Tag Archives: Itzhak Perlman

Itzhak Perlman & Friends, Nov. 10, 2024

Itzhak Perlman & Friends: It was the Top of musical performance. Itzhak Perlman is the great violinist who is also the Great Human. He clearly loves to make each note, they are always perfect, and loving the music is the same as his love of the audience. The audience feels that in each note that they hear and absorb. If you are Itzhak Perlman, your friends are breath taking artists, too. In this phenomenal performance his friends were two of the world’s greatest pianists, Emanuel Ax and Jean-Ives Thibaudet, and the Juilliard String Quartet. This is a new generation Juilliard String Quartet. Bringing these gifted musicians onto the stage to make music with Perlman expands his repertory possibilities.

Itzhak Perlman, Violinist, humanitarian, mentor, founder of the Perlman Music Program which mentors “gifted young string players.”

The program presented two works from the 18th century: Sonata for Two Violins in E minor, Opus 3, no. 5, by Jean-Marie Leclair, written ca. 1734; and Piano Quartet inE-flat major, K.493, by Wolfgang Amadeus Mozart, written 1786. A 19th century masterpiece filled the second half of the program: Concert in D major, Opus 21, by Ernest Chausson, written in 1889-91. What is the main thing these three compositions have in common? Each piece is amongst the most difficult of its kind.

Areta Zhulla, Violinist, first violin of the Juilliard String Quartet

Jean-Marie Leclair, composer (1697 – 1764)*

Leclair left his home in Lyon to publish his compositions of violin sonatas. In Lyon, he became a master of the violin, dancing, and lace-making, a thorough artist. In Paris, his violin compositions were praised with one slight problem; they were so hard to play. A writer of Leclair’s time called them “a sort of musical algebra capable of rebuffing the most courageous of musicians.” The duet performance by Areta Zhulla and Itzhak Perlman was dazzling. I especially admired the way the music weaved between each violin. There would be a place where one violin would find a place to enter and play into, with, or around the other one. !8th century dances had intricate patterns; sometimes it is the music that follows the dance. As a dance master, he would have the music in his body. Now that I know he was a lace-maker, I feel sure that the design of the music and the playing of the violins were tracing movements of the needle and thread in and out to make a challenging, mathematical, beauty. It is there physical to touch in lace, audible and seen in the playing of the music.

Wolfgang Amadeus Mozart, composer (1756 – 1791)*

Emanuel Ax, pianist

Mozart’s Piano Quartet in E-flat major, K. 493 was a stunning marvel. The musicians are perfection, a word I rarely use. I have loved this particular quartet for a long time. I went to Tower Records – I did say a long time ago – in North Beach and read through album covers. I chose a record (stop laughing) of Mozart’s quartets. When I heard the opening notes of this performance, I felt myself smile all over. The performers were truly perfection: Itzhak Perlman, violin; Molly Carr, viola; Astrid Schween, ‘cello; Emanuel Ax, piano. When Mozart had a publishing deal for three quartets, the publisher paid Mozart not to compose more. In fact, the publisher thought the first piano quartet was not well received. Fortunately for Mozart and all of us, he had finished the second Piano Quartet. It must have been a very good time for Mozart’s composing as this work entered Mozart’s catalogue just after the Marriage of Figaro. Although its brilliance was obvious, this Quartet was too difficult. A writer for a German journal wrote this: “Many another piece keeps some countenance, even when indifferently performed; but, in truth one can hardly bear listening to this product of Mozart’s when it falls into mediocre amateurish hands and is negligently played.” The performance I heard kept me on the edge of the seat. It is lush, sometimes mysterious with changing rhythms, and a fascinating exchange among the players. Is it possible to translate musical talk to spoken English? No, that is why it is music. The final movement features the pianist and first violin. What an experience to hear this from them.

Jean-Ives Thibaudet, Pianist

Ernest Chausson, composer (1855 – 1899)*

Chausson’s Concert in D major, Opus 21 is powerful and full of wonders. Concert is not a typo; it is a name for chamber music in the late 18th c. I knew his name, may have heard other pieces and may have not. Surely, I had never heard this. It is a gigantic and altogether successful creation performed by Itzhak Perlman, violin; Jean-Ives Thibaudet, piano; and the Juilliard Quartet. The music pays attention to the combinations that are well knit for all six instruments becoming one while each is heard. James M. Keller cites Chausson’s mentoring by Caesar Franck, and yet this work is still Chausson’s. Each of the four movements – Decide, Sicillienne, Grave, and Finale – added drama and character with their strong presence. The Sicillienne is beautiful in its sweeping lyricism. Grave lowers one’s feelings to a mysterious sense of loss. The energetic Finale reminds the listener of the themes of all three that came before. This listener felt her eyes open wide at the sensational Thibaudet playing precisely and powerfully. He was brilliant; Perlman was brilliant. Having both together made me want to jump up and down, but I only stood and applauded like the entire audience kept doing for many curtain calls. Many. I thought I would count, but I gave up. All six of the performers joined in an extraordinary encore and more bows and applause. Someone turned the lights back on, and, reluctantly we got the message that we had to go home.

*These composers share dreadful and inexplicable deaths. I am inserting this here so that it will not be the sad subject at the end of this post. No interpretation of the deaths from me. Jean-Marie Leclair was murdered. He lived in a bad neighborhood. He had been stabbed three times and was found in a pool of blood. It is still an open case in Paris. Three suspects: his gardener found the body; his nephew wanted Leclair to help him become a violinist but Leclair did not; Louise, an ex-wife who inherited his estate and sold off his property. Mozart died of illness; there are more than 100 theories of how he died. Chausson was trying out the new gizmo: a bicycle. He lost control of the bike, ran into a brick wall, cracked his skull. Imagine that each one would have composed more wonderful music; I am grateful for what I heard.

Itzhak Perlman Plays Klezmer

Itzhak Perlman performed “In the Fiddler’s House,” San Franciso Symphony, January 14, 2019

The music began, and I felt myself smile. Not because the music was an old, familiar tune. Just because it was rollicking, joyful sounding music. Those of us lucky enough to be at Davies Symphony Hall, Monday night, January 14, were treated to a full concert of Klezmer music led by the great violinist, conductor, fiddler Itzhak Perlman. He shared the stage with a crowd of gifted musicians playing accordion, bass, bass clarinet, clarinet, tsimbl(cymbalom), drums, guitar, mandolin, piano, saxophone, tambourine, trombone, trumpet, violin, and singing. I think there was a total of 15 musicians, but since most of them played more than one instrument it became hard to keep track. This music is “something completely different.” In his typical fashion, Mr. Perlman was modest and also brilliant. When the musicians came on stage, I did not see him. Then, I realized he was there but allowed himself to be camouflaged by his colleagues. Pianist Hankus Netsky acted as MC, offering bits of history and musical introductions. He and Mr. Perlman established an occasionally competitive conversation with Mr. Perlman urging Mr. Netsky to get on with it instead of talking and adding his own commentary. It was a playful Pat and Mike act that was informative without being weighty. Mr. Netsky is Founder/Director of the Klezmer Conservatory Band, and was music director and arranger for Eternal Echoes, Itzhak Perlman’s collaboration with cantorial, Hassidic, and Yiddish music, available on Sony Masterworks.

Brave Old World, members of this international Klezmer group were onstage “In the Fiddler’s House,” including Michael Alpert, vocals, guitar, accordion, violin

The name Klezmer comes from combining the words for “tool” and “to make music,” translated as “vessels of song” or “musical instruments.” It also referred to the musicians themselves, not always in a positive way. In the 16th – 18th centuries, “Klezmer” replaced an earlier word for them, “leyts” which means clowns. Mr. Perlman injected this information as his partner described them as scholars. In the early 20th century, recordings referred to it as Yiddish music. It was also called “Freilech” music, “Happy Music” and my recent 21st century reaction attests this is apt. The music has an Eastern sound to it and also a distinctly Romani (Gypsy) sound. The Hedgehog musician says it has a different mode, plays in different scales. It is expressive as well as lively; one can hear sounds like a human voice laughing or sobbing, The oldest written record of Klezmer is from the 15th century, but that music would not be what we can hear now. The strongest 19th century influence came from Romania. The Klezmer like the Romani musicians, Lautari, were traveling musicians and they played music together. The Rabbis did not approve of the Klezmer because of their on the road lifestyle, but they were needed for weddings. The Bible mentions orchestras of musicians and Levites playing music. After the destruction of the Second Temple, some Rabbis disapproved of making music, but back then also it was necessary for wedding celebrations.

The Klezmatics: members of this band were featured artists “In the Fiddler’s House,” including Frank London, Lorin Sklamberg

In Ukraine, the Ukrainian authorities would not allow them to play loud music, so they began to play string instruments and cymbalom. When more Jewish Eastern Europeans arrived in the US, 1880s – 1924, they heard American jazz. Elements of jazz can show up in Klezmer and, like the connection to the Romani music, an exchange occurred. The concert at Davies Hall was a feast of wild rhythms, fantastic interplays of vocal and instrumental music, speed demon virtuoso performances. Mr. Perlman performed with Andy Statman, a blue grass and Klezmer star; they blew away any observers’ desire to find a bunch of words to describe what they were hearing. When Klezmer’s popularity faded, other composers found treasures in it: Mahler and Shostakovich, jazz and swing leaders Benny Goodman, Artie Shaw, Ziggy Elman; Gershwin, Bernstein, and Copland. There have been several significant Klezmer revivals: in the 1970s; a new wave in the 1980s with non-Jewish musicians; in the SF Bay Area in the 1990s.

The Klezmer Conservatory Band, based in Boston, members were “In the Fiddler’s House,” including Judy Bressler, Hankus Netsky

The January 14 program featured tunes that might be played for a riotous, happy, dancing wedding. When the invitation came for the audience to dance, hundreds jumped up, held hands, and danced through the aisles. As Mr. Netsky mentioned, tunes also took them back to the synagogue. Their version of Shalom Aleichem was lovely and touching. That song welcomes the Sabbath “Peace be upon you, blessed peace of Sabbath eve,” and the “ministering angels of most high.” Itzhak Perlman is not only the great violinist, he is the great human carrying his message of peace and joy through his music as he travels the world like Klezmers of all time.

Featured, astonishing musicians: Hankus Netsky, music director, saxophone, piano, arrangements; Michael Alpert, vocals, guitar, accordion, violin; Judy Bressler, vocals, tambourine; Lorin Sklamberg, vocals, accordion; Frank London, trumpet; Andy Statman, clarinet, mandolin; Mark Berney, trumpet; James Guttmann, bass; Mark Hamilton, trombone; Pete Rushefsky, bass clarinet, tsimbl; Grantley Smith, drums; Ilene Stahl, clarinet.

Itzhak Perlman at Davies Hall: the Great Human

Itzhak Perlman performed an astonishing, wonderful recital at the San Francisco Symphony’s Davies Hall, January 16. That’s right, it was his usual: astonishing and wonderful. The packed to the rafters audience was entranced by his virtuosity, the graceful program choices, his presence. Seeking words for this article’s headline a phrase from Al Huang, dancer and tai chi master, came to mind: the great human. That’s what Itzhak Perlman is for all of us.

Perlman-Itzhak Itzhak Perlman

Rohan de Silva is the pianist who partners Perlman. He appears to be perfect both as musician and collaborator.

rohan-de-silva_175w Rohan de Silva

Itzhak Perlman could play anything, so it is especially interesting to see his choices for this recital. In addition to being technically challenging for a musician, not for this musician but a musician, the selections projected a sense of balance. There were works of four great composers. Each one was a master who created the essence of his era.

Anonio Vivaldi (1678-1741) th-2 Vivaldi’s Sonata in A major for Violin and Continuo (1709), Opus 2, no. 2, is brilliant, quick, lively. It darts and skips yet always maintains its self-control, defining the early 18th century character. It was a time of conservative control pregnant with revolutionary change. It was bursting with creativity. The program note said the sonata would be brief; it was over before one could be certain what had happened except the dazzling brilliance of the composer meeting his match.

Ludwig van Beethoven (1770-1827) Beethoven’s Sonata in F major, Opus 24, Spring (1801) was a Beethoven masterpiece of the early 19th century. It is so lovely and full of delight that one can forget the extraordinary composer’s vision and musicians’ technique required to make this sound easy as water rolling over rocks. Beethoven took risks. In 1801, it was innovative for having four movements instead of three and for the more equal relationship between piano and violin. Beethoven did not give it the name Spring, but it fits. Its cheerful beauty is a pleasure and reminds the listener that great music can smile for us.

Fantasiestucke for Violin and Piano, Opus 73 (1849) by Robert Schumann (1810-1856) has three “fantasy pieces.” Each has a different personality: “Delicate and with feeling;” “Lively, light;” and “Fast and with fire.” This work from the last part of Schumann’s short life is something unexpected. While Schumann was central in creating the Romantic idea in music, by 1849 he had begun to reexamine classical forms and style. Other musicians, including his wife the great pianist Clara Schumann, may have expressed dismay but also may not have fully appreciated Robert Schumann’s searching intellect. Impossible to know what this reconsideration and study might have led him to create, but we do have his late work to enjoy and move us.

Igor Stravinsky’s Suite Italienne for Violin and Piano (1933) represented the 20th century. Stravinsky (1882-1971) took five movements from his Pulcinella, a ballet with Leonide Massine choreographer/lead dancer and designs by Picasso, to arrange as the Suite Italienne. Rearranged and published several times with the Italienne name, Itzhak Perlman and Rohan de Silva performed the final version. It includes the original five movements plus a Scherzino. This fascinating suite kept the listener’s attention with surprising rhythms and glorious sounds. Including a Tarantella, Gavotte, and Minuetto, it proudly embraced its origins in dance. The piano and violin definitely danced together and separately. Stravinsky credited Pulcinella as his “discovery of the past” which “made the whole of my late work possible.” Perlman balanced his program with two great composers, one known as Romantic, one as neo-classical, looking back into much earlier music for an understanding of where his own might go.

ENCORES: Anyone who has had the privilege of attending an Itzhak Perlman recital knows the encores are an essential part. He did not disappoint us. He took his bows with his partner, that extraordinary pianist. They left the stage, the audience continued to applaud, hope in every heart. He returned followed by Rohan de Silva and the page turner who carried a tall stack of music books. Not content with one sight gag, Itzhak Perlman then turned through pages clipped together. He told the audience that he keeps a list of the encores he has played in San Francisco. It goes back to 1912. He wouldn’t want to repeat something that someone who had been there in 1912 had heard, but then someone who had been there in 1912 probably couldn’t hear it anyway. He said he wouldn’t be able to remember and the audience could not hear, so he could play anything.

In fact, he played five encores. Each was fantastic in its own way. The unifying thread was the masterful, brilliant technique. He plays incredibly fast, he plays with a lyrical heart; it is all there. First was Tempo di Minuetto in the Style of Pugnani, by Fritz Kreisler. Aria des Lenski from Eugene Onegin, by Tchaikowsky followed. He played Caprice in A minor by Polish violin virtuoso and composer, Wieniawski. Any one of those pieces would be an admirable encore for which any audience should be grateful, but Mr. Perlman has spoiled us. We always want more. He played the theme from Schindler’s List, by John Williams, which he played for the movie. He ended with Brahms’ Hungarian Dance #1. It was the absolute right music to have whirling in my head as we left.

Itzhak Perlman radiates love for music and for his audience. He is now on tour of ten western cities in fourteen days including San Diego, Tucson, Costa Mesa. He could decide to play only for Queen Elizabeth II and select heads of state. He is at the pinnacle; he’ll still play for Mesa, AZ. He plays a Klezmer reunion concert, January 23, in Santa Barbara. His recital at Disney Concert Hall is January 24, Los Angeles. Do not miss a chance to hear him play. See www.itzhakperlman.com FOR MORE HEDGEHOG HIGHLIGHTS ON ITZHAK PERLMAN, please see Ax & Perlman: Dynamic Duo of Music in San Francisco, Jan. 20, 2016, and Itzhak Perlman at the San Franciscio Symphony, Jan. 22, 2015.

Ax & Perlman: Dynamic Duo of Music in San Francisco

IPerlman EmAxjpeg Emanuel Ax, piano, and Itzhak Perlman, violin, performing together at San Francisco’s Davies Symphony Hall, Jan. 18, 2016, was exactly what one would expect: superlative beyond the same old superlatives. These are two of the greatest musicians currently on our planet. We are lucky to be in the world at the same time as they are. Although the quality of the performance was so great as one might expect, their program was far from anything “usual.” They performed Sonata in C major, K. 296, by Mozart; Sonata No. 1 in A major, Opus 13, by Faure; and Sonata in E-flat major, Opus 18 by Richard Strauss. These are not familiar selections. The listener was rewarded with new expressions, colors, and musical emotions.There was also a touching, dramatic presence to the musicians’ partnership. When they entered the Davies stage, Mr. Ax seemed to hold back to defer to Mr. Perlman, but once they were positioned to play, their own personalities were not on show. It was all about great music.

mozart-kraft-1819-150x150 The Mozart selection, Sonata in C maj., K.296, was brilliant with bright, jewel-like colors and a perfection of partnership between piano and violin. It has Mozart’s brilliance in the sense of fantastic, playful wit, as well. The surprise was the satisfying expressiveness that came with Mozart’s brilliance and the musicians’ embodiment of the quick, starry music.

Gabriel Faure (1845-1924)wrote Sonata No. 1 in A major, Opus 13, in 1876. He was well on his way to his long and great career yet still in early days. The Sonata has a seductive beauty which captures the listener like the course of a river carrying a boat along. There is passion and also hesitation; the Sonata has a character all its own. It is certainly a work that called upon the virtuoso musicians to unleash their own powers which they did magnificently both in partnering the two instruments and allowing the instruments to follow their own ways.

Richard Strauss (1864-1949)was dedicated to creating chamber music early in his work. This sonata, written when he was twenty-three, took up the second half of the Perlman-Ax program. It is grand in its size and in beauty. The listener could take time out to think, oh, yes, later Romanticism; Strauss must have revered Brahms. There is no time out available for such observations. The music is sometimes introspective and also projects a feeling of improvisation, as though it were being created by the musicians as they played. Improvisation: Andante cantabile is the title of the second movement. Strauss’s Sonata has the force and energy to pull the listener into a gorgeous world, intense and full of power.

The audience, standing and vigorously applauding was most reluctant to let Perlman and Ax leave. Mr. Perlman has a history of giving encores and introducing them with humorous commentary. The full house demanded extra treats. On this night, the audience was treated to four encores. Each time, the duo exited to applause and, after a bit, returned. They bowed and then, seeming to confer about what they might play, went back to perform. Mr. Perlman is the spokesman. The first selection, by Dvorak, he said, had intimations of Americana, Dvorak’s own Americana. One could hear suggestions of what might have African-American music, forerunner of blues. Kreisler’s, Schon Rosmarin, came next, after another exit and return; then, Kreisler’s Love’s Sorrow. A young woman and her daughter who had made their way down to the edge of the stage presented them with a bouquet and a teddy bear. Mr. Perlman made a point of giving the bouquet to Mr. Ax, embracing the teddy bear for himself. They reappeared one more time, this time Mr. Ax was allowed the bear, to play Kreisler’s Love’s Joy. Mr. Perlman assured the audience he would not leave them with Love’s Sorrow. The interplay between the musicians was delightful. The warmth of their stage presence never stepped over the line to interfere with the seriousness of their performance. Hear Itzhak Perlman and Emanuel Ax on their Deutsche Grammophon album of sonatas by Faure and Strauss. They perform together on tour throughout the US this season. For other Hedgehog Highlights about these musicians please see entry of January 11, 2015, on recital by Emanuel Ax and entry of January 18, 2015, on recital by Itzhak Perlman.

ITZHAK PERLMAN at the San Francisco Symphony

IPerlman Itzhak Perlman performed a recital at the San Francisco Symphony Davies Hall, January 18, 2015. Performing with him was Rohan De Silva, the extraordinary pianist who is his musical partner throughout the program. It is pointless to search for sufficiently exuberant and extravagant superlatives for this performance, though they are needed. Too many of the great adjectives have been worn out on cars and soap. It was a privilege to be in Itzhak Perlman’s audience. His program selection was an art in itself. Beethoven’s Sonata No. 8 in G major, Opus 30, no. 3 was a delight; even its complexity was playful as well as beautiful. It demanded masterful speed, precision and understanding from both instruments as they sing to each other gently and when they spin and whirl the sound. Following the Beethoven Sonata No. 8 came Grieg’s Sonata No. 3 in C minor for Violin and Piano, Opus 45. This a surprising, great piece which was not known by this listener. It rewards the audience with layers of emotion which sweep the rhythms and almost tumultuous music to suggest a hidden narrative. Grieg brings in his Norwegian folk music and dance for moments of pleasure before ending with explosive energy. It was a brilliant pairing to have these very different sonatas in the first half of the recital. The second half was devoted to Sonata in G major for Violin and Piano by Ravel. The Ravel piece truly stands apart. In it, Ravel revels in syncopation, harmonies from the blues, and a kind of anxious interplay or lack of interplay between violin and piano. At times, the piano seems to be channeling Count Basie or earlier rag time pianists and composers. While the pianist is inhabited by this spirit, the violin could be said to be on its own except that Ravel so surely has connected them in their differences: in the time that comes between each beat, the tone that only happens because of their different notes. It was a fascinating, exciting work which did not try to imitate jazz but showed ways that Ravel had made jazz properties his own. What came next is only typical of Itzhak Perlman, the great artist who is also the great human. After at least 6 curtain calls, Mr. Perlman, Mr. De Silva, and the page turner who re-entered carrying a tall stack of music scores settled in place. Mr. Perlman played encores for half an hour. The audience would happily have stayed for more. His encore choices were dazzling, virtuoso pieces mostly transposed for the violin by Fritz Kreisler and Jascha Heifetz. He also performed the theme music from the movie, Schindler’s List for which he collaborated with composer John Williams as the violin soloist. Between each presentation, Mr. Perlman regaled the packed to the rafters hall with pleasantly silly commentaries. He is a man of many sides: superb, supreme musician; dedicated teacher; deeply knowledgeable world cultural leader; a good man. Look on his website. You will see a video of him teaching a master class rather than a video of him receiving awards or performing in a great hall. This season he will perform recitals with Mr. De Rohan in Boston,Toronto, Los Angeles, New York, and conduct the Israel Philharmonic and Houston and Seattle Symphonies. What could one possibly do that would be more fun and more inspiring than to be in Itzhak Perlman’s audience?