Tuesday, December 24, 2013
Friday, December 20, 2013
(Note added Jan 17.) I didn't expect to find a New York Times review on this oft-repeated program, but here it is. The reviewer enjoyed especially the soloist, although she had good things to say about everyone, except those who chose to leave early, and the person who coughed throughout one of the arias.
Sunday, December 15, 2013
Friday, December 06, 2013
The British composer Ades is a self-acknowledged fan of Couperin who considers staying at home playing his harpsichord music to be a perfect day. He orchestrated three movements of Couperin’s, each the last movement from an “ordre,” and grouped them as the Three Studies. They are (i) Les amusements (The Amusements) from the Seventh Ordre (in G major) in Couperin’s Second Book of Harpsichord Pieces (1717); (ii) Les Tours de Passe-passe (The Sleight-of-Hand), final movement of the Twenty-Second Ordre (in D major), Fourth Book (1730); and (iii) L’Ame-en-peine (The Soul in Distress), Thirteenth Ordre (B minor), Third Book (1722).
The four movements are (i) Andante con moto – Allegro un poco agitato; (ii) Vivace non troppo; (iii) Adagio; and (iv) Allegro vivacissimo – Allegro maestoso assai. While they were marked – and performed – "without pause," there were sufficient changes from one movement to the next that a pause would have been acceptable. And they would have allowed me to let out some of the coughing I had to suppress during the 40 or so minutes. It was a good thing that lozenges helped.
To the New York Times review writer, it was nearly all good. She had some minor quibble with how Goode wasn't crisp enough in some Mozart passages, and how the orchestra might have been a bit too cautious.