ou might say they pulled out the stops at the Cincinnati Symphony Orchestra concert on Friday.
There were many engaging moments in the Cincinnati Symphony's unique program hailing the French organ tradition in Music Hall. But Louis Langrée’s direction of the famous “Poco adagio” in Saint-Saëns’ Symphony No. 3, “Organ,” was truly magical. At the Allen organ, Thierry Escaich’s tones provided a soft, rich carpet under the lustrous sounds of the Cincinnati strings. It was serene and moving, and Music Hall’s spacious, almost cathedral-like acoustics couldn’t have been more ideal.
Saint-Saëns’ “Organ” Symphony formed the program’s second half. The evening opened with the world premiere of a new symphonic work composed by the organist, Escaich, …show more content…
The organist, who succeed Duruflé as organist at Saint-Ėtienne-du-Mort in Paris, displayed his virtuosity in a wide-ranging improvisation of “The Swan” from “Carnival of the Animals.” (Organ aficionados no doubt wished that Music Hall’s historic Hook & Hastings pipe organ was still in the hall, especially for his amazing feats.)
His “Psalmos,” a four-movement showpiece for orchestra, was organized around three chorale melodies, famously used by J.S. Bach in his compositions. Scored for large orchestra, its colorful percussion section included bongos, gongs, marimba, vibraphone, harp, piano and celeste.
The first movement opened with the chorale “Nun komm der Heiden Heiland” in flute (Randolph Bowman). The familiar chorale tune was reworked with off-beat rhythms and set against mystical colors, enhanced by marimba and piano. A jazzy section followed that took its cue more from Leonard Bernstein than J.S. Bach. It was an engaging, driving perpetual …show more content…
Matthew" Passion, included groups of string players, in the Baroque concerrto grosso-style against the full orchestra. A soaring cello solo summed up the movement with sonorous beauty (principal cellist Ilya
There were many engaging moments in the Cincinnati Symphony's unique program hailing the French organ tradition in Music Hall. But Louis Langrée’s direction of the famous “Poco adagio” in Saint-Saëns’ Symphony No. 3, “Organ,” was truly magical. At the Allen organ, Thierry Escaich’s tones provided a soft, rich carpet under the lustrous sounds of the Cincinnati strings. It was serene and moving, and Music Hall’s spacious, almost cathedral-like acoustics couldn’t have been more ideal.
Saint-Saëns’ “Organ” Symphony formed the program’s second half. The evening opened with the world premiere of a new symphonic work composed by the organist, Escaich, …show more content…
The organist, who succeed Duruflé as organist at Saint-Ėtienne-du-Mort in Paris, displayed his virtuosity in a wide-ranging improvisation of “The Swan” from “Carnival of the Animals.” (Organ aficionados no doubt wished that Music Hall’s historic Hook & Hastings pipe organ was still in the hall, especially for his amazing feats.)
His “Psalmos,” a four-movement showpiece for orchestra, was organized around three chorale melodies, famously used by J.S. Bach in his compositions. Scored for large orchestra, its colorful percussion section included bongos, gongs, marimba, vibraphone, harp, piano and celeste.
The first movement opened with the chorale “Nun komm der Heiden Heiland” in flute (Randolph Bowman). The familiar chorale tune was reworked with off-beat rhythms and set against mystical colors, enhanced by marimba and piano. A jazzy section followed that took its cue more from Leonard Bernstein than J.S. Bach. It was an engaging, driving perpetual …show more content…
Matthew" Passion, included groups of string players, in the Baroque concerrto grosso-style against the full orchestra. A soaring cello solo summed up the movement with sonorous beauty (principal cellist Ilya