Violinist Tatiana Chulochnikova Named 2016 Jeffrey Thomas Award Recipient
American Bach Soloists is pleased to announce that violinist Tatiana Chulochnikova is the recipient of the 2016 Jeffrey Thomas Award. Splitting her time between Washington, DC, New York City, and San Francisco, Chulochnikova is a talented and enterprising artist who has performed with many of the nation's leading Baroque ensembles. Her thrilling technique and bravura style have dazzled audiences around the country and across continents.
Born in Ukraine, Chulochnikova began playing violin at the age of 7 and made her professional debut at 14 playing Bruch's violin concerto with the Kharkov Philharmonic. Around the same time, her own Trio for violin, flute, and cello was awarded Second Prize at the International Young Composers Competition in Kiev. Chulochnikova received her professional training at the Tchaikovsky College of Music and Tchaikovsky Conservatory in Moscow. She was first introduced to historically informed performance practice at the Conservatory where she quickly developed a passion for the early music repertory. Her interest in the Baroque brought her to the United States where she continued her studies under the direction of Marilyn McDonald at the Oberlin Conservatory.
She attended the 2010 ABS Academy and has performed with renowned Baroque orchestras including ABS, Tafelmusik, and Handel and Haydn Society Orchestra. In 2012 she completed her studies at the Juilliard School under Monica Huggett and Cynthia Roberts and continues to perform both as a soloist and within ensembles including Four Nations Ensemble and The Rubinstein Players. Most recently she was featured in the ABS 2014 gala "A Red Carpet Evening" where she premiered her own violin transcription of Bach's Toccata and Fugue in D Minor. This season she also is performing as concertmistress and as a soloist with the Symphony Orchestra of the Benjamin T. Rome School of Music as well as leading the Washington Bach Consort in their "Cantata Series" at the Church of the Epiphany in Washington, D.C.
Founded in 2013 to recognize and encourage young leaders within the early music community, The Jeffrey Thomas Award is given annually to a musician of unusual promise and precocious achievement. Selected by Thomas, winners are awarded a cash prize and invited to perform with ABS. Past recipients of the Award include tenor Guy Cutting (2014) and violoncellist Gretchen Claassen (2015). As the winner of the 3rd annual award, Ms. Chulochnikova will perform in ABS's 2016 season as a soloist in works by J.S. Bach.
--Jeff McMillan, American Bach Soloists
Sir Simon Rattle Appointed Music Director of the London Symphony Orchestra
The London Symphony Orchestra is delighted to announce the appointment of Sir Simon Rattle as its Music Director. He will take up his appointment in September 2017.
Rattle follows in the footsteps of a long line of illustrious Principal Conductors of the LSO including most recently Valery Gergiev (2007–15), Sir Colin Davis (1995–2006), Michael Tilson Thomas (1988–95), Claudio Abbado (1979–88) and André Previn (1968–79). As Music Director he will be involved in every aspect of the LSO's work as well as championing music and music education.
At the announcement of his appointment this morning Simon Rattle outlined his vision for universal access to music, with children and young people at its heart. He called for new standards in making world-class music available to all.
He stated: "During my work with the LSO over the last years, I noticed that despite the Orchestra's long and illustrious history, they almost never refer to it. Instead, refreshingly, they talk about the future, what can they make anew, what can they improve, how can they reach further into the community. In terms of musical excellence, it is clear that the sky's the limit, but equally important, in terms of philosophy, they constantly strive to be a twenty-first century orchestra. We share a dream in which performing, teaching and learning are indivisible, with wider dissemination of our art at its centre. I cannot imagine a better or more inspiring way to spend my next years, and feel immensely fortunate to have the LSO as my musical family and co-conspirators."
For more information, visit http://lso.co.uk/simonrattle
--London Symphony Orchestra
Australian Chamber Orchestra with Richard Tognetti, Martin Fröst: U.S. Tour April 10-26
This April, the Australian Chamber Orchestra, under the direction of Artistic Director and Lead Violin Richard Tognetti, embarks on a nine-city tour of the United States, in which they will give the U.S. premiere of Jonny Greenwood's Water in a program also including works by Haydn, Mozart, and Prokofiev. The ensemble will hit California, Georgia, Florida, Virginia, New Hampshire, Kentucky and New Jersey before their culminating concert at Carnegie's Zankel Hall on April 26. Clarinetist Martin Fröst joins the ACO in performances of Mozart's Clarinet Concerto in A Major, K. 622. Previous U.S. tours have brought the group significant acclaim, with the New York Times praising their "intensity and virtuosity" and the Wall Street Journal raving "The Australians are a remarkably talented group, and they perform with rare, often stunning, virtuosity."
The centerpiece of the ACO's touring programs, Water, was written especially for the ensemble by Radiohead's Jonny Greenwood during his residency with the orchestra in 2013. The Telegraph wrote of the UK premiere last April, "Greenwood is developing a cunning sense of form, to go with the sharp ear for harmony and texture he's always had." In addition to his work with Radiohead, Greenwood is known for his award-winning film score for There Will Be Blood and was the BBC Concert Orchestra's Composer-in-Residence in 2004. Watch Tognetti and Greenwood speak about the new piece in this video: http://youtu.be/F1iEVk6AAeM.
--Rebecca Davis, Universal Music
Cal Performances Presents The Saint Paul Chamber Orchestra For Annual Orchestra Residency
The esteemed Saint Paul Chamber Orchestra is joined by clarinet virtuoso Martin Fröst, soprano Ying Fang, and rising star conductor Benjamin Shwartz for three concerts celebrating the music of Pulitzer Prize-winning composer John Adams, as part of Cal Performances' annual orchestra residency on Friday and Saturday, March 20 and 21 at 8:00 p.m., and Sunday, March 22 at 3:00 p.m. in Hertz Hall.
A work by Adams—Shaker Loops (1978), Chamber Symphony (1992), and Son of Chamber Symphony (2007)—is featured prominently in each program, celebrating the orchestra's long association with the composer and showcasing the diversity of Adams's writing for chamber orchestra over a span of almost three decades. Fröst, recently named one of the orchestra's prestigious Artistic Partners, is featured in two works at the historic and stylistic extremes of the clarinet repertoire: Mozart's late masterpiece, the Clarinet Concerto in A, and Anders Hillborg's theatrical Peacock Tales (1998).
Residency activities with John Adams and members of the orchestra are planned on campus and in the community, including an artist talk with Adams and Cal Performances Executive and Artistic Director, Matías Tarnopolsky, on Saturday, March 21 at 6:00 p.m. in Hertz Hall. This talk is free and open to the public.
Tickets for the Saint Paul Chamber Orchestra on Friday and Saturday, March 20 and 21 at 8:00 p.m., and Sunday, March 22 at 3:00 p.m. in Hertz Hall are $72.00 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
Salon/Sanctuary Concerts Presents Prayers and Dances: Music for the German Harpsichord
Harpsichordist Giuseppe Schinaia performs sacred and secular works of Christian Ritter, Johann Pachelbel, Georg Böhm, Johann Kuhnau, and J.S. Bach.
Date and Time:
Sunday, March 22nd
The Church of the Epiphany
1393 York Avenue at 74th Street
New York City, NY 10021
$25 seniors / students
$35 general admission
Call 1 888 718-4253 or go to http://www.salonsanctuary.org
Brooklyn's AOP to Select Composers, Librettists for Two Years of Free Training
American Opera Projects (AOP) announces the return of its popular "Composers & the Voice" program for its 2015-17 seasons. Created and led by "Composers & the Voice" Artistic Director Steven Osgood, composers, librettists, and composer/librettist teams will be selected for a two-year fellowship that includes a year of working with the company's Resident Ensemble of Singers and Artistic Team followed by a year of continued promotion and development through AOP and its strategic partnerships. All sessions will be at AOP's home base in Fort Greene, Brooklyn. Applications and complete information will be available beginning March 16 at www.operaprojects.org/composers_voice.
The deadline for applications is May 15 with fellowships announced by July 1.
The primary focus of "Composers & the Voice" is to give composers and librettists experience working collaboratively with singers on writing for the voice and opera stage. The workshop sessions between September 2015 and April 2016, include composition of solo works for six voice types (coloratura soprano, lyric soprano, mezzo-soprano, tenor, baritone and bass). In addition, over 45 hours of "Skill-Building Sessions" for composers and librettists will provide an in-depth and firsthand knowledge of how singers build characters, act in scenes and sing text. These will include acting courses by director Pat Diamond (Wolf Trap, The Aspen Music Festival), improv games led by Terry Greiss (co-founder and Executive Director, Irondale Ensemble Project), and a new extended course in libretto development designed by librettist Mark Campbell (Silent Night, The Manchurian Candidate, As One).
For more information, visit www.operaprojects.org
--Matthew Gray, American Opera Projects
SESSIONS with Salamone Rossi and Nicholas McGegan
Join conductor Nic McGegan and members of the Philharmonia Baroque Orchestra and Chorale on a guided tour of music by Salamone Rossi, one of the Baroque era's only Jewish composers, as well as Rossi contemporaries including Claudio Monteverdi. Hear these works performed by musicians and vocalists from Philharmonia Baroque Orchestra and Chorale with guest scholar Francesco Spagnolo and KDFC host Hoyt Smith. SESSIONS concerts are specially designed to take you on a tour of classical music complete with multimedia, witty repartee from the stage, and dazzling performances. Best of all, no one will give you side-eye if you applaud between movements! After the concert, mingle with Nic and musicians in the atrium and enjoy complimentary wine generously donated by Boisset Family Estates.
Friday, March 27 @ 8 PM
Kanbar Hall, Jewish Community Center of San Francisco
3200 California St, San Francisco
Tickets are $25 and may be purchased at philharmonia.org/sessions
--Ben Casement-Stoll, PBO
American Symphony Orchestra's 'Opus Posthumous' - Works Found After Composers' Deaths
The surprising thing about music's most surprising discoveries is that we're not surprised more often. If the popular image of the composer neglected in his lifetime were usually true, history would be full of sudden discoveries of never-performed works by long-dead composers. In fact, says the ASO's music director Leon Botstein, most great composers were celebrated during their lifetimes, but they were also pigeon-holed. "What is more likely the case," says Botstein, "is not the discovery of an overlooked genius but the forgetting of those once justifiably famous and the recalibration of the reputation of permanently well-known composers."
This Carnegie Hall concert looks at the latter - at composers very famous for certain things, and how revelatory works discovered after their deaths shed stunning new light on their art.
Works by Schubert, Bruckner and Dvorák that were discovered after their deaths to be played by Botstein and the American Symphony Orchestra, March 26 at 8pm.
Tickets: $29 / $39 / $54 tickets and subscriptions are available at americansymphony.org and by phone at 212-868-9276. Tickets are also available at CarnegieHall.org, at the Carnegie box office, or by calling CarnegeCharge at 212-247-7800. The Conductor's Notes Q&A at 7pm in Stern Auditorium is free with concert ticket.
For more information, visit http://www.carnegiehall.org/Calendar/2015/3/26/0800/PM/American-Symphony-Orchestra/
--James Inverne, Inverne Price Music
Orion Ensemble Welcomes CYSO Quartet March 18
The Orion Ensemble, winner of the prestigious Chamber Music America/ASCAP Award for Adventurous Programming, is pleased to welcome the Chicago Youth Symphony Orchestras' Quattro Voci String Quartet for the final performance of "Jubilation," its third concert program of the 2014-15 season. The young performers join Orion as its Janet's Stage Artist Partners Wednesday, March 18 at 7:30 p.m. at PianoForte Studios, 1335 S. Michigan Ave., Chicago.
The Quattro Voci String Quartet musicians are violinist Shannon Kollasch, who lives in Naperville and is a senior at Neuqua Valley High School; violinist Isabella Spinelli, who lives in Willowbrook and is a sophomore at the Illinois Mathematics and Science Academy; violist Kayla Cabrera, who lives in Crete and is a home-schooled sophomore; and cellist Timothy Edwards, who lives in Downers Grove and is a junior at Downers Grove High School. They will perform the first movement of Mendelssohn's String Quartet, Op. 44, No. 2.
For tickets or more information, call 630-628-9591 or visit orionensemble.org
--Jill Chukerman, JAC Communications
Cleveland IPC Announces Contestants for Young Artists Competition
Twenty-nine pianists have been invited to participate in the CIPC Young Artists Competition and Institute being held at the Baldwin Wallace Conservatory of Music (Berea) and the Cleveland Museum of Art, May 12-21, 2015. The event is presented by Cleveland International Piano Competition (CIPC).
The contestants were selected from a field of more than 160 applicants from six continents. A screening jury comprised of CIPC President and CEO Pierre van der Westhuizen; Paul Schenly, Artistic Director of the CIPC and Professor of Piano at the Cleveland Institute of Music (CIM); Kathryn Brown, Head of the Piano Department at CIM; and Thomas Rosenkranz, Associate Professor of Piano at Bowling Green State University (Ohio) reviewed online applications and performance videos to make the selections.
"We saw an amazing level of skill and performance capability within the field of applicants," van der Westhuizen said. "It made for some very difficult choices, but we will have an outstanding competition in May. We're all looking forward to welcoming these young pianists to Cleveland."
Divided into two age groups, Juniors (12 to 15) and Seniors (16 to 18), the young pianists will compete over a period of 10 days for cash awards and concert appearances. Contestants who do not advance to the later rounds will be offered master classes with members of the jury and other esteemed conservatory teachers. Four evening solo piano recitals by internationally respected guest artists will offer additional learning opportunities for all participants.
All competition performances, guest artist recitals, and master classes are open to the public. Tickets and info at clevelandpiano.org
--Katharine Boone, Kirshbaum Demler & Associates
Washington National Opera Announces Its 2015-2016 Season
Washington National Opera (WNO), led by Artistic Director Francesca Zambello, today announced its 60th anniversary season, one that highlights classic, contemporary, and American works. The 2015-2016 season includes a new-to-Washington staging of Bizet's Carmen, the world premiere of a newly revised version of Appomattox by composer Philip Glass and librettist Christopher Hampton, a revival of WNO's charming holiday production of Hansel and Gretel, the company premiere of Kurt Weill's Lost in the Stars in a gripping production from Cape Town Opera, and WNO's first complete staging of Wagner's extraordinary four-part Ring Cycle, with a world-class cast under the direction of Francesca Zambello and featuring the WNO Orchestra conducted by WNO Music Director Philippe Auguin. Highlights from the 2015-2016 season will be performed by the WNO Orchestra and special guests at a free preview concert on Wednesday, May 20, 2015 at 6 p.m. as part of the Kennedy Center Millennium Stage.
"As WNO looks forward to celebrating 60 years of bringing great opera to Washington in 2015-2016, our season represents the breadth of who we are at WNO. From the classic to the contemporary, all of our upcoming productions are ambitious, challenging, and inspiring in their diversity, not to mention exhilarating and entertaining," said Ms. Zambello. "Next season is one of many firsts: our first fully staged Ring Cycle, our first Philip Glass and Kurt Weill operas, and our first time in the Eisenhower Theater in more than a decade. In addition, we will present many artists in their WNO debuts. We are excited to showcase the best of American artistry—and thrilled to welcome several international guests--so that we may offer you an outstanding season of opera and ideas that can only be experienced at the Kennedy Center."
For information and tickets, visit www.kennedy-center.org/wno
--Michael Solomon, Kennedy Center
Bach's Birthday Celebrations with American Bach Soloists
Bach's Birthday Celebration features Anthony Newman, harpsichord and organ; Joshua Romatowski, flute.
Chromatic Fantasy & Fugue
Toccata, Adagio, & Fugue in C Major
Flute Sonata in E-flat Major
and other works by Bach, Couperin, and Newman
Friday March 20 2015 8:00 p.m. - St. Mark's Lutheran Church, San Francisco
Special Event Ticket Prices $15 ~ $50
--Jeff McMillan, American Bach Soloists
Coming Up at the Green Music Center, Sonoma State University
Curtis Chamber Orchestra
MasterCard Performance Series
Sun, Mar 15 | 3pm | Weill Hall
Gil Shaham, with Original Films by David Michalek
MasterCard Performance Series
Fri, Mar 27 | 7:30pm | Weill Hall
MasterCard Performance Series
Sat, Apr 11 | 7:30pm | Weill Hall
MasterCard Performance Series
Fri, Apr 17 | 7:30pm | Weill Hall
MasterCard Performance Series
Sat, Apr 18 | 7:30pm | Weill Hall
For more information, visit http://gmc.sonoma.edu/
--Green Music Center
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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