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Subject: Re: FW: Philharmoniv finale / FT review
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Mon, 12 Jun 2017 11:49:34 -0700
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I am not so sure that the end of the Gilbert era is what the Philharmonic
needed.  He was a refreshing antidote to the past few decades at the Phil,
and I say this as a great admirer of Kurt Masur and while not loving Lorin
Maazel, respecting him deeply.  I don't really know much about Jap van
Zweden so I will not criticize the appointment although it would have been
really nice if they had nabbed Salonnen.  Gilbert will be missed.  He
deserved more backing.

I love the way Martin writes.  He is given very little space and somehow
makes every word matter.  A superb critic!

Donald

On Mon, Jun 12, 2017 at 11:27 AM, Miguel A De Virgilio <
[log in to unmask]> wrote:

> -----Original Message-----
> From: mb [mailto:[log in to unmask]]
> Sent: Monday, June 12, 2017 8:43 AM
> To: [log in to unmask]
> Subject: Philharmoniv finale / FT review
>
> From Martin Bernheimer
> New York
>
>
> https://www.ft.com/content/252bf030-4f56-11e7-a1f2-db19572361bb
>
>
> CLASSICAL MUSIC
> Angels in America
> ***[4 stars]
> MARTIN BERNHEIMER
>
>
>         Alan Gilbert, New York Philharmonic music director since 2009, led
> the final programme of his tenure at Lincoln Center on Thursday. It turned
> out to be a long, quirky, sentimental yet compelling evening of mixed
> emotions on several levels.
>
>         The maestro, about to depart for professional pursuits unknown,
> chose the occasion to partake of both the ridiculous and the sublime.
> Luckily, he proved the courage of his unorthodox convictions, and the
> subscribers responded, as always, with generous ovations.
>
>         The first half of the event was devoted to a fiery chamber-music
> frenzy, once past a throat-clearing film clip and the now sadly inevitable
> verbal introductions (more chit-chat, in all, than music-making). Gilbert,
> whose parents were both members of this orchestra, took up the fiddle con
> brio and joined a few colleagues, including none less than Yo-Yo Ma, in two
> short pieces: Kinan Azmeh's Ibn Arabi Postlude and Edward Perez's The Latina
> 6/8 Suite. The first proved edgy and subtle, even plaintive, despite
> raucous punctuation. The second turned out to be a jumble of piquant noise,
> an amusing and bemusing orgy of rhythmic assaults. Cristina Pato enlivened
> the drama, or unreasonable facsimile thereof, with small talk, sexy
> choreography and otherworldly solos on Galician bagpipes.
>
>         After the ruckus, Gilbert turned super-serious with a suave yet
> gutsy performance of Mahler's Seventh Symphony. Lasting nearly 90 minutes,
> it was ferocious one moment, dreamy the next, just as the composer
> prescribed. It could not be claimed that the maestro made the long
> stretches of Sturm und Drang seem short - even he cannot muster that sort
> of magic.
> But the massive meandering retained as much tension as Mahler would allow,
> and grandstanding was avoided, thank goodness, at every bombastic turn.
> This, indeed, eine grosse Nachtmusik.
>
>         The supercrowded stage, not incidentally, hosted not just the
> Philharmonic but also musicians from orchestras around the world who,
> according to official announcements, "celebrate the power of music to build
> bridges". Somehow Gilbert got the mob to play with equal parts passion and
> precision, a notable achievement.
>
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