Christopher Falzone, the Richmond-bred piano prodigy who became an internationally celebrated virtuoso, died on Oct. 21 in Geneva, Switzerland. He was 29.
Falzone, who grew up in the suburbs of Richmond, won the Young Musicians Foundation Competition when he was 8 years old, and the following year performed in a televised concert as the soloist in the Grieg Piano Concerto with the Disney Young Musicians Symphony Orchestra. He went on to win numerous honors and perform internationally.
Joanne Kong, the Richmond pianist who taught Falzone from the age of 4 until his late teen years, said, “He was one of the most remarkably gifted young pianists with whom I’ve worked. What was most striking to me was his ability to communicate with an audience, and his ability to get to the essence of the music. That’s something you can’t teach.”
After graduating from Monacan High School in Chesterfield County, Falzone enrolled at the Curtis Institute of Music in Philadelphia, where his principal teachers were Leon Fleisher and Claude Frank. He graduated from Curtis in 2008. Fleisher said of Falzone, “[T]here is scarcely anything beyond his means and his musical awarenesses.”
In 2004, he was the recipient of a $15,000 Gilmore Young Artist Award. In 2009, he was a gold medalist in the fourth International Piano Competition in Memory of Emil Gilels at the Odessa National A. V. Nezhdanova Academy of Music in Ukraine and winner of the Martha Argerich Les Virtuoses du Future competition in Switzerland. In 2010, he won the Grand Prix International Piano Competition: XX-XXI Century in Orléans, France.
Falzone performed as a recitalist, chamber musician and soloist with many orchestras in the United States and Europe.
He appeared several times as a soloist with the Richmond Symphony, most recently in 2005, playing Mozart’s “Coronation” Concerto (No. 26).
He also was a composer and arranger, notably of solo-piano versions of piano concertos and chamber works.
Here is a video, posted in 2013, of Christopher Falzone performing his solo transcription of Rachmaninoff’s Piano Concerto No. 3:
Friday, October 24, 2014
Wednesday, October 22, 2014
The Richmond Symphony is one of 12 recipients in the latest round of $7,500 grants from the Music Alive program of the League of American Orchestras and New Music USA, which finances one-week residencies by composers with small- and mid-market U.S. orchestras. The Richmond grant is for a residency by composer Laura Schwendinger in the 2015-16 season.
Schwendinger, a professor at the University of Wisconsin in Madison, was the first composer to win the American Academy in Berlin Prize. Her works have been performed by the American Composers Orchestra, soprano Dawn Upshaw, violinist Janine Jansen, cellist Matt Haimovitz, the JACK Quartet and other leading artists.
The composer’s Richmond residency will feature a performance of her “Waking Dream” (2009) for flute and chamber orchestra.
Tuesday, October 21, 2014
noon-2 p.m. EDT
WDCE, University of Richmond
Haydn: Symphony No. 93 in D major
Les Musiciens du Louvre, Grenoble/Marc Minkowski
Ligeti: Quartet No. 1 (“Métamorphoses nocturnes”)
Berlioz: “Lélio” – “Fantasia on Shakespeare’s ‘The Tempest’ ”
San Francisco Symphony Orchestra & Chorus/Michael Tilson Thomas
Mahler: Symphony No. 1
in D major
Dvořák: “Silent Woods”
Alisa Weilerstein, cello;
Anna Polonsky, piano
Sunday, October 19, 2014
with soloists, Richmond Symphony Chorus
Steven Smith conducting
Oct. 18, Richmond CenterStage
Gustav Mahler’s “Resurrection” Symphony (No. 2) may be the most challenging work that Steven Smith has undertaken in his four years (and counting) as music director of the Richmond Symphony.
The piece is long, lasting about an hour and 20 minutes. Its big outer movements, veering between tempestuous and softly lyrical, at times otherworldly, passages, can seem episodic or internally disjointed. It is scored for a very large orchestra, with double or triple the standard complements of winds, brass and percussion, including several offstage ensembles, with chorus, organ and two vocal soloists in its conclusion.
So, the Mahler Second is an epic job of traffic control for the conductor. All the more so with an orchestra, like Richmond’s, that must bring in a large number of extra players to muster a band of this size, meaning that the conductor must meld an ensemble from musicians not used to playing together.
Moreover, this is not a piece that speaks fluently if you just play and sing the notes. It is more spiritually charged than many overtly religious works; and it requires deep immersion in Austro-German romantic style, especially the long arcs of phrasing and expression that are uniquely characteristic of this style.
In the first of two performances of the “Resurrection,” Smith showed a firm grasp of most of the demands this music makes. He paced the symphony unerringly, and with great sensitivity to its extraordinary dynamic range, from earth-shatteringly loud to a level of quiet that is almost sensed more than heard. He maintained fine balance between string sections not much larger than the orchestra’s usual complement and oversized wind and percussion sections. He obtained idiomatically Viennese waltz tempos in the second and third movements.
The only shortcoming was a slackening of tension in quiet sections, especially in the first movement, “Totenfeier,” a sprawling funeral march that, along the way, poses a query in tone: “Wherefore hast thou lived? Wherefore hast thou suffered? Is it all some great, fearful joke?” The questions are posed in lyrical music, but need to retain some audible edge.
The orchestra performed splendidly, both en masse and in solos and ensembles. An 11-member French horn section paced the band in expressive sonority. The percussion section, with two sets of timpani and plentifully employed bass drum and cymbals, was suitably emphatic but never coarsely loud. Lower strings sounded with impact and plenty of bite. English horn player Shawn Welk, oboist Gustav Highstein, flutist Mary Boodell, trombonist John Sipher and violinist Daisuke Yamamoto contributed characterful solos.
Mezzo-soprano Jennifer Feinstein proved to be an ideal Mahler singer in “Urlicht,” the solo song preceding the symphony’s “Resurrection” finale, and blended beautifully with a richly sonorous soprano, Michelle Areyzaga, in that finale.
The Richmond Symphony Chorus, prepared by Erin R. Freeman, was in generally fine fettle but sounded distant, as it usually does when pushed to the back of the Carpenter Theatre stage and fronted by a large orchestra. The male choristers’ exclamatory passages, more than faintly echoing Wagner’s “Tannhäuser,” projected better than massed choral sections.
A performance of great concentration and gripping tonal drama was rewarded with a lengthy ovation.
The program repeats at 3 p.m. Oct. 19 at the Carpenter Theatre of Richmond CenterStage, Sixth and Grace streets. Tickets: $10-$78. Details: (800) 514-3849 (ETIX); www.richmondsymphony.com
Tuesday, October 14, 2014
noon-2 p.m. EDT
WDCE, University of Richmond
D.J. Sparr: “Woodlawn Drive”
New Music Raleigh (Centaur)
Bartók: “Music for Strings, Percussion and Celesta”
Chicago Symphony Orchestra/Pierre Boulez (Deutsche Grammophon)
Rachmaninoff: Étude-tableaux in B minor, Op. 39, No. 4; Élegie in E flat minor, Op. 3, No. 1; Étude-tableaux in E flat minor, Op. 39, No. 5
Yuja Wang, piano (Deutsche Grammophon)
Beethoven: “Leonore” Overture No. 1
Tonhalle Orchestra, Zürich/David Zinman (Arte Nova)
Brahms: Symphony No. 4 in E minor
Eugen Jochum (Deutsche Grammophon)
Domenico Scarlatti: sonatas in F minor, K. 386-387
Mikhail Pletnev, piano (Virgin Classics)
Friday, October 10, 2014
Norman Lebrecht, on his Slipped Disc blog, invited readers to list the top 10 composers or works they never wanted to hear again and those they considered worthy of more exposure. I couldn’t resist joining in the fun.
Scroll down to comments for my and others’ honor rolls:
And my and others’ dishonor rolls:
Begging the question, “Who cares if you listen?” (borrowing the title given a Milton Babbitt commentary on another issue)? Perhaps. Or maybe it’s useful to know the likes and dislikes of those of us who publicly assess musical performances.
As a reviewer, I try to take music as it comes, whatever it is – with one exception.
That would be No. 1 on my dishonor roll: Tchaikovsky’s “Pathétique” Symphony. I have heard it played by some of the greatest orchestras and conductors (starting with George Szell and the Cleveland Orchestra, in concert in the 1960s), and I have always loathed it. So, when I retired from doing music journalism for money, I granted myself the privilege of never again having to endure the piece.
Is the “Pathétique” a masterpiece? Yes.
Should you trust any judgment I would make about a performance of it? No, and you won’t have occasion to.
UPDATE (Oct. 11): Conductor Leonard Slatkin weighs in:
Tuesday, October 7, 2014
A show full of new recordings, including a potent reading of Beethoven’s “Emperor” Concerto by Leif Ove Andsnes, the Violin Concerto that Richmond-bred Mason Bates composed for Anne Akiko Meyers and piano discoveries from Tchaikovsky, Wagner and Bach-by-way-of-Brahms . . .
noon-2 p.m. EDT
WDCE, University of Richmond
J.S. Bach: Partita in D minor, BWV 1004 – Chaconne
(arranged for piano left-hand by Johannes Brahms)
Leon Fleisher, piano
Bates: Violin Concerto
Anne Akiko Meyers, violin
London Symphony Orchestra/Leonard Slatkin
Tchaikovsky: Dumka in C minor (“Russian Rustic Scene”),
Lada Valešová, piano
Wagner: “Sonata for Mathilde Wesendonck”
Llyr Williams, piano
Beethoven: Piano Concerto No. 5 in E flat major (“Emperor”)
Leif Ove Andsnes,
piano & director
Mahler Chamber Orchestra
“Five Sheep, Four Goats”
Danish String Quartet