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Concert Reviews

ASO: Schubert, Mendelssohn, and Weinbeig with Conductor Micheal Christie and Pianist BVehzod Abduraimov

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Atlanta Symphony Orchestra provided another sparkling spectacular performance, as they played a tribute to Jewish composers Marcel Tyberb and Mieczslaw Weinberg. At the helm as conductor was the vigorous Maestro Micheal Christie.

It was also only the third time that the Tyberg finale to this Franz Schubert (1797-1828) piece was played in the United States.  This Symphony No. 8 in B minor, D 759 (“Unfinished”) (1822) is a rare piece because it was left uncompleted until Marcel Tyberg finished the word.

The shift in movements was noticeable where the typical Schubert style shifted, with a bit more upbeat tempo in the final piece.

The highlight was to experience Behzod Abduraimov at the piano. He is a young and began to play the piano at 5. With a sly smile while he played, he knows he is hot stuff, as he took on Felix Mendelssohn (1809-1847) Concerto No. 1 in G minor for Piano and Orchestra, Opus 25 (1831).  After completing he gave an extra bonus with a noted encore that tore the roof off Symphony Hall. He was given two standing ovations.

The final piece Wienberg (1919-1996) Rhaspsody on Moldavian Themes, Opus 47, No. 1 (1949) was a throwback to mother Russia. All that was missing were some colorful Russian dancers, high kicking across the stage.

 

*Another event for ASO – Don’t miss out in part of the Family’s series The Remarkable Farkle McBride John Lithgow’s spellbinding children’s book; a fickle yet lovable child prodigy brings the sounds and rhythms of an orchestra to sprawling visual life on Sunday April 29 at 1:30 and 3:30 PM.

 

Dr. Wilson Trivino is a speaker and writer for ABC Vision. He may be reached at www.T4Vista.com or T4Vista@gmail.com

Concert Reviews

Jonah Parzen-Johnson at Lilypad

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Jonah Parzen-Johnson has an innate ability to make the baritone sax sound like bagpipes, and maybe that’s why I cried.

Mostly I cried because Jonah tells radiant stories with his saxophone and analog synth, working the brass and pedals to recreate the framework which surrounds his album Remember When Things Were Better Tomorrow: Parzen-Johnson wanted to make “something of myself that’s for everybody else.”

Jonah opened his set with “Stay There, I’ll Come to You,” showcasing the harmony between synth and sax right off the bat. With haunting lilts, the two combined into a ribbon of melody, pulsating inside the ear as well as the heart. Much like the song’s title, Jonah was the one approaching the audience as an experimental troubadour of tête-à-tête.

The back stories and thoughts behind each song tied in so well with the raw, almost throaty sax, developing such strong, emotional resonance with the musical layers. The skeleton shook.

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Concert Reviews

Speedy Ortiz “riiiiise above and gliiiiiide away” at The Sinclair

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The Sinclair was a packed house Wednesday night for the Speedy Ortiz CD release party; as a hometown gig for the Northampton, MA-based band, kinetic warmth buzzed through friends and fans alike as Sadie Dupuis and crew played their freshly-release Foil Deer track-by-track.

What’s a party without some guests, though? That’s where Krill and Mitski come in.

Krill kicked off the night with some tracks from A Distant Fist Unclenching, other goods from Lucky Leaves. Lead singer/bassist Jonah Furman brought to mind early (read: good) Billy Corgan, which I’m not sure he will appreciate. But I think he’ll appreciate this: I couldn’t stop laughing because then I kept thinking about Marilyn Manson telling Billy Corgan that he looked like Charlie Brown.

Opening with “Theme from Krill,” the Boston trio has a knack for rhythm and melody that burrows into your brain. The dreamy bleakness of “Purity of Heart.”  The discordant garage rock and hiccupping guitar and warbly Scooter-ness of “Foot.” Krill’s sound is a good, comfy noise that keeps you wiggling and all that good stuff. Be sure to catch the band at Boston Calling.

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Concert Reviews

Years & Years at Royale Boston

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During winter storm Juno, UK electro pop group Years & Years were forced to cancel the first show of their two-night stint in New York City back in January. After the snow finally melted, they made the rounds again this past March, playing several shows in California, South by Southwest before finally landing in Boston.

Due to popular demand, the show was moved from The Sinclair to the Royale in downtown’s Theater District.

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