I was there, watching Marek Janowski conduct these concerts will add to my delight of loving Brahms.

Two Concerts & One Maestro: When the PSO connects with Rafael Frühbeck de Burgos - Naomi Yoran

Lately I got the impression that the motto of this season is: "Hurry up: Manfred Honeck is coming to town". So, the heated debate over having one Music Director or a "Team of Three" is finally winning down... I feel as though all of us, "lovers of the PSO" are still captives of the notion that Manfred Honeck follows Mariss Jansons... as though the past three years were just an interlude between two acts...

Well, this "suspension, with all its anxieties (I am sure there was plenty of it behind the stage) was still a time of great music making, of many unforgettable concerts!

Humor, Passion & Drama: The Opening Season 2007-2008 - Naomi Yoran

At the first concert of the season, having Corigliano's 'Promenade Overture', Tchaikovsky's 'First Piano Concerto' & Berlioz' 'Symphonie Fantastique' sharing the program, and at that order, felt as a good lesson in listening to live music, for the "initiated" & aficionados alike.

I perceived these three pieces as representing three essential "ingredients" for opening a season to a full house (and there was a full house!!!): humor, passion & drama.

Classical Music Imperiled? - Louis Luangkesorn

There was an article in the New York Times earlier this week by Edward Rothstein, titled "Classical Music Imperiled: Can You Hear the Shrug?"  Rothstein is commenting on a recent book by Lawrence Kramer, "Why Classical Music Still Matters."  And Rothstein makes the observation that many ask, not "What can be done?" (the usual point to this type of essay) but "Why should anything be done at all?"  Because as fun it is to say why I (for example) enjoy classical music, but is there any point in my recommending anyone else to enjoy it with me (other than any young lady whom I have an interest in :-)  )

Magic Number Nine: Beethoven's Triumph - Naomi Yoran

The last classical concert of the PSO's season ended with Beethoven's 'Symphony No.9' Intuitively I feel that this symphony can only be performed at the start or the completion of a classical concerts program. I never could avoid the thought that there is a "before" and an "after" the '9th Symphony'. Somehow, I would feel odd listening to it any time during the season.

Saying Goodbye… - Stephanie Heriger

Last weekend’s performances marked the end of the 2006-2007 concert season (at least for the Mellon Grand Classics series) and it was a fitting end – Beethoven’s ninth and final symphony is simply awe-inspiring.

For me, however, the night was more than a little bittersweet.