Concert Review: Jerusalem Symphony Orchestra

To celebrate its season opening and 75th anniversary, the Jerusalem Symphony Orchestra presented an almost all-20th-century program.

October 22, 2012 22:29
1 minute read.
The Jerusalem Music Center

311_Jerusalem Music Center. (photo credit: Courtesy)


Dear Reader,
As you can imagine, more people are reading The Jerusalem Post than ever before. Nevertheless, traditional business models are no longer sustainable and high-quality publications, like ours, are being forced to look for new ways to keep going. Unlike many other news organizations, we have not put up a paywall. We want to keep our journalism open and accessible and be able to keep providing you with news and analyses from the frontlines of Israel, the Middle East and the Jewish World.

As one of our loyal readers, we ask you to be our partner.

For $5 a month you will receive access to the following:

  • A user uxperience almost completely free of ads
  • Access to our Premium Section and our monthly magazine to learn Hebrew, Ivrit
  • Content from the award-winning Jerusalem Repor
  • A brand new ePaper featuring the daily newspaper as it appears in print in Israel

Help us grow and continue telling Israel’s story to the world.

Thank you,

Ronit Hasin-Hochman, CEO, Jerusalem Post Group
Yaakov Katz, Editor-in-Chief

UPGRADE YOUR JPOST EXPERIENCE FOR 5$ PER MONTH Show me later Don't show it again

To celebrate its season opening and also its 75th anniversary, the Jerusalem Symphony Orchestra presented an almost all-20th-century program, except for Beethoven as the only Classic.

Beethoven may well have felt like a displaced person in this environment, considered semi-modern today and as super-innovative in its day.

Be the first to know - Join our Facebook page.

Why an orchestra founded in 1936, as stated correctly in the program notes, should celebrate its 75th anniversary in 2012/13 was not explained in the enthusiastic congratulatory speeches by numerous dignitaries.

The soloist in Ravel’s Piano Concerto in G major, Francis Chaslin, demonstrated that, like Bruno Walter, Leonard Bernstein, Christoph Eschenbach and Daniel Barenboim, he too is a conductor who is also a pianist.

As such, he displayed remarkable talent with an appealing, soft touch in the slow movement’s long solo passage, and brilliant virtuosity in the fast ones.

In this work, Chaslin courteously offered his baton to Jacques Attali, an economist-financier who also conducts.

Ravel’s work was unreasonably placed at the concert’s opening, possibly to honor president Shimon Peres with the possibility of calling it a day, or rather a night, and retiring at once after the performance of his friend Attali.

The obligatory Israeli work was Oedeon Partos’ Ein Gev. Not surprisingly, this was also the program’s shortest item.

The concert’s main attraction was Stravinsky’s Firebird. Its abundant instrumental tone colors, dramatic effects and exciting contrasts were rendered with forceful impressiveness. It also sounded as though it had been granted most of the orchestra’s rehearsal time, noticeably at the expense of Beethoven’s Symphony No. 1, that was rushed through indifferently at breathless speed, with nonchalantly swallowed intermediate notes and a lack of aristocratic elegance in the Menuetto.

Related Content

Sarah Silverman
August 26, 2014
Jewish women take home gold at 2014 Emmys