| Date and venue | Title |
|---|---|
| 10-May-2013 Sydney Opera House: Concert Hall | Expertly crafted Beethoven by Ashkenzy and the Sydney Symphony Orchestra |
 There are only a handful of composers whose music can provide enough variety to last a whole program. Beethoven is one of those composers. Not only that, but even today, some 200 years after his lifetime, his music continues to inspire, delight and challenge modern audiences. That is part of Beethoven’s enduring genius and legacy.
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| 21-Feb-2013 Queen's Hall, Edinburgh | Piotr Anderszewski and Alexander Janiczek with the Scottish Chamber Orchestra |
 This creative SCO programme offered two works in either half, performed in reverse chronological order. Virtuoso violinist Alexander Janiczek directed the first of each pair, beginning with Schubert’s 1817 Overture in D major “In the Italian Style”, D.590. Conrad Wilson, whose supplied fine programme notes for the entire concert, described the work as Schubert’s response to a “Rossini frenzy that swept Vienna in 1816”. Taking this as a test case, the Italianising of Teutonic works seems to amount to a lightening of touch.Read full review... | |
| 13-Nov-2012 Carnegie Hall: Stern Auditorium/Perelman Stage | Beethoven, Pintscher and Scriabin from Welser-Möst and the Clevelanders at Carnegie Hall |
 Franz Welser-Möst’s programme was rather eclectic for this Carnegie Hall visit from the Cleveland Orchestra. Matthias Pintscher’s static, ethereal new work, Chute d’Étoiles (“Falling Stars”), found itself sandwiched between two of Beethoven’s busiest works, the Fourth Symphony and the Grosse Fuge, both of which are in the key of B flat major. Scriabin’s heady Le poème de l’extase then played coda to an already long concert. Trying to work out the connection between the four? So am I.
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