ICE Performs Summer Events in NYC Presented by Lincoln Center
On Friday, July 28 at 7pm, ICE will perform Heart of Tones: A Tribute to Pauline Oliveros, a free Lincoln Center "Out of Doors" concert honoring the memory and legacy of long-time ICE mentor Pauline Oliveros.
Part of Lincoln Center's "Mostly Mozart Festival," ICE performs another free concert, "Schubertiade Remix," at the David Rubenstein Atrium on Monday, August 7, 2017 at 7:30pm. In the festive spirit of Schubert's famous musical soirées, artists from New York's eclectic music scene will present an evening of radical contemporary responses to Schubert's songs.
In two highly anticipated "Mostly Mozart" performances on Saturday, August 12 at 7:30pm and Sunday, August 13 at 5pm, ICE performs Netia Jones's "enthralling" (The Daily Telegraph) theatrical production of Hans Zender's adaptation of Schubert's Winterreise, The Dark Mirror: Zender's Winterreise, at the Rose Theater at Jazz at Lincoln Center. ICE will be joined by tenor Ian Bostridge -- one of today's foremost interpreters of Winterreise -- and conductor Baldur Brönnimann in his "Mostly Mozart" Festival debut to bring Schubert's poignant song cycle about lost love to life through the contemporary orchestrations and Jones' stunning monochrome imagery.
ICE's final "Mostly Mozart" concert of the summer is How Forests Think, a contemporary interpretation of the temple of nature in which Schubert and his fellow Romantics worshipped, on Monday, August 14, 2017 at 7:30pm at Merkin Concert Hall.
For complete information, visit https://iceorg.org/
--Katy Salomon, Morahan Arts and Media
Szymon Laks, a Pole Apart: The Remarkable Music of Auschwitz Survivor Szymon Laks
Born into an assimilated Jewish family in 1901, Laks left his native Warsaw and settled in Paris in the early 1920s. He soon established himself as a versatile pianist and violinist and, by the the end of the decade, a published composer. When he was deported to Auschwitz Birkenau in the summer of 1942, these musical gifts, a fluency in six languages and an intuitive resourcefulness served him well. Shortly after his arrival, a chance game of bridge introduced Laks to a barracks Kapo who arranged his transfer to the violin section of the camp orchestra. This led to work as a copyist and arranger, and finally to the position of conductor. His extraordinary story and his survival is recounted in his memoir Music of Another World, published shortly after the war.
Laks's view of music as powerless to effect change and irrelevant to the quality of prisoners' lives, capsizes assumptions that credit music with an intrinsic goodness or redemptive power, and this is something that many continue to find troubling. Laks did little to promote his music after the war and his survival left him depressed and reclusive; he stopped composing in the late 1960s and devoted himself entirely to translating and literary work. He died in Paris in 1986.
Laks's music has had to wait over three decades for the beginnings of a revival. It is an extraordinary irony that as a survivor his works were marginalized, whereas those of his murdered colleagues are regularly performed on memorial programs. Laks's music is witty, elegant, beautifully crafted and full of rhythmic energy, and this is clearly evidenced by the ARC Ensemble's third recording in its series devoted to composers who were forced into exile by National Socialism. But Laks's music tells us very little of the composer's wartime experience, or the pressure that ultimately drove him from composition.
For more information, visit https://www.gramophone.co.uk/blog/gramophone-guest-blog/szymon-laks
-- Simon Wynberg, Artistic Director, ARC Ensemble
Tuomas Hiltunen Named General Director of Fort Worth Opera
Fort Worth Opera (FWOpera) today announced Tuomas Hiltunen as its new General Director. Joe Illick, currently the company's Music Director, has been named as Artistic Director. Hiltunen joins the Fort Worth Opera from the international Barenboim-Said Foundation where he most recently served as Director of Administration and Management. In this position, Hiltunen was instrumental in significantly growing the Foundation's endowment, advancing its brand, and developing and executing its business plans and strategies.
Born and educated in Finland, Hiltunen began his formal theater training at the Guildhall School of Music and Drama in London and was awarded a Fulbright Scholarship to study at Columbia University. In the following years, he became a lecturer at Barnard College and joined Columbia University as the Director of the Finnish Studies Program where he taught Finnish language and culture courses. As a performer, Hiltunen has worked extensively in theater, opera, concerts, television, and film in Finland, England, and the United States. He has performed at the Metropolitan Opera with James Levine, Carnegie Hall with Hannu Lintu, New Jersey Symphony Orchestra with Neeme Järvi, and the New York Philharmonic with Joshua Gersen. He also appeared in the 2009 film Confessions of a Shopaholic starring Isla Fisher.
"I am honored to be part of the Fort Worth community and Fort Worth Opera. I would like to thank the association for giving me a chance to lead this fine organization in its mission toward excellence," said Hiltunen. "I am looking forward to sharing thrilling experiences of music and theater with the broader Fort Worth community, and to bringing in new and expanded audiences to share our passion for this ever-changing art form."
--Ryan Lathan, FW Opera
Call for Scores - Piano/Violin Works, Chamber Orchestra, and Choral Works
1. Piano, violin, and violin/piano duo works:San Francisco US, Prague CZ.
PARMA is now accepting score submissions for a new compilation of works for solo piano, two pianos, solo violin, and violin/piano duo. Sessions will be held in San Francisco US and Prague CZ with pianist Karolina Rojahn, violinist Vít Mužík, and pianist Lukáš Klánský. There is also the possibility of live performance of recorded works pending performer approval.
The compilation will include up to 60 minutes of music, we encourage submissions of pieces between 5-12 minutes in duration. Deadline for submissions is August 7, 2017. Please inquire regarding possibility of remote recording/rehearsal/performance via ISDN line.
2. Chamber orchestra: Chicago US, Zagreb HR.
PARMA is now accepting score submissions for a new compilation of works for chamber orchestra. Sessions in Chicago US will feature the Chicago Arts Orchestra under the baton of Javier Mendoza and sessions in Zagreb HR will feature the Croatian Chamber Orchestra under the baton of Miran Vaupotic. The album will include up to 50-60 minutes of music. Deadline for submissions is August 7, 2017.
3. Choral works – Philadelphia US, Prague CZ
PARMA is now accepting score submissions for a new compilation of choral works. Sessions in Philadelphia US will feature The Crossing, conducted by Donald Nally, and sessions in Prague CZ will feature the Prague Mixed Choir, conducted by Jirí Petrdlík. The album will include up to 50-60 minutes of music. Deadline for submissions is August 7, 2017.
Click here to submit your score: firstname.lastname@example.org
Click here to learn more about PARMA Recordings: http://www.parmarecordings.com/index.html
Arsht Center Debut with Miami Wagner Institute
For the first time in 30 years, the Miami Music Festival brings to life Wagner's Die Walküre, the composer's grand musical drama from the Ring Cycle. The Grammy Award-winning soprano Christine Brewer joins bass-baritone Alan Held – hailed as "one of opera's finest singing actors" with the Institute's extraordinary young professional artists, the 100 musicians of the MMF Symphony Orchestra, and conductor Michael Rossi in a staged performance at the Adrienne Arsht Knight Concert Hall.
Michael Rossi - Artistic Director Conductor
David Toulson - Director
Christine Brewer -Brünnhilde
Alan Held - Wotan
--Miami Music Festival
Today's Musical Anniversary
Three hundred years ago by the calendar, George Frideric Handel's inimitable "Water Music" was heard by hundreds of Londoners for the first time. Join the "ace baroque instrumentalists" (Opera News) of American Bach Soloists at our 2017 FESTIVAL & ACADEMY to celebrate the 300th anniversary of that legendary performance for King George I during an evening on the River Thames.
The 2017 Festival features Concerts that extol the Masterful Achievements of London's most Celebrated Baroque Composers. Annual performances of Bach's towering Mass in B Minor and a special program titled "Bach & Sons" complete the lineup of performances.
St. Mark's Lutheran Church • 1111 O'Farrell Street, San Francisco, CA
Friday, August 4, 2017 - 8:00 P.M.
Saturday, August 5, 2017 - 8 P.M.
For tickets and further festival information, visit http://americanbach.org/sfbachfestival/Programs.html
--American Bach Soloists
Tchaikovsky's Eugene Onegin Comes to PBS's "Great Performances"
Anna Netrebko reprises one of her most acclaimed roles as Tatiana, the naïve heroine of Tchaikovsky's opera, adapted from Pushkin's classic verse novel. Peter Mattei stars as the title character, who rejects Tatiana's love until it's too late.
Eugene Onegin airs on "Great Performances at the Met" Sunday, August 13 at 12 p.m. on PBS.
For more information, visit www.pbs.org/gperf
--Harry Forbes, WNET
The Wallis Extends Hershey Felder's "Our Great Tchaikovsky"
The Wallis Annenberg Center for the Performing Arts announced today the extension of the Los Angeles premiere engagement of actor and pianist Hershey Felder's "Our Great Tchaikovsky," which now runs through the closing matinee performance on Sunday, August 13 at 2pm. Directed by Felder collaborator Trevor Hay, Hershey Felder's "Our Great Tchaikovsky" is a time-bending tale of music, politics and one of the world's most beloved composers.
Single tickets are now available for $35-$100 at TheWallis.org/Felder. For more information or to purchase tickets, visit TheWallis.org, call 310.746.4000, or stop by in person at the Wallis Annenberg Center for the Performing Arts Ticket Services located at 9390 N. Santa Monica Blvd., Beverly Hills, CA 90210. Ticket prices subject to change.
--Sarah Jarvis, The Wallis
Composer/Librettist Fellowships Awarded for Two-Year Opera Training
AOP (American Opera Projects) and Composers & the Voice Artistic Director Steven Osgood have selected six composers and three librettists to receive fellowships for its upcoming ninth season of Composers & the Voice. The 2017-2019 season will train, and present new works from, composers Matthew Browne, Scott Ordway, Frances Pollock, Pamela Stein Lynde, Liliya Ugay, and Amber Vistein and librettists Laura Barati, Kim Davies, and Sokunthary Svay. The primary focus of Composers & the Voice is to give emerging composers and librettists experience working collaboratively with singers on writing for the voice and contemporary opera stage.
"The philosophy of Composers & the Voice since its beginning has been that by immersing composers and librettists in hands-on work with skilled singers and music directors, we empower them to create groundbreaking works that are true to each of their artistic languages," says Osgood. "Composers rarely have the opportunity to work with opera singers during their training, and C&V was designed to address this void. I could not be prouder of the commissions and premieres that have flowed from the alumni of C&V."
--Matt Gray, 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 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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