Review: Opening concert of Sarasota Music Festival with Angelo Xiang Yu heraldtribune.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from heraldtribune.com Daily Mail and Mail on Sunday newspapers.
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Inspired by the Brentano Quartet’s performance of Haydn’s Op. 77 No. 2 quartet, the Entr’acte sounds like it has one foot planted in the 18th century and the other firmly in the 21st. Time and sound seem to refract through a kaleidoscope of colors, leaving the listener endlessly fascinated.
The music is melancholy with intense fluctuations in dynamics like the liquidity of emotions. Pitch is relevant until it is not as the score takes a curve into another world with an extended technique of brushing the bow hair on, but not vibrating, the string for whooshes and sweeps.
Wherever the music takes us, the musicians expertly create the path with exact skills. The soundscape is marked by exceptional colors, harmonics and bent sighing notes. Pizzicato, a traditional technique, is put to full use and with dampened strings during a notable solo by concertmaster Daniel Jordan.
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Maine lifts outdoor mask requirement
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UGUSTA This week, Governor Janet Mills announced that Maine is updating its public health guidance to remove the requirement that people wear face coverings in outdoor settings.
The Maine Center for Disease Control and Prevention recommends that people wear face coverings in outdoor settings where it is difficult to maintain physical distancing. Face coverings are still required for indoor public settings, and there are no changes to Maine’s physical distancing requirements at this time.
The change is effective immediately and relevant guidance documents will be updated in the coming days.
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The Violin Concerto No. 3 in G Major, K. 216, was composed by Mozart when he was only 19 for orchestra including pairs of flutes, oboes, and horns. The arrangement performed here folded the wind lines into the parts for string orchestra alone. On the surface, this seems like it should work well enough, and it does for much of the accompaniment. However, the lovely legato slow movement felt a bit colorless without the solo flute shining through with the urging counter line of the horn.
This concerto is ebullient and bounces with lively energy. Coucheron’s spirited performance, as well as Mulligan’s over-sized movements, played up these qualities. Mozart’s good humor was fully evident in the final movement of contrasting segments.