Thursday, October 27, 2016
Venue: Walt Disney Concert Hall 111 South Grand Avenue Los Angeles, California, 90012 Date: Wednesday, 26 October 2016 – 8:00 PM Presenter: Los Angeles Philharmonic 323-850-2000 www.laphil.com Artists: Hilary Hahn (Violin), and Robert Levine, piano Program: J. S Bach: Sonata No. 6 in G Major for Violin and Piano, BWV. 1019 Anton Garcia Abril: Solo Partita for Violin Mozart: Violin Sonata in E-flat Major for Violin and Piano, K. 481 Intermission Hans Peter Türk: Träume (solo piano, written for Robert Levin) Schubert: Rondo in B Minor for Violin and Piano, D. 895 Here is Hilary Hahn as soloist, performing the violin concerto by Johannes Brahms:
ALERT 1: The UW-Madison ‘s Pro Arte Quartet will give a FREE concert TONIGHT at 7:30 p.m. in Mills Hall. The program is the “Italian Serenade” (1887) by Hugo Wolf (1860-1903); the String Quartet No. 3 in F Major, Op. 73, (1946) by Dmitri Shostakovich (1906-1975); and the String Quartet in A-flat Major, Op. 105 (1895) by Antonin Dvorak (1841-1904). ALERT 2: Tickets to the piano recital of Johann Sebastian Bach ‘s “Goldberg” Variations by Christopher Taylor this Friday night are SOLD OUT as of Monday morning. By Jacob Stockinger The Ear has received the following announcement to post about a set of unusual piano concerts this coming weekend: In their only North American appearance, world-renowned pianists Daniel del Pino, Lucille Chung, Alon Goldstein and Roberto Plano will be heard this Friday and Saturday nights in the opening program of the third season of the Salon Piano Series. Hosted by Tim and Renee Farley at Farley’s House of Pianos, the Salon Piano Series has quickly gained a reputation for unique and stimulating programs in the intimate and historic setting of the Farley showroom. But never have four pianists been heard at once on four restored instruments. “It’s an honor knowing the pianists chose our location for their only North American performance,” says Renée Farley, co-founder of the Salon Piano Series. “We thought of no better way to open our third season.” The repertoire for the “Four on the Floor” concerts could hardly be more entertaining or appropriate for Halloween weekend: arrangements of the “Danse Macabre” by Camille Saint-Saens ; the “Carmen Fantasy” based on the beloved opera by Georges Bizet ; Maurice Ravel’s own transcription for four keyboards of his “Bolero” (heard in the YouTube video at the bottom); and an arrangement of the “Hungarian Rhapsody No. 2 ” by Franz Liszt. For the first time, an SPS program will be heard twice, on Friday, Oct. 28, and Saturday, Oct. 29, with both events beginning at 7:30 p.m. at the Farley’s House of Pianos Showroom, 6522 Seybold Road, Madison. That is on Madison’s far west side near the West Towne Mall . Tickets are $45. For more information about tickets, the concerts and the artists, plus other artists and concerts in the Salon Piano Series this season, visit: http://salonpianoseries.org/concerts.html For information about Farley’s House of Pianos, go to: http://www.farleyspianos.com/index.html THE ARTISTS Daniel del Pino (below) is a leading Spanish concert pianist juggling an international recital career with teaching in the Basque Country in Donostia-San Sebastian , Spain. The reputation of Lucille Chung (below), who often performs with her husband Alessio Bax , has grown steadily since her debut at the age of 10 with the Montreal Symphony Orchestra. To date she has performed with more than 60 orchestras. Alon Goldstein (below, in a photo by Meagan Cignoli) is particularly admired for his artistic vision and innovative programming. The New York Times described a recent performance as “exemplary throughout, with his pearly touch and sparkling runs.” Roberto Plano lives in Travedona Monate , Italy and teaches there at Accademia Musicale Varesina, which he founded. Tagged: "Goldberg" Variations , Alessio Bax , Alon Goldstein , Antonín Dvořák , arrangement , Arts , Bach , Basque , Bizet , Bolero , Camille Saint-Saëns , Carmen , Chamber music , Christopher Taylor , Classical music , Concert , Daniel del Pino , Danse Macabre , Dmitri Shostakovich , Dvorak , fantasy , Farley's House of Pianos , four-piano , France , Hugo Wolf , Hungarian Rhapsody , Italian Serenade , Italy , Jacob Stockinger , Johann Sebastian Bach , Liszt , Lucille Chung , Madison , Music , New York Times , opera , Pianist , Piano , Pro Arte Quartet , Ravel , Robert Plano , Roberto Plano , Shostakovich , Spain , String quartet , theme and variations , University of Wisconsin-Madison School of Music , University of Wisconsin–Madison , Wisconsin , YouTube
Works of Sweelinck, Bull, Buxtehude, Eben et alGerrit Chr. de Gier, Organs Stevenskerk NijmegenThe Best of MendelssohnMargreeth Chr. de Jong, Nieuwe Kerk, MiddelburgWorks of Franck, Saint Saëns, Andriessen, KlopToon Hagen, Adema organ, RaalteWorks of Andriessen, de Klerk and othersCoebergh & Heerink, Adema organ, Haarlem KomponistenbespiegelingOrgan works of Sweelinck, Bull,Buxtehude, Eben, Bach, vdHorst,Mozart and Liszt Gerrit Chr. de Gier - organistChoir Organ, unknown builder 17th CenturyMain Organ, König 1776 - Stevenskerk, NijmegenLabel: Lindenberg LBCD50Recorded November 1993 [Flacs & scans]Download Felix Mendelssohn (1809-1847)Six Sonatas Opus 65Three Preludia & Fuges Opus 37Fuga, Passacaglia, Allegro,Choral Variationen Margreeth Chr. de Jong - organisteVan Leeuwen Organ, 1954Nieuwe kerk - MiddelburgLabel: Den hertog DH8208012 (2CD)Recorded May 2006 & May 2008 [Flacs & scans]Download PrièreOrgan works of Franck, Saint-Saëns,Hendrik Andriessen and Henk Klop Toon Hagen - organistAdema Organ, 1927Basiliek - RaalteLabel: B&A Records 04051975Recorded April 2009 [Flacs & scans]Download Haarlemmer OrgelboekOrgan Works of Andriessen, de Klerk,Raas, Bartelink, Manneke and others Gemma Coebergh & Mark Heerink - organistsAdema organ, 1906St. Josephkerk - HaarlemLabel: Tulip Records TURE 201207Recorded November 2011 [Flacs & scans]Download
By Jacob Stockinger This week will be a busy one at the University of Wisconsin-Madison School of Music , which is now funded in large part by the Mead Witter Foundation. The big event is the long-awaited groundbreaking for the new performance center. That, in turn, will be celebrated with three important and appealing concerts. Here is the lineup: FRIDAY From 4 to 5:30 p.m., an official and public groundbreaking ceremony for the new Hamel Music Center will take place at the corner of Lake Street and University Avenue. (Below is an architect’s rendering of the completed building.) At 8 p.m. in Mills Hall, pianist Christopher Taylor (below) will perform the “Goldberg” Variations by Johann Sebastian Bach on the two-keyboard “Hyperpiano” that he has invented and refined. (You can hear the opening aria theme of the “Goldberg” Variations played by Glenn Gould in the YouTube video at the bottom.) For more information about the concert and the innovative piano, visit: http://www.music.wisc.edu/2016/09/13/pianist-christopher-taylor-to-debut-new-piano/ Tickets are $18 and are available at the Wisconsin Union Theater box office. Last The Ear heard, the concert was close to a sell-out. SATURDAY At 7 p.m. in Mills Hall, UW-Madison faculty bassoonist Marc Vallon (below, in a photo by James Gill), who studied and worked with the recently deceased French composer and conductor Pierre Boulez , will lead a FREE “Breaking Ground” concert of pioneering music from the 17th, 19th, 20th and 21st centuries. Composers represented include Ludwig van Beethoven, Michelangelo Rossi, Alexander Scriabin , Iannis Xenakis , John Cage , Helmut Lachenmann and Morton Feldman. For more information and the complete program, go to: http://www.music.wisc.edu/event/breaking-ground-with-marc-vallon-and-sound-out-loud/ SUNDAY At 3 p.m. in Mills Hall, the Wisconsin Brass Quintet will give a FREE concert. For more information about the group and the program, go to: http://www.music.wisc.edu/event/the-wisconsin-brass-quintet/ Wisconsin Brass Quintet Tagged: "Goldberg" Variations , architect , aria , Arts , Baroque , Bassoon , Beethoven , brass , Brass quintet , Cello , Chamber music , Christopher Taylor , Classical music , composer , conductor , Early music , French music , Glenn Gould , groundbreaking , Helmut Lachenmann , Iannis Xenakis , Jacob Stockinger , Johann Sebastian Bach , John Cage , Keyboard , Ludwig van Beethoven , Madison , Mead Witter , Michelangelo Rossi , Morton Feldman , New Music , Piano , Pierre Boulez , quintet , Scriabin , Sonata , theme , theme and variations , United States , University of Wisconsin-Madison School of Music , University of Wisconsin–Madison , video , Viola , Violin , Wisconsin Brass Quintet , Wisconsin Union Theater , YouTube
The addition of a handsome 150-seat recital hall to our local scene occasioned the notice of three BMInt writers last night, especially, opening as it did, with a tribute to our productive fellow contributor. We Lee Eiseman, Vance Koven and Mark DeVoto) can’t think of another occasion, save in the cases of opera houses, where a single living composer has inaugurated a new music theater. Thus, it seems to us quite an honor when the UMass Department of Performing Arts, through its chairman David Pruett, selected David Patterson to consecrate and dedicate this one. The Wilson Architect-designed University Hall, originally known as The General Academic Building No. 1, contains a 500-seat auditorium, a black box theater, a 150-seat recital hall, exhibition gallery, lounge, and a café that “foster user interaction and provide an academic and cultural destination on campus.” One enters through a very lofty atrium, where lead architect Samir Srouji covered one curving facade with copper panels which are already developing an unusual patina of handprints. The Recital Hall’s comfortable raked seating for 150 is surrounded by an elegant mix of materials including blond maple for flooring and seat backs. Acentech came up with a acoustics that can be adjusted by deploying or retracting absorbent draperies in cavity walls behind metal louvers. Reflective clouds, irregular diffusing panels, and skewed elliptical walls collectively contributed to a pleasant clarity of articulation for music and spoken voice. Indeed, David Patterson’s quiet speech at the piano projected with complete comprehensibility, as did the choir in the a capella opening number. For the dedication, the acoustic was at the least reverberant setting of the draperies; we would like to hear a bit more juice the next time we attend a concert there. We would also suggest some refinements (such as barn doors) to the LED stage lighting that would reduce spillage onto the projection screen. Patterson adapted his 2016 setting of Alma Mater, To UMass Boston from a text developed by a select committee. In the Far Above Cayuga’s Waters mode, with plush and exuberant harmonies, it spoke of torches being passed. The UMass Boston Chamber singers, David Giessow director, projected fine tones from the back wall of the theater, summing up with youthful optimism the introduction of the new space. Then it was on to 2004 vintage Patterson, his Thrushes in Forest Park (St. Louis). Pianist Janice Weber seemed completely at home in Patterson’s insouciantly Gallic but jazzy idiom, something like Messiaen meets Broadway. Patterson himself was at the piano to support Julia Nelson, soprano, and Jacsonn Jean, baritone, in a selection of songs from the 1995 cycle Saving Daylight Time: Songs from a Texas Border Town, with texts (she prefers to call them “lyrics”) by the composer’s wife, TenBroeck Davison, reflecting Brownsville, where she grew up. These short songs—three solo, three duet—were gracious in spirit, thoughtful, and spare in their accompaniments. Boston recognizes Patterson as an admiring disciple of polar opposites, Nadia Boulanger and Olivier Messiaen, but his own work projects a pastoral individuality that is both warm and discreet. These songs showed a wandering and uncertain tonality with careful tinges of chromaticism, and it would not be far off the mark to compare their lyric spirit with Samuel Barber’s. Patterson has listened to a lot of modern jazz harmony, too, adapting it successfully into his own. Some of this showed in four impressionistic movements under the title of And David took an harp, with an epigraph from I and II Samuel. The harp soloist was Chaerin Kim of the UMass Boston music faculty. Last came a newly-composed suite for piano in seven scenes, # FERGUSON, which was also the general heading for the whole concert. The title commemorates the Missouri town where so much racial tragedy unfolded last year, the same town where David Patterson grew up and graduated from high school. The composer discussed the titles of the seven separate movements with illustrations projected on a screen at the back of the stage. The premiere performance had taken place during the summer in Missouri; we heard the second performance, ably rendered by Janice Weber with a good sense of drama. Wilson Architects University Hall Patterson’s judiciously measured emotional journey projected through the lens of his own history, from childhood through the cataclysm that befell his hometown, to the assessment of “what next?”, seeks to heal rather than inflame. Much of it is experienced through the impact of other music: The first three movements reflect his own story, with references to early piano lessons (Hanon, Bach) and his gig as organist at Ferguson’s First Presbyterian Church. The central movement blows nostalgia away in a jumble of references, blaring discord and percussive blows that showed the composer to have been rattled to the core by events back home. The final three movements, essaying recovery and a tentatively hopeful finale, derive their force from the music of the black community, from blues to protest to Gospel. Patterson’s plea is for balm, not bombs, in Gilead; the capacity crowd rang out with a fine “Amen.” More on # Ferguson here . The post Patterson Dedicates and Consecrates appeared first on The Boston Musical Intelligencer .
Johann Sebastian Bach (21 March 1685, - 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although J.S. Bach did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France. Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque style, and as one of the greatest composers of all time. Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg Concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B minor, the St Matthew Passion, the St John Passion, the Magnificat, A Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the famous Toccata and Fugue in D minor and Passacaglia and Fugue in C minor, as well as the Great Eighteen Chorale Preludes and Organ Mass.
Great composers of classical music