There was a moment, several years ago, when three important American institutions in close succession appointed music directors who were little-known in the U.S. Manfred Honeck, who had been a violist in the Vienna Philharmonic and was quietly building a reputation as an inspiring conductor, came to the storied Pittsburgh Symphony Orchestra (the others, incidentally, were Nicola Luisotti at San Francisco Opera and Jaap van Zweden at the Dallas Symphony). All three have been perceived as success stories, none more so that Honeck, who has brought to Pittsburgh a sense of excitement that is rare. Rare because it is not only about glorious sound and viscerally thrilling performances. He projects an air of intelligence in music-making, of results through thought as through feeling, and maybe even a sense of excitement about intelligence, itself.
Released in time for the 2014 big Strauss anniversary year, Honeck and Pittsburgh have release a splendid new recording of three of Strauss' tone-poems (issued by Reference Recordings). Recorded live at Heinz Hall, it features Don Juan, Op. 20; Death and Transfiguration, Op. 24 and Till Eulenspiegel’s Merry Pranks, Op. 28. He spoke to me for Classicalite. Whether one would describe the conversation as moving from the outside in, or the inside out, entirely depends on your perspective. That's the kind of thing one asks oneself after a discussion with this fascinating man.
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