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    Adam Abeshouse, Prolific Producer of Classical Music, Dies at 63

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    A trained violinist, he found his calling in the studio control room. He also started a foundation to help fund recordings that lack major-label support.Adam Abeshouse, a Grammy Award-winning producer of classical music for more than 30 years who also ran a foundation that helps fund the recording of works not supported by major labels, died on Oct. 10 at his home in South Salem, N.Y., in Westchester County. He was 63.His wife, Maria Abeshouse, said the cause was bile duct cancer.Mr. Abeshouse, who was also a concert violinist, was prolific: Starting in the early 1990s, he produced (and often engineered and edited) hundreds of albums. Among the musicians he worked with were the violinists Joshua Bell and Itzhak Perlman, the pianists Simone Dinnerstein, Garrick Ohlsson, Leon Fleisher and Lara Downes, and the Kronos Quartet. In 2000, he won the Grammy for classical music producer of the year.Musicians described Mr. Abeshouse as a technically brilliant and joyful producer.“He had so many different qualities necessary for recording, but you don’t expect them all to be contained in one person,” said Ms. Dinnerstein, who recorded 14 albums with Mr. Abeshouse, including her newest, “The Eye Is the First Circle,” which documents a 2021 performance of Charles Ives’s “Concord” Sonata.“He had a fantastic, acute ear,” she added. “He knew how to do a recording session; he knew when you needed a break or needed to move on or to be pushed. He was an amazing engineer; he knew all about sound, microphones, acoustics, and had a huge array of vintage microphones.“And he was astonishingly good at editing. From all the takes in a session, putting them together was almost like being a sculptor.”Mr. Bell said that Mr. Abeshouse’s background as a violinist helped their collaborations.“He was a wonderful violinist; he didn’t just hack away at it,” Mr. Bell recalled, adding that Mr. Abeshouse helped him get past his perfectionism in the studio.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jaap van Zweden’s Final Season

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      The final season of Jaap van Zweden’s brief tenure as music director in New York began with a new suite for the star violinist Joshua Bell.The elements came out for “The Elements.”A clever friend made that observation at the New York Philharmonic’s concert on Friday evening, as the city emerged from a deluge that broke records and inundated subways. The weather was probably a large part of the reason that David Geffen Hall was pocked with an unusual number of empty seats for a performance featuring the star violinist Joshua Bell.Bell was the soloist in — and instigator of — “The Elements,” a new suite of short concerto-esque pieces inspired by the natural world, with five composers as contributors. He was the focus on Friday, just as Deborah Borda, the Philharmonic’s admired, just-departed chief executive, was on Wednesday at the orchestra’s season-opening gala.On neither occasion was full attention turned to the man on the podium, the season’s ostensible honoree: Jaap van Zweden, the Philharmonic’s music director, who is leaving in the spring after a brief, pandemic-interrupted tenure, before Gustavo Dudamel arrives in 2026.“Celebrate Jaap!” the orchestra’s marketing orders us (with an implied whisper of “…or else”). But the feeling is one of saying goodbye before we’ve really gotten to know van Zweden — and of a man who’s been a participant in the Philharmonic’s recent history rather than its leader.The period since he started, in 2018, will almost certainly be remembered for the ensemble’s survival through the long pandemic shutdown, for the fast-tracked renovation of Geffen Hall and for an influx of contemporary music, especially by women and composers of color. In these achievements, it was more Borda’s Philharmonic than van Zweden’s.His personality hasn’t come through in his choice of works. Even in the kind of pieces for which he was primarily hired — his predecessor, Alan Gilbert, was perceived as less of a polished taskmaster in the likes of Beethoven and Brahms — van Zweden has largely stuck to the most standard of the standards. When the little-done 12th Symphony of Shostakovich, a composer he conducts effectively, was played by the Philharmonic for the first time last season, it was under the baton of Rafael Payare.So van Zweden’s time in New York feels a little faceless, and so short that Steve Reich, whose “Jacob’s Ladder” premieres this week, was mentioned in Friday’s program as a composer van Zweden has “championed” — apparently by leading a single Reich piece, four years ago. There’s the sense of the orchestra’s trying to manufacture an identity for a conductor who hasn’t been around long enough to develop one organically.This final season brings some firsts for him at the Philharmonic in core repertory: his first Schubert symphony, first Mendelssohn symphony, first Mozart Requiem. There’s more Shostakovich and Brahms; yet another Beethoven’s Fifth; Sofia Gubaidulina’s brooding, ferocious Viola Concerto, from 1996; and a handful of newer pieces.His finale, in June, will be Mahler’s grand, choral Second Symphony, an all-purpose Philharmonic favorite for occasions both reflective (the 10th anniversary of the Sept. 11 attacks) and triumphant (Leonard Bernstein’s 1,000th concert with the orchestra). In all this, there’s not much personal taste to be gleaned.Yo-Yo Ma was the soloist at the opening gala on Wednesday as van Zweden started his final season with the Philharmonic. Chris LeeIf van Zweden hasn’t had an idiosyncratic vision in his choices of music, though, he has shown a consistent, characteristic style in the works he’s conducted. The typical Jaap-led symphony is tense, tight, punchy. He makes the Philharmonic’s sound glint and glare, especially in the live-wire acoustics of the new Geffen Hall, which can tip into harshness rather than encouraging rounded, blended warmth.You get the impression that he’s been attempting an evocation of the flashy, blazing, sometimes blaring reign of Georg Solti at the Chicago Symphony Orchestra in the 1970s and ’80s, captured in influential recordings. But while the Philharmonic is a very high-quality ensemble, it is not quite at the same level of flawlessly brilliant precision as Solti’s Chicagoans.So you get the overbearing control and aggressive forcefulness without the climactic grandeur or dumbfounding shine. I had never heard Copland’s Third Symphony, which the Philharmonic played on Friday after “The Elements,” sound so un-pastoral. This can sometimes be a baggy work, but van Zweden made it taut — and arid.A sharp edge in the first movement kept the music moving, and avoided sentimentality. Van Zweden brought out the second movement’s machinelike motion, and the eerie transparency of the slow third, before a finale — showcasing the classic “Fanfare for the Common Man” — of lean focus. This was a Third without much sweetness or sumptuousness.It was almost interesting, such a tough, grimly logical progress through the work — as if a reflection on a different United States than the one Copland was commemorating at the victorious close of World War II. And after years of the old hall’s undervaluing bass frequencies, it remains wonderful to feel them so viscerally now; the clarity of solos, particularly in the winds, is impressive.Perhaps surprisingly, given van Zweden’s base in older repertory and firm hand in symphonies, he’s been a game and sensitive leader of a broad swath of contemporary music, and a considerate, never domineering concerto accompanist. On Wednesday, he was polite even as Yo-Yo Ma was too light-textured to make a strong impact in Dvorak’s evergreen Cello Concerto.And on Friday, van Zweden guided the orchestra eloquently and smoothly around Bell in “The Elements.” But this 40-minute suite, an attempt to recast Vivaldi’s “Four Seasons” for our time, is basically syrupy schlock.Kevin Puts’s “Earth,” which begins and ends the work, has a sleepily saccharine section plainly borrowed from Copland, and some madcap, off-kilter propulsion plainly borrowed from John Adams. Jake Heggie’s “Fire” sets off bursts of orchestral “sparks” and racing whimsy, trimmed with celesta. Jennifer Higdon’s “Air” is blooming, not particularly airy; Jessie Montgomery’s “Space,” yet another romance-then-romp structure.All of this was practically begging for film to accompany it and fill out its vagueness — with a uniformity of style, texture and color that made the pieces practically interchangeable manifestations of Bell’s warm, genially bland playing.And Edgar Meyer’s tame “Water,” with its undulating winds and trickles of violin, was certainly no match for what had been going on outside. More

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      Review: On Thanksgiving, Gratitude for a Dependable Violin

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      Joshua Bell, playing Beethoven with the New York Philharmonic, is always enjoyable, though never intense or unexpected.Thanksgiving is a time to feel gratitude for things we take for granted during the rest of the year. So it’s appropriate that the violinist Joshua Bell is appearing this week with the New York Philharmonic.Bell is one of classical music’s biggest, most salable stars, and he tours diligently. But he doesn’t take on new work with the enthusiasm of Renée Fleming, or unveil splashy unions of Bach and social justice like Yo-Yo Ma. Less noticed by the press than those two — and many others far less famous — Bell just plays, rarely veering these days from the absolute center of the standard repertory.But if he just plays, that playing is almost uncannily lovely. On Wednesday at Alice Tully Hall, he made not a single ugly sound in Beethoven’s Violin Concerto. At 53, his face remains preternaturally youthful, and his tone is similarly unlined. If the solo part in this work is often an exuberant unspooling of golden wire, Bell’s wire was always gleaming and smooth, never thin or cutting.When he wasn’t playing, he swayed a bit to the orchestral accompaniment, and sometimes turned from the audience entirely to take in the mass of musicians. (While Jaap van Zweden, the Philharmonic’s music director, was on the podium at Tully, Bell, who has led the Academy of St. Martin in the Fields for almost 10 years, is by now used to leading an ensemble while soloing.) At one point he even made a tiny, enthusiastic stomp on the stage.But while Bell is a genial partner for an ensemble, there is something sedate about him — always enjoyable, never intense or unexpected. He is, for better and worse, dependability itself.He came closest to surprising in the cadenza he created for the first movement, which had ruminative dissonances and lively string crossings. But you would have to be generous to describe even this as truly passionate.The Philharmonic played with mahogany-rich ardor in the strings in that opening movement, and its winds were graceful in the second. In the third, van Zweden paced a burnished Allegro, more aristocratic than fun or wild. That seemed just fine for Bell, whose playing smiles but never grins, and certainly never loses its cool.The program was an inversion of the usual ordering of a concert’s halves. The Beethoven concerto, at 45 minutes the most substantial work, sat alone before intermission; after the pause came Chen Yi’s brief but meaty and varied “Duo Ye” for chamber orchestra, then Stravinsky’s 25-minute “Pulcinella” Suite.Those last two pieces played well together. Written in the 1980s and inspired by a folk performance Chen attended around a bonfire in a Chinese village, “Duo Ye” has vitality in passages for sharp, crisp percussion and mystery in its dreamy duet of violas and vibraphone. Perhaps it was the program’s juxtaposition, but Stravinsky seemed in the air: Some moments in “Duo Ye” evoked a friendlier “Rite of Spring,” others the woodblock-stark angularity of “Les Noces” — both pieces which, like Chen’s, locate in the primitive a genesis of modernism.“Pulcinella” was also a modernist’s look back — but to the graceful energy of early 18th-century Italian music, which Stravinsky transposed into airy yet tender arrangements. Including bright, buoyant playing by the flutist Alison Fierst and by the featured string quintet at the work’s center, the eight sections on Wednesday had holiday conviviality.New York PhilharmonicThis program continues through Saturday at Alice Tully Hall, Manhattan; nyphil.org. More

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      10 Classical Concerts to Stream in May

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      A fast-rising young conductor, a 90th birthday celebration and a starry trio are among the highlights.With in-person performances not yet quite widespread, here are 10 highlights from the flood of online music content coming in May. (Times listed are Eastern.)Diderot String QuartetMay 2 at 4 p.m.; mb1800.org; available through July 15.The invaluable New York concert series Music Before 1800 is back with a series of streams, including this period-instrument group’s program of music written for the court of Catherine the Great. One of the pieces may well be familiar: Haydn’s Quartet in E flat, “the Joke.” The other will be a rarity, by Anton Ferdinand Titz. (The harpsichordist Aya Hamada’s recital follows on May 23.) ZACHARY WOOLFEKarl LarsonMay 6 at 8 p.m.; roulette.org; available indefinitely.Roulette, in Brooklyn, one of the best places to hear music in New York, is allowing limited audiences into its space for performances this spring. But those shows will still be livestreamed, too. No matter how you attend, any gig featuring Karl Larson, known as the pianist of the trio Bearthoven, is worth it. Here, he celebrates “Dark Days,” his new solo recording of music by Scott Wollschleger. Wollschleger’s generally soft dynamics may lull you into thinking he’s primarily meditative, but part of the fun involves staying alert for the alterations of attack and twists of mood that Larson highlights. SETH COLTER WALLSPhiladelphia OrchestraMay 6 at 8 p.m.; philorch.org; available through May 13.This program, led by Yannick Nézet-Séguin and featuring the bass-baritone Davóne Tines, opens with a triptych. First is the propulsive “Shake the Heavens,” from John Adams’s “El Niño,” followed by “Vigil,” a subdued and affecting song in memory of Breonna Taylor, by Igee Dieudonné and Tines. (You can stream that now, from Lincoln Center at Home.) Then Tines gives a preview of Anthony Davis’s “X: The Life and Times of Malcolm X,” which he will star in at Michigan Opera Theater next year. The second half of the concert features Mozart’s Symphony No. 25 in G minor, which fans of “Amadeus” will recognize immediately. JOSHUA BARONESusanna Malkki will conduct the Berlin Philharmonic in a streamed concert starting May 22.Hiroyuki Ito for The New York Times92nd Street YMay 11 at 7:30 p.m.; 92y.org; available through May 18.Schubert’s “Der Hirt auf dem Felsen” (“The Shepherd on the Rock”), thought to be the last of his 600 songs, is an extraordinary piece for soprano, clarinet and piano. Susanna Phillips, a frequent presence at the Metropolitan Opera, will sing it in a recital livestreamed by the 92nd Street Y, joined by the clarinetist Anthony McGill and the pianist Myra Huang. The program also includes a premiere by James Lee III — a setting of a poem by Lou Ella Hickman written for this trio combination — a work by William Grant Still and Schubert’s popular “Arpeggione” Sonata, here adapted for clarinet and piano. ANTHONY TOMMASINIAlvin Lucier at 90May 13 at 8 p.m. through May 14 at midnight; issueprojectroom.org; available indefinitely.For the 90th birthday of this experimental-music icon, over seven dozen colleagues will join him for 28 hours of performances of “I Am Sitting in a Room,” his signature work, from 1969. The piece consists of a few sentences that are recorded as they’re spoken; the recording is then played and rerecorded, and the process continues as the clashing frequencies of the different recordings begin to dominate and the words become unintelligible. After a year of isolation, what could be a more poignant artistic celebration? ZACHARY WOOLFEConcertgebouw OrchestraMay 14 at 2 p.m.; concertgebouworkest.nl; available through May 21.The coronavirus pandemic has upended the orchestral world, including separating ensembles from their music directors, sometimes by thousands of miles. This has provided an opportunity for conductors closer to home to fill in, sometimes even multiple times. It’s a slightly different situation with this superb Amsterdam orchestra, which has been searching for a new podium leader for the past few years — but the opportunity is still there. After making his debut in September, Klaus Makela, a 25-year-old Finn recently appointed music director of the Orchestre de Paris, returned to the Concertgebouw in December and will now be back yet again, an almost unthinkable frequency in normal times. His program includes Messiaen’s “Les Offrandes Oubliées” and Shostakovich’s Symphony No. 10, with its grandly brooding opening. ZACHARY WOOLFEA concert by the cellist Seth Parker Woods, second from right, will stream starting May 25.James Holt/Seattle SymphonyJoshua Bell, Steven Isserlis and Evgeny KissinMay 21 at 8 p.m.; washingtonperformingarts.org; available through May 27.When three star performers come together, it is often the occasion for canonical standards. This violin-cello-piano recital, though, goes a more idiosyncratic route, attempting to evoke Jewish life in Eastern Europe before the world wars. Works by Solomon Rosowsky and Ernest Bloch conjure that scene, as will Kissin’s recitation of Yiddish poetry. Then the cataclysm of the Holocaust will be represented by Shostakovich’s Piano Trio No. 2, written in 1944. ZACHARY WOOLFE‘Albert Herring’May 22 at 1 a.m.; mnopera.org; available through June 5.Britten’s chamber opera “Albert Herring” is like a wistfully comic alternative to his “Peter Grimes”; it’s the story of an awkward, shy, innocent boy who doesn’t fit in with the expectations of the people in his small market town in England, but goes on to be improbably crowned the town’s May King. This Minnesota Opera production, directed by Doug Scholz-Carlson, features the tenor David Portillo as Albert, with the insightful conductor Jane Glover leading Britten’s subtly complex, whimsical score. ANTHONY TOMMASINIBerlin PhilharmonicMay 22 at 1 p.m.; digitalconcerthall.com; available indefinitely.What will come of the premieres that were canceled during the pandemic? Thankfully, two by the composer Kaija Saariaho are happening sooner rather than later. The Aix Festival in France is planning to present her new opera “Innocence” in July, conducted by Susanna Malkki. And the Berlin Philharmonic is livestreaming the belated premiere of Saariaho’s 25-minute “Vista” — also led by Malkki, to whom the piece is dedicated. Filling out the program is “Bluebeard’s Castle,” the chilling Bartok one-act, of which Malkki recently released a wonderfully textured recording with the Helsinki Philharmonic Orchestra. JOSHUA BARONESeth Parker WoodsMay 25 at 7 p.m.; kaufmanmusiccenter.org; available through June 1.This cellist burst onto the scene with a 2016 recording that featured his stellar acoustic playing, often in works that also incorporated electronics. He’ll play one of those pieces — Pierre Alexandre Tremblay’s “asinglewordisnotenough3 (invariant)” — in this virtual concert for the Ecstatic Music series. The rest of the program, including a composition by Nathalie Joachim, emerges from Woods’s solo show, “Difficult Grace,” inspired in part by the Great Migration. SETH COLTER WALLS More