Featuring:
- Mendelssohn Calm Sea and Prosperous Voyage overture
- Schumann Cello Concerto
- Schumann Introduction and allegro appassionato
- Brahms Symphony No. 3
Li-Wei Qin - Cello
Amir Farid - Piano
Johannes Fritzsch - Conductor
Sorry, a very late review this time - I have been quite busy with my life in general lately. When I got my MSO brochure last year, this program is supposed to be a tribute to Schumann - titled Schumann panorama - , conducted by Oleg Caetani. We know what happened to Caetani, and subsequently replaced a Schumann overture and 4th symphony with the least well known Mendelssohn's concert overture, and Brahms' 3rd symphony.
I haven't listened to Calm Sea and Prosperous Voyage before, apart from knowing that it's quoted in Elgar's Enigma Variations. Therefore, I was pleasantly surprised to discover this little gem of Mendelssohn's. Suspension notes dominates the slower 'Calm Sea' episode with occasional rumbles from the Cellos painting a perfect picture of an unknown condition of what you can find beyond the calmness of the sea. The faster 'Prosperous Voyage' section was brilliantly orchestrated with strong timpani presence towards the end. The very end of the piece must have caught everybody by surprise, with an elegant phrase reminding us again about the whole journey. The program notes is so right, it's very poetic! Good performance by the orchestra with the conductor dancing here and there.
I have never really warmed up to Schumann's Cello Concerto. The first movement is very hard to follow, even though I've listened to this piece for around 10 times in the last year or so. I'm glad to find out that I'm not the only one with this problem - Rohan de Korte, an MSO cellist voices the same opinion as well. I enjoy the beautiful second movement - in which Li-Wei showed off his gorgeous tone. While I cannot say I thoroughly enjoyed this performance of an awkward Cello Concerto, I can definitely say that I enjoyed the encore Li-Wei gave. Playing a gypsy music with Andrew Moon (MSO's double bass), they both showed flashes of virtuosity in a light-hearted humorous music.
In contrast to his Cello Concerto, Schumann's not-so-well-known Introdution and allegro appassionato is a piece that I enjoyed a lot, esp. the recording by Richter in DG. Written for a piano solo and an orchestra, it's sort of like a mini piano concerto, lacking a slow movement. Amir Farid gave a good performance of it, but both him and the orchestra was less successful in bringing the poetic side of the piece to the surface. Still, it's good to see a fine piece being performed (for the first time by MSO apparently).
I have mentioned several times that Brahms' 3rd symphony is my least favourite symphony of his. Listening to this performance, I need someone to smack in the head to remind me why I don't enjoy this symphony as much as the other 3. It's gorgeous, beautifully crafted and orchestrated, rich of melody contents in the inner movements, and so majestic in the outer movements. I was literally overwhelmed with a performance of Brahms 3 by MSO conducted by Thomas Zehetmair in the Recital Centre last year. I didn't expect that special performance to be repeated again, and I was glad expecting less this time. While the flashes of that brilliant performance was there in this performance, it never reaches the emotional high points this time around, especially in the last movement. Still, you can't help yourself but be amazed with Brahms' skills in orchestration when listening to his symphonies.
Showing posts with label schumann. Show all posts
Showing posts with label schumann. Show all posts
Wednesday, 11 August 2010
Monday, 14 September 2009
Australian Chamber Orchestra concert 13 September 2009 - Marwood, Mozart & Mendelssohn
Featuring:
- Mozart Serenata notturna, K. 239
- John Kinsella Prelude and Toccata - Australian Premiere
- Mendelssohn Sinfonia No. 12 in G minor
- Carl Vine XX
- Schumann Cello concerto (arr. as Violin Concerto by Orlando Jopling) - Australian Premiere
- Osvaldo Golijov - Last Round (first movement)
In contrast to the MSO concert which I was very much looking forward to yesterday, this ACO concert is at the bottom of my excitement list out of ACO concerts this season. There are several reasons to this: (1) I don't know any of the music advertised apart from Schumann's Cello concerto - which is not my favourite cello concerto. (2) Compositions by young Mozart and Mendelssohn are usually, simply put, boring. (3) I have never heard about Kinsella. (4) Schumann Cello Concerto transcribed as Violin Concerto for some reason, doesn't appeal much to me. Despite all of these reasons, this concert proved that I was a fool to prejudge music before listening to them and I enjoyed this concert immensely. Add to that, ACO actually played 2 more programs (Carl Vine's and Golijov's pieces) than the advertised program in the season brochure. Good on them!
Mozart's youth work, Serenata notturna, K. 239 opened up the concert. From the bouncy opening rhythms, quite similar to his 4th Violin Concerto I should point out, this piece delights the audience by its playful main theme which comes back several times in the first movement. Scored for strings and timpani, it's very captivating to listen to the timpani sound contrasted against the rest of the strings. Particularly striking is the timpani solo played on top of pizzicato strings. While the 2nd movement is charming with a lovely trio for string quartet accompanied by the rest of the orchestra, I'm sure the audience will remember the last movement the most. The main theme, which was stated a couple of times in this Rondo movement, is followed by several dramatic pauses, in which the leader of each section would improvise playing musical jokes on their own or play little duets, trios, or even quartets amongst them. My favourites are the double bass and the timpani improvisations. The good thing about these improvisations is that most audience understand that they're supposed to be jokes, and gave a few chuckles after each improvisation.
After the playful and light-hearted Mozart, we're treated with John Kinsella's Prelude and Toccata. A much more serious tone piece, I was really impressed with the Toccata section in which seemingly endless ostinato passages full of running semiquavers are played with extreme contrast of each other, sometimes pianissimo, other times fortissimo. This piece certainly requires a considerable virtuosity from every orchestra players and ACO nailed every fugal-like entry to perfection. The big question mark of unresolved chord that ended the piece is the only bar of music that I don't really like from this piece.
Probably the weakest performance of this concert is of Mendelssohn's String Symphony No. 12. I'm not really fond of the fugue in the first movement of the piece, but I enjoyed the 2nd movement immensely due to the creative writing of a solo viola and cello playing a counter melody against the main theme of the movement played by the rest of the strings. The final movement is fast paced, ending with breakneck speed in the coda and the work ended with the same 3 notes of the first movement of Mozart's 40th Symphony, which is written in the same key (a tribute from Mendelssohn?)
Carl Vine's XX (pronounced eiks-eiks) is a piece written for a solo violin and strings. Marwood stepped in as the solo violin, playing a short passage, echoed by the orchestra, another passage (more complex this time), another echo, and yet another passage (and even more complex) and echo. After that, the solo violin plays a rhapsody-like passage on top of the orchestra accompaniment before it joins back with the orchestra playing unison. Rhythmic is an accurate word to describe this piece and there's even a passage so similar to the opening of Stravinsky's march in the Rite of Spring (right after the introduction). You can watch an ABC short news about this piece here. The Stravinsky bit that I was referring to is played by the orchestra at 01:45 mark. As you can gather from the ABC feature, Carl Vine meant this piece to be a tongue-in-cheek piece, and the end of this piece is a rather unexpected musical joke.
The advertised heart of this concert is Schumann's Cello Concerto arranged as Violin Concerto and reduced set of instruments (no woodwinds or brass). Marwood played the solo part beautifully without going too overly sentimental. I loved the duets between the violin solo and the principal cello in the second movement, while at the same time feeling slightly awkward with woodwind melodies played by the strings. In the finale, Marwood's gorgeous playing and tone really enhanced the enjoyment of those highly lyrical passages. Murray Black wrote a very good review on this in The Australian.
Finally, the audience was served with the first movement of Golijov's Last Round. The marking of this Argentinian composer is an interesting one: Movido, urgente: Macho, cool and dangerous in the program notes. The whole work is based on this simple theme, which was varied with different rhythm, tempo, texture, and colour. As a musical portrayal of a wild tango, ACO attacked this music in a similar fashion with plenty of energy without losing their focus. A great performance to end the concert.
Summing up, I enjoyed this concert very much. ACO's wonderful programming really shone through here with audience being lead away from their comfort zone to try listening to some more challenging works. This would probably convince me enough to renew my subscription next year.
- Mozart Serenata notturna, K. 239
- John Kinsella Prelude and Toccata - Australian Premiere
- Mendelssohn Sinfonia No. 12 in G minor
- Carl Vine XX
- Schumann Cello concerto (arr. as Violin Concerto by Orlando Jopling) - Australian Premiere
- Osvaldo Golijov - Last Round (first movement)
In contrast to the MSO concert which I was very much looking forward to yesterday, this ACO concert is at the bottom of my excitement list out of ACO concerts this season. There are several reasons to this: (1) I don't know any of the music advertised apart from Schumann's Cello concerto - which is not my favourite cello concerto. (2) Compositions by young Mozart and Mendelssohn are usually, simply put, boring. (3) I have never heard about Kinsella. (4) Schumann Cello Concerto transcribed as Violin Concerto for some reason, doesn't appeal much to me. Despite all of these reasons, this concert proved that I was a fool to prejudge music before listening to them and I enjoyed this concert immensely. Add to that, ACO actually played 2 more programs (Carl Vine's and Golijov's pieces) than the advertised program in the season brochure. Good on them!
Mozart's youth work, Serenata notturna, K. 239 opened up the concert. From the bouncy opening rhythms, quite similar to his 4th Violin Concerto I should point out, this piece delights the audience by its playful main theme which comes back several times in the first movement. Scored for strings and timpani, it's very captivating to listen to the timpani sound contrasted against the rest of the strings. Particularly striking is the timpani solo played on top of pizzicato strings. While the 2nd movement is charming with a lovely trio for string quartet accompanied by the rest of the orchestra, I'm sure the audience will remember the last movement the most. The main theme, which was stated a couple of times in this Rondo movement, is followed by several dramatic pauses, in which the leader of each section would improvise playing musical jokes on their own or play little duets, trios, or even quartets amongst them. My favourites are the double bass and the timpani improvisations. The good thing about these improvisations is that most audience understand that they're supposed to be jokes, and gave a few chuckles after each improvisation.
After the playful and light-hearted Mozart, we're treated with John Kinsella's Prelude and Toccata. A much more serious tone piece, I was really impressed with the Toccata section in which seemingly endless ostinato passages full of running semiquavers are played with extreme contrast of each other, sometimes pianissimo, other times fortissimo. This piece certainly requires a considerable virtuosity from every orchestra players and ACO nailed every fugal-like entry to perfection. The big question mark of unresolved chord that ended the piece is the only bar of music that I don't really like from this piece.
Probably the weakest performance of this concert is of Mendelssohn's String Symphony No. 12. I'm not really fond of the fugue in the first movement of the piece, but I enjoyed the 2nd movement immensely due to the creative writing of a solo viola and cello playing a counter melody against the main theme of the movement played by the rest of the strings. The final movement is fast paced, ending with breakneck speed in the coda and the work ended with the same 3 notes of the first movement of Mozart's 40th Symphony, which is written in the same key (a tribute from Mendelssohn?)
Carl Vine's XX (pronounced eiks-eiks) is a piece written for a solo violin and strings. Marwood stepped in as the solo violin, playing a short passage, echoed by the orchestra, another passage (more complex this time), another echo, and yet another passage (and even more complex) and echo. After that, the solo violin plays a rhapsody-like passage on top of the orchestra accompaniment before it joins back with the orchestra playing unison. Rhythmic is an accurate word to describe this piece and there's even a passage so similar to the opening of Stravinsky's march in the Rite of Spring (right after the introduction). You can watch an ABC short news about this piece here. The Stravinsky bit that I was referring to is played by the orchestra at 01:45 mark. As you can gather from the ABC feature, Carl Vine meant this piece to be a tongue-in-cheek piece, and the end of this piece is a rather unexpected musical joke.
The advertised heart of this concert is Schumann's Cello Concerto arranged as Violin Concerto and reduced set of instruments (no woodwinds or brass). Marwood played the solo part beautifully without going too overly sentimental. I loved the duets between the violin solo and the principal cello in the second movement, while at the same time feeling slightly awkward with woodwind melodies played by the strings. In the finale, Marwood's gorgeous playing and tone really enhanced the enjoyment of those highly lyrical passages. Murray Black wrote a very good review on this in The Australian.
Finally, the audience was served with the first movement of Golijov's Last Round. The marking of this Argentinian composer is an interesting one: Movido, urgente: Macho, cool and dangerous in the program notes. The whole work is based on this simple theme, which was varied with different rhythm, tempo, texture, and colour. As a musical portrayal of a wild tango, ACO attacked this music in a similar fashion with plenty of energy without losing their focus. A great performance to end the concert.
Summing up, I enjoyed this concert very much. ACO's wonderful programming really shone through here with audience being lead away from their comfort zone to try listening to some more challenging works. This would probably convince me enough to renew my subscription next year.
Saturday, 30 August 2008
Melbourne Symphony Orchestra concert 29 August 2008 - Three Great Romantics
Featuring:
- Carl Maria von Weber - Oberon: Overture
- Robert Schumann - Piano Concerto
- Johannes Brahms - Serenade No. 1
Oleg Caetani - Conductor
John Chen - Piano
Calvin Bowman - Organ
For his organ recital, Calvin Bowman started off by presenting a rather lengthy Bach's Prelude and Fugue in E flat major, BWV 552. Schumann's pieces from Canonic studies for pedal piano, Op. 56 was next, I love the second piece as it has a very childlike tune. Brahms' Es ist ein Ros' entsprungen was very nice as well. And a lively piece by C.S. Lang Tuba Tune rounded up the performance.
The decision to either subscribe to the entire Town Hall series or not, I recalled, was one of the toughest decision for me to make last year because of this concert. On one hand, I wanted to save money by not attending to this concert because MSO has already programmed very similar program last season differing only in the Brahms' work which I have not listened to before. On the other hand, if I did not attend this concert, then I can't have the Town Hall subscription and assigned a fixed seating for all the other 3 concerts that I want to go. In the end, I found out that I only need to pay $12 extra for this concert if I chose to subscribe to the whole series compare to purchasing individual tickets for the other 3 concerts separately. The promise of listening to Brahms' serenade helped me in justifying the extra $12 that I need to pay for this concert.
The concert itself did not disappoint, if Brahms is your motivation to go to this concert. However, if your motivation is Schumann's Piano Concerto, then I think you might feel a little bit disappointed. I'll elaborate this later. The concert program started with Oberon: overture which I already loved. The orchestra executed it brilliantly and the audience loved it. Credit also to Caetani for his sudden tempo acceleration after the slow introduction, I liked it very much. Next up is the disappointment of the concert for me. The Schumann Piano Concerto started good, but then as with the other pianist who played this same concerto last season, John Chen wasn't able to bring out the most of the concerto. The middle section of the concerto was, to be honest, quite bland. It did not help the performance when the pianist made a small number of mistakes as well. The cadenza which is the make or break of Schumann Piano Concerto for me, was fortunately quite good although Richter's reading of it is never surpassed. The performance of the second movement was okay to border-not-so-good. Fortunately, the finale was very good. However, as a whole, the performance is not so good. By the way I have some rant on audience's concert etiquettes today: the audience sitting at my back and around me weren't being helpful for me in enjoying the performance. There were chair creaks through out; the couple sitting behind me did some annoying things: unwrapping a candy, flipping through the concert program in the middle of the concert and scratching their legs loudly. And for the first time in my concert-going experience, I saw a guy passing a glass of wine to his friend who is two rows in front of him in the middle of the first movement of piano concerto. Although Australia is a laid back country, this behaviour is just unacceptable.
Moving on to Brahms' serenade: this is the gem of the night. A work of 6 movements, it started with a very uplifting first movement. The second and fifth movements are two nice scherzos. The middle movements are a beautiful Adagio although it did not start very convincingly and a charming Minuet. Haydn-like last movement was the first thing that popped up in my mind after listening to the first few bars of the finale. The whole serenade was marvelous. I very much enjoyed the whole piece. Hungarian Dance No. 1 was the encore of the night.
The number of the audience was quite disappointing, this is probably the emptiest Town Hall concert that I've ever attended. Next Town Hall concert should hopefully filled up with more people because it has two masterpieces: Mozart's Jupiter symphony and Requiem.
- Carl Maria von Weber - Oberon: Overture
- Robert Schumann - Piano Concerto
- Johannes Brahms - Serenade No. 1
Oleg Caetani - Conductor
John Chen - Piano
Calvin Bowman - Organ
For his organ recital, Calvin Bowman started off by presenting a rather lengthy Bach's Prelude and Fugue in E flat major, BWV 552. Schumann's pieces from Canonic studies for pedal piano, Op. 56 was next, I love the second piece as it has a very childlike tune. Brahms' Es ist ein Ros' entsprungen was very nice as well. And a lively piece by C.S. Lang Tuba Tune rounded up the performance.
The decision to either subscribe to the entire Town Hall series or not, I recalled, was one of the toughest decision for me to make last year because of this concert. On one hand, I wanted to save money by not attending to this concert because MSO has already programmed very similar program last season differing only in the Brahms' work which I have not listened to before. On the other hand, if I did not attend this concert, then I can't have the Town Hall subscription and assigned a fixed seating for all the other 3 concerts that I want to go. In the end, I found out that I only need to pay $12 extra for this concert if I chose to subscribe to the whole series compare to purchasing individual tickets for the other 3 concerts separately. The promise of listening to Brahms' serenade helped me in justifying the extra $12 that I need to pay for this concert.
The concert itself did not disappoint, if Brahms is your motivation to go to this concert. However, if your motivation is Schumann's Piano Concerto, then I think you might feel a little bit disappointed. I'll elaborate this later. The concert program started with Oberon: overture which I already loved. The orchestra executed it brilliantly and the audience loved it. Credit also to Caetani for his sudden tempo acceleration after the slow introduction, I liked it very much. Next up is the disappointment of the concert for me. The Schumann Piano Concerto started good, but then as with the other pianist who played this same concerto last season, John Chen wasn't able to bring out the most of the concerto. The middle section of the concerto was, to be honest, quite bland. It did not help the performance when the pianist made a small number of mistakes as well. The cadenza which is the make or break of Schumann Piano Concerto for me, was fortunately quite good although Richter's reading of it is never surpassed. The performance of the second movement was okay to border-not-so-good. Fortunately, the finale was very good. However, as a whole, the performance is not so good. By the way I have some rant on audience's concert etiquettes today: the audience sitting at my back and around me weren't being helpful for me in enjoying the performance. There were chair creaks through out; the couple sitting behind me did some annoying things: unwrapping a candy, flipping through the concert program in the middle of the concert and scratching their legs loudly. And for the first time in my concert-going experience, I saw a guy passing a glass of wine to his friend who is two rows in front of him in the middle of the first movement of piano concerto. Although Australia is a laid back country, this behaviour is just unacceptable.
Moving on to Brahms' serenade: this is the gem of the night. A work of 6 movements, it started with a very uplifting first movement. The second and fifth movements are two nice scherzos. The middle movements are a beautiful Adagio although it did not start very convincingly and a charming Minuet. Haydn-like last movement was the first thing that popped up in my mind after listening to the first few bars of the finale. The whole serenade was marvelous. I very much enjoyed the whole piece. Hungarian Dance No. 1 was the encore of the night.
The number of the audience was quite disappointing, this is probably the emptiest Town Hall concert that I've ever attended. Next Town Hall concert should hopefully filled up with more people because it has two masterpieces: Mozart's Jupiter symphony and Requiem.
Saturday, 6 October 2007
Melbourne Symphony Orchestra concert 6 October 2007 - The Great Tradition
Featuring:
- Carl Maria von Weber Oberon: Overture
- Robert Schumann Piano Concerto
- Richard Strauss Symphonia domestica
Alexander Lazarev - Conductor
Alexander Gavrylyuk - Piano
My last concert before I went into hectic period - assignments and exams. How was it? It was .. okay I guess and certainly not the highlight of the year for me. I sat at the box at the left of the hall with only limited view on the orchestra. I chose the seat due to financial reason and I wanted to have a look at the pianist in action.
The concert started with Weber's overture. I am only familiar with Weber from his two piano concertos, one of which (the 2nd) I attended in a concert back in August. The overture is quite popular although I haven't had a chance to listen to it. I approached it with fresh mind and the overture did not disappoint me. Full of melodies, nice build up and the overture concluded with loud bang in the end. There are parts of the overture that reminded me of Mendelssohn's Midsummer night's dream overture, but that might just me.
Now, the reason why I chose this concert - the Schumann's piano concerto. This work played by Sviatoslav Richter, is definitely one of my favorite piano concerto. It's a very lyrical work instead of virtuosic. I always love the main theme of first movements, the little dialogue between piano and orchestra in second movement and the finale. Back to the performance, it started out very well and the pianists entered at the right time (I've seen a number of pianists entered at the wrong time at the beginning of the piece). The tempo is a bit slow to my taste, but still acceptable. The pianist phrased most of the passages beautifully, but somehow the emotion is lacking? - I think. The cadenza was excellent, very much to my liking. The first movement ended perfectly with some of the audience clapped afterwards (!). The rest of the concerto was done very well, lacking a little big again in the emotional burst that I got from Richter's playing. We were given an encore by the pianist, a virtuoso show piece that seriously kicked the shit out of me. I'm not sure what piece it is, but my guess would be Liszt's or Ravel's. By the end of the piece, I'm convinced that the pianist is more of the virtuosic type rather than poetic type. Maybe that explains why the concerto wasn't quite lyrically done.
The last piece, Strauss' tone poem - Symphonia Domestica. I only know one work of Richard Strauss, the Also Sprach Zarathustra. The piece told an illustrious story of Strauss' daily life with his wife and his newly born baby. It is a one movement tone poem which can be divided into four parts. The beginning was good, until it reached the half way of the 2nd part, I'm kinda lost already. Then the piece moved on to the 3rd part which supposedly describing Love scene and Dreams and cares in adagio. I would say this adagio part is too loud for an adagio - it kinda diminished the impression that I might get if it is not very loud. The last part was joyous, and with 8 horns in the orchestra and large brass section, it's really really loud. At the very end of the piece, the conductor suddenly jumped and turned back to the audience, and make the ending gesture while facing us. The audience not expecting that, gave a bit of laugh in the end.
All in all, it was quite a good concert. I love the overture, the piano concerto was okay..the encore piece was amazing and the tone poem was okay again.
- Carl Maria von Weber Oberon: Overture
- Robert Schumann Piano Concerto
- Richard Strauss Symphonia domestica
Alexander Lazarev - Conductor
Alexander Gavrylyuk - Piano
My last concert before I went into hectic period - assignments and exams. How was it? It was .. okay I guess and certainly not the highlight of the year for me. I sat at the box at the left of the hall with only limited view on the orchestra. I chose the seat due to financial reason and I wanted to have a look at the pianist in action.
The concert started with Weber's overture. I am only familiar with Weber from his two piano concertos, one of which (the 2nd) I attended in a concert back in August. The overture is quite popular although I haven't had a chance to listen to it. I approached it with fresh mind and the overture did not disappoint me. Full of melodies, nice build up and the overture concluded with loud bang in the end. There are parts of the overture that reminded me of Mendelssohn's Midsummer night's dream overture, but that might just me.
Now, the reason why I chose this concert - the Schumann's piano concerto. This work played by Sviatoslav Richter, is definitely one of my favorite piano concerto. It's a very lyrical work instead of virtuosic. I always love the main theme of first movements, the little dialogue between piano and orchestra in second movement and the finale. Back to the performance, it started out very well and the pianists entered at the right time (I've seen a number of pianists entered at the wrong time at the beginning of the piece). The tempo is a bit slow to my taste, but still acceptable. The pianist phrased most of the passages beautifully, but somehow the emotion is lacking? - I think. The cadenza was excellent, very much to my liking. The first movement ended perfectly with some of the audience clapped afterwards (!). The rest of the concerto was done very well, lacking a little big again in the emotional burst that I got from Richter's playing. We were given an encore by the pianist, a virtuoso show piece that seriously kicked the shit out of me. I'm not sure what piece it is, but my guess would be Liszt's or Ravel's. By the end of the piece, I'm convinced that the pianist is more of the virtuosic type rather than poetic type. Maybe that explains why the concerto wasn't quite lyrically done.
The last piece, Strauss' tone poem - Symphonia Domestica. I only know one work of Richard Strauss, the Also Sprach Zarathustra. The piece told an illustrious story of Strauss' daily life with his wife and his newly born baby. It is a one movement tone poem which can be divided into four parts. The beginning was good, until it reached the half way of the 2nd part, I'm kinda lost already. Then the piece moved on to the 3rd part which supposedly describing Love scene and Dreams and cares in adagio. I would say this adagio part is too loud for an adagio - it kinda diminished the impression that I might get if it is not very loud. The last part was joyous, and with 8 horns in the orchestra and large brass section, it's really really loud. At the very end of the piece, the conductor suddenly jumped and turned back to the audience, and make the ending gesture while facing us. The audience not expecting that, gave a bit of laugh in the end.
All in all, it was quite a good concert. I love the overture, the piano concerto was okay..the encore piece was amazing and the tone poem was okay again.
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