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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

 Contributing Editors:
Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

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Jeff Harrington

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Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019

Monday, November 14, 2005
Last Night in L.A. - One From Column A...

Yesterday�s Phil concert was a throwback to the bad old days of concert programming: choose three pieces which have absolutely nothing whatsovever to do with each other. The individual performances were good, very good in fact, but the whole was certainly less than the individual parts deserved. Let me name the pieces and you can try to think what might have led to grouping them together in a program: Shostakovich Symphony No. 15; Haydn Cello Concerto in C Major; Tchaikovsky Overture-Fantasy, Romeo and Juliet. This week�s guest conductor was another young Russian, Andrey Boreyko, and he was someone we would really like to hear again. He is fairly tall, and when he lifts his arms above his head and conducts with sweeping gestures, even in the audience it�s easy to see what he wants from the musicians. He can also use small gestures to lovingly shape the music. He�s nice to have on stage; he doesn�t bounce around nor look as if he�s doing a choreographed accompaniment to the music. At the conclusion, the orchestra members stomped their feet to show they liked his work, as well.

The major work opened the program, the Shostakovich 15th (1971). This is the symphony with the quotation from Rossini�s William Tell Overture in the first movement, making you wonder what he was saying. In the fourth movement, the quotation of one of Wagner�s death themes, intoned by the brass, makes it very easy to know what he�s saying, even if you don�t recognize the source. The conductor gave shape to the work, and structure, too. This was a powerful performance; it was good to have the intermission to recover.

As for the rest of the concert, an excellent young cellist, Alban Gerhardt, was captivating in the Haydn. The Tchaikovsky was well-performed and suitably melodramatic.
posted by Jerry Zinser 11/14/2005



 
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