Word: zander
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Dates: during 2000-2009
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Before performing each of the three works on the program, Zander explained the general structure of the piece and had separate sections of the orchestra demonstrate particularly difficult or interesting passages...
...performance toed the line between a master class and a concert. Presented in the context of Harvard’s premiere lecture hall, the concert could have risked falling too far on the side of academics; however, Zander kept his balance...
...Zander described the piece as having “the power of Greek tragedy, the apocalyptic grandeur of ‘Oedipus Rex.’” To me, however, the beginning and end of the one-movement piece was more reminiscent of Dostoyevsky than Sophocles, with the restlessness of the low strings and the psychological irritation present throughout. The middle of the overture, however, had a more classically veiled sound...
...Viola and Orchestra,” was rare on two accounts. First, the composer was present in the audience; and second, the viola is rarely used as a solo instrument. “The traditional concerto is a battle between the soloist and the orchestra,” says Zander, and the viola—unlike its close cousin, the violin—has no chance of victory. With this in mind, Harbison, who plays the viola himself, cut the orchestra’s size significantly. The result was a more balanced relationship between orchestra and soloist, one in which...
While greeting audience members in the lobby, Zander said, “It’s in the eyes. That’s where it lives...