Happy Birthday Vengerov!
Evening Music | May 6, 2010
We begin as Vengerov plays Joseph Joachim’s transcription of the Brahms “Hungarian Dance” No. 7 in A with all the verve and virtuosity we expect from this young Russian soloist.
On August 10th, we brought you the Brahms op. 52 “Liebeslieder Waltzes” in an incandescent performance by Duo Crommelynck. They were so foot-tappingly wonderful that we are returning to the duo for the “New Liebeslieder Waltzes,” op. 65.
Our nine o’clock hour returns us to Vengerov—and to Brahms—as Daniel Barenboim and the Chicago Symphony join him for the Violin Concerto in D.
Another piece of cake for a Brooklyn-born Birthday Boy, Lukas Foss (1922?), who’d just as soon not have the year of his birth documented—in fact, he insists it is not. Well, who cares, as long as his music is great? And it is, as proven when guitarist Sharon Isbin joins the St. Paul Chamber Orchestra under Hugh Wolff for his concerto for guitar and orchestra, “American Landscape.” You’ll enjoy his way of turning the orchestra into one giant guitar; the composer writes of this work that “guitar, strings, harp, and piano compete in a battle of rugged, strummed chords.”
On August 10th, we brought you the Brahms op. 52 “Liebeslieder Waltzes” in an incandescent performance by Duo Crommelynck. They were so foot-tappingly wonderful that we are returning to the duo for the “New Liebeslieder Waltzes,” op. 65.
Our nine o’clock hour returns us to Vengerov—and to Brahms—as Daniel Barenboim and the Chicago Symphony join him for the Violin Concerto in D.
Another piece of cake for a Brooklyn-born Birthday Boy, Lukas Foss (1922?), who’d just as soon not have the year of his birth documented—in fact, he insists it is not. Well, who cares, as long as his music is great? And it is, as proven when guitarist Sharon Isbin joins the St. Paul Chamber Orchestra under Hugh Wolff for his concerto for guitar and orchestra, “American Landscape.” You’ll enjoy his way of turning the orchestra into one giant guitar; the composer writes of this work that “guitar, strings, harp, and piano compete in a battle of rugged, strummed chords.”
