{"id":1235,"date":"2014-02-03T10:08:03","date_gmt":"2014-02-03T18:08:03","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/?p=1235"},"modified":"2014-02-03T10:22:00","modified_gmt":"2014-02-03T18:22:00","slug":"la-phil-goes-to-scandinavia","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2014\/02\/la-phil-goes-to-scandinavia.html","title":{"rendered":"LA Phil Goes to Scandinavia"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;8kEqCdbcCqQwhdKRJpToOBscTE4zIEM7&#8243;]<\/p>\n<p>ON Saturday night, I caught an all-Scandinavian Los Angeles Philharmonic concert that included a West Coast premiere of an Anders Hillborg piece and violinist Hilary Hahn playing a Nielsen concerto. The whole concert was strong &#8212; I was amazed at the sounds Hahn was able to coax out of her violin &#8212; but Hillborg&#8217;s King Tide was so moving and powerful it made everything else seem pedestrian.<\/p>\n<p>Hillborg is a Swede (born 1954) of Esa-Pekka Salonen&#8217;s generation. His piece, <em>King Tide<\/em>, had elements of minimalism,with its emphasis on rhythmic repetition, as well as something else. The woodwinds&#8211; rarely my favorite part of an orchestra &#8212; were especially transporting.<\/p>\n<p>LA Times critic Mark Swed described it this way:<\/p>\n<div id=\"attachment_1236\" style=\"width: 230px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2014\/02\/Goddess-Skigudinne.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1236\" class=\"size-full wp-image-1236\" alt=\"Nordic Ski Goddess\" src=\"https:\/\/www.artsjournal.com\/culturecrash\/wp-content\/uploads\/2014\/02\/Goddess-Skigudinne.jpg\" width=\"220\" height=\"165\" \/><\/a><p id=\"caption-attachment-1236\" class=\"wp-caption-text\">Nordic Ski Goddess<\/p><\/div>\n<p><em>Revised in 2010, &#8220;King Tide&#8221; begins with a thick coastal fog of strings divided into 30 parts. The mist partly lifts as the full orchestra pulses. Slower and faster pulses coincide. There are big swells. Ligeti meets <a id=\"PEHST001646\" title=\"Steve Reich\" href=\"http:\/\/www.latimes.com\/topic\/arts-culture\/steve-reich-PEHST001646.topic\">Steve Reich<\/a> on foreign shores.<\/em><\/p>\n<p><a title=\"Swed review\" href=\"http:\/\/www.latimes.com\/entertainment\/arts\/culture\/la-et-cm-la-phil-baltic-review-20140203,0,6940851.story#axzz2sHYEUP9q\" target=\"_blank\">Here<\/a> is Swed&#8217;s review of the concert.<\/p>\n<p>The Phil has made a commitment to Scandinavian composers, new and old, at least since Salonen came in. (Keep your eyes out for a piece by the young Icelander Daniel Bjarnason, whose new, LA Phil-commissioned piece will be performed soon at Lincoln Center.)<\/p>\n<p>Let&#8217;s hope they keep it up.<\/p>\n<p>&nbsp;<\/p>\n<div><\/div>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;8kEqCdbcCqQwhdKRJpToOBscTE4zIEM7&#8243;] ON Saturday night, I caught an all-Scandinavian Los Angeles Philharmonic concert that included a West Coast premiere of an Anders Hillborg piece and violinist Hilary Hahn playing a Nielsen concerto. The whole concert was strong &#8212; I was amazed at the sounds Hahn was able to coax out of her violin &#8212; but [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[54,140,175],"tags":[],"class_list":{"0":"post-1235","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-classical-music","7":"category-disney-hall","8":"category-nordic","9":"entry","10":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/1235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=1235"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/1235\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=1235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=1235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=1235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}