| Date and venue | Title | Submitted by |
|---|---|---|
| 20-Apr-2013 92nd Street Y, Lexington Avenue at 92nd | Modernist Mozart at the end of time: Tetzlaff at 92Y | David Allen, unpredictableinevitability.com |
 It’s easiest to describe Christian Tetzlaff’s approach to playing the violin by what he isn’t trying to do. He is not trying to play as beautifully as possible, in the conventional sense. He is not trying to sound like a nightingale, soaring long, honeyed lines above an accompaniment. He is not, in other words, trying to make his violin sound as the mind’s ear instinctively thinks it should. That is too easy, after all, and it inhibits a truer sense of expression.Read full review... | ||
| 19-Jan-2013 Severance Hall | Widmann, Bartók and Beethoven with Joshua Bell and The Cleveland Orchestra | Timothy Robson |
 Severance Hall was packed this weekend for a rare appearance by violinist Joshua Bell with the Cleveland Orchestra and music director Franz Welser-Möst conducting. There should have been no disappointment; the concert was brilliantly executed from beginning to end. This review is based on the performance of Saturday, 19 January.
Read full review... | ||
| 3-Mar-2012 Roy Thomson Hall | Con Brio: Premières with the Toronto Symphony Orchestra | Daniel Frasca |
 "Con Brio" is a term which demands excitement, strength, and enthusiasm. This evening‘s Toronto Symphony Orchestra New Creations Series concert was based upon exactly these concepts. To kick off the program, Peter Oundjian led the TSO through the Canadian première of Jörg Widmann's concert overture Con Brio. The timpani opened followed by brief grandiose chords. The orchestra was overtaken by elongated, emphasized breaths. Unique techniques were used to produce unusual sounds: playing on the side casing of the snare drums, hitting the mouthpiece of the trumpet.Read full review... | ||
| 24-Jan-2012 Southbank Centre: Queen Elizabeth Hall | Of Rihm: A 60th birthday gift from the London Sinfonietta | David Fay |
 Eric Marinitsch.jpg) It’s quite rare nowadays to rock up to a concert having absolutely no prior knowledge of the music you’re about to hear. Ticket prices, an abundance of established concert repertoire, and an understandable reflex to ‘play it safe’ all contribute to our penchant for the known in the concert hall. And yet, there can be no truer place to discover a work or a composer’s compositional voice than in front of a band of top musicians as they craft this unknown music out of nothing into something.Read full review... | ||
