Summer Stages Classical

Total Page:16

File Type:pdf, Size:1020Kb

Summer Stages Classical 28 AR THE NEW YORK TIMES, SUNDAY, MAY 18, 2014 Summer Stages Classical VI BOTTARO By VIVIEN SCHWEITZER Denk playing Ives’s “Concord” Sonata; Nicho- las McGegan conducting the Philharmonia Ba- ....................................................................................... roque Orchestra in Handel’s “Teseo”; and mu- California sic by Steve Mackey and other American com- posers in the Festival of Contemporary Music. AMERICAN BACH SOLOISTS FESTIVAL San Fran- 888-266-1200, tanglewood.org. cisco, July 11-20. Held at the San Francisco Con- servatory of Music, the lineup this year features ....................................................................................... music by composers who influenced Bach, in- New Mexico cluding Vivaldi, Pergolesi and Buxtehude; high- MUSIC FROM ANGEL FIRE Angel Fire, Taos, Ra- lights of other programs are Handel’s “L’Alle- ton and Las Vegas, Aug. 15-31. Ida Kavafian is gro, il Penseroso, ed il Moderato” and Bach’s the artistic director at this chamber music festi- Mass in B Minor. 415-621-7900, Sfbachfestival val, where the composer in residence this year .org. is Bright Sheng. The artist roster includes Paul CABRILLO FESTIVAL OF CONTEMPORARY MUSIC Neubauer, Tara Helen O’Connor and Anne-Ma- Santa Cruz and San Juan Bautista, Aug. 1-10. rie McDermott. 888-377-3300, Marin Alsop, music director of the Baltimore musicfromangelfire.org. Symphony Orchestra, is at the helm at this new SANTA FE OPERA June 27-Aug. 23. There is al- music mecca. Works by established composers ways an alluring lineup at this festival, which like John Adams and Jennifer Higdon are pro- this season includes the American premiere of grammed alongside a bevy of young compos- “Dr. Sun Yat-sen,” a historical opera by the Chi- ers. An unusual array of instruments will be fea- nese-American composer Huang Ruo. The pro- tured, including the cimbalom and the Arme- gramming also features Laurent Pelly’s new nian duduk, in a symphonic piece by Marc-An- production of “Don Pasquale”; Beethoven’s “Fi- thony Turnage. 831-420-5260; cabrillomusic.org. delio” conducted by Harry Bicket — Santa Fe’s FESTIVAL DEL SOLE Napa Valley, July 11-20. new chief conductor; an unusual double bill of This upscale multidisciplinary festival tempts Mozart’s “Impresario” and Stravinsky’s “Le gourmands and music lovers with culinary ad- Rossignol”; and the always popular “Carmen.” ventures at vineyards and concerts at spaces 505-986-5900, santafeopera.org. that include a Tuscan-style castle. The musical ....................................................................................... lineup includes Joshua Bell, the Sphinx Sym- phony Orchestra, Matthew Polenzani and a pro- PATRICK PYSZKA Montana duction of Bernstein’s “Trouble in Tahiti.” 888- ....................................................................................... From top, the Festival FESTIVAL AMADEUS Whitefish, Aug. 3-10. Nes- 337-6272, festivaldelsole.org. del Sole in Napa Valley, Illinois tled at the gateway to Glacier National Park, Calif.; Carlos Kalmar at this festival features chamber and orchestral HOLLYWOOD BOWL July 2-Sept. 26. Every sum- GRANT PARK MUSIC FESTIVAL Chicago, June 11- programs, with John Zoltek conducting the Fes- mer the Los Angeles Philharmonic decamps to the Grant Park Music Aug. 16. The summer season in the Pritzker Pa- tival Amadeus Orchestra in a range of reper- the Hollywood Bowl for a wide array of pro- Festival in Chicago; vilion, designed by Frank Gehry, opens with tory. 406-257-3241; gscmusic.org. grams. Among the highlights this year are Gus- Sarah Chang at the Natasha Paremski in Tchaikovsky’s Piano Con- tavo Dudamel, the orchestra’s charismatic Aspen Music Festival in certo No. 2, with Carlos Kalmar conducting; he ....................................................................................... young music director, conducting programs Colorado; and the Enso also leads programs featuring Berlioz’s “Romeo New York City that include an evening of film compositions (in- String Quartet comes to and Juliet” and Christian Tetzlaff in Lalo’s cluding his own); a double bill of Mascagni’s Music Mountain in Falls “Symphonie Espagnole.” 312-742-7638, LINCOLN CENTER FESTIVAL July 7-Aug. 16. Some “Cavalleria Rusticana” and Leoncavallo’s “Pa- Village, Conn. grantparkmusicfestival.com. memorable productions have been staged re- gliacci”; and Esa-Pekka Salonen leading the cently in the vast drill hall of the Park Avenue powerful young pianist Yuja Wang in a double ....................................................................................... Armory. Now the space will host Houston bill of the first piano concertos by Shostakovich ALEX IRVIN Massachusetts Grand Opera’s production of “The Passenger,” a and Prokofiev. 323-850-2000, hollywoodbowl of Bravo! Highlights include Yannick Nézet- Holocaust opera written in 1968 by Mieczyslaw ROCKPORT CHAMBER MUSIC FESTIVAL Cape .com. Séguin conducting Hélène Grimaud in Weinberg, whose music is experiencing a wel- Ann, June 6-July 13. An estimable roster of mu- Brahms’s Piano Concerto No. 1; Alan Gilbert come revival. Also on the lineup are Gennady MEROLA OPERA PROGRAM SUMMER FESTIVAL sicians will play here, including the Emerson leading Yefim Bronfman in a double Beethoven Rozhdestvensky leading the Bolshoi Opera, Or- San Francisco, July 10-Aug. 16. In collaboration and Borromeo String Quartets. Jeremy Denk bill featuring the Piano Concerto No. 1 and the chestra and Chorus in two performances of the with the San Francisco Opera, this prestigious will perform Bach’s “Goldberg Variations” and “Emperor Concerto”; and Jaap van Zweden concert version of Rimsky-Korsakov’s “Tsar’s training program features rising stars in pro- Ives’s “Concord” Sonata. The lineup also fea- conducting the Dallas musicians in Beethoven’s Bride.” 212-721-6500, lincolncenterfestival.org. ductions of André Previn’s “A Streetcar Named tures a concert for clarinet and marimba and Symphony No. 9. 877-812-5700, vailmusicfestival Desire” and Mozart’s “Don Giovanni.” 415-864- performances by Chanticleers and the Imani MOSTLY MOZART July 25-Aug. 23. Mozart of .org. 3330, merola.org. Winds. 978-546-7391, rockportmusic.org. course receives his due here, but he shares the ....................................................................................... limelight with an eclectic array of composers. OJAI MUSIC FESTIVAL June 12-15. Jeremy TANGLEWOOD Lenox, June 27-Aug. 30. Snug in Louis Langrée conducts the Mostly Mozart Fes- Denk’s impressive pianistic and literary talents Connecticut the Berkshire Hills, this prominent festival in tival Orchestra in nine concerts; soloists in- have been in the spotlight recently and here he Lenox, the summer home of the Boston Sym- MUSIC MOUNTAIN Falls Village, June 7- Sept. 14. clude Richard Goode, Yuja Wang, Christian Tet- has a chance to demonstrate both — as well as phony Orchestra, is an ideal musical retreat. The Juilliard, Shanghai and Emerson string zlaff and Joshua Bell. Beethoven’s Symphony his mettle as music director. Mr. Denk’s pro- Andris Nelsons (the orchestra’s music director quartets are among the ensembles performing No. 9, Mozart’s Requiem and Berlioz’s “Sym- graming includes the premiere of Steven designate) leads programs including one focus- at this long-running festival; musicians collabo- phonie Fantastique” are on the lineup. On the Stucky’s “The Classical Style: An Opera (of ing on Dvorak; Beethoven’s Symphony No. 5; a rating with them include the pianists Michael contemporary side, there is a new work by John Sorts),” for which Mr. Denk wrote the libretto. concert program of Strauss’s “Rosenkavalier”; Brown and Peter Serkin and the violist Roberto Luther Adams; a solo concert by the percus- The varied lineup also features works by Bee- and Hakan Hardenberger performing Rolf Mar- Diaz. 860-824-7126; musicmountain.org. sionist Steven Schick; and portrait concerts of thoven, Haydn, Ives, Ligeti, Mozart, Schubert, tinsson’s Trumpet Concerto. Premieres include the composers Sofia Gubaidulina and Anna Stockhausen and Weill, performed by Mr. Denk ....................................................................................... William Bolcom’s “Circus Over- Thorvaldsdottir by the International Contempo- and colleagues including the Knights, Brooklyn ture” in a concert celebrating Idaho rary Ensemble. And the delightful candlelit Lit- Rider, Uri Caine and Jennifer Frautschi. 805- Leonard Slatkin’s 70th birthday. tle Night Music series in the Kaplan Penthouse 646-2053, ojaifestival.org. Other highlights include Jeremy includes a performance by the clarinetist Mar- SUN VALLEY SUMMER SYMPHONY July 28-Aug. ....................................................................................... tin Fröst. 212-721-6500, mostlymozart.org. 19. The festival celebrates its 30 anniversary Colorado with an appealing lineup of free concerts. Alas- RIVER TO RIVER FESTIVAL June 19-29. A peren- ASPEN MUSIC FESTIVAL AND SCHOOL June 26- dair Neale, the music director, conducts Jean- nial highlight of this festival is the annual Bang Aug. 17. The theme at this year’s festival, direct- Yves Thibaudet in Saint-Saëns’s “Egyptian” Pi- on a Can extravaganza. This year new-music ed by Robert Spano, is “The New Romantics,” ano Concerto; a program of music by contem- lovers will find plenty to enjoy in a marathon which explores the romantic bent of many 19th- porary American composers; and a gala con- event featuring performances by stellar ensem- century and contemporary composers. A wide cert
Recommended publications
  • Jeremy Denk and Stefan Jackiw Play Ives
    Jeremy Denk and Stefan Jackiw play Ives WHEN: VENUE: Sunday, Bing January 28, 2018 ConCert Hall 2:30 PM Program Artists Charles Ives (1874–1954) Violin Sonata No. 4 “Children’s Day at the Camp Meeting” Jeremy denk, artistic director and piano Allegro Stefan Jackiw, violin Largo Allegro tenors and Basses of the Stanford Chamber Chorale Stites / Sweney “Beulah Land” Lowry / Hawks “I Need Thee Every Hour” Tenor no pause tobin Bell Minseung Choi Ives Violin Sonata No. 3 Cooper d’agostino Adagio; Andante; Allegretto; Adagio Jeremy raven Allegro Joss Saltzman Adagio cantabile Christopher Swenson —INTERMISSION— Bass Barthélemon / Robinson “Autumn” (“Mighty God, While Angels Bless Thee”) darren Baker daniel Borup no pause luke Halberstadt Ives Violin Sonata No. 2 eric lebel Autumn James Mayclin In the Barn alexis rochat The Revival elekos Praxis Root / Nelson “Shining Shore” (“My Days Are Gliding Swiftly By”) Root “Tramp! Tramp! Tramp! The Boys Are Marching” Management for Mr. denk and Mr Jackiw: Kiallmark / Woodworth “The Old Oaken Bucket” opus 3 artists, 470 Park avenue S, 9 th Fl n., Mason / Coghill “Work Song” (“Work for the Night is Coming”) new york, ny 10016 no pause Ives Violin Sonata No. 1 The hymn and song verses heard in this Andante program were edited and arranged by Largo cantabile Wilbur Pauley. Allegro Steinway Piano PROGRAM SUBJECT TO CHANGE . Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not This program is generously supported by Trine Sorensen and Michael Jacobson. permitted. thank you. 2 Program Notes Why Ives ? also, these four Sonatas create a portrait of luckily, we still recognize many of the tunes the composer—in four different states.
    [Show full text]
  • MICHALA PETRI Recorder
    MICHALA PETRI recorder For 50 years, Michala Petri has been one of the most universally recognized and beloved recorder players in the world. She has performed almost 5.000 concerts and has discography of more than 70 critically-acclaimed and award winning recordings. Michala Petri was born in Copenhagen, Denmark, on July 7, 1958 to musical parents. A child prodigy, she first picked up a recorder at the age of three and by the time she was ten, she made her concerto debut in Tivoli Concert Hall and began her formal studies at the at Staatliche Hochschule für Musik und Theater in Hannover, Germany, with Professor Ferdinand Conrad. By the time she was seventeen, she was already making recordings with the Academy of St. Martin-in-the-Fields. Her repertoire spans the Baroque, Classical, and Romantic eras and extends into contemporary and improvised music and multi-media. This versatility, together with a flawless technique, an insatiable curiosity, and the ability to make an emotional connection with her audiences has contributed to her special appeal as an artist. Her list of collaborators reads like a ‘Who’s Who’ of late 20th century classical music, including such legendary artists as Sir Neville Marriner, Claudio Abbado, Sir James Galway, Gidon Kremer, Heinz Holliger, Henryk Szeryng, Pinchas Zukerman, Maurice Andre, Joshua Bell, Mahan Esfahani, Hille Perl and Keith Jarrett. From her youth, Petri was fascinated with the musical potential of her chosen instrument, however, at the time of her studies the recorder was considered mainly an instrument for early music. But gradually, contemporary composers began taking interest and through Petri’s prompting – and virtuosity - started composing works for her.
    [Show full text]
  • Season 2014-2015
    27 Season 2014-2015 Thursday, May 7, at 8:00 Friday, May 8, at 2:00 The Philadelphia Orchestra Saturday, May 9, at 8:00 Cristian Măcelaru Conductor Sarah Chang Violin Ligeti Romanian Concerto I. Andantino— II. Allegro vivace— III. Adagio ma non troppo— IV. Molto vivace First Philadelphia Orchestra performances Beethoven Symphony No. 1 in C major, Op. 21 I. Adagio molto—Allegro con brio II. Andante cantabile con moto III. Menuetto (Allegro molto e vivace)—Trio— Menuetto da capo IV. Adagio—Allegro molto e vivace Intermission Dvořák Violin Concerto in A minor, Op. 53 I. Allegro ma non troppo—Quasi moderato— II. Adagio ma non troppo—Più mosso—Un poco tranquillo, quasi tempo I III. Finale: Allegro giocoso ma non troppo Enescu Romanian Rhapsody in A major, Op. 11, No. 1 This program runs approximately 1 hour, 50 minutes. The May 7 concert is sponsored by MedComp. The May 8 and 9 concerts are sponsored by the Blanche and Irving Laurie Foundation. designates a work that is part of the 40/40 Project, which features pieces not performed on subscription concerts in at least 40 years. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 228 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage.
    [Show full text]
  • Alisa Weilerstein, Cello Johann Sebastian Bach (1685–1750) E Six Suites for Unaccompanied Cello
    Wednesday, May 1, 2019, 8pm First Congregational Church, Berkeley Alisa Weilerstein, cello Johann Sebastian Bach (1685–1750) e Six Suites for Unaccompanied Cello Suite No. 1 in G major, BWV 1007 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue Suite No. 2 in D minor, BWV 1008 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue PAUSE This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. 15 Suite No. 3 in C major, BWV 1009 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue Suite No. 4 in E-flat major, BWV 1010 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue INTERMISSION Suite No. 5 in C minor, BWV 1011 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Suite No. 6 in D major, BWV 1012 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Opposite: Photo by Paul Stuart. 16 PROGRAM NOTES A Note from the Artist Johann Sebastian Bach In 1888, a 12-year-old boy in the provinces of e Six Suites for Unaccompanied Cello, Catalonia discovered something on a dusty shelf BWV 1007–1012 of an old music store: a tattered score of the Six In 1713, the frugal Friedrich Wilhelm I of Suites for Vio lon cello Solo by Johann Sebastian Prussia dismissed his household musical estab - Bach. He couldn’t believe what he had found, lishment in Berlin. e young, cultured Prince and immediately recognized it as an invaluable Leopold of Anhalt-Cöthen, 40 miles north of treasure. He bought the score and took it home Leipzig, took the opportunity to engage some with him to practice.
    [Show full text]
  • Czech Philharmonic
    Czech Philharmonic Semyon Bychkov Chief Conductor and Music Director Alisa Weilerstein / Cello Thursday Evening, November 1, 2018 at 7:30 Hill Auditorium Ann Arbor 13th Performance of the 140th Annual Season 140th Annual Choral Union Series This evening’s performance is supported by Ken and Penny Fischer and by Martha Krehbiel in memory of David Krehbiel. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. Special thanks to Matt Albert, Erin Burris, Anthony Elliott, Paul Feeny, and Stephen Shipps for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. The Czech Philharmonic appears by arrangement with Columbia Artists. The Czech Philharmonic’s US tour is sponsored by the Karel Komarek Family Foundation. In consideration for the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM Antonín Dvořák Cello Concerto in b minor, Op. 104 Allegro Adagio, ma non troppo Finale: Allegro moderato Ms. Weilerstein Intermission Piotr Ilyich Tchaikovsky Serenade for Strings in C Major, Op. 48 Pezzo in forma di sonatina: Andante non troppo — Allegro moderato Valse: Moderato — Tempo di Valse Élégie: Larghetto elegiaco Finale: Andante — Allegro con spirito Tchaikovsky Francesca da Rimini: Symphonic Fantasia after Dante in e minor, Op. 32 Andante lugubre — Allegro vivo 3 A NOTE FROM THE CONDUCTOR On October 28, 2018 the Czech it remains true today. How fitting Republic celebrated 100 years of is it then, that in the very year that independence.
    [Show full text]
  • Program Notes by Michael Moore Rewind//PLAY//Fastforward Performed October 17, 2009
    Program Notes by Michael Moore rewind//PLAY//fastforward Performed October 17, 2009 This evening’s concert begins a season-long celebration of American choral music. The concert opens and closes with music of Charles Ives, that most original and enigmatic of American composers, and also includes Frostiana, Randall Thompson’s superb setting of seven Robert Frost poems. We rewind for a reprise concert performance of David Lang’s deeply moving battle hymns, premiered last season, and fast forward to a preview of Roberto Sierra’s Missa Latina, which Mendelssohn Club will present in its Philadelphia premiere in April. Charles Ives The uniquely eclectic musical style of Charles Ives (1874-1954) was greatly influenced by his father. George Ives was a cornet player and military bandleader in the Civil War, and had returned to his native Danbury, Connecticut where he continued as a bandleader, conductor of theater orchestras and choir director. He had a keen interest in acoustical effects, once marching two bands across the town green from opposite directions, playing different tunes in different keys to gauge the effect, building a device for playing music in quarter tones, and teaching his son to sing in one key while accompanying him in another. He encouraged Charles to experiment with different musical effects, but also instilled in him a love of traditional hymns and tunes, all of which influenced his later music. By the time he entered Yale at 20, Ives was a virtuoso organist and an accomplished pianist and composer. He had already written such significant works as his Variations on America and Psalm 67.
    [Show full text]
  • BIOGRAPHIES Violin Faculty Justin Chou Is a Performer, Teacher And
    MASTER PLAYERS FESTIVAL: BIOGRAPHIES Violin faculty Justin Chou is a performer, teacher and concert producer. He has assisted and performed in productions such as the Master Players Concert Series, IVSO 60th anniversary, Asian Invasion recital series combining classical music and comedy, the 2012 TEDxUD event that streamed live across the Internet and personal projects like Violins4ward, which recently produced a concert titled “No Violence, Just Violins” to promote violence awareness and harmonious productivity. Chou’s current project, Verdant, is a spring classical series based in Wilmington, Delaware, that presents innovative concerts by growing music into daily life, combining classical performance with unlikely life passions. As an orchestral musician, he spent three years as concertmaster of the Illinois Valley Symphony, with duties that included solo performances with the orchestra. Chou also has performed in various orchestras in principal positions, including an international tour to Colombia with the University of Delaware Symphony Orchestra, and in the state of Wisconsin, with the University of Wisconsin Symphony Orchestra, the Lake Geneva Symphony Orchestra and the Beloit-Janesville Symphony. Chou received his master of music degree from UD under Prof. Xiang Gao, with a full assistantship, and his undergraduate degree from the University of Wisconsin, with Profs. Felicia Moye and Vartan Manoogian, where he received the esteemed Ivan Galamian Award. Chou also has received honorable mention in competitions like the Milwaukee Young Artist and Youth Symphony Orchestras competitions. Xiang Gao, MPF founding artistic director Recognized as one of the world's most successful performing artists of his generation from the People's Republic of China, Xiang Gao has solo performed for many world leaders and with more than 100 orchestras worldwide.
    [Show full text]
  • César Franck's Violin Sonata in a Major
    Honors Program Honors Program Theses University of Puget Sound Year 2016 C´esarFranck's Violin Sonata in A Major: The Significance of a Neglected Composer's Influence on the Violin Repertory Clara Fuhrman University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/honors program theses/21 César Franck’s Violin Sonata in A Major: The Significance of a Neglected Composer’s Influence on the Violin Repertory By Clara Fuhrman Maria Sampen, Advisor A thesis submitted in partial fulfillment of the requirements as a Coolidge Otis Chapman Scholar. University of Puget Sound, Honors Program Tacoma, Washington April 18, 2016 Fuhrman !2 Introduction and Presentation of My Argument My story of how I became inclined to write a thesis on Franck’s Violin Sonata in A Major is both unique and essential to describe before I begin the bulk of my writing. After seeing the famously virtuosic violinist Augustin Hadelich and pianist Joyce Yang give an extremely emotional and perfected performance of Franck’s Violin Sonata in A Major at the Aspen Music Festival and School this past summer, I became addicted to the piece and listened to it every day for the rest of my time in Aspen. I always chose to listen to the same recording of Franck’s Violin Sonata by violinist Joshua Bell and pianist Jeremy Denk, in my opinion the highlight of their album entitled French Impressions, released in 2012. After about a month of listening to the same recording, I eventually became accustomed to every detail of their playing, and because I had just started learning the Sonata myself, attempted to emulate what I could remember from the recording.
    [Show full text]
  • Program Notes Anthony Mcgill, Clarinet Anna Polonsky, Piano
    Program Notes Anthony McGill, clarinet Anna Polonsky, piano Brahms: Clarinet Sonata No. 2 Johannes Brahms (1833-1897) was close to retiring when he heard a performance by clarinetist Richard Mühlfeld and was so deeply moved by his musical artistry that he deferred his retirement to compose four final works, all of which feature the clarinet in a starring role, including the two Clarinet Sonatas. The second sonata Opus 120, No. 2 in E-flat Major is made of up of four movements. The first movement is imbued with a sweetness that reflects Brahms’s own musical directions to the performers: Allegro amiable, a directive to play “…in a charming, gracious” manner. The second movement is a tour de force, marked “Apassionato, ma non troppo allegro” meaning with passion and features a Sostenuto middle section that is lyrical and dignified. The gentle third movement consists of a set of variations and is followed by a fourth movement defined by exuberance and joy. James Lee III: Ad Anah? James Lee III was born in Michigan in 1975. His major composition teachers include William Bolcom, Susan Botti and James Aikman. He was a composition fellow at Tanglewood Music Center in the summer of 2002, where he studied with Osvaldo Golijov and Kaija Saariaho. Mr. Lee’s works have been performed by orchestras including The National Symphony Orchestra, the Philadelphia Orchestra, and the Detroit Symphony Orchestra. Dr. Lee, who earned a DMA in composition at the University of Michigan in 2005, is a Professor of Music at Morgan State University in Baltimore, Maryland. This beautiful composition, Ad Anah? means “How Long?” It is based on a Hebrew Prayer, and in the words of Anthony McGill before a recent performance, this short song reflects “…what we’re going through in this time…the struggle.” Clarinetist Anthony McGill serves as the principal clarinetist for the New York Philharmonic and serves on the faculty of the Juilliard School, the Curtis Institute of Music and Bard College Conservatory of Music.
    [Show full text]
  • 01.20.15 7:30 Pm
    7:30 PM 01.20.15 JEREMY DENK / PIANIST One of America’s most thought-provoking, multi-faceted, and compelling artists, pianist Jeremy Denk is the winner of a 2013 MacArthur “Genius” Fellowship, the 2014 Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London, and regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States. In 2014–15, he launches a four-season tenure as an Artistic Partner of the Saint Paul Chamber Orchestra; makes debuts with the Cleveland Orchestra under Susanna Mälkki and the New York Philharmonic led by Esa-Pekka Salonen; appears as a soloist with the Los Angeles Philharmonic and San Francisco Symphony; and performs Bach concertos with Academy of St. Martin-in-the-Fields in London and on tour throughout the US. Future engagements also include his appearances at the BBC Proms, London’s Wigmore Hall, and his recital debut at the Concertgebouw in Amsterdam. In 2014, Denk served as Music Director of the Ojai Music Festival, for which, besides performing and curating, he wrote the libretto for a comic opera. The opera will be presented by Carnegie Hall in the 2014–15 season. To coincide with the release of his second Nonesuch Records album, Bach: Goldberg Variations, Denk opened the 2013–14 season with performances of the “Goldbergs” in Boston, Chicago, and Washington, and went on to perform them as part of the Barbican’s season in London.
    [Show full text]
  • Ojai North Music Festival
    CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening.
    [Show full text]
  • Haimovitz Plays Bach Matt Haimovitz, Cello
    Miller Theatre at Columbia University 2015-16 | 27th Season Special Events Haimovitz Plays Bach Matt Haimovitz, cello Thursday, October 22, 8:00 p.m. Saturday, October 24, 8:00 p.m. From the Executive Director This October has been such a full and rewarding month so far. We celebrated John Luther Adams, recipient of the William Schuman Award, with three New York premiere concerts that captivated audiences with soundscapes inspired by the Arctic. We also opened our Early Music series with a screening of La Passion de Jeanne d’Arc accompanied by a medieval score devised and sung by the Orlando Consort. This week, Matt Haimovitz performs on the Miller stage and around Columbia’s campus, bringing Bach and new works to audiences in a myriad of spaces, and it has been lovely to see students and professors stumble upon a cello suite on their walks to class. Matt and I share a passion for bringing classical music to new audiences, and watching Matt deliver these suites to the Columbia community has been inspiring. Haimovitz Plays Bach culminates here at Miller with the presentation of the complete Bach Cello Suites and six accompanying new overtures. Each overture is a unique reflection of the composer’s experience with and interpretation of Bach. Next Tuesday, Ensemble Signal returns to continue our Pop-Up Concert series. This time, they’ll present pieces that inspire them as artists with an amazing repertoire that features solos for violin and cimbalom. In a few weeks, we kick off November and our Jazz series with the return of the incomparable Anat Cohen.
    [Show full text]