Israel philharmonic orchestra review

Talk to him about Mahler, the late Romantics and dead performers. June 29, August 8, February 4, Welcome to The Flying Inkpot. Still Singapore's longest running c. If you're looking for a review of a concert you've been to but we didn't cover it, then maybe you should write for us. The performance was festive and uplifting. Then Lahav Shani addressed the viewers of the live stream and the listeners of the radio broadcast with words of condolences and hope.

This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before. The hall was dead silent except for the voice of the broadcaster. After the concert some of the musicians expressed the emotional and psychological difficulty participating in the concert. Those were the pictures of Israeli civilians who were kidnapped by Hamas during the horrendous attack on October 7 and they are still held as hostages in Gaza strip.

I sure hope it will be sooner rather than later.

Israel philharmonic orchestra review

Music is needed more than ever. Dan Yakir of Slipped Disc was among a tiny group of music critics admitted to the concert. Just like any belligerent ever did. Did it ever cross your mind that Gazzas troubles can be over the moment they free the hostages and hand over the sadistic rapist-killers? What a beautiful response by these esteemed musicians.

May we conquer the evil- doers soon and return to the joys of music. It was very touching and expressing. The best Eroica I have ever heard. And heart-breaking photos of the hostages on chairs. It was a fantastic concert and Lahav Shani and his orchestra gave every ounce of energy to make it so. Inspiring and uplifting! Why were they afraid to mark this concert as a call for an immediate ceasefire and a release of all hostages?!

The successful program showcased two very different works. It is the only concerto Beethoven wrote for more than one solo instrument plus orchestra, and is a masterful combination of genres; not only trio ensemble requiring the virtuosity of each soloist, but also music on a grander scale that requires the expertise of trio members to coordinate their music with the orchestra.

The piece begins with Meltzer, principal cellist of the IPO laying out the first theme. Beethoven gave the cello an unusual position as leader whose role in all three movements is to initially present the first theme. Of course the piece was in good and safe hands throughout and closed with brilliant aplomb. This is the final will and testament of a terminally depressive person, but all this was lost on an audience who was largely there for the israel philharmonic orchestra review, with little clue as to what the music was all about.

How else would they have glibly and blithely applauded after every movement, including the shouting of bravos after the third movement's Scherzo? A pity, because all this unwanted clapping disrupted the concentration and flow of thoughts that would have taken place between movements. Despite all that, it was still an excellent and heartfelt performance.

The first movement operated with the finesse of chamber music. The quiet and rapt opening with just basses and solo bassoon set the mood, and the strings shone yet again in the movement's obvious plaintive theme. There were wonderful solos from flute, clarinet and bassoon, and the balance between pathos and bombast was finely poised.

The second movement's bittersweet waltz, taken with a slightly leisurely pace, belied the violence to come that was the Scherzo 's imperious march. Here, orchestra's virtuosity came to bear, making light work of the movement's fast-unfolding triplets, and the tension was ratcheted to a seemingly unbearable level. And yet there was more to offer, until it came to its rapturous close, echoing the finales of both the Fourth and Fifth Symphonies.