Abstract
I being the date, in 2001, that a terrorist attack destroyed the Twin Towers in New York City. From Friday, March 15 through Sunday, March The review was headed A Somber Memorial 17, 2002, the Vienna Philharmonic performed from the Vienna Philharmonic. The reviewer, four concerts in New York City, three in another of the Times regulars, James R. Oestreich, Carnegie Hall, and one, on Sunday evening, in wrote, St. Patrick's Cathedral. Two of the three Carnegie Hall concerts were enthusiastically reviewed Hal cocet wer enhsasial reiee The memorial program anchored a basic sense of inside the Arts section of the New York Times of Tuesday, March 19, by one of the Times regumourning in the Christian season of the Passion, lars, Allan Kozinn. The heading for the review centering on Haydn's unrelentingly somber Seven was Fresh Power in Familiar Works. In his Last Words of Christ on the Cross. The evening review, Kozinn writes that Bernard Haitink, the opened with the solemn Adagio from Bruckner's conductor of the Carnegie Hall concerts, Seventh Symphony. ended with Mozart's Ave Verum Corpus, a simple consolatory choral work, imposed order and an almost narrative sense of performed without applause and with everyone in the drama on [Anton Bruckner's Symphony No. 8] withaudience holding a lighted candle. out taming it or smoothing its raw emotional edges. The Vienna players were in their element: the brass One concertgoer was quoted as saying afterand winds produced the textured chords that are cenward, After all the angst and the anger and the tral to this orchestra's trademark sound, but it was hassles of the last few months, the Mozart was the dusky, dynamically fluid string playing that gave like a benediction. seems O.K. to let go a the performance its soul .... The Schubert Ninth, little, to let the dead rest in peace. Another on the Saturday program, was appealing in a similarly attendee was quoted as saying, about the whole visceral way. Its familiar themes were writ large and evening, It is a warm, wonderful gesture [on the driven hard, yet there was also sufficient transparpart of the Vienna Philharmonic]. is very ency in the orchestra's sound that details of the generous and very healing. music's inner lines sometimes shone through and In remarks delivered during the concert, altered the perspective. Clemens Hellsberg, the orchestra's president, elaborated on the idea of art as a gift of The review of the concert in St. Patrick's God, holding out 'a sense of eternity and with it an Cathedral took up three columns on the front idea of the fulfillment of our desire for peace page of the Arts section, and then continued and harmony.' Mr. Hellsberg cited the Mozart inside with three columns at the top of page 5, in particular, 'without a doubt, a gift of God.' side by side with the two columns of the other I think we can safely infer that Mr. Hellsberg review. The concert was described as a free made no such comments at the Carnegie Hall program to honor the victims of Sept. 1 1-this concerts.
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