Orpheus Chamber Orchestra and Violinist Vadim Gluzman at Carnegie Hall, February 4
Orpheus Chamber Orchestra presents a concert joined by Ukrainian-born Israeli violinist Vadim Gluzman on Saturday, February 4 at 7:00 p.m. in Stern Auditorium / Perelman Stage at Carnegie Hall, NYC.
Gluzman is featured in Tchaikovsky's Violin Concerto, performing on the same 1690 'ex-Leopold Auer' Stradivarius for which the iconic concerto was originally composed. While the legendary Leopold Auer performed in various concerts at Carnegie Hall, this concert marks the first time that Tchaikovsky's Violin Concerto will be performed at Carnegie Hall on this storied instrument, which is on extended loan to Mr. Gluzman through the generosity of the Stradivari Society of Chicago.
The concert additionally includes the New York premiere of Michael Hersh's end stages, inspired by the artist Kevin Tuttle's sketches that process the impacts of physical illness and mortality. Also on the program is Mendelssohn's Third Symphony, "Scottish."
The program premieres on Sunday, January 15 at 7:00 p.m. at Artis-Naples in Naples, Florida, and repeats on Monday, January 16 at 2:00 p.m. at the Kravis Center for the Performing Arts in West Palm Beach, Florida; on Thursday, January 19 at 7:30 p.m. at the Thomasville Center for the Arts in Thomasville, Georgia; on Friday, January 20 at 8:00 p.m. at The Schwartz Center for the Arts in Atlanta, Georgia; on Sunday, January 22 at 4:00 p.m. at Mechanics Hall in Worcester, Massachusetts; on Friday, February 3 at 8:00 p.m. at the Williams Center for the Arts at Lafayette College in Easton, Pennsylvania; and on Sunday, February 5 at 3:00 p.m. at The Performing Arts Center at Purchase College in Purchase, New York.
Subscriptions for Carnegie Hall concerts can be purchased by visiting orpheusnyc.org or calling (212) 896-1704. Single tickets for the Carnegie Hall performance, priced at $12.50 - $110, are available for purchase at the Carnegie Hall Box Office, at 57th and Seventh, or can be charged to major credit cards by calling CarnegieCharge at (212) 247-7800 or by visiting the Carnegie Hall Web site at carnegiehall.org.
--Katlyn Morahan, Morahan Artists and Media
Joana Carneiro Withdraws from Jan. 26 Berkeley Symphony Concert
Berkeley Symphony announced that Music Director Joana Carneiro has withdrawn from the Berkeley Symphony concert on Thursday, January 26 at 8 pm at Zellerbach Hall. Carneiro is pregnant and is under doctor's advice not to conduct or travel. The concert will be conducted by Christian Reif. The Orchestra will perform the Bay Area premiere of Mason Bates's Cello Concerto with Joshua Roman, to whom the work is dedicated, and Beethoven's Symphony No. 4.
Well-established as a presenter of major contemporary orchestral works, Berkeley Symphony continues its steadfast commitment to presenting original and unique programs with new music commissioned by living composers, many of whom have developed an ongoing creative and collaborative relationship with the Symphony. In addition to the December U.S. premiere performance of Sir James MacMillan's Symphony No. 4, and the Bates Cello Concerto, the Orchestra also performs Shostakovich's epic Symphony No. 13, "Babi Yar", with bass Denis Sedov and alumni of choruses including the UC Berkeley Chamber Chorus, the Pacific Boychoir Academy, and members of the St. John of San Francisco Russian Orthodox Chorale, led by Marika Kuzma. Since its 1979-80 season, Berkeley Symphony has performed 65 world premieres, 28 U.S. premieres, and 21 West Coast premieres.
In recognition of its leadership in commissioning and creating new music, the Orchestra has received the prestigious ASCAP Adventurous Programming Award in 10 of the past 13 seasons. In December, Berkeley Symphony and composer Anna Clyne were awarded a three-year Music Alive grant for a composer residency, one of only five U.S. orchestra-composer pairings selected by New Music USA and the League of American Orchestras for the honor. The residency is designed to involve Clyne in a far-reaching, immersive collaboration with Berkeley Symphony, involving the creation of new work, collaboration with other Berkeley arts institutions, music education, community outreach and multidisciplinary activities.
Tickets for the Berkeley Symphony concert January 26 are priced at $15 to $74 and are available by phone at (510) 841-2800, ext. 1or at www.berkeleysymphony.org.
--Jean Catino Shirk, Shirk Media
DCINY Celebrates President's Day Weekend on Feb. 19th at Carnegie Hall
On February 19, 2017 at 1PM, Distinguished Concerts International New York (DCINY) will present 'The Glory of Freedom' at Carnegie Hall's Stern Auditorium/Perelman Stage coinciding with President's Day Weekend. Guest Conductor Lee Nelson will conduct Randall Thompson's The Testament of Freedom in honor of President's Day. Featured performers include the West Point Alumni Glee Club, an ensemble consisting of retired West Point graduates.
The Testament of Freedom was written to celebrate the bicentennial of the birth of Thomas Jefferson and to acknowledge his role in founding the University of Virginia. Since then, the work's dramatically soaring, hymn-like melodies and compelling harmonic structure set atop the Founding Father's stirring prose has made it a staple of the male chorus repertoire. Its premiere was 71 years ago at Carnegie Hall, on April 14, 1945 as part of a concert in memory of Franklin D. Roosevelt, who had died two days earlier, making it all the more appropriate to have the work performed on President's Day Weekend so many decades later.
Dr. James Mick, director of the Rochester Philharmonic Youth Orchestra, will lead a program including works by Wagner, Mahler, Marquez and others. Additionally, Erin Freeman makes her DCINY conductor debut as she leads the Distinguished Concerts Orchestra and Distinguished Concerts Singers International in a performance of Poulenc's Gloria.
Tickets Start at $20
Box Office: 57th Street and Seventh Avenue, NYC
More information about the concert: http://www.dciny.org/concerts/256118-2/
--Ely Moskowitz, Unison Media
Green Music Center: Garrison Keillor, Emanuel Ax, and More
Emanuel Ax, piano
Friday, January 20, 7:30 pm, Weill Hall
Sony Classical exclusive recording artist, Emanuel Ax is a pianist of exceptional faculty both in technique and musical feel. The San Francisco Chronicle puts it well, stating, "One of Ax's great strengths as a performer, in fact, is his ability to blend tenderness and muscle in a single amalgam."
Musical Insights: Pre-Concert Lectures
$5 - Glass of wine included
Join us one hour prior to curtain for a pre-concert lecture in Privé presented by Dr. John Palmer, Associate Professor of Music History, SSU.
An Evening with Garrison Keillor
Saturday, January 21, 7:30 pm, Weill Hall
Celebrating his final season as the host for A Prairie Home Companion, Garrison Keillor shares hilarious anecdotes about growing up in the American Midwest, the people of Lake Wobegon and "late-life fatherhood." With a wonderful, dry sense of humor, Keillor captivates audiences using his unique blend of comedy, class, charisma, wisdom and music.
For more information, visit http://gmc.sonoma.edu/
--Green Music Center, Sonoma State University
One World Symphony
One World Symphony Vocal Artists
Sung Jin Hong, Artistic Director and Conductor
Ludwig van Beethoven: from Symphony No. 7 (1813)
Margaret Allison Bonds: The Negro Speaks of Rivers (1942)
Valerie Capers: "Winter," Song of the Seasons (1987)*
Rob Adler: Taqsim, 2017 (world premiere)*
Michael Mandrin: Sürgün (Exile, 2017 world premiere)*
Meditation on a poem by Bejan Matur
Charlie Chaplin: from The Great Dictator (1940)
(2017, world premiere for symphony by Sung Jin Hong)*
Michelle Obama: Shaken Me to My Core
(2017, world premiere for symphony and vocalists by Sung Jin Hong)*
Also featuring members from the Ramakrishna-Vivekananda Center of New York sharing the traditional Sanskrit song, Mahishasura Mardini
Sunday, January 22, 2017
Church of the Holy Apostles
296 Ninth Avenue at 28th Street
All Tickets: $20
For more information, visit http://www.oneworldsymphony.org/index.shtml
--Adrienna Metzinger, One World Symphony
American Bach Soloists: Berkeley Concerts Moved
As you may know, our Berkeley, California home, First Congregational Church, suffered extensive fire damage last fall and the groups who use the facility to perform concerts have been looking for temporary homes for the 2017 season. Many people, including the staff of First Congregational, had hoped to be back in the facilities by now, but that is not the case. So, for the 2017 winter and spring season, American Bach Soloists have moved their performances across the street to First Presbyterian Church (2407 Dana Street, Berkeley, CA). We have every hope that we will return to First Congregational in 2018.
We are grateful to First Presbyterian Church for opening their doors to us, we are especially supportive of the congregation and staff of First Congregational Church during this difficult period, and we are grateful to you for your understanding in this endeavor.
For more information about American Bach Soloists, visit http://americanbach.org/
--American Bach Soloists
"Summer Past and Future": Collage New Music
On Sunday, January 15, 2017, the Grammy nominated, Boston-based ensemble, College New Music will perform the second program of its 45th season. The evening will feature three Boston premieres and long-time, local favorite, soprano Janet Brown, who sings two works, Daniel Strong Godfrey's Juliet at her Window, an endearing expression of Juliet's lonely pathos, and Marjorie Merryman's Elegiac Songs, eloquent settings of two Louise Glück poems, songs she composed in memory of her husband, composer Edward Cohen. At the heart of the concert is the intricate and undoubtedly heady The Nick of Time, one of the last works of Boston's Seymour Shifrin. Two reflections on Stravinsky's Rite of Spring frame this bountiful program-Gordon Beeferman's muscular Rites of Summer and Carl Schimmel's optimistic rite. apotheosis.
The concert will be held at the Edward M. Pickman Concert Hall at the Longy School of Music of Bard College, at 8pm. It includes a 7pm conversation about the program with composers and music director David Hoose, and a post-concert reception for audience and musicians. Individual tickets and season subscriptions can be purchased through the group's Web site. Student and senior discounts are available: http://www.collagenewmusic.org/tickets/
--Lisa Helfer Elghazi, Celesta Marketing and PR
Free Lecture Demonstration: Medieval Music in the Vatican Library
A Lecture/Demonstration with Corina Marti of the Schola Cantorum Basiliensis; Corina Marti, recorders and clavisymbalum.
Corina Marti, multi-instrumentalist, faculty member of Schola Cantorum Basiliensis and co-Artistic Director of Ensemble La Morra, opens a window onto the seldom viewed musical holdings of the Vatican Library, including selections to be performed in the January 12th concert, "Of Meistersingers and Mizmorim," with musical demonstrations on the double flute, recorder, and clavisymbalum.
Wedneday, January 11th, 6:00pm
The Auditorium of NYU Casa Italiana Zerilli-Marimò
24 West 12th Street between 5th and 6th Avenues, NYC
For more information, visit https://www.showclix.com/event/Mizmorim
PBO News: Who Was Adalbert Gyrowetz?
This month, Philharmonia Baroque Orchestra will perform works by Haydn, Mozart and....Gyrowetz. If you've never heard of him, don't feel too bad. You're not alone.
Adalbert Gyrowetz was a contemporary of Haydn and Mozart and knew them both personally. He composed over 170 works of music during his lifetime. Much of it was influenced by his pals but none of it seemed to live past the Classical era itself.
Joseph Haydn is universally recognized for creating the symphonic form. You can clearly hear Haydn's influence on Gyrowetz's Symphony Op. 6 No. 3. PBO will perform this piece, as well as Haydn's Symphony No. 91. As we all know, Nicholas McGegan understands and intreprets Haydn exceptionally well. So how will it sound when Nic interprets Gyrowetz too? It will be fun to find out.
At his peak, Gyrowetz rubbed elbows with great composers, high society and even royalty but he will never be a household name. Bruce Lamott digs deeper into this "Zelig" of music history in his intriguing new blog article.
While we can't make him a household name, PBO is proud to give Adalbert Gyrowetz his due when Nic and the Orchestra perform his work this January 25-29. If you don't already have tickets, don't miss this rare chance to hear the work of this nearly-forgotten composer. We'll throw in some great works by his pals Haydn and Mozart while we're at it, too.
For more information, visit https://philharmonia.org/1617-season/haydn-mozart/
Next at American Opera Projects: Before the Night Sky and Rated R for Rat
Friday, January 13 | 8:00 PM
The Town Hall
123 West 43rd Street
(between 6th Ave and Broadway)
New York, NY 10036
Experience the cutting edge of opera with OPERA America's New Opera Showcase, an evening of orchestral readings of new and recently premiered operas including current AOP operas-in-development Before the Night Sky by composer Randall Eng and librettist Donna Di Novelli, and Rated R for Rat by composer/librettist Wang Jie.
For more information, visit http://operaamerica.org/
--American Opera Projects
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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