The perpetual motion of the 20th century — age of the Internet, speed and the bomb; of image and invention, for better or for worst, danced to an accelerated clock, ceaseless, relentless, stopping only on occasion, to catch a breath, to grieve, or for a night’s breeze, a dog’s bark, perhaps the last concert of the 2014 Chautauqua season.
Margie and Dick Buxbaum of Shaker Heights, Ohio, grew curious when they noticed their neighbors’ tendency to leave for most of the summer. How, they wondered, could Ben and Edith Adler go somewhere for the whole summer?
Online employment sites often suggest that last impressions make the best impressions, at least for job seekers who are last in a series of interviews for an open position. If that is true, the Israeli-American conductor Daniel Boico has an inside track among the field of eight vying to grab the Chautauqua Symphony Orchestra’s vacant music director position.
On Thursday night, the Chautauqua Symphony Orchestra presented “Concerto for Viola and Orchestra,” a work Chautauqua Institution co-commissioned from composer Aaron Jay Kernis, with soloist Paul Neubauer in the spotlight. With a raw spirit and exceptional virtuosity, Neubauer beautifully portrayed Kernis’ masterwork, one underpinned by relationships and which focused on folk tunes, as the composer described it from the Amphitheater stage.
When a conductor demonstrates historical knowledge by adjusting the scope of expression to accommodate the composer’s — what a different kind of conductor might call restraint — the audience is in for a treat and an education.
“How could anyone not like this?” exclaimed the lady as the satisfied Amphitheater audience whooped and stomped after the climax. Maestro Bruce Hangen went round calling out and shaking the hand of most everyone in the Chautauqua Symphony Orchestra on Thursday evening, which did not turn out as cold as many overdressed fans thought.
More often than not, Charlotte Ballet (formerly North Carolina Dance Theatre) searches for a celebratory finish to its summer season with a “Shindig” or the saloon-savvy “Western Symphony” or a decidedly “American in Paris.”
In 1946, acclaimed ballet choreographer George Balanchine found himself with a bit of spare pocket change. After weighing the potential of his possible expenditures, he approached composer Paul Hindemith and asked him to write a chamber score for the piano and strings. One month and $500 later, the celebrated ballet called “The Four Temperaments” was born, a perfect union of Hindemith’s scoring and Balanchine’s choreography.
At 9 a.m. Thursday at the Women’s Club house, the Weintraub duo will disclose the “Nuts and Bolts of the CSO,” as part of the Women’s Club’s Chautauqua Speaks series.
Maximiano Valdés led a big-picture evening Thursday in the Amphitheater. He continued his call for an understanding of the cultures of international achievement — a signature element in his work as a musical director for orchestras and workshops around the world.