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# Nicolas Altstaedt and Thomas Dunford at Perelman Theater in Philadelphia
- URL: https://classicasobi.com/altstaedt-dunford-philadelphia/
- Published: 2025-11-24T17:44:15.000Z
- Updated: 2026-10-27T04:18:17.000Z
- Author: classicasobi
- Tags: Deep Listening

I went to Philadelphia to see Thomas and Nicolas once again on 11.20.2025\. I especially wanted to hear Nicolas's Bach again—a $50 round-trip, 90-minute commitment. Arriving in Philadelphia at 6:30 on the evening train to catch the 7:30 performance. Tickets cost $25\. The ticket and train fare cost about the same as a seat at Carnegie Hall. Philadelphia has a chamber music society that dates back to the 1980s, offering a wide variety of programs. Everyone was very kind and welcoming. The ushers were also very accommodating. The venue was the Perelman Theater, a 600-seat theater with excellent acoustics. They started Marais. Unlike Weill Recital Hall, the harmonious audience allowed their tones to drift and spread throughout the space. A slight delay separated when they played and when the audience heard them. The audience absorbed the lute sound, while the cello sounded louder. Still, their tones blended with the packed audience, clearly conveying their growing familiarity with Marais and Forqueray. In Philadelphia, you could clearly see what they were trying to achieve and how the audience reacted. (At Carnegie, you couldn't. You could see more of the music. At Carnegie, their tickets were three times as expensive as in Philadelphia, but in the 200-seat recital hall, you could see the pieces and their playing very well—nothing was delayed.) I was more impressed by their Bach in Philadelphia. Thomas's Bach sounds like he's singing and playing them on guitar. His touch is refreshing and bright. And his arrangements bring the music to life while making the most of the lute's characteristics. Nicola's Bach in the second half, while the Sarabande at Carnegie left a strong impression, moved me to tears this time with the Gigue. Nicola's quiet dance. Fading landscapes and hearts lingered in their minds during their dreamy journey. Nicola, like Cy Twombly, conveyed those mental images to his instrument with his baroque bow. Surrounded by modern buildings, I could see an old church's roofs and walls. I didn't shed a single tear in Carnegie, but as Philadelphia's warmth embraced me and its people touched me along the way, a wave of deep emotion washed over me. This is the difference between New York and Philadelphia. In Philadelphia, I saw scenery I couldn't see in New York.

Philadelphia Chamber Music Society

Perelman Theater

11.20.2025

Nicolas Altstaedt, Cello

Thomas Dunford, Lute

Program

MARAIS "La Rêveuse" from Pièces de viole, Book IV, No. 82

A. FORQUERAY "La Leclair" from Pièces de viole

J. S. BACH Cello Suite No. 1 in G Major (arr. Thomas Dunford)

MARAIS "Le Badinage" from Pièces de viole, Book IV, No. 87

MARAIS "Couplets de folies" from Pièces de viole, Book II, No. 20

J. S. BACH Cello Suite No. 5 in C Minor

DUPARC Lento from Cello Sonata in A Minor

MARAIS "Les voix humaines" from Pièces de viole, Book II, No. 63

MARAIS "Grande ballet" from Pièces de viole, Book III, No. 13

MARAIS "Le Tourbillon" from Pièces de viole, Book IV, No. 64

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![ 夕方ニューヨークあらフィラデルフィアへ ](https://storage.ghost.io/c/22/15/221529f4-c7d7-43a2-8b96-43d07e1a2d05/content/images/2026/10/img_2740-jpeg-format-original.jpg)

夕方ニューヨークからフィラデルフィアへ 

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トマとニコラのプログラムをもう一度味わうためにフィラデルフィアにでかけた。特にニコラのバッハをもう一度聴いてみたかった。ニューヨークからフィラデルフィアは前売りで往復50ドル。90分で着く。夕方の電車で6：30にフィラデルフィアに着けば7：30の公演に間に合う。チケットは25ドル。チケットと電車代でカーネギーの一席分と同じくらいの値段。フィラデルフィアには室内音楽を楽しむソサエティが80年代からあるようで、たくさんのプログラムを楽しむことが出来る。どの方々もとても親切で温かく迎えてくれた。会場のアッシャーたちもとても親切。会場はペレルマン・シアターで600席のよく響くアコースティックだった。2人が登場して、マレを演奏し始めた。ワイルリサイタルホールと違って、会場に集まったお客さんたちの和気あいあいの雰囲気の中、2人の音色は空間を漂って広がっていく。彼らが演奏してから聴こえるまでわずかな遅延を感じる。そしてリュートは客席に音が吸われて、チェロが大きく聴こえた。それでも、2人の音色が満員のお客さんのムードと溶け込んで、彼らがマレやフォークレイに親しんでいく様子がよく伝わってくる。フィラデルフィアでは彼らがやろうとしていることとお客さんたちの反応がよく見える。（カーネギーでは見えない。もっと音楽が見える。カーネギーでは彼らの切符はフィラデルフィアの3倍するが200席のリサイタルホールでは、2人の存在よりも作品と彼らのプレイしか見えなかった。）特にバッハがよく伝わってきた。トマのバッハは、まるでギターで弾き語りするようだ。爽やかで明るいタッチ。そして、彼のアレンジは曲をよく聴かせながら、リュートの特徴をよく活かしている。後半のニコラのバッハは、カーネギーではサラバンドがとても印象に残ったが、今回はジークで涙がこぼれた。ニコラの奏でる静かなダンス。彼らドリーマーの旅の中で心に留まった消えていく風景、心。ニコラはサイトーンブリーの様に、その心の映像をバロックボウで楽器に伝えていた。近代的なビルに囲まれた中に古い教会の屋根や壁が見えた。カーネギーでは涙が一粒もこぼれなかったが、フィラデルフィアの人の温かさ包まれて、彼らの旅の途中の気持ちに触れて、深い感情の波が押し寄せてきた。これがニューヨークとフィラデルフィアの差だ。フィラデルフィアではニューヨークでは見えない景色が見える。

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