Concerts From the Library of Congress

This was a concert I was expecting to be good, but not this good. The opening piece was a mind bending orgasm of piano and violin, composed by John Adams. The show went on to a more intricate arrangement of a full string section, a horn section, a drummer, keys, and pretty soon an electric guitar section mashed with kazoos, yelping vocals, and a sampler. It was incredible. I'm not too familiar with modern experimental composers besides Braxton, Philip Glass, and Steve Reich, but this show blew me away. I hope there's a good recording of it! I saw 3 HD cams (I think they were Panasonic HDX cams?) in the back and I'm pretty sure there were cameras on the sides of the auditorium hanging on the walls. I also saw an arrangement of room microphones hanging near the suspended lighting truss. Thank you to the Library of Congress for hosting this event and promoting amazing live music!

Etienne Charles is an incredible artist who makes our world a better place. The musicians that were onstage are great masters. I never forget the countless hours of incredibly hard work that goes into becoming an artist who can improvise so beautifully with other musicians. Great jazz musicians have incredible ears and a very disciplined focus. The musicians on stage this past Friday are some of the greatest of our generation. I wanted to give all the guys a huge hug of thanks after the performance. I adore Etienne Charles and the heart that he wears when sharing his music with us. Each and every musician in the ensemble could easily present a concert of their own. I so much enjoyed each solo. I hope that the Library of Congress will start presenting more diverse music. Every so often, we will hear music that is not classical. I love classical music and quartets are a great love of mine. I don't want the Library to reduce the number of classical music concerts, but it would be lovely to hear more jazz. I would also love to hear some ethnic music concert, especially asian--Indian ( similar to jazz with its improv) and more.

A mixed bag of sonatas for three different combinations of instruments and a piano trio made for a good program. The music was mostly unfamiliar, rarely played Debussy and Ravel sonatas along with two new works by the Finnish composer Kaija Saariaho, one a LC commission. All were well played, though the two new pieces contained little memorable material. For those of us who thought we knew Debussy, his viola sonata was a bit of a revelation. His violin sonata, the only piece on the program familiar to me beforehand, was very well played. Ravel's unusual combination of viola and violin made for an interesting listening experience, though the work is probably not up to the highest standards of that composer. Overall, the combination made for a pleasant, if somewhat uneven concert experience.

This historic gathering of Poets Laureate was wonderful. The standing ovation at the conclusion was indicative of how the packed house reacted to the readings.

A wonderful night of poetry. Amazing to see 7 of the poets laureate, and each was gracious enough to sign our books afterward. Wish there were more literary events like this in DC.

It took me a a few minutes to warm to the group, but in the end this was an eye opening performance of the entire Brandenburg Concerto set. I have heard all of them on more than one occasion, but never before all at the same concert. Hearing them together gives a new perspective on the works and on Bach's masterful writing for the orchestra and soloists. With instrumentation adjusted to the individual demands of each concerto, the concert allowed some very fine performers to "strut their stuff." It also allowed the listener to appreciate the differences between the individual concertos. It is a concert I would most certainly like to hear again.

This was simply the best baroque performance I have ever heard. The period instruments were wonderful, nothing academic about them, and the performers were so fresh and intense in their delivery. Very animated performances, and the clarity of the musical passages was so exciting. These were the Brandenburgs like they should always be played.

What a wonderful performance. I felt like was in another place.

Wonderful performance in an intimate setting. I've never been to a round table. Really kudos to Roseanne Cash and to the LOC for picking her to do the residence.

Incredible performance - the two standing ovations at the end says it all. John Leventhal is an awesome guitar player. I hope they come back to LOC.

The musicians were fantastic, and it was fun to watch them improvise and figure things out on the fly. Rosanne Cash's new album promises to be remarkable.

Roseanne was great and her supporting cast of Rodney Crowell, John Leventhal, Amy Helm, and Cory Chisel was awesome. What a fantastic event!

A great performance not only by Roseanne Cash, but by her band. A good mix of songs from a new album and some old, well-known favorites.

Great performance. John Leventhal is awesome on the guitar.

Lecture was OK but not great -- impressionistic rather than historical -- delivered with less than captivating style. The contralto was not in good voice. The pianist was excellent.

The pre-concert history and explanation of the evolution of the musical pieces greatly enhanced the following performance. Walker's sonorous voice was an extra bonus. The piano playing was technically dazzling and Tryron added spirit and verve.

Alan Walker gave an erudite, egaging talk about transcription. Valerie Tryon was a fine pianist. Listening to so many Liszt transcriptions in a single recital was a bit like peeking behind the curtain and seeing the Mighty Oz--pedal, arpeggios, octaves--OK so that's how he did it.

With an hour lecture followed by a recital, this was a didactic event as much as a concert, but it was most worthwhile. The British-Canadian music scholar Alan Walker gave a polished and informative talk about transcriptions for the piano, especially those by Liszt. After a brief intermission the talk was followed by a set of examples of Liszt transcriptions for piano from operas and other works by Wagner, Verdi, Mozart, and Allegri very well-played by the British-Canadian pianist Valerie Tryon (who despite her age remains a top-rank pianist).

Pianist Valerie Tryon was exceptional, especially on the (more interesting and lyrical) non-Verdi transcriptions. The pre-performance talk by Alan Walker was also quite informative and well illustrated with audio clips. If only tickets to the Coolidge concerts were more readily available!

Playing a mixture of two familiar quartets and two less frequently heard contemporary pieces, the young (and very Scandinavian blonde) group previously unknown to me showed they are versatile and highly accomplished, able to master some difficult repertoire.The Haydn Quartet that began the concert is one of my favorites, and it was exceptionally well played. I am not too fond of Ligeti, but they showed a mastery of the many difficulties his complex quartet presents. Despite their relative youth, they played as an almost seamless whole and produced a lovely sound. I suspect they will soon be included on the short list of the world's best string quartets.

The playlist was excellent from classics to avant guard. The technical excellent combined with fervour and dynamic interactions within the players made each piece special.

dissonant consonance.... noise. this 'free' concert wasn't full... and about 20% left between "songs" the most interesting aspect was unexpected, abrupt endings

Either you loved Threadkill's concert or as about two dozen folks did, you walked out before it was over. The Washington Post's review said his group "created a knotty fluctuating wall of dissonant noise..." It went on to characterize the performance as " a powerful groove" and concluded that "it was intoxicating." I'm in line with the first comment, as in much noise. I lasted through two-thirds of the music before exiting.

Previously I was only vaguely acquainted with this group but will certainly take any opportunity to hear them again. Their programme was excellent with a couple of string quartet standards mixed with newer pieces, a sampler displaying their range. It also included some music from the group's homeland and a chance for them to join with the excellent US guitarist Barrueco, performing as a quintet after the intermission. Overall a very good evening.

No doubt user error, lack of education required to appreciate this musical style -- However, that said, both my companion and I could not figure out to save us why those guys needed musical scores to make this noise. We thought they were warming up for the first 15 minutes but decided to stay hoping it would (1) get better (2) be educational or (3) end early to prevent us from being rude. I often see concerts at the LoC which are not my favorite genre but am almost always enchanted by the performance. The artists are so intense. Again, surely my lack of ability to appreciate -- but we were sorry we went.

These people get paid for that?!?!? Seriously?!? It was WAY WORSE than a 1st grade school show. OK, so truth be told, I only made it about 20 minutes into the "concert" before I have to leave or suffer irreparable ear damage and my belly hurt from trying to hold back the laughter. They seriously just sat there making random screeching noises with their instruments. The best part was the "conductor" who was waving his wand to no determinable pattern or beat and the "musicians" would just make a screech or a bang a drum or cymbal or something. HILARIOUS, but offensive to the ear, mind, and body. Glad I didn't pay more, but it was good for a good laugh.

First piece, a world premiere, was mostly soft squeaks, with one burst of loud percussion. Second piece, George Crumb's setting of Garcia Lorca moon songs, a bit easier to take. Left at intermission.

Outstanding and important concert at the Coolidge Auditorium. Inexplicable that the Washington Post missed it.

The evening was a tribute to George Walker, truly one of America's greatest living composers. The preconcert interview with him and his violinist son Gregory was very informative. And it was a privilege to hear the world (live) premiere of Mr. Walker's composition "Bleu" for unaccompanied violin played by Gregory Walker. At 8PM the concert started off with Mr. Walker's String Quartet No. 1. Though certainly a modern piece, it is very accessible. And the quartet did it such justice that Mr. Walker himself gave them a standing ovation. I thought Dina Koston's piece "Duo for violin and piano" was somewhat of a let down coming on the heels of Mr. Walker's string quartet, and the only reason I awarded 4 stars instead of 5. The 3rd work, entitled "Poem" was Mr. Walker's setting of T. S. Eliot's "The Hollow Men". The instrumentation was quite eclectic with the percussion giving interesting punctuation and emphasis to the poem which was sung by a soprano and mezzo-soprano. Unfortunately, I could not stay for the Brahms quintet, so I cannot comment on it. All in all, the first half + the preconcert interview were a form of music stretching, written in the good sense.

The entire program was demanding and eclectic- such high caliber pieces! Mr Rousset plays the harpsichord beautifully. Thank you to the LOC and the Maison Francaise, this concert is the BEST I have attended this entire season (2012-2013).

This was an exceptional performance. To be able to hear Christophe Rosset in the beautiful setting of the Coolidge Auditorium is an additional treat. I also thought the programming was thoughtfully put together. We had a chance to witness the diverse range of the harpsichord literature.

A brilliant, passionate performer. I first saw him at BAM in 1994. I recommend his recordings as well. note to LOC: there was a rumbling sound through part of the performance. Sound system? Air ducts? Please check it out. It was distracting.

This concert was unlike any other concerts I have seen at the LOC in that the quality of the performance reached a very low level. Mr. Andres' Schubert piece aid me in enduring the concert. I was looking forward to the 4 hands pieces, too bad the performers where not at the same level in terms of piano playing.

Timothy Andres is a promising pianist. Gabriel Kahane is voiceless but enthusiastic crooner. They should not forget that It Takes A Long Time To Become A Good Composer

While one of the performers was not up to the standards expected at LC concerts, it was a mildly amusing evening. It was an eclectic one with a program including pieces from the 19th century and some written in the recent past. The performers were mismatched. Mr. Andres has the makings of a superb pianist, and his own composition was interesting, one I would like to hear again. Mr. Kahane is, at best, a nightclub singer with a voice fit for the seedier dives of Las Vegas or a reservation casino. Some of his own compositions were amusing, though probably better performed in a smoky cabaret than a recital hall. One expects, and usually hears, better honed talent at the Cooledge auditorium.

So exciting for an amateur flautist! to see some of the instruments and hear a great concert!

As a flute player of 14 years, I found this lecture/performance fascinating. Seeing all of the historical flutes and hearing about their history was wonderful, and the woman who performed throughout was incredible.

I didn't love everything they played, but I loved the way they played it. Wu Han is always wonderful.

I've been going to the LOC for a couple of years. This concert was the first one that was packed, and for a good reason... the musicians were pretty well known. I knew Daniel Hope from his collaboration with Max Richter on Vivaldi Recomposed and another album "Spheres". In this concert I discovered David Finckel (cello). It was a great concert with a beautiful encore.

The Curtis Chamber Orchestra tended to overwhelm the small auditorium at LC, a venue better suited to smaller ensembles, but the group is composed of excellent student musicians. One hopes they will all be able to find solo and orchestral positions commensurate with their talents upon graduation. The program was mostly a good one including a couple of "chestnuts," Prokofiev's Classical Symphony and Mozart's "Jupiter," along with two new works. One hopes for another hearing of Jennifer Higdon's viola concerto, well played in a premier performance with Diaz as soloist. Spano's song cycle was forgettable, though sung reasonably well given that the soprano needed to fight the orchestra for attention. Overall an enjoyable evening and one I would attend again given the opportunity.

Except for a couple of cadence problems during a long evening, the young musicians of the Curtis Chamber Orchestra were nearly flawless. It was exciting to hear two repertory standards -- the Prokofiev Classical Symphony and the Mozart Jupiter Symphony -- and a couple of premieres performed so well. The soprano soloist was excellent, the Jennifer Higdon viola concerto deserves to be performed regularly, violist Roberto Diaz was outstanding, and Robert Spano showed grace, generosity, and talent conducting the young ensemble. Spano's Holderlin lieder, while recently completed, were oddly 19th century in character but enjoyable anyway. There were a couple of world-class musicians, and several future classical music stars, present on stage. . . . Not to quibble, but is it really necessary for the head of the Library's music division to introduce each concert?

These musicians are lovely and lively. Their music and their facial expressions and body movements are graceful yet help a viewer to appreciate the content of the music and the Trio's particular interpretation. An audience member comes away happy as well as moved.

The Claremont Trio is stunning in many ways. Fantastic musicians, an interesting selection of music, played with emotion, passion & grace.Watching The Claremont Trio perform had the feel of watching a ballet.

World class music on world class instruments! A Washington treasure

The first part of the program saw a workman-like performance of Beethoven's cello sonata and a forgettable work by Harbison for violin and piano. While reasonably well played, especially by the pianist, the first half of the program promised a mediocre evening. The second half, however, was an excellent, indeed even exciting, performance of Tchaikovsky's Piano Trio. The three players work exceptionally well together, and the sound was wonderful. I would give 5 stars to the performance of Tchaikovsky, three to the Beethoven and two to to Harbison, so overall only four stars. Doubt I would go to recitals by the cellist or the violinist, but I would make tracks to hear them as members of this piano trio.

This was the best concert yet. The program was excellent, violinist Mira Wang was superb, her husband cellist Jan Vogler played well (though with a tone that, alas, rarely varied), and pianist Antti Siirala was also excellent (though he played oddly fortissimo at times during the Tchaikovsky).

Who would have thought such a young choir could be so very good? With a number of excellent solo voices, especially the countertenor, and fine balance and control in the choral parts, the choir gave indelibly memorable performances of several works, most especially the Britten "Ceremony of Carols" and the Monteverdi excerpt. They even made Bernstein's coarse and vulgar "Chichester Psalms" sound good. The program also included two works by the honoree Fine, one a great fun set based on several Lewis Carroll verses. The program concluded with some seasonal works, including a premier performance of the setting by the choir's conductor of the carol "Still, still,still" and the notoriously difficult Schoenberg "Friede auf Erden." Clare College Choir is considered one of the very best university choral groups, and the program demonstrated why it is held in such high regard. Wonderful choral evening at the beginning of the holiday season!

The Britten -- known to the choir by heart -- was excellent, as was the Bernstein. Why, however, did the Library of Congress feel compelled to celebrate the centennial of Irving Fine with a couple of his pieces on this program? He was no Britten or Bernstein. The choir was well trained, although the sopranos often struck me as shrieking a bit.

The concert was wonderful. The discussion and panels so so.

Fantastic choir, one of the best in the UK. They performed a diverse mix of repertoire.

I listened to music I'd never heard -- baroque music influenced by South American native Amerinds in the earliest days of European control of the continent. The lead recorder player is the best recorder player I have ever heard. The group fluidly blended together; they, too, clearly enjoyed the music and each other and sharing. The story-setting given to us was charming, a plus for me. I learned more than I thought possible. Lovely evening, full of surprise.

LC presents little early music played on original instruments, and thus this Montreal based group led by one of the finest recorder players currently active (Mathias Maute) was very welcome. Much of the music they played was "toe tapping" popular music from the 17th and 18th century Iberian tradition, and it was very well played. It was also staged so that there was a theme, and activities appropriate to the music, including an opening procession, were included. A fine soprano sang religious music as well as villancicos, giving a good overview of the music typical of the Iberian peninsula and Latin America from the era some times referred to as the "silo de oro."

Broadway musicals aren't what they once were, and most new shows and songs sound like most others, as this evening of excerpts amply demonstrated. None of the songs were memorable, although a few of them had witty lyrics. Two of the professional singers deserved better material than the songs they performed, while the third, like the composers who also sang, was not very interesting to hear. Major complaint: The Cooledge has excellent acoustics and is not a venue for amplification. From many seats there is significant sound distortion when amplification is used. Two of the professional singers had powerful voices quite capable of filling the recital hall, and amplification was harmful to their performance! Shall never attend another performance at LC if I know in advance amplification is to be used!

The St. Lawrence Quartet and Pedja Muzijevic performed well, but the program was disappointing. The Op. 18/4 Beethoven quartet was unfamiliar to us, and while the Amy Beach piano quintet and Korngold quartet were interesting, they didn't send us home humming any tunes. I appreciated the multi-period programming, and it is always desirable to hear at least one unfamiliar piece on a program. This one, unfortunately, featured three.

Loved all three composers! Fantastic talent and wonderful sense of humor.

Bravo to Library of Congress and the Performers. It was unique, well thought out and full of variety and excellent music. Just loved it and hope for more such programs in the future.

Lutvak was suave and witty. Tesori was funny and modest. Yazbeck was hilarious and amazing. Nice contrasts and excellent sampling of contemporary Broadway creativity.

These are a few of the great words from the absolutely brilliant Koufax song:"Is it hard to sleep underneath the heap, underneath the heap you're under? Is it hard to relate when you masturbate? Is it difficult to feel the thunder under patio gravel and the plastic grapes.." Yazbek is a brilliant and original musician. I loved Lutvak and Tesori's music as much. It was truly a lovely evening. Tesori's lovely and magnificent song about Joan having her first lebian experience based on the brilliant graphic novel by award winning Bechtdel was another wonderful highlight. Thank you, Library of Congress for presenting such great artists. They are true originals.

A celebration of Library of Congress and Koussevitsky Foundation commissions of new music from the 1950s through the early years of the 21st century, the program was a mixed bag of styles and genres. Most of the music was interesting to hear, and a few bits were memorable. The players were very good, especially given the difficulties presented by some of the works. I noted to my wife as we left that it was the first new music concert I have attended where I would really like to hear all of the works again.

The Library of Congress celebrated the culmination of its 2014 concert season with a commemoration of the work of Serge Koussevitzky, the iconic conductor, entrepreneur, bassist, administrator, and music visionary who commissioned works by Ravel, Gershwin, Bartok, Copland, Hindemith, Stravinsky, and so many other composers who created the body of what we know now as modern music. This was also a celebration of the merger of the two Koussevitzy s foundations \u2014responsible for commissioning over four hundred works\u2014 joining forces within the walls of the Library of Congress. The program began with George Crumb s Madrigals, Book II (1965), one of the four Books setting fragments of Federico Garcia Lorca s poems. The soprano, Tony Arnold, was excellent, demonstrating command of all registers. Flutist Marie Tachouet, called upon to play flute in C, alto flute (in G), and \u2014in the last movement, piccolo, was expressive as well. Percussionist Mike Truesdell, on marimba, glockenspiel, tympani, and antique cymbals (along with being called upon to whistle!) completed the trio which brought this work to life in perfect fashion. Lucas Foss s Capriccio, (1948) was performed by two American musical legends: pianist Ursula Oppens and cellist Fred Sherry, both of whom understood and communicated the soul of Americana that is the core of this classic work. If one piece of music is to exemplify American roots music alchemized to the concert stage, it is surely this one. This was an unforgettable performance. Milton Babbitt s Phonemena was scrapped in favor of his More Melismata (2006), a solo work for cello, performed by Mr. Sherry, who calls the work one of his favorite repertory pieces. When it comes to the work of Mr. Babbitt, one must discard all preconceived notions of the nature of music. A polymath, this composer was a genius of both music and mathematics. A master of both serial and electronic works, he also composed prolifically for conventional instruments. This piece is predictably impenetrable on first hearing. Its difficulty was navigated masterfully by Mr. Sherry, however, who was a fitting match for this dark and exciting work. As it skips registers and screams with double and triple-stops, what lingers is a feeling of deep intensity that invites future listening. At the spectrum s other end were the two selections from Aaron Copland s Twelve Poems of Emily Dickinson (1949-1950). Soprano Tony Arnold was especially brilliant in these works, always finding just the right tone and sentiment. Her intonation was flawless, as were her captivating vibrato and texture. Celebrated pianist Ursula Oppens set the table brilliantly for her excellent vocalist\u2014 a perfect pairing to bring these lovely settings to life. Henri Dutilleaux s Ainsi la Nuit (1976), however, did not fare nearly as well. It had its moments, as in the first movement when the melody transitioned between instruments atop shifting hues of color; and in movement two when pizzicato violins and mid-register viola trills punctuated a moving cello line. But, overall, the work had no stylistic identity, shifting from pointillistic to Bartokian. The remaining five (!) movements melded together uncomfortably, with new ideas stemming from nowhere in particular. At the end, one waited for a placard signaling that it was over, as the lack of reference points served to create an amoeba-like mass with no apparent design. None of this detracts from the excellent performance of the members of the Momenta Quartet, however, who played this very difficult piece with élan. Augusta Read Thomas s Eagle at Sunrise (2001) is an affecting piece performed with passion by the Momenta Quartet. With its rapid tremolos and underlying cello line, one could easily envision the proud bird in flight\u2014although, curiously, this program was not the composer s intention. This is a very likable work, comfortable in its own skin. New York Notes (1981-1982), by the gifted Charles Wuorinen, was the final work on the program. It is a masterful symphony-like chamber work in three movements, composed for flute, two clarinets, violin, cello, piano, and a percussive arsenal that included glockenspiel, vibraphone, marimba, and timpani. In temperament, the piece ranged from funereal to explosive; from entertaining to suspenseful. In texture, from great density to pointillism. This piece weaved seamlessly throughout, awash with swaths of color and rhythmic complexity. Rapidly shifting meters, in combination with intricately divided pulses created an a-metric timelessness. Considering all the string glissandi, tremolos, and harmonics, conjoined with the trills, harmonics, and wide leaps of the winds\u2014 all soaked and punctuated by the dramatic intrusions of percussion, it is remarkable that each instrument retained the integrity of its individual voice. Despite the complexity of this work, and the preparation it must require, it looked like it would be a lot of fun to play, if one were able. These excellent musicians did great service to what is surely an American masterpiece.

A chamber music concert at Library of Congress last night was a revelation. Group was Quatuor Ebène, four young Frenchmen. I think of chamber music as being genteel, subtle and restrained. Not this group's renditions -- imagine musicians who derive esthetic inspirations from Janis Joplin, David Bowie, St. Vincent and Jim Morrison. In fact, the first violinist was wearing skin tight stove pipe pants that would not have been out of place in Jim Morrison's wardrobe. The four musicians are fastidious investigative viruosi. They found fireworks imbedded in the Schumann quartet no. 3 in A major and the Mendelssohn no. 6 in F minor. The crowd was on its feet after the last piece. For an encore the quartet played their own exquisite arrangement of ``Misty.''

Is this the best string quartet currently playing? Perhaps not, but they certainly are competitors for that honor. They play with such finely tuned musicianship as if to be a single instrument, one which makes difficult pieces look easy. Their sound is breathtaking, and overall the fairly young players are awe inspiring. Shall rush to be first in line to buy tickets the next time they play a concert I can attend.

Ms. Oppens and the members of the Jack Quartet are skillful musicians, and it was sad to see those skills wasted on such a poor program. The first half included some examples of the worst in 1970s "modern" music, especially the Morton Feldman duet, much of it barely audible above the ventilation and audience noises. Feldman may well be the worst composer ever awarded a LC commission, and his works should be relegated to the darkest recesses of the stacks never again to be played. The final three works were more interesting, though only the Ades Quintet is one I would like to hear again.

At first, the astringent, random quality of the sound is intriguing. But it quickly devolves into same old, same old, off-the-rack atonal dissonance -- clever in its way, but its way has been heavily trodden by contemporary composers for some 60 years now. When the astringency become merely assaultive and aggressively ugly my patience evaporates. We left at intermission.

Technically the JACK guys are amazing: they played incredibly difficult music with panache and elan, and Ursula Oppens is an institution of today's music in her own. The concert was uncompromisingly contemporary. The oldest piece was from 1960s (by Morton Feldman) and the youngest, I believe, was 2006 or 2008 by Julian Anderson. For me, except for the first sonata by Feldman that I found boring and pretentious and for a rather derivative (and again boring) quartet by Ades, the music was exciting and fresh. I even learned about the spectral method of writing music in the Fourier transform space, the idea being that since our ear hears frequencies, why not to compose music in frequencies to begin with. Technically it is quite amusing, especially for scientifically inclined listeners. Moreover, it sounds great. To my surprise the hall was half-full and I immediately moved to the front rows. It was also quite freezing, I had been sitting in my overcoat for a good part of the concert. My advice to myself is: it is well worth trying to come before the show even without a ticket. Unless it is somebody really in vogue, there should be room for me.

Gabriel Kahane and Timothy Andres are bright, witty original young musician- composers who have some great ideas. I hope that when they are more sure of themselves they can give up some unneeded mannerisms that distract the audience from their great musicianship.

Two people who were songwriters, plus two more known for their recordings. The most well known was Ronnie Milsap, who mostly sang songs written by others, but what songs they were! He reprised several of them with interesting stories about how the songs came to him. The other artist known mostly for her recordings was Lorrie Morgan, daughter of Grand Old Opry member George Morgan. She is as gorgeous as ever, and the thing about Lorrie is that she has written most of the songs that she sings, and many of them deal with her own personal heartbreaks, of which she's seemingly had more than her share, most notably to an outsider like me, the death of her husband Keith Whitley, himself a tremendous but troubled country singer. What I had not realized, however, is how gorgeous her voice is in person. She could sing as a torch singer in the finest clubs anywhere, should she choose to. Very well worth hearing, Ms Morgan is!

Like ronnie milsap was in my living room. All the other great songwriters were a blast and it was awesome to hear about the beginnings of some of country's great songs!

Great performance! Great time, enjoyed it very much.

Having heard Lewis in concert before, we anticipated a virtuoso display of pianistic excellence, and that is exactly what we got. While Schubert is not our favorite composer, the two sonatas written late in the composer's short life were played with jaw dropping precision and feeling. Playing from memory, just the feat of memorizing the works is, for a music lover an amazing feat. Then to play the two complex and difficult works as well as Lewis did is beyond amazing. We shall rush out to buy tickets the next opportunity we have to hear Lewis play, and we eagerly anticipate hearing some of his other Schubert performances.

This was one of the best piano performances I have ever witnessed. It was as though Schubert was in the house, interpreting his own sonatas.

One of the most fabulous concerts I ever attended. The Rondo in Schubert´s sonata #20 was a injection of spirit and world class performance

Great concert. Audience loved it! They are really good at being right together at all times.

The Miro Quartet played two complete pieces, Franz Schubert's String Quartet in G major and Johannes Brahms Clarinet Quintet in B minor. They were both very well done.

Artists are often thought to be single minded, focused on their art. Peter S-S. certainly displays that when talking about violins, violin playing, and the history of music for violins. It is a great pleasure to see that, to recognize that sort of priority for one's professional life. An inspiration. Unfortunately, Peter should have been equipped with a microphone. His accent and quickness of speech were difficult to understand, although a general sense is covered by his body language and enthusiasm. His playing was also very interesting and some quite amazing to this novice of music who is a visual artist. Were one better able to hear what Peter had to say, I believe I would easily recommend the program to anyone to whom it sounded interesting.

Lots of interesting information but the the presenter had no idea how to shape the material, so it was just a hodgepodge. Paganini is a fascinating person but little of that came through. I felt like it was a wasted opportunity.

beautifully performed violin, though not the perfection expected, based on his amazing bio and the super expensive instruments he played the speaker's British accent, rapid speech, and lack of microphone, combined with the many unfamiliar names he referred to made the content of his lecture very difficult to follow. My husband is a professional violinist/conductor and he even had some difficulty following the lecture

The selection of Victor Herbert's music was well chosen and very professionally performed. I was familiar with most of the songs and enjoyed the entire evening and hated to see it end!!!

Produced (presented, formatted) like a Broadway musical. The most excellent narrative provided by Loras Schissel was informative and entertaining. The musicians were top notch. Actually sat in center row B (gave away my tickets for row D) which is not too close.

Yes!!! Unforgettable and Amazing voices! Perfect for the music of Victor Herbert.

Their US debut. I am thrilled to have been there. It was amazing to hear this not-totally-unfamiliar music (Vivaldi and Handel, including Handel Italian oratorios seldom played) perfomed with so small but great an ensemble. Hearing "summer" from the Four Seasons played with 3 violins, a viola, a cello, a bass, and a harpsichord in perfect ensemble made it a totally new and wondrous piece. Can't wait to experience them again.

The performance of "Summer" was Amazing! La Risonanza was cleverly matched and the Soprano singing was breathtaking. Truly a great demonstration of their musical caliber.

Show consisted of alternating Vivaldi and Handel pieces. The Handel pieces including singing in Italian. Great show

There is still hope for classical music when a group with players as young as these plays so very well. One hopes they stay together for a long time, for already they show every sign of quickly developing into the seamless whole that is a premier string quartet (like the Takacs Quartet we were privileged to hear earlier this year at LC). Their program was a fine one, including an all too rarely played Britten quartet, and the standing musicians (all except the cello player anyway) were truly excellent. I look forward to hearing them again, and I expect they will soon be included on the short list of the world's premier string quartets. Strongly recommend them!

The Library of Congress offers many good concerts in a typical season. A few of those are truly outstanding, and the Takacs Quartet was one of the very best of the many we have attended over the years. Their precision is awesome, and they made the difficult works chosen for the program seem easy and enjoyable to play, signs of musicians at the very top of their profession. The addition of the excellent pianist Marc Andre Hamelin for the final quintet was truly delicious icing on a very good cake. Although the concert was a little longer than most, it simply was not long enough! One left badly wanting to hear more from what is rightfully considered to be one if the finest chamber groups ever assembled.

The highly accomplished Takacs Quartet played three pieces: Franz Schubert's "Rosamunde" Quartet in A minor, Benjamin Britten's Quartet No. 1 in D major, and Dmitri Shostakovich's Quintet for piano and string quartet. It was all great. I especially liked the Schubert quartet and have checked Amazon for it. I don't know much about classical music but this was very enjoyable.

EIGHTH BLACKBIRD rocked the stuff Coolidge house down wiht Missy and the Frenchman,,,,we need more of this in the the Lib of Congress and DC - wonderful darling simply wonderful.......

Three caveats: 1)This concert series from the Library Of Congress is special in almost every regard, not least of which is the respect shown its audience, and the care, dignity, and professionalism given to its choice of artists and programming, 2)Eighth Blackbird has come by its stellar reputation honestly. This ensemble is immensely talented, devoted to the music it plays,and unique in its championing of a wide variety of New Music by composers both here and abroad. 3)To paraphrase the eminent historian Donald J. Grout: one must judge the value of new music via a "fifty-year searchlight of time." And it is with this "third ear" that this concert must be heard. It is in itself wonderful that audiences used to traditional repertoire are exposed to what might just be the "music of the future," to borrow a Lisztian reference; however, this does not excuse the music from harsh comparison to the greatness of the music of the past, In considering the first work, "Still Life With Avalanche," it is no excuse to say that a work using three harmonicas, cello, violin,piano, vibraphone,bass and Bb Clarinets,flute, and percussion could not possibly escape the grip of "novelty." And, most listeners are familiar with the work of Phillip Glass, so to say that it is music reduced to irritating, relentless chatter would be just one man's opinion. The commissioned work by successful composer Stephen Hartke begs the question; can a programmatic subtext bring meaning to a piece of chamber music? I don't think so. And, as to the last work--also by Hartke--one wonders if choreography can give coherence to a frazzled work such as "Meanwhile." It is in the second work --"...a mesure" by French composer Philippe Hurel that this writer heard a strong, coherent, substantial musical substance. Though perhaps the least immediately -attractive work on the program, relying on thrusting dissonance and relentless expression, it was unforgiving in its statement and fully invested with the passion and integrity of the composer. This work was, for me, the musical pillar of the evening.

eighth blackbird presented a stellar concert, but the hall at the Library of Congress did them a disservice: the sound was uneven, and depending in where we sat, the balance was a mess. Where we sat for the first half we could only hear the piano, in the second half seated closer and to the other side if the hall we couldn't hear the strings. That being said, the performance was incredible. The virtuosity and preparation that the players evidenced was amazing, from the beginning of Missy Mazzoli's opening composition to the final notes of Steven Hartke's "meanwhile." My favorite piece of the night was a toss up between hurel's "a mesure" and Glass's "Music In Similar Motion". The raw virtuosity if the Hurel balanced well against the focus required for the Glass, showing that the musicians had not only the physical but the mental chops to pull off both. Amazing and inspiring performance.

Entire performance was energetic reading of new material (OK there was a Glass piece but it fit in famously). Even the choreography worked to keep the evening fresh and interesting. Having one of the composers come up on stage made it feel like a family reunion. And the auditorium sported audience members at least one generation younger than most chamber concerts. Blackbird may you sing often and true.

Modern sheet music may be someones cup of tea...this events was not ours. There was one piece of older music that was interesting, but the rest of the music was just a bunch of noise that they tried to put togethher in some sort of order or disorder. We just don't appreciate this music at all.

The Tchaikovsky trio was overwrought and overlong, and played at high volume. It got a standing ovation, perhaps out of relief that it was over. After the intermission, the Tanaev quintet, an unfamiliar work from 1915, had some lovely moments and was played with precision and restraint, earning another standing ovation.

All the performers were from Moscow and it was great to hear their interpretation of the two Russian composers. The Tchaikovsky was a little pedantic at times but it was a memorial to his teacher and I liked the majority of the composition. I had never heard the Tanayev and was really impressed with the way he wrote passages. The third movement wasn't my favorite - he was passing around a bass line to all the instruments and there were times that he good ideas and sometimes where I lost interest but everything else was interesting. The performers were top notch. I was very impressed and would definitely go to hear them again.

Had the privilege to see Colin Jacobsen and Bruce Levingston at the Library of Congress. Fabulous musicians, interesting music (including 3 world premiers) and a lovely venue that was FREE. A very enjoyable evening.

The first two pieces were classical and amazing. The second two were contemporary and jarring. The last two pieces were all right. I enjoyed the enthusiasm of the piano player and the downright skill of the violinist. The violin carried the piano through some of the weaker moments in the contemporary pieces. The pianist could really tinkle the ivories when he wanted to, which was much preferable to the plucking of the piano wires during some of the more avant garde moments....

From the 17th century Passacaglia, which I had never before heard, to the 2 world premiers, all the way through the encore by an Estonian whose name I did not know or catch, this concert was unremittingly beautiful, sometimes piercingly so, sometimes more lightly so. The commitment of the 2 musicians to the music, their partnership, and to the performance for the audience, was notable, personable, but never corny or didactic.

Thomas Hampson and the Chamber Music Society of Lincoln Center was powerful and unforgettable. The George Crumb song cycle was a major work of art for baritone, piano (extraordinary), and four percussionists; and the Tan Dun piece for cello and four percussionists was a major work of political protest art against a massacre in China. I'd go out of my way to hear all of these performers again soon.

George Crumb again proves to be a master composer for the ages. His singular voice rang out atmospherically for the entire length of the work,"Selections from American Songbooks," gleaned from the composer's treatment of Appalachian folk songs. There was no mistaking that unique musical ambience--not unlike that of Ligeti in its singular voice--an American voice of which more U.S. audiences should be aware and more proud. Mr, Crumb gave a talk before the concert and was there to applaud the wonderful players of the Chamber Music Society Of Lincoln Center--that night featuring four accomplished percussionists and the brilliant pianist, Gilbert Kalish supporting expressive baritone Thomas Hampson. Crumb stood sheepishly at the end, acknowledging the standing ovation. Perhaps it was the composer's humility that had him applauding the players as he stood in front of his seat, avoiding taking the stage. CHEERS, Maestro! As to Tan Dun's "Elegy," it would be generous to say that there were six excellent minutes in this bombastic work that seemed to last forever, and occupied the entire second half of the concert. There WERE at least five excellent minutes of the forty-some others, making the piece as a whole both gratuitous and unnecessary. Mr, Dun does fine crouching in small melodic sections hidden in flowing colors, but to put all together as an entity takes a composer---not a movie-music-writer. This is in no way a reflection on the talented players, who--despite some bombastic overplaying of the bass drum especially---were virtuosic and extremely energetic.

When one has a chance to hear a living legend while sitting in some of the best seats in the house, what more can one say? Despite his 80+ years, many of them spent in smoky clubs I would guess, Solal is still one of the finest jazz pianists ever, and it was a true privilege to hear him, and watch him play, at the Library of Congress. Given his age, it may be a once-in-a-lifetime event, but one can certainly hope to hear another concert by this jazz master.

Martial Solal played perhaps a dozen standards -- Kern, Rodgers and Hart, Cole Porter, etc. -- plus a bossa nova and an Ellington medley, all with breathtaking technique and more than a touch of wit. I only wish he'd taken an intermission and returned for another hour.