Song of a Reformed Headhunter

Last night, the New York Philharmonic performance of Brahms' Symphony No. 3 sounded wonderfully fresh. The first movement was particularly dynamic. I did not care for the thick orchestral textures of movements two and three, but the last was again eloquent. The sun rose majestically, and the effect just fell short of the sublime, because the last part was played a little too softly. I was sleepy throughout the Berg violin concerto, but electrified by the Brahms after the intermission. It reminded me why I attend actual concerts instead of listening to a CD at home. The program began with Bach's Concerto for Two Violins in D minor. Frank Peter Zimmermann and Alan Gilbert made a well-matched pair of soloists. TB was thrilled to hear the piece because she has been working on it with her music teacher, L, whom GH and I met that evening. L applauded the Bach enthusiastically and seemed to like the Brahm too. After the concert, he recited to me the opening of The Canterbury Tales ....

Last night the New York Philharmonic, with TB. Alan Gilbert conducted. Haydn's Symphony No. 49 in F Minor, La passione (1768), which I was too tired to appreciate. John Adams's The Wound-Dresser , for Baritone Voice and Orchestra (1988), sung by Thomas Hampton. Interesting music but the words sounded wrong in it. Adams unexpectedly appeared with singer and conductor after the piece, and was warmly applauded. I was more awake after the intermission. I especially loved the first movement of Schubert's Symphony in B minor, D. 759, Unfinished (1822). The playing was passionate but controlled. The program ended with Berg's Three Orchestral Pieces, Op. 6 (1913-15), which Gilbert thought "completed" Schubert's Unfinished . You often find Berg's Three Orchestral Pieces . . . at the beginning of a program. It can be seen as an extension of Mahler's Symphony No. 6; in fact, when we perform it, you'll see an incredible instrument at the back of the s...