![]() The year before, it was Succession and Station Eleven, one a cynical, redemption-free send-up of our worst people, the other an agonizing look at love and community after the world ends. This is totally anecdotal, and my taste is by no means definitive nor my viewing habits comprehensive, but the two shows in 2022 that I considered “great” were The Bear and Andor-the former a treatise on family pain, the latter nominally a Star Wars series, but actually so far removed from the temperament and writing of most of that franchise that it might as well have been a John LeCarre adaptation. But the truth, at least for me, is that my favorite shows of the year have been pretty damn serious. It makes a simple kind of sense-let art shield us from armageddon. My initial thought, perhaps a little facile, is that people would want to “escape” the things we might find grim about the broader instability of our post-pandemic world. Scored for nine strings, its sunny demeanour and motoric rhythm had very much the spirit of Copland or William Schuman, and the very great virtue of not outstaying its welcome.How’s your appetite for fun these days, here on the brink of apocalypse? I ask this not to be glib, but because I’ve been analyzing my own viewing habits lately, wondering how the state of the big ugly world has influenced what I want to spend my free time consuming. It was the only misjudgement in the programming, a missed opportunity to showcase something worthwhile.īy contrast Jessie Montgomery’s Starburst was a short but entertaining amuse bouche before Appalachian Spring. Based on Oprah Winfrey’s trite final monologue on her final show (red flag!) it sounded like ponderous underscore for the moment when a Bake Off contestant is sent home early. The only dud was the opener, Carlos Simon’s be still and know. It was great to see the bassoon given centre stage, the violin and cello offering decoration and elaboration, but definitely playing second-fiddle. Amy Harman gave a propulsive performance of a work which was at times enjoyably jagged and abrasive, but also lyrical in its central panel. Of the newer pieces the best was Jennifer Higdon’s Dark Wood (2001), a high-spirited celebration of the bassoon. ![]() And his glorious arrangement of Moon River as the encore found a Hollywood opulence from just 13 players. Tom Poster at the piano was the lynchpin, his athletic contributions maintaining the forward momentum. Alongside her in the violins was Elena Urioste, Co-Artistic Director of Kaleidoscope, who looked to be having tremendous fun through the whole thing. As throughout, Hilary Hahn was happy to be prima inter pares, taking the lead but not dominating. ![]() The ensemble operated without a conductor and were very secure, from Carlos Fereira’s silky clarinet solo at the beginning (reprised at the end) to Jane Mitchell’s unaffected and direct flute playing. Written the year after the Barber and similarly a founding text of classical Americana, it fizzes and sparkles where the Barber broods and laments. ![]() The second half was built around Copland’s Appalachian Spring in its original 13-instrument version. ![]() Cellist Tony Rymer and violist Juan-Miguel Hernandez both took their moments to soar above the violins, as the quartet pushed on to the climax. And hearing its fragility when played by four instruments, away from the safety blanket of the massed strings sound, allows the individual lines to come through. I don’t know why it doesn’t get played more: the central Adagio is one of the most loved pieces in the canon, but put in the middle of two turbulent and urgent fast movements it has even more impact. The older music largely came out ahead.Īlthough I have known and loved the Samuel Barber String Quartet for 30 years I had never previously heard it live. The programme was American music, combining a couple of mid-20 th century masterpieces with newer works by living composers. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |