Anne-Sophie Mutter, Carnegie Hall's 2014-2015 Perspectives Artist, Curates Six-Concert Series
Opening night Gala with Sir Simon Rattle and the Berlin Philharmonic, Wednesday, October 1 Series includes U.S. premiere of Sebastian Currier's Ringtone Variations and Sir André Previn's Violin Concerto No. 2. Also Ms. Mutter launches the first North American tour of the Mutter Virtuosi and appears as Pittsbugh Symphony Orchestra's opening night artist.
As Carnegie Hall's 2014-2015 Perspectives artist, violinist Anne-Sophie Mutter curates a six-concert, season-long series exemplifying her commitment to the future of classical music and highlighting her long-standing relationships with some of today's greatest conductors, soloists and orchestras. Ms. Mutter begins her Carnegie Hall residency Wednesday, October 1 at 7:00 pm in an opening night gala marking her first United States appearance with the Berlin Philharmonic Orchestra led by Music Director Sir Simon Rattle. She performs Bruch's Violin Concerto No. 1 as part of a concert that includes Rachmaninoff's Symphonic Dances and the closing scenes from Stravinsky's The Firebird. Ms. Mutter first performed with this legendary orchestra at age thirteen under the direction of Herbert von Karajan, subsequently launching an international career that has spanned nearly four decades.
The concert airs on WQXR 105.9 FM, produced by WQXR and Carnegie Hall and hosted by WQXR's Jeff Spurgeon. Concerts in the series are available for live streaming on wqxr.org and carnegiehall.org/wqxr.
She explains, "Coming to Carnegie Hall with the Berlin Philharmonic Orchestra playing the Bruch Concerto with Sir Simon Rattle is obviously a very important moment because that orchestra is linked so closely with the beginnings of my musical life with Karajan. I have never traveled to America with this orchestra and it somehow feels particularly festive and wonderful." This reunion comes on the heels of an all-Dvorák album Ms. Mutter recorded with the Berlin Philharmonic, released in October 2013 on the Deutsche Grammophon label.
Ms. Mutter is joined by pianist Lambert Orkis Tuesday, November 11 at 8:00 pm in recital at Carnegie Hall. The pair, who celebrated the 25th anniversary of their partnership and the violinist's Carnegie Hall recital debut in December 2013, commemorated this milestone with a European tour and the release of the two-disc album, The Silver Album, on the Deutsche Grammophon label. The Grammy Award-winning duo have planned an eclectic program for the Perspectives series: Sir André Previn's Tango Song and Dance (a work written for Ms. Mutter), Franck's Violin Sonata in A Major, Beethoven's Violin Sonata No. 9 in A Major, Op. 47, "Kreutzer" and the U.S. premiere of Sebastian Currier's Ringtone Variations, a work commissioned by the Anne-Sophie Mutter Foundation featuring double bassist Roman Patkoló, a protégé of Ms. Mutter.
Also in November, the violinist is proud to lead the first North American tour of Mutter Virtuosi, a string ensemble comprised of fourteen current and former scholarship students of the Anne-Sophie Mutter Foundation.
--Ashlyn Damm, Kirshbaum Demler & Associates
Operasodes, One World Symphony Season Opener: "New Girls"
Wolfgang Amadeus Mozart: from Le Nozze di Figaro
Giacomo Puccini: from La Bohème
Johann Strauss II: from Die Fledermaus
Franz Lehár: from The Merry Widow
Björk: Big Time Sensuality (1993)*
Zooey Deschanel: Why Do You Let Me Stay Here or Take It Back (2008)**
Katy Perry: Unconditionally (2013)**
*arrangement for voice and symphony by Andrew Struck-Marcell
**world premiere arrangement for voice and symphony by Sung Jin Hong
Sunday, October 26, 2014
Monday, October 27, 2014
Holy Apostles Church
296 Ninth Avenue at West 28th Street
$30 Students/Seniors with ID – available at door
One World Symphony attracts attention from the national and international press again with Operasodes. Brian Moylan of UK's The Guardian broke the story on One World Symphony's 2014/2015 season.
Marvin Rosen of Classical Discoveries on WPRB at Princeton will air Sung Jin Hong's The Rite of the Cicada (2013) performed by One World Symphony.
One World Symphony artists remember pianist Judith Schaaf who passed away May 21, 2014.
For more information, visit oneworldsymphony.org.
--One World Symphony
American Modern Ensemble Celebrates Its 10th Year with a Season of Concerts and Collaborations
Kicking off the 2014-15 10th anniversary season, AME presents a whimsically themed "Ghosts & Ghouls" on Thursday, October 30, 2014 at Merkin Concert Hall featuring music of Crumb, Del Tredici & NYC premiere of Paterson's "Hell's Kitchen"
Ten years ago, the American Modern Ensemble set the New York new music scene ablaze with sizzling performances of music by living American composers. Early reviews praised the artful programming and top-notch talent that would become AME's hallmarks. The New York Times, reporting on a standing-room-only performance by AME at the Tenri Cultural Institute, wrote, "Pessimists about the future of classical music may be looking in the wrong place." The same paper recently hailed AME's ability to turn even the headiest of programs into a party. For composer and AME founder Robert Paterson, his vision was always to throw open the doors to the rarified world of new music and bring in curious people from all walks of life, saying "one of the highest compliments I've ever received is when a friend said, 'I love coming to AME gigs because I see people here that I never see at any other new music concerts.'"
AME concerts, often pulling a diverse array of repertoire around a theme or concept, have become highly anticipated New York City happenings. To celebrate its 10th anniversary, AME embraces the otherworldly preoccupations of new music in Ghosts & Ghouls (October 30), hosts top string ensembles for an evening of premieres and contemporary favorites on String Theory at SubCulture (January 15), and dabbles in synesthesia for Blue at SubCulture (March 3).
AME is also excited to continue its collaboration with the Mazzini Dance Collective, ChamberMusicNY and the Cutting Edge Concerts, and to perform and work with students at Princeton and Adelphi Universities. For those keen on pairing adventurous music with a stiff drink, you'll be happy to know that the eclectic downtown club SubCulture will be AME's principal home for the upcoming season.
For more information, visit http://subculturenewyork.com/
--Amanda Sweet, BuckleSweet Media
Dover Quartet Brings "String Quartet Nirvana" to Newly Announced 2014-15 Season
It has been a whirlwind year for the Dover Quartet since their remarkable sweep of the 2013 Banff International String Quartet Competition, where they triumphed, earning all top prizes. "A quartet to reckon with" (Santa Fe New Mexican), the Dover Quartet is quickly becoming one of the most sought-after string quartets in North America, and will kick off a packed fall season in September 2014 with highlights including their Kennedy Center debut with the Fortas Chamber Music Series, engagements with the Chamber Music Society of Detroit and the Philadelphia Chamber Music Society, University of California San Diego's ArtPower!, and a headlining evening with the Tertulia Chamber Music Series in NYC which brings together the joys of great food and chamber music. Recently profiled in a Cultural Conversation by Barrymore Scherer in The Wall Street Journal, the Dover Quartet continues to impress as one of the most talked about young ensembles in classical music.
Throughout 2013-2014, the Philadelphia-based Quartet delivered stellar performances that featured their Los Angeles and San Francisco recital debuts, an ongoing residency at Caramoor, and delivered them to key summer music festivals including their return to the Savannah Music Festival, Bravo! Vail, and their debut with the Santa Fe Chamber Music Festival.
For more information, visit http://www.doverquartet.com/
--Liza Prijatel, Rebecca Davis PR
Cal Performances Presents The Australian Ballet in the San Francisco Bay Area Premiere of Graeme Murphy's Swan Lake
Returning to the Bay Area for the first time since 1971, The Australian Ballet will be accompanied by the Berkeley Symphony for five performances of Graeme Murphy's Swan Lake, Thursday-Saturday, October 16-18 at 8:00 p.m., Saturday, October 18 at 2:00 p.m., and Sunday, October 19 at 3:00 p.m. in Zellerbach Hall. Created in 2002 to mark the company's 40th anniversary, Murphy's Swan Lake is a "complex and daring" (Dance Magazine) retelling of a classic tale with a twist. Murphy conjures a world of scandal, betrayal, and heartbreak through sumptuous set and costume designs that become part of the choreography, and by setting the ballet's tragic romance of Odette and Prince Siegfried in the context of the modern-day royal love triangle of Princess Diana, Prince Charles and Camilla Parker-Bowles. Tchaikovsky's score is performed live by the Berkeley Symphony, with guest conductor Nicolette Fraillon, Music Director and Chief Conductor of The Australian Ballet.
Cal Performances Associate Director Rob Bailis will lead a panel discussion about "The Evolving Body Aesthetic," including The Australian Ballet's Graeme Murphy on Saturday, October 18 at 5:00 p.m. in Wheeler Auditorium. This event is free and open to ticket holders. Other campus residency activities are planned in conjunction with this engagement. Further details will be announced at calperformances.org.
Tickets for The Australian Ballet and Berkeley Symphony Thursday–Saturday, October 16–18 at 8:00 p.m., Saturday, October 18 at 2:00 p.m., and Sunday, October 19 at 3:00 p.m. in Zellerbach Hall, Berkeley, CA, range from $40.00-$156.00 and are subject to change. Half-price tickets are available for UC Berkeley students. Tickets are available through the Ticket Office at Zellerbach Hall, at (510) 642-9988, at www.calperformances.org, and at the door. For more information about discounts, go to http://calperformances.org/buy/discounts.php.
--Rusty Barnes, Cal Performances
American Boychoir Soloists Featured in Allora & Calzadilla Performance-Based Work Fault Lines at NYC's Gladstone Gallery September 13 – October 11
Vocalists from the American Boychoir will appear at New York City's Gladstone Gallery as part of a new solo exhibition, Fault Lines, by Allora & Calzadilla. Fault Lines explores the overlapping mechanics of polyphonic vocal texturing, geological and sculptural displacements, and adversarial rhetorical language in a new performance-based work, featuring an original composition by Guarionex Morales-Matos.
Performances featuring American Boychoir soloists will take place September 13th – October 11th on the hour Tuesday through Friday from 1 – 5 pm with an additional performance at 5:30 pm, and Saturday, September 13 hourly from 12:30 –5:30 pm.
For more information on the American Boychoir, visit www.americanboychoir.org
--Amanda Sweet, BuckleSweet Media
Mahler Chamber Orchestra Newsletter
German premiere of Rihm's Horn Concerto at Musikfest Berlin:
On 14th September, the Mahler Chamber Orchestra makes its third consecutive guest appearance at the annual Musikfest Berlin. Highlight of the evening is the German premiere of Wolfgang Rihm's Concerto for Horn and Orchestra with soloist Stefan Dohr. The world premiere took place last month in Lucerne with the same artists (Dohr, Daniel Harding, MCO) and was received enthusiastically by press and the public.
Mendelssohn at Musikfest Bremen:
On 20th September, the Mahler Chamber Orchestra under Daniele Gatti gives the closing concert of the Musikfest Bremen, which this year celebrates its twenty-fifth anniversary. The programme is dedicated to Felix Mendelssohn and features three of his most popular and well-known works: the Overture to "A Midsummer Night's Dream," the Violin Concerto in E minor (soloist: Renaud Capuçon) and the "Italian" Symphony.
The Beethoven Journey:
On 15th September, Sony Classical releases the last of three albums of Leif Ove Andsnes's "Beethoven Journey" with the Mahler Chamber Orchestra. "The Beethoven Journey" includes concert tours and CD recordings of Beethoven's five piano concertos and the final album contains the Piano Concerto No. 5 "Emperor" and the Choral Fantasy. Andsnes's concert tour began in 2012 and has so far included 36 concerts in 20 cities in nine European countries. Starting later this month, the MCO and Leif Ove Andsnes set out on the project's final season, presenting the entire cycle in the music capitals of Europe, North America and Asia. In the last week of September, all six works will be performed one after the other at the Beethovenfest Bonn (25th, 27th and 28th September). The piano concertos can also be heard in Hamburg this month (24th and 30th September).
--Sonja Koller, Mahler Chamber Orchestra
American Bach Soloists News
2014-15 Single Tickets Now on Sale:
Do you have your tickets for ABS's 2014-15 season yet? Our concertgoers are as excited about the new season as we are. The season brochure hit mailboxes last week and tickets have been flying out the door ever since! The hottest tickets have been for our annual performances of Handel's Messiah at Grace Cathedral, San Francisco, CA. Remember, subscribers enjoy the best prices and exclusive benefits including discounts on Messiah tickets.
Coming Up: The Annual ABS Gala on September 20:
On Saturday, September 20, the generous supporters of ABS, along with the board, staff, and musicians, will gather at St. Stephen's Church in Belvedere, CA for a festive night of wine, food, friends, and music. The theme for this year's gala is "A Red Carpet Evening," and the glamorous affair will celebrate the dawn of a new quarter-century of ABS presentations. ABS violinist Tatiana Chulochnikova (Academy, class of 2010) and ABS stalwarts Tanya Tomkins (violoncello), Steven Lehning (viola da gamba), and Music Director Jeffrey Thomas (harpsichord) will present a musical program of popular Baroque delights.
The ABS Festival Blog:
Jeff McMillan, Executive Administrator, wrote a fascinating blog during the entire recent ABS Festival & Academy. Daily reports about the exciting arrival of our Academy participants, preparations for performances, interactions between them and their facutly mentors, plus accounts of the performances, master classes, lectures, and colloquia provide a fascinating insider's look into the busy days and nights of the Festival.
2015 ABS Festival Theme Announced:
ABS is pleased to announce the dates and theme for next summer's Festival: "Versailles: Parisian Baroque," August 7-16. The Festival will feature music from the extravagant court of Versailles with glorious works by Lully, Rameau, and Gluck alongside masterpieces by Bach including the annual tradition of presenting his great Mass in B Minor. The 2015 ABS Festival & Academy will occur at the San Francisco Conservatory of Music and will feature the same wonderful concerts and free events that Festivalgoers have come to expect. Save the dates now; tickets go on sale early in 2015.
--Jeff McMillan, American Bach Soloists
Joyce DiDonato to Perform Stella di Napoli Launch Concert at Gowanus Ballroom
The October 3rd event will be co-hosted by Warner Classics/Erato and LoftOpera.
On Friday, October 3rd, Joyce DiDonato will perform the music from her new album Stella di Napoli at the Gowanus Ballroom, a warehouse performance art space in Brooklyn, located above Serett Metal Works. The intimate event, co-hosted by Warner Classics/Erato and LoftOpera, will take the universally-acclaimed diva and the album's 19th century Bel Canto music and place it in a distinctly modern and urban setting. LoftOpera will also preview their upcoming production of Rossini's Barber of Seville.
Audio and video of the concert will be livestreamed, and will be available for embedding in Web sites, blogs, and social media.
Stella di Napoli, released September 2nd, debuted at #1 on the classical charts in the U.S., UK, and France and has been greeted with glowing reviews around the world. The album traces the birth of Bel Canto in Naples, with three world-premiere recordings from Pacini, Carafa and Valentini.
LoftOpera is a fast-rising young organization committed to infusing opera into Brooklyn's underground through performances in loft spaces. The company is made up of a group of young performers and administrators who are passionate about bringing opera to a new setting and a new audience with immersive stagings, large orchestras, and talented voices.
Friday, October 3rd
Doors 7PM | Show 8PM
55 9th Street, Brooklyn, NY
--Andrew Ousley, Warner Classics
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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