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Show The Salt Lake Tribune ARTS BY JEFF MANOOKIAN Conductor Pavel Kogan and guest pianist Vladimir Feltsman knew just attracted a capacity crowd to AbravanelHall. Before getting to the sched- uled repertoire, Kogan and band intoned both the American and Russian REVIEW national anthems. Then in memory of the victims of Sept. 11, the musicians pre- seni “Vocalise. Rachmaninoff’s Once Thursday’s program entered into the printed reper- toire, the audience got whatit came for. Though the Moscow ensemble is not a virtuoso orchestra, there is a special something when Russiansplay Russian music. It was easy to overlook the surplus of peccadillos in exchange for the or- chestra’s contagious and dazzling enthusiasm. in such works as “Polonaise” and “Waltz” from Tchaikovsky’s opera “Eugene Onegin.” But what then ensued was the big surprise of the evening — if not the whole concert season. When Feltsman grabbed those first ascending chords of Tchaikovsky's “Piano Concerto No.1,” we knew that this was going to be the best tuosity, beauty of sound and THE SALT LAKE TRIBUNE ing ovation — though he played piano his voice. A quarter of a century later, Mehidau and the other two parts ofhis trio share their gifts with jazz enthusiasts the superhuman octaves lifted the audience for a raucous stand- 2" was Kogan’s resilient con- ment was his Moscow State Symphony Orchestra, which Pavel Kogan rendering of this most famous of concert vehicles. Andit was. Feltsman voiced every note, chord and octave to a perfect zenith. His not-so-subtle sense of rubato brought a fresh pa- nachetothis familiar work and hisoriginality paid off big time. The unflappable pianist has a grand sound neveroverlooking an opportunity for delicacy and refined intimacy. Howev- strumentals, in 1999 with the trio and solo in Brad Mehldau Trio’s latest CD, “Progression: Art of Trio, Volume 5” is two discs of hilarating in underscoring Kogan’s cuing of the symphony’s large architectural me- soothingthe brain like a Shiatsu massage. lodic ideas. The music was familiar terrain for the Moscow State Symphony Orchestra, andit showed. There were three encores. A charmingditty of Dvorak anda campytuneof Shostakovichled the third. Move over Boston Pops. When the Moscow State Symphony Orchestra played Sousa’s “Stars and Stripes Forever,” the audience was beside in regards to phrasing, a con- Boston Commons’ Hatch Shell pecially when it was wrought this well. When the applause started, the personable Feltsmanlooked to the audience and world over. Bassist Larry Grenadier plucks at the brain cells and drummer Jorge Rossy rattles the cranium, while Mehldau ties up the trio on keyboard. Mehldau, pronounced male-Dow, was nominated twice for Grammysforjazz in- overthe traversal of the work. Thestring sections were ex- itself. It was clapping in rhythm, laughing and having a jolly good time. For a few moments, we were transported to trast that was,at times, embar- Since the age of 6, Brad Mehldau made the ceptualization. Kogan's supreme musicianship reigned er, he always yielded to the orchestra when it claimed the melodic line. Feltsman many times outclassed the orchestra rassingly stark. It is impossible for an audience to refrain from applauding after this exciting concerto’s opening movement — es- BYJESUS LOPEZ JR. Feltsman’s effervescent vir- The highlight of Rachmaninoff's beloved “Symphony No. how toplay it. Kogan’s instru- MehldauLets Piano Do the Talking to his lips for “shhh.” the last note a half-second before the orchestra. As hard as this audience tried andtried,it couldn't coax an encore out of Feltsman. SPECIAL TO THE TRIBUNE It was an evening of showmanship. Kogan lifted his baton for the next movement, Feltsman quickly placed his index finger for a Fourth of July celebration. 1997. hypnotizing original songs and standards, Thetrio takes an opposite from the tradi- tional “record and tour”tacticto promote a CD. These musicians tour with their musicfirst, for about a year, until it is refined enough to enter the studio. When thetrio performs Friday at Kingsbury Hall, the audience should hear somethingnewalongwith music from the recordings. Mehldau grew up with heavy classical training, but discovered acoustic jazz in high school. By age 15, he played every Wednesday nightat the 880 Club in Hartford, Conn. In 1988, he moved to NewYork City, where he wasinfl by such 1994, the Brad MehldauTrio was born. Mehldau said he credits Grenadier and Rossy for helping him experiment with the music, Bless Brad Mehldau Trio plays Kingsbury Hall, 1395 E. Presidents Circle on Friday at 7:30 p.m. Tickets are $27 to $13. as Pe- Workingas a sideman with a variety of musi- cians, he met his future bandmates and,in Kogan prefaced his and orches“God @ At Kingsbury Hall ter Bernstein, Jessie Davis and David Sanchez. tra’s final encore by shouting to his audience, America!” Jazz pianist Brad Mehidau "Hereleased his first album, “Introducing Brad Mehldau,” in 1995, following two years later with “The Art of the Trio, Vol. 1.” After his third album,“TheArt of the Trio, Volume 2,” Mehidau recorded with Willie Nelson and Joshua Redman. Critics worldwide have lauded Mehldau’s workandhis songs are featured in suchfilms as “Eyes Wide Shut,” “Midnight in the Garden of Good and Evil” and “Space Cowboys.” sy ABUNDANCE encouraged the clapping witha Li-f-ex2s circular hand gesture. Then, as Pf2G.4- SUT -€58 Our LighLasers FA Appin <n eal today! PRICES STARTING Ate: Sis holiday season Give a treasure. Vow in Saturday's newspaper. 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