The Arty Semite

Monday Music: Contemporary Concertos Go Baroque

By Eileen Reynolds

Dan Seltzer
Composer Avner Dorman at work.

One might be forgiven, upon first listening to the NAXOS recording of Avner Dorman’s concertos performed by Andrew Cyr’s Metropolis Ensemble, for not feeling immediately convinced that these are, in fact, concertos in any traditional sense. There are no buoyant Mozartian introductions here, no grand orchestral pauses to launch soloists into rapturously virtuosic cadenzas before a triumphant final cadence. Those squeamish about contemporary orchestral music might initially recoil from what is strange and new in Dorman’s work: unsettling harmonies, unusual pairings of instruments, extended instrumental techniques. Ultimately, though, there is plenty here that is familiar. Dorman, a 35-year-old Israeli composer and protégé of John Corigliano and Zubin Mehta, has an eclectic approach — borrowing elements from jazz, pop, and Middle Eastern musical idioms — that makes his music surprisingly accessible.

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Out and About: Israeli Judaica Thieves Nabbed; Rise of the Classical Mandolin

By Ezra Glinter

Grammy nominated mandolinist Avi Avital

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'Tis the Season to Be Classical: Unmissable December Concerts

By Benjamin Ivry

While Hanukkah preparations and aftermath can overshadow every other human activity in December, ‘tis also the season for classical concerts, especially although by no means exclusively, in the New York area. These can include much Yiddishkayt, despite the seeming omnipresence of Handel’s “Messiah.”

Mahler-lovers will not want to miss the much-loved British conductor Sir Colin Davis leading the New York Philharmonic in performances on December 2, 4, and 7 of Mahler’s orchestral songs, “Des Knaben Wunderhorn” (The Youth’s Magic Horn). Although born in 1927, Sir Colin still conducts with a balletic grace which vivifies everything he interprets.

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