Concert review: IPO

Jerusalem ICC, March 15

March 28, 2015 21:00
1 minute read.
Sultan’s Pool

A concert finale in Sultan’s Pool, outside the Old City walls in Jerusalem.. (photo credit: TOURISM MINISTRY)


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 experience almost completely free of ads
  • Access to our Premium Section
  • Content from the award-winning Jerusalem Report and our monthly magazine to learn Hebrew - Ivrit
  • 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

The curiosity value in the Israel Philharmonic Orchestra’s recent concert was Bruch’s rarely performed Clarinet and Viola Concerto.

Its performance rarity is presumably due to the scarcity of clarinetist and violist siblings such as Sharon and Ori Kam, since for a non-sibling musician there is not much reason to embark on a search for a partner just to perform the Bruch concerto.

Be the first to know - Join our Facebook page.

This work contains a fair amount of what Schoenberg used to call “Bruch sentimentality.”

See the latest opinion pieces on our Opinion & Blogs Facebook page

Sharon and Ori Kam did their very best to make the work as appealing as possible, and to impress the audience with dazzling virtuosity, especially in the fast final movement.

Richard Strauss composed a lot of original orchestra works, so that there is no reason for performing a “Suite” – a selection of themes from his opera Rosenkavalier (“The Cavalier of the Rose”), even though he may have had nostalgic feelings for it in his advanced age. Out of their operatic context these themes became insignificant, and the waltz section became mechanical, not sounding dance-like at all.

Nikolaj Znaider emerged as a conductor of stature and a fascinating musical personality in Dvorak’s Symphony No. 8. It was rendered with formidable vitality, incisive articulation of phrases, subtle nuances of dynamics, splendid transparency, gripping tension and a well-rounded, rich orchestral sound.

Related Content

Rami Feinstein
August 18, 2018
Music from the heart