POULENC - Concerto for Organ, Strings and Timpani

BRUCKNER - Symphony No. 3 (1873 version)

"Neither the Berlin Symphony Orchestra nor its audience could have wished for a better and more interesting conclusion to the season. Once again much was invested and much was gained. The discovery of this concert in Philharmonic Hall - well attended despite the beginning summer vacations - was Meir Minsky. Previously unknown to us, this conductor from Israel convinced instantaneously with an unusual program. Who would have known that Francis Poulenc and Bruckner could have something in common?

The program placed in juxtaposition the Concert for Organ, Strings and Timpani by the sparkling French composer with Buckner's Third Symphony. As it turned out, there are several points where the tangent lines of Poulenc's bizarre and archaic work and Bruckner do touch. Organist Edgar Krapp emphasized the various sonorities in daring combinations of organ registers.

Another surprise was the original version of Bruckner's Third Symphony. We cannot go into details here. We heard the original version that conceivably was never before presented in Berlin without any of the later modifications."

The differences between the original and the 1879 version we usually hear are significant, particularly in the second and fourth movements; and the comparison comes out clearly in favor of the original.

The Berlin Symphony Orchestra, under its guest conductor, accomplished this difficult task with a magnificent performance. Minsky shaped this symphony with grandeur, proving supreme artistry in each phase. Above all, he demonstrated a natural emotional relationship to Bruckner - an asset one does not necessarily take for grated from an Israeli conductor."
W.Z.

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Radical Original Version

POULENC - Concerto for Organ, Strings and Timpany

BRUCKNER - Symphony No. 3 (1873 version)

"The Berlin Symphony Orchestra played Bruckner's Third Symphony in a version that was known to Richard Wagner in 1973, but that was neither printed nor ever performed during its composer's lifetime. When Bruckner, in 1877, conducted the world premiere of this symphony - and the audience simply left the concert hall – he presented the second version. What we mostly hear today is the third version, dated 1890. This was the version Bruckner considered the final one. It is shorter by one fifth. Nonetheless, the differences between the versions are of a deeper nature - in fact, as Bruckner himself once expressed it - the new versions were for the present time, whereas the original version was for the future.

"The original version of the Third Symphony is, in effect, much more radical, unusual and far less economical than the later version. In more than one respect - among them in the polyrhythmic final part of the slow movement that was omitted from the later versions - it confronts any orchestra with major problems.

The Berlin Symphony Orchestra played for the first time under the baton of the young Israeli conductor, Meir Minsky. The orchestra performed with dedication and intensive contact with its conductor. Mastering a score unfamiliar to the orchestra, they rendered both a profound and penetrating interpretation. With his excellent choice of tempi relations, Minsky achieved a clear presentation of the overall form and the inner proportions of the work.

The audience in Philharmonic Hall thanked Bruckner, Minsky and the Berlin Symphony Orchestra with vociferous ovations."
Martin Wilkening

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BASEL, NORDSCHWEIZ - BASLER FOLKSBLATT

Basel Symphony Orchestra

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CHICAGO, CHICAGO TRIBUNE

Minsky takes noisy Grant Park

debut in Stride

JOACHIM - Overture "In Memory of Heinrich von Kleist"

SCHUBERT - Symphony No. 8

TCHAIKOVSKY - Symphony No. 5

All performers making their debuts with the Grant Park Symphony should bring along a Zen like inner tranquillity to match their outward musical abilities.

Such a quality would not automatically guarantee a critical and popular success, of course, but it certainly would help the artist tune out the heat, rain and humidity- not to mention the steady drone of Lake Shore Drive traffic-that make nearly every concert at the Petrillo Music Shell a creative compromise.

It is to the credit of Meir Minsky, the Polish-born, Israeli-trained New York-based conductor who made his first appearance with a major domestic orchestra here Wednesday, that he not only survived but prospered. Even the wailing fire engines and noisy helicopter that conspired to finish off Schubert's "Unfinished" Symphony before it had scarcely begun did not shake his confidence or command. And the orchestra, which takes these things in workaday stride, made itself his obedient subject. [...]

Minsky began with a work not even the Chicago Symphony has played, an overture by Joseph Joachim written in memory of the German poet Heinrich von Kleist. Joachim is best known today as one of the great violinists of the 19th Century (his cadenzas to the Beethoven and Brahms violin concertos are in every fiddler's repertory.) Apart from the "Hungarian" violin concerto, however, his music has long since slipped from the repertory.

Schumann is the composer whose name springs most readily to mind when one hears Joachim's Opus 13, and the stylistic resemblance flatters both composers. It is an attractive, well-made work. I was glad to have discovered it in so firmly argued a performance.

The Schubert Eighth is hardly your typical piece of summer music, either, but it does separate the musicians from the time-beaters. Apart from his ill-advised decision to broaden the tempo at the start of the development section in the first movement, thereby impeding the musical flow, Minsky shaped a lyrically cogent, sensitive account, notable in particular for the quality of the woodwind playing. Indoors, it would have sounded even better.

The Tchaikovsky Fifth Symphony also was notable for its musical integrity. Minsky summoned a solid, expansive sound from the orchestra. [...]
John von Rhein

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JERUSALEM, JERUSALEM SYMPHONY ORCHESTRA

SHULAMIT RAN: Violin Concerto, Soloist: Itai Shapira, violin

MAHLER: Symphony No. 4, Soloist: Ira Bertman, soprano

“In Mahler's Fourth Symphony conductor Meir Minsky obtained a wonderful orchestral sound, the like of which is rarely heard. ... He obtained an overwhelming wealth of superbly musical playing from the orchestra, expressed in long and beautiful melodic lines, with some superb solo contributions from horn, trumpet and oboe. ... Minsky's musical abilities deserve to be remembered.” Maariv, Ora Binur, 11/01/05

“Meir Minsky has been revealed as an outstanding conductor. … After the intermission, Minsky conducted Mahler's Fourth Symphony, and while I was still busy with the serious thoughts I mentioned above, something happened to me, almost unnoticeably, the most wonderful thing one can experience during a concert: I found myself totally drawn into the music. All of a sudden, I ceased being a worried critical observer and became, somehow against my best will, part and parcel of what was happening onstage. I imagined Austrian landscapes as seen from the composer's summer retreat, I could hear the sounds from the Tyrolean village, I could imagine Viennese waltzes, and when the first movement's climax came - and Minsky certainly knew how to build a dramatic progression leading to that very moment - I was already about to take leave of my senses. ... This is obviously what good music is supposed to do to you: just like drugs.” Kol Hair, Yaron Scherter, 14/01/05

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SCHWERIN, SCHWERINER VOLKSZEITUNG

Meir Minsky made

the Orchestra Fly

HINDEMITH - "Sinfonia Serena"
PAGANINI - Concerto for Violin and Orchestra no. 1
KODÁLY - "Háry János" Suite

"The fifth subscription concert of the Mecklenburg State Orchestra's season was an extraordinary experience for the audience. It confirmed what the "Staatskapelle" orchestra's enthusiasts have always maintained: that, with an outstanding conductor, this orchestra can give outstanding concerts.

On the podium was Meir Minsky, a thoroughbred conductor with a sparkling temperament. The way he inspired the orchestra was simply astonishing. Genius will always push towards the very limits of what is possible, and Minsky fully proved it. He used a wide range of gestures and expressions, and went all the way, from a forceful fencing-style attack with his baton, to dancing pantomimes. This total involvement and body expression inflamed the orchestra to a brilliant and cultured music making. All of this was evident during the performance of Hindemith's "Sinfonia Serena" - and again in the "Háry János" Suite by Zoltán Kodály."

Dr. Reinhard Diekow

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Even Silence is Music

"With a sure hand, Minsky hurled the gigantic blocks of sound, shaping raw power into a totally convincing dynamic concept. With an endless flow of sheer crescendi he led the orchestra to the very peak of their ability. In the winds choral, the brass reached hitherto an unforeseen fortissimo-intensity, ... Minsky challenges the ensemble like no other conductor. Here even silence is music - charged with tension. It was then blissfully released into a string sound of ethereal beauty in particular at the end of the main theme and at the end of the adagio, which was performed by the conductor with almost transcendental slowness."

Hagen Kunze

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TEL AVIV, HA'ARETZ, Israel's Leading Newspaper

Meir Minsky, an Israeli conductor who has been in Europe for several years, was summoned on short notice to stand in for the ailing Tamas Vasary. The substitution proved to be a success. Minsky obtained from the players of the Israeli Chamber Orchestra a very high level of playing. Mozart's Symphony K209 in A major was impressive. ... the orchestra played very well to the accompaniment of the young Ukrainian pianist, Igor Tchetuyev ...

Haggai Hitron

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SOUTH AFRICA, THE MERCURY

In fine form

VAUGHAN-WILLIAMS - "Fantasia on a theme by Thomas Tallis"

VAUGHAN-WILLIAMS - Oboe Concerto

BRITTEN - "Peter Grimes": Four Sea Interludes

ELGAR - "Enigma Variations"

Soloist: David LLOYD

"The distinguished Polish-born Israeli, Meir Minsky, a conductor of international repute, had no difficulty reaching into the heart of this distinctly British music.

There would, of course, be no problem with the Elgar, for his music reflects much of the 19th century mid-European symphonic school in which Minsky has specialized.

Indeed, this was the finest performance I have heard of the Enigma Variation given by the KZNPO.

Minsky kept the tempi comfortably restrained, with the details of performance and characterization of each variation clearly meaningful. Each section of the orchestra, from the rich string playing and the clarity of the wood winds to the warm, enforced and blended brass, played with concentration and purpose.

Vaughan-Williams's music is particularly expressive of the English temperament and character, with both the Fantasia on a Theme of Thomas Tallis and the Oboe Concerto reflecting the lyricism, tranquility and homespun nature of his music.

In the Fantasia, which is effectely scored for two different sized string groups and occasional solo moments, Minsky exploited beautifully the imaginative string textures and the expressive variety of sound, sustaining the lyrical, folk-flavored quality throughout. ...

Benjamin Britten's Four Sea Interludes, a descriptive and virtuoso work for large orchestra, provided a good contrast to the Vaughan-Williams pieces, with its more dissonant idiom, its fascinating cross-rhythms and colorful orchestration. Minsky's meticulous rehearing produced a performance full of character and atmosphere.

This was a concert of consistently fine performances by the KZNPO under the direction of a highly sensitive and perceptive musician."

Barbara Trofimczyk

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SOUTH AFRICA, THE MERCURY

BRAHMS - Piano Concerto no. 2

BRAHMS - Symphony no. 1

Soloist: Sergei EDELMAN

"Meir Minsky's interpretation of this wonderful score (Symphony no. 1), reflected Brahm's clarity of thought and formal logic, and his rich orchestral textures.
With perfectly chosen tempi and full exploitation of the scope for expressive dynamics, he captured effectively the heroic quality of the music, coaxing some lively and expressive playing from the orchestra."

Barbara Trofimczyk

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SOUTH AFRICA, THE MERCURY

MUSSORGSKY - "Night on a Bald Mountain"

TCHAIKOVSKY - Piano Concerto no. 1

SHOSTAKOVITCH - Symphony no. 5

Soloist: Margarita SCHEVCHENKO

"Meir Minsky conducting the KZNPO for the third successive week, has been a great success with the orchestra, and Durban has enjoyed his presence on the podium. Mussorgsky's colorful and programmatic Night on a Bald Mountain, and the stirring SymphonyNo. 5 by Shostakovich, both perfect opportunities for orchestral and conducting virtuosity and display, were wonderfully exciting and musically articulate, the orchestra excelling under Minsky's direction.

It was another superb concert by the KZNPO."

Barbara Trofimczyk

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SAARBRÜCKER ZEITUNG

Meir Minsky conducted 7th State Orchestra concert

HINDEMITH - "Mathis Sinfonie"

MOZART - Piano Concert, K-466

STRAUSS - "Till Eulenspiegel"

When a guest conductor springs in to take over a previously planned program, it deserves acknowledgement because thus the over all concept of a cycle remains intact. Meir Minsky, who led the Seventh Symphony Concert of the State Opera, however, needed no regrets about the originally established program, as it contained two works - Hindemith's "Mathis Sinfonie" and Strauss; "Till Eulenspiegel"- both presenting very gratifying tasks for conductor.

Meir Minsky was born in Poland in 1949, raised in Israel, studying music there and later in Italy, and resides not in New York. With his powerfully gripping temperament rhythmical assurance and well-developed feeling for tone and color, Minsky displayed a tension-filled performance, offering a thrilling rendition of Paul Hindemith's "Mathis der Maler", composed in 1934. He kept a perfect balance between the expressive gestics to which Hindemith was inspired by the pictures of Matthias Bruenewald at the Altars of Isenheim, and the occasionally over board counterpoint skills of the composer.

Especially expressive was the Third Movement (Versuchung des Heiligen Antoinus) in the declamation of the strings and the impetuosity of the brass section in the "Alleluia" beautifully played.

In "Till Eulenspiegels Lustige Streiche" by Richard Strauss, Meir Minsky highlighted the pertness of this ingenious score with high-spirited dash. With his unusual elasticity of music making and his delight in the humour and esprit of the forever-young impishness of these melodies, he was able to camouflage a few weaknesses in the performance. But all in all, the orchestra was in good form and the brilliant soli received abundant applause.

Albert-Peter Ritz

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DER LANDBOTE

MOZART - "Paris Symphony"
MENDELSSOHN - Concerto for 2 pianos and orchestra, E Major
Schubert - "Unfinished"

"The conductor Meir Minsky, by using sweeping gestures – brought out of the orchestra a precise and lively Mozart touch."

Schubert at the end - High Point

Meir Minsky, who lives in New York, is a conductor of strong will and challenging creative power. This fact became evident especially after the intermission. The way he sounds out Schubert's "Unfinished" and then works it up into a fresh experience, develops into an extremely strong adventure.

Minsky conducted in convincing combinations of strength and softness, tension and release, and allowed the opposites of unfathomable grief and resplendent, consoling thoughts, to hit at each other; and as the orchestra followed him with exemplary presence and intensity, there arose, the otherwise so often neglected music, in its full growth and depth. For this - the audience thanked - obviously, deeply moved - the guest and the orchestra.

Fred Sallenbach

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WESTDEUTSCHE ALLGEMEINE

BRAHMS - Double Concerto
BRAHMS - Symphony no. 4
Soloists - Gidon KREMER, Mischa MAISKY

The Westpahlian Symphony Orchestra was very well aware of the responsibility entailed in accompanying these two virtuosi. This may have been mainly due to the merit of the capable young conductor, Meir Minsky. This fast-rising conductor proved his sense for dramatic musical development and transposition of form also in the following Fourth Symphony in E Minor by Brahms, with its powerful passacaglia in the finale. The Orchestra gave its best, which was well appreciated by the audience.

Joachim Ludewig