Word: kirchners
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Pulitzer Prize-winner Leon Kirchner, Walter Bigelow Rosen Professor of Music, will conduct the Harvard-Radcliffe Orchestra in the Boston area premiere of his Second Piano Concerto tonight...
...Kirchner conducted the three cantatas with his peculiar blend of romanticism and objectivity. His own music displays a predilection for big chords and thick, lush sonorities, and this love of sound for its own sake carried over into his interpretation of the Bach. Kirchner demanded a full-bodied sound from his small ensemble. Occasionally his insistence backfired, as in the final chorus of "ewiges Feuer" (BWV 34) where the sopranos had to force and went noticably sharp. Most of the choruses were full of dramatic dynamic contrasts, crescendi and decrescendi. And Kirchner had no qualms about taking expressive liberties with...
...Kirchner's tempi were often brisk and never slovenly. He used a baton when precision was called for, conducting only with his hands in the sections where he wanted more flexibility...
...them out. The tenor aria in "Herr, gehe nicht ins Gericht" (BWV 105) contains many rapid sixteenth-note passages in the instrumental parts. Tenor Karl Dan Sorensen displayed a voice that was light, supple and unforced, but nonetheless somewhat diminutive--potentially something of a problem in Sanders Theatre. But Kirchner kept the instrumentalists down to a virtuosic pianissimo, and in spite of the busyness of the parts and his own brisk tempo, the aria was a model of balance and clarity...
...little more than competent reading. Still, she obviously had a good ear, enviable accuracy of pitch and a fair amount of vocal agility. Alto Eunice Alberts sang with the inertia typical of her voice range. Her aria in BWV 34 was a minor battle for tempo, she pulling back, Kirchner trying to move things forward...