Lest online inactivity be misconstrued as musical inactivity, I thought I’d post to reassure readers that this blog is going on anything but hiatus over the course of the next month. I know MJ has some things cooking, and you can expect original content from me related to Semyon Bychkov’s upcoming appearances with the Chicago Symphony, which starts next week with a program featuring soloist Daniil Trifonov.
There’s been some exciting music news in our neck of the woods: According to a recent University of Chicago email blast, Riccardo Muti is slated to give a lecture at Logan Center for the Arts on September 21, 2015 to commemorate the coincidence of both the University and the CSO’s 125th anniversaries. No further details have been given yet. Also, clearly I was too busy spring-breaking in California to notice that UChicago Presents announced its 2015/16 season, including performances by Philip Glass (AB’56, who also just wrote an excellent piece for the University of Chicago Magazine), principal players from the Academy of St. Martin in the Fields, the Pacifica Quartet and Paul Lewis, and much more.
In general music news, as speculation surrounding Alan Gilbert’s successor grows ever more deafening, another important torch was passed yesterday: Glenn Dicterow’s successor was announced. Frank Huang, formerly concertmaster of the Houston Symphony, will formally join the New York Philharmonic as its leader next season. Besides the New York Times article that announced his appointment, I rather enjoyed this article from the Houston Chronicle, written while he was still undergoing the auditioning process.
Earlier tonight, I got back from a CSO performance of Mahler 7 under Bernard Haitink, a performance I’m reviewing for the Chicago Maroon. Opinions tend to be split pretty strongly when it comes to this particular Mahler symphony; I, for one, am an unabashed fan. I vividly recall being unable to sleep one night the summer before my senior year; stupidly, I watched the YouTube video of Pierre Boulez and the CSO’s electrifying rendition to pass the time, which introduced me to the piece. I was more awake after watching it than when I started, with the tenorhorn’s eerie opening call stuck in my head for weeks afterward.
Funnily, I watched it while I was in Chicago, attending a summer program at UofC. Attending that concert a few hours ago as a full-fledged UofC student felt like coming full circle.
And once again, that damn solo is still making me lose sleep. Some things never change.