Tuesday, September 23, 2014
Inquirer Daily News

Philadelphia Orchestra Tickets At Deep Discount

The Philadelphia Orchestra has put its upcoming Saturday night and Sunday afternoon concerts on sale. Big sale. Tickets are $30. Log on to philorch.org and use the promo code DANNY, as in Daniel Matsukawa, who is performing the Mozart Bassoon Concerto. You can also buy tickets by calling 215-893-1999.

Philadelphia Orchestra Tickets At Deep Discount

The Philadelphia Orchestra has put its upcoming Saturday night and Sunday afternoon concerts on sale. Big sale. Tickets are $30. Log on to philorch.org and use the promo code DANNY, as in Daniel Matsukawa, who is performing the Mozart Bassoon Concerto. You can also buy tickets by calling 215-893-1999.

Also on the program: Schumann's Symphony No. 1, the "Spring," and Beethoven's Symphony No. 4. Roger Norrington conducts.

And here, by the way, is my review for tomorrow's paper.

Roger Norrington at the Philadelphia Orchestra is a bit like the substitute teacher who catches you by surprise one day. First, you find that he’s moved everything around. And then, when he makes his first sound, he’s using phrases you’ve never heard before. Doesn’t he know how things are done around here?
Of course he does. But you don’t import the conductor who founded the London Classical Players unless you’re expecting new ideas. Or in this case, old ones. Norrington is known for his advocacy of period instruments and historically correct instrumental techniques, and although there’s a limit to what he can do in a week with the Philadelphia Orchestra — an organism of very 20th-century sensibilities — it’s salutary for the orchestra to stretch itself, as you could hear it doing Friday afternoon in a program of three works (all in B Flat Major) by Beethoven, Mozart and Schumann.
The Schumann, the Symphony No. 1, “Spring,” was not an enormous success. Norrington banished vibrato from the strings, as is his wont, and the lean and clipped sound might have done good things for clarity. But what was lost in terms of warmth was substantial. He sometimes restricted his number of beats per bar in the first movement, which made the kinds of connections between phrases he might have been seeking, but left a lot of detail untended.
Norrington is not exactly Mr. Fix-it in performance. His gestures are basic, and he stops conducting at certain points, presumably to encourage chamber music-like interactions among the players. That worked in Mozart’s Bassoon Concerto, K. 191, with an orchestra of less than two dozen players, where shared ideas fired like synapses around the ensemble. Hornist Jeffrey Lang was particularly elegant in the way he wove his sound into those around him. Principal bassoonist Daniel Matsukawa was a more than respectable soloist, nimble and legato if not brimming with personality.
Norrington’s contributions to Beethoven’s Symphony No. 4 were the most rewarding on the program. He heightened drama by slowing the “adagio” introduction and brightening the “allegro vivace” that followed. Don S. Liuzzi used hard, small mallets to get a sound more like a snare-drum roll than the resonant thud he usually gets with his timpani. The second movement, marked “Adagio,” was faster than I’ve ever heard it, which changed its usual saunter into something more jubilant. If the fourth movement remained to be worked out, the dynamics and accents of the third were so effectively deployed they made you grateful to hear it expressed in somebody else’s odd, unexpected way.

Peter Dobrin Inquirer Classical Music Critic
About this blog

Peter Dobrin is a classical music critic and culture writer for The Inquirer. Since 1989, he has written music reviews, features, news and commentary for the paper, covering such topics as the Philadelphia Museum of Art at the Venice Biennale, expansion of the Curtis Institute of Music, the Philadelphia Orchestra's bankruptcy declaration in 2011, Philadelphia's evolving performing arts center and the general health of arts and culture.

Dobrin was a French horn player. He earned an undergraduate degree in performance from the University of Miami, and received a master's degree in music criticism from the Peabody Institute of the Johns Hopkins University, where he studied with Elliott Galkin. He has no time to practice today.

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