10 Classical Concerts to Stream in February
As the live performing arts continue to grapple with the coronavirus pandemic, here are 10 highlights from the flood of online music content in February. (Times shown are east.)
February 4th at 7pm; youtube.com; available indefinitely.
This extravagantly productive ensemble has long given concerts in their Brooklyn studio. The Brooklyn Bound series is now streamed, but with the same focus on showcasing new work and close collaborators. This time the program includes a double premiere for “Individuate” by Darian Donovan Thomas in various realizations for So and the Bergamot Quartet; a video version of Caroline Shaw’s gentle “Narrow Sea”; a duo of Kendall K. Williams on the double second steel drum and Gerion Williams on the drum set; and two versions of Jason Treuting’s modular “June”. Zachary wool
NDR Elbphilharmonie Orchestra
February 5th at 2pm; ndr.de; available until March 7th.
After Alan Gilbert had completed his eight-year tenure as music director of the New York Philharmonic, he began working with this orchestra in Hamburg and became its chief conductor in 2019. Gilbert returns to his touristic hall, the Elbphilharmonie program of Russian works with the phenomenal pianist Daniil Trifonov in Prokofiev’s Concerto No. 1 and Schnittke’s Concerto (a rarity) as well as Prokofiev’s popular “classical” symphony. ANTHONY TOMMASINI
February 5th at 8pm; roulette.org; available indefinitely.
This young cellist is often present in exciting company; She has performed with La Monte Young’s Theater of Eternal Music and was recently featured as a soloist on a recording of Joseph C. Phillips Jr.’s The Gray Land. This streamed concert is a celebration of their latest solo recording, Armament, which includes their own improvised compositions. Expect crispy electronic treatments from your cello as well as traces of acoustic virtuosity. SETH COLTER WALLS
Detroit Symphony Orchestra
February 11 at 7:30 p.m.; dso.org; available until February 25th.
This fascinating program sheds light on composers who work within self-imposed constraints. Finnish contemporary mainstay Magnus Lindberg is best known for the teeming, seditious textures of his large orchestral works, but the three movements of “Souvenir” (2010) only require 18 instrumentalists. (The piece still has a lot of kick.) And Prokofiev’s “Classical” symphony was a conscious exercise of writing without a piano – and looking back at the Haydn era. John Storgards conducts. SETH COLTER WALLS
Dallas Symphony Orchestra
February 12 at 3 p.m.; dallassymphony.org; available until May 31st.
Conductor Fabio Luisi became music director of the Dallas Symphony only last year, but it was recently announced that his contract had already been extended to the 2028-29 season. As part of the orchestra’s digital concert series, he leads a program with a premiere by the orchestra’s composer in the residence Angélica Negrón, “En otra noche, en otro mundo”. Beethoven rounds off the program with the “Leonore” overture No. 1 and the violin concerto with the excellent Leonidas Kavakos. ANTHONY TOMMASINI
“Save the boys”
February 12 at 8 p.m.; operaphila.org; available until May 31st.
Composer Tyshawn Sorey continues a remarkable series of performances and premieres with a new work for Opera Philadelphia: a setting of an 1887 poem by the abolitionist and suffragist Frances Ellen Watkins Harper. The piece explores what Sorey “considers our daily life experiences black Americans and the everyday precariousness we continue to live in, “and features countertenor John Holiday, who recently appeared on the TV show” The Voice. ” The pianist is Grant Loehnig. (Commissioned work by Courtney Bryan, Angélica Negrón and Caroline Shaw will follow from this company in the coming months.) ZACHARY WOOLFE
February 13 at 12:30 p.m.; operlive.de; available until March 15th.
From the USA we can only watch with envy as European opera companies continue their season. Even after the recent lockdown, the Bavarian State Opera in Munich is gathering to stream Dmitri Tcherniakov’s new production of Weber’s “Der Freischütz”. The typically romantic story, earthy and supernatural, is recast here in the world of organized crime and restricted to a single setting: a penthouse suite where people gathered to watch the wedding of Max (Pavel Cernoch) and Agathe ( Golda Schultz) to celebrate. an event that was only hinted at in the finale of the opera. Sounds about right to Tcherniakov, a director who is passionate about role play and psychological drama. JOSHUA BARONE
Berlin Philharmonic Orchestra
February 13 at 1 p.m.; digitalconcerthall.com; available at a later date on request.
This year should be something like a Kurt Weill Festival in Berlin, the city that shaped and shaped his partnership with Bertolt Brecht. There were new productions of “Die Dreigroschenoper” and “Aufstieg und Fall der Stadt Mahagonny” as well as performances by the Berliner Philharmoniker. Little remains of these plans, but the musicians of the Philharmonie can gather without a live audience for the online festival “The Golden Twenties”, which begins with Weill’s First Symphony (1921), an unruly early work that bothers the vague mind von reflects a precocious student and the talent for orchestration and scaling that would define his Berlin sound. During the month there are more Weill: the Violin Concerto and the Second Symphony (February 16); a “Mahagonny” suite (February 20); and “Little Threepenny Music” (February 23) in a concert that aptly also includes “Berlin Lit Up”. JOSHUA BARONE
February 16 at 7pm; millertheatre.com; available indefinitely.
This superior ensemble for new music began its career with the performance of Helmut Lachenmann’s third quartet “Grido” and continued to support Lachenmann’s quartets in concert and on records. For this stream, published by Columbia University’s Miller Theater, “Grido” is on the program alongside two solos: “Toccatina” (for violin) and “Pression” (for cello). Zachary wool
February 25 at 10:30 p.m.; seattlesymphony.org; available until March 3rd.
The aspiring conductor Jonathon Heyward, who is just beginning his tenure as chief conductor of the Northwest German Philharmonic in Germany, is coming to the Seattle Symphony Orchestra with an enticing program. It begins with the American premiere of Hannah Kendall’s “Kanashibari”, then the impressive pianist Steven Osborne is the soloist in Beethoven’s Concerto No. 4 before Ravel’s colorful, enchanting “Mother Goose” suite. ANTHONY TOMMASINI