
Esa-Pekka Salonen and S.F. Symphony release new recordings on Apple Music
As Esa-Pekka Salonen reaches the beginning of the end of his tenure as music director of the San Francisco Symphony, his work with the institution is being further memorialized on Apple Music Classical.
The music platform has released Salonen and the Symphony's performance of Jean Sibelius' ' Finlandia,' recorded live in concert March 14-16, for fans to stream.
Three additional digital-only spatial audio recordings are set to release on the Apple Music Classical app in the coming months. Igor Stravinsky's ' Symphony in Three Movements ' will be made available on July 4, followed by Sibelius' Symphony No. 1 on Aug. 15, and Salonen's Cello Concerto featuring principal cello Rainer Eudeikis, which does not have a release date yet. They are all produced through SFS Media, the Symphony's audio-visual label.
The Symphony began its partnership with Apple Music Classical upon its release in 2023, and Salonen and the orchestra have previously released 11 recordings through the platform, including compositions by composers Anders Hillborg, Elizabeth Ogonek and Ottorino Respighi.
Apple Music Classical is available for free to most Apple Music subscribers and allows its users to make playlists, utilize optimal search features, and enjoy high-quality immersive audio.
Salonen's final shows with the Symphony are nearing as the 2024-25 season draws to a close, but classical music fans have a few more opportunities to catch the conductor in person. He is scheduled to conduct Stravinsky's 'The Firebird' Friday, May 23, through Sunday, May 25, and his last scheduled performances will be of Gustav Mahler's Symphony No. 2, 'Resurrection,' on June 12-14.
The Finnish conductor and composer took over the music director position from Michael Tilson Thomas in 2020 and announced his departure from the Symphony last spring. He attributed his decision to differences with leadership, stating that he does 'not share the same goals for the future of the institution as the Board of Governors does.'
Salonen currently has no plans to join the forthcoming season's lineup, not even to return for a guest appearance.
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San Francisco Chronicle
4 hours ago
- San Francisco Chronicle
The finale after the finale: S.F. Symphony Chorus shines in Verdi's Requiem
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Chicago Tribune
6 hours ago
- Chicago Tribune
Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs
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The orchestra was able to be a bit more gutsy under Friday's soloist, Pacho Flores. The Venezuelan trumpeter has a sparkling sound, which he dispatched with doting attention to phrase and line in Arturo Márquez's lively, if unseasonal, 'Concierto de Otoño' ('Autumn Concerto'). The work was specifically composed for Flores in 2018, taking unabashed advantage of not just the trumpeter's lyricism but his gatling-gun articulation, unflappable stamina and chameleon flexibility. (He traded four different horns across the 20-minute piece: C and D trumpets in the outer movements, then a flugelhorn and soprano cornet in the middle.) Flores also knows how to work a crowd. Rather than shooting to the stratosphere in his third-movement cadenza, he crawled to the bottom of his range — an amusing subversion of trumpet tropes. He then turned his bell directly at Guerrero and playfully pppththhed at him through his horn, prompting a teasing 'what gives?' shrug from the conductor. That said, it's hard to endorse Márquez's concerto beyond a mere virtuoso vehicle. The orchestral backing is often trite, cycling through the same progressions for what feels like minutes at a time. If the concerto's many flavors of theme-and-variation were engrossing at all, it was entirely thanks to Friday's soloist and orchestra, both playing with tempera-rich color and joie d'vivre. For pops-adjacent music under a more skillful hand, look to Flores himself. He opened and closed his appearance with two self-penned numbers: 'Morocota' (named for a $20 Venezuelan coin) and 'Lábios Vermelhos' ('Red Lips'). Originally recording both with guitar accompaniment for a 2017 Deutsche Grammophon release, Flores sang through his horn with a suave melodiousness that would have done the Rat Pack proud, with just a shimmer of vibrato where it counted. His lush orchestral arrangements would have been right at home in that milieu, too. At one point in 'Lábios Vermelhos,' section trumpets got in on the fun, with a sneering little interjection. Yet another short, Latin-inspired curtain raiser opened the concert: 'Baião n' Blues,' by Chicago composer Clarice Assad. A staple of the Carlos Kalmar years, Assad's inclusion in Guerrero's opening week bodes well for the new festival chief's attention to local composers. Ultimately, though, this performance had some of the same early-season jitters as last week's opener, with a scraggly opening and subdivision disagreement among the violins. 'Baião n' Blues' already isn't Assad's most compellingly structured piece, but a more honed performance might have made a better case. While Mahler sought to depict the world's natural beauty and bizarre juxtapositions in his music, he perhaps didn't anticipate contending with throbbing helicopters, the squeal of a coach's whistle, and hot rods sputtering down Lake Shore Drive on Friday. 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New York Post
2 days ago
- New York Post
Lizzo admits she tried Ozempic — months after shutting down weight loss drug rumors
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