January 23, 1988 |
The UK/LA Festival looms next month, with its promise of much British music. But Andre Previn and the Los Angeles Philharmonic have never needed an excuse to import such works. Thursday evening at the Dorothy Chandler Pavilion, Previn and Co. introduced Sir Michael Tippett's 33-year-old Piano Concerto to a West Coast audience, with the solo duties assigned to Emanuel Ax. One first impression of Tippett's Concerto was: Goodness, what a lot of notes.
CALIFORNIA | LOCAL
April 7, 2000 |
Cal State Northridge's impressive guitar concert series comes to a close Saturday with noted guitarist Eleftheria Kotzia, a commanding Greek musician. Kotzia has traveled the world, while staying true to her Greek heritage.
April 12, 1986 |
Whether the reasons are historical or genetic, the English have yet to produce a contemporary composer who might be termed radical. San Diego Symphony music director David Atherton brought a pair of works by 20th-Century English composers to Symphony Hall Thursday night, confirming the urbane music traditions of even post-World War II Great Britain.
March 16, 1985 |
Sir Charles Groves returned to conduct the Los Angeles Philharmonic in the Dorothy Chandler Pavilion Thursday night, bearing gifts that proved to be of varying degrees of welcome. The gift that won the most unqualified welcome was of domestic origin--Samuel Barber's too-neglected Violin Concerto of 1939, as played by the Philharmonic concertmaster Sidney Weiss. The standard weakness of violin concertos resides in their final movements; even the best of them fail to maintain the starting pace.
November 4, 1992 |
Sunday evening in Schoenberg Hall, the UCLA Center for the Performing Arts offered the perfect complement to the genre-busting experimentalism of the Kronos Quartet, heard two days earlier at Wadsworth Theater. In the suitably intimate environment of the campus hall, the Lindsay String Quartet demonstrated more traditional power and glory in their rich, unamplified and highly personalized playing.
March 7, 1992 |
A generation of music-lovers has been listening to Handel and other Baroque composers in a different way because of people like Christopher Hogwood. Hogwood, who will conduct the St. Paul Chamber Orchestra on Monday at the Orange County Performing Arts Center in a program being offered by the Orange County Philharmonic Society, is a leading guru of the period instrument movement: Music is played on the instruments (or replicas) of the composer's time.
January 14, 1990 |
It's not unusual, says veteran television producer Jac Venza, for programs seen on his highly successful series, "Great Performances," to appear on the home-video market up to six months before they are seen on the PBS series. A case in point: the 90-minute video biography, "The Margot Fonteyn Story," due on PBS Feb. 16, which has been available since early fall in the Home Vision fine-arts video catalogue. There is no conflict here, Venza says.
June 21, 1989 |
The week in dance: Exit Jones. Enter Wendt. James Jones, founding director of the short-lived South Coast Ballet, has thrown in the towel as a choreographer, having just finished his first year toward a business degree at UC Irvine. Coincidentally, though, his first ballet, "Tippett Suite" from 1982, will be danced by Ballet Pacifica this weekend at the Moulton Theatre in Laguna Beach. Meanwhile, former Royal Danish Ballet member Tage Wendt will return to UC Irvine to offer a week of classes in Bournonville technique, beginning Monday.
November 9, 1994 |
A smorgasbord of recent music is what we have come to expect at every outing of the New Music Group of the Los Angeles Philharmonic. And that is exactly what the Group delivered, at its 1994-95 season opening, Monday night in Japan America Theatre: new works by Joan Huang and Nigel Osborne, the Los Angeles premiere of a 10-minute piece by Harrison Birtwistle and revivals of mid-1980s compositions of Mel Powell and Michael Tippett.
October 30, 1989 |
In "New Year," the fifth opera by the dean of British composers, 84-year-old Sir Michael Tippett, the reclusive central character clinches her psychological liberation by slamming a door behind her. But she's no Hedda Gabler. The heroine's escape from fear lacks cathartic punch because Tippett's jazzy but uninvolving score doesn't build grippingly to the climactic exit, which is made in anticlimactic silence.