Andreas Scholl, Julian Wachner to Perform Bach and Handel with Philharmonia Baroque
Renowned German countertenor Andreas Scholl makes his sole Bay Area appearance of the 2014-15 season in a series of concerts with Philharmonia Baroque Orchestra led by guest conductor Julian Wachner. Four performances take place around the Bay Area at Bing Concert Hall (Wed, Nov 5), Calvary Presbyterian Church in San Francisco (Fri, Nov 7), and First Congregational Church in Berkeley (Sat and Sun, Nov 8-9). Tickets are available through City Box Office and Stanford Live and start at just $25.
"I'm thrilled that my friend Andreas Scholl, who has worked with the Orchestra before, will be back to sing a Bach cantata and Handel arias," remarked music director Nicholas McGegan. Scholl, who last appeared with Philharmonia over a decade ago in the St. John Passion, will sing Bach's moving Cantata No. 170, "Vergnügte Ruh, beliebte Seelenlust," as well as Handel selections including "Va tacito" from Giulio Cesare and "Dove sei" from Rodelinda. Writing of a 2010 recording, BBC Music Magazine noted that "few can equal the sheer beauty of tone" which Scholl displays.
Julian Wachner, who appears at the San Francisco Opera in October to conduct Handel's Partenope, is director of music and arts at Trinity Wall Street in New York City and music director of the Washington Chorus. He leads the Orchestra in a program of instrumental works featuring the natural horn, including Bach's beloved Brandenburg Concerto No. 1, Telemann's Concerto in F major for violin, oboe, and two horns, and the Sinfonia to Bach's Cantata No. 42. Hailed from The New Yorker to the Los Angeles Times for his dynamism and joyous originality, Wachner is a specialist in Baroque interpretation. He is leader of the Baroque Orchestra & Choir at Trinity Wall Street, recently nominated for a Grammy for its recording of Handel's Israel in Egypt.
Wednesday, Nov 5 @ 7:30 PM
Bing Concert Hall, Stanford
Friday, Nov 7 @ 8:00 PM
Calvary Presbyterian Church, San Francisco
Saturday, Nov 8 @ 8:00 PM
First Congregational Church, Berkeley
Sunday, Nov 9 @ 4:00 PM
First Congregational Church, Berkeley
Tickets are priced $25 to $100 and may be purchased through City Box Office: www.cityboxoffice.com or call (415) 392-4400.
Tickets for the November 5 performance at Bing Concert Hall are available through Stanford Live: live.stanford.edu
--Ben Casement-Stoll, Philharmonia Baroque Orchestra
Sacred Music in a Sacred Space's N.P. Mander Organ Recital Series continues with David Enlow, November 2, 2014 at New York City's Church of St. Ignatius Loyola
New York City's breathtaking, majestic Church of St. Ignatius Loyola once again comes to life with Sacred Music in a Sacred Space's N.P. Mander Organ Recital Series. The second recital on the 2014-15 series features acclaimed organist David Enlow on Sunday, November 2 at 3:00 pm.
Last month, Organ Canada wrote that Enlow "understands the music he performs, respects its narrative but manages to delve further into the score with his incredible sense of expressiveness and sense of musical form." With this unique program, David Enlow conjures up the myriad colors and textures of orchestral music, all on one powerful instrument. Works included on the program include several of Enlow's own transcriptions, including the world premiere of his arrangement of Dvorak's Slavonic Dances, Op. 46 (movements I, II and VI). The N.P. Mander organ adds another layer of drama to the overtures of Strauss's Die Fledermaus and Verdi's La Forza del Destino, also transcribed by Enlow. Rounding out the program are Franck's Grand Pièce Symphonique and Enlow's transcription of Debussy's Petite Suite.
The N.P. Mander organ—at 5,000 pipes, 30 tons, and 45 feet high—is the largest tracker-action pipe organ in the New York metropolitan area. This massive, kingly instrument bellows beneath the massive vaults at St. Ignatius Loyola. To witness David Enlow acting as one-man orchestra and taking the organ to its limits will be a treat to any audience member.
The program, titled "The Symphonic Organ," includes organ transcriptions of works from the orchestral repertoire. All tickets are $20; call 212-288-2520 or click here to purchase: http://www.brownpapertickets.com/event/682290
For more information, visit http://smssconcerts.org/concerts/upcoming-concerts/icalrepeat.detail/2014/11/02/89/23%7C26%7C25/YWQyMGEyMDg5YzNhMTJjOWI1NTZmZDJiYjc0YmYwMTc=/organ-recital-david-enlow
--Amanda Sweet, BuckleSweet Media
Orion's "Rhapsody" Spotlights Chicago Composer Sebastian Huydts
Prokofiev, Rachmaninov, Müller, and Enescu are also on the program in Evanston, Ilinois (Nov. 23), Geneva (Nov. 30), Chicago (Dec. 3).
The Orion Ensemble, winner of the prestigious Chamber Music America/ASCAP Award for Adventurous Programming, continues its 22nd season "A Taste of Chicago, A World of Romance" with "Rhapsody," a program showcasing Chicago composer Sebastian Huydts. Performances take place at the Music Institute of Chicago's Nichols Concert Hall in Evanston November 23; First Baptist Church of Geneva November 30; and Sherwood, The Community Music School of Columbia College Chicago December 3.
This concert combines recently composed work with arrangements of audience favorites, in addition to two lesser-known but highly appealing works from great composers of the 19th and 20th century chamber repertoire. Joining Orion is guest violinist/violist Stephen Boe, a sought-after chamber musician who teaches at the Music Institute of Chicago.
The Orion Ensemble's concert program "Rhapsody" takes place Sunday, November 23 at 7:30 p.m. at Music Institute of Chicago's Nichols Concert Hall, 1490 Chicago Avenue in Evanston, Il; Sunday, November 30 at 7 p.m. at First Baptist Church of Geneva, 2300 South Street in Geneva, Il; and Wednesday, December 3 at 7:30 p.m. in the Recital Hall at Sherwood, The Community Music School of Columbia College Chicago, 1312 S. Michigan Avenue in Chicago. Single tickets are $26, $23 for seniors and $10 for students; admission is free for children 12 and younger. A four-ticket flexible subscription provides a 10 percent savings on full-priced tickets. For tickets or more information, call 630-628-9591 or visit orionensemble.org.
--Jill Chukerman, JAC Communications
The Czech Philharmonic Orchestra and Prague Philharmonic Choir Bring Dvorak's Stabat Mater to Cal Performances on Sunday, November 9 at 3:00 p.m.
Commemorating the 110th anniversary of the death of Czech composer Antonín Dvorák, Cal Performances presents the Czech Philharmonic Orchestra and Prague Philharmonic Choir in a rare performance of the composer's Romantic choral masterpiece, Stabat Mater, on Sunday, November 9 at 3:00 p.m. in Zellerbach Hall. The Philharmonic Orchestra, reunited with Chief Conductor Jirí Belohlávek since 2012, and the Philharmonic Choir, led by choirmaster Lukáš Vasilek, have long been celebrated for their interpretations of their nation's most beloved composer. "The Czech Philharmonic boasts a burnished and refined European sound, with a warm, string-dominated center, brilliant brass and inimitable, characterful woodwinds, which serve music of their native composers Dvorák, Janácek and Martinu so well" (Miami Sun Sentinel). The Orchestra and Choir are making their Berkeley debut.
A panel discussion titled "Criticism and Creativity" will be moderated by Tim Page, Professor, University of Southern California, and held on Sunday, November 9, in Hertz Hall from 11:00 a.m. to 1:00 p.m. This panel is part of the Rubin Institute for Music Criticism, the first program of its kind focusing on music and music criticism and bringing together national music journalists, renowned musicians, and aspiring young writers. The panel will be drawn from the 2014 participating arts writers, including Anne Midgette, Washington Post; John Rockwell, writer and arts critic; Alex Ross, The New Yorker magazine critic and author; Heidi Waleson, Wall Street Journal critic and author; Rubin Institute benefactor Stephen Rubin, President and Publisher of Henry Holt & Co., whose writing credits include having written features for The New York Times for more than a decade; and Tim Page. The panel discussion is free and open to the public. For further information and a complete calendar of events go to http://www.sfcm.edu/rubin-institute.
A pre-performance talk about Stabat Mater will be given by arts writer and critic John Rockwell at 2:00 p.m. on Sunday, November 9 in Zellerbach Hall. The event is free to concert ticketholders.
Tickets for the Czech Philharmonic Orchestra and Prague Philharmonic Choir on Sunday, November 9 at 3:00 p.m. in Zellerbach Hall range from $36.00-$112.00 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 Barners, Cal Performances
The Windsbach Boys Choir Performs with the Pacific Boychoir October 24 in Berkeley, CA
The Pacific Boychoir Academy is pleased to announce the upcoming joint concert with the Windsbach Boys Choir, one of the leading boy choirs in the world. These two world-class choirs unite for a once-in-a-lifetime concert experience, Friday, October 24 at 7:30pm at First Congregational Church in Berkeley, 2345 Channing Way. Tickets are available at PacificBoychoir.org/Windsbacher.
In their 68-year history, Windsbacher Knabenchor has become one of the most popular boychoirs in Germany due to their pure, brilliant sound and invigorating performances at some of the most prestigious venues in the world. The choir will embark on a 13-day U.S. tour from October 23 through November 3 that will take them from the West Coast to the East Coast. The tour is part of a German effort to commemorate the 25th anniversary of the fall of the Berlin Wall. Along the way, the boys will perform in Berkeley with the Bay Area-based and world-renowned Pacific Boychoir. Windsbacher is known for their singing of German Romantic repertoire, and will perform the music of Mendelssohn, Brahms, Bruckner, and more. Pacific Boychoir will join in a number of these pieces and also perform American folks song and spirituals.
Founded in 1946 by Hans Thamm, the Windsbach Boys Choir was brought to national and international acclaim by his successor Karl-Friedrich Beringer. In 2012, Martin Lehmann took on as conductor of the choir, and focused on creating a synthesis of musicality, precision, and purity of sound. As a result, top orchestras, such as the Deutsche Symphonie-Orchester Berlin, the Bamberger Symphoniker, and the Akademie für alte Musik Berlin love to work with the choir. Frequent invitations to important festivals, such as the Rheingau Musikfestival and the Bachwoche Ansbach, emphasize the standing the choir has acquired in the national and international music scene. The choir's ability to deliver a beautiful, uniform tone through sacred and secular texts has drawn enthusiastic audiences in prestigious German concert halls, such as Berliner Philharmonie, Festspielhaus Baden-Baden, Herkulessaal der Münchener Residenz, as well as performance spaces throughout Europe, such as Concertgebouw in Amsterdam, Tonhalle Zurich, Palau de la Musica in Barcelona and in Luzern. The choir has the unique honor of recording with Sony Classical and has released numerous recordings, including the Mozart Requiem, Bach's Christmas Oratorio, Brahms's German Requiem, and countless a cappella recordings.
For more information, visit PacificBoychoir.org
--Jonathan Hampton, Pacific Boychoir
One World Symphony Presents OperasodesSM Opener: New Girls
One World Symphony
Sung Jin Hong, Artistic Director and Conductor
One World Symphony Vocal Artists
Felipe Tristan, Flute
Sunday, October 26, 2014
Monday, October 27, 2014
Holy Apostles Church
296 Ninth Avenue at West 28th Street, Manhattan
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
Cécile Chaminade: Concertino for Flute, Op. 107
$30 Students/Seniors (available at door)
Open seating. Handicap accessible.
"Who's that girl?" Just as the award-winning hit series New Girl follows a free-spirited and a lovably quirky young woman as she struggles to make her way in the world, New Girls introduces some of opera's most vivacious divas in their own life and love endeavors. Whether they are fiesty females like Adele (Die Fledermaus) or Susanna (The Marriage of Figaro), starlit scene stealers like Musetta (La Bohème), heart-melting heroines like Mimi (La Bohème) or Contessa (Figaro), or the ultimate new girl like The Merry Widow, they all have captured our hearts as they fall in and out of love, build newfound strength, and console each other.
For more information or to purchase tickets, visit http://oneworldsymphony.org/tickets.shtml
--One World Symphony
Hopkinson Smith Performs Bach
Tuesday Nov 11, 2014 at 7:00pm
In his only New York appearance of the season, Hopkinson Smith performs his own transcriptions of J.S. Bach, Suites 1-3, BWV 1007-1009.
The Abigail Adams Smith Auditorium
417 East 61 Street (between First and York Avenues)
NYC, NY 10065
$25 seniors/students/EMA $35 general $50 prime $100 front row series supporter
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 ofThe $ensible Soundmagazine 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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