Orion Opens 25th Season with Schubert's Trout Quintet, Mozart, Prokofiev
Friends," welcoming three guest artists who have joined them in previous seasons: violist Stephen Boe, oboist Alex Klein and bass player Robert Kassinger.
For these concerts, Orion revives two works the ensemble performed with Klein in 2002. Mozart composed his Quartet in A Major for oboe, violin, viola and cello, K. 370/368b, for Friedrich Ramm (1744-1813), a brilliant oboist whose artistic connections Mozart was anxious to renew. Hailed as a concerto within the intimate genre of chamber music, the piece's towering first movement leads to the heart-rending Adagio, one of Mozart's finest. The concluding Rondeau is famous for the ingenious passage in which the oboe plays in common time against the energetic 6/8 accompaniment.
Prokofiev's Quintet in G minor for oboe, clarinet, violin, viola and bass, the second piece Orion and Klein performed together previously, is a wonderfully imaginative work with colorful scoring that accentuates the composer at his original best. While Prokofiev was visiting Paris in 1924, a traveling dance company commissioned him to write a chamber ballet. As there were only five players to accompany the dancers, Prokofiev created a quintet of wondrous beauty using the instruments available to him.
Thaddaus von Durnitz, a talented amateur bassoonist, commissioned Mozart's delightfully charming Sonata in B-flat Major, here adapted for bass, oboe and cello, K. 292/196c, in 1775. The piece offers each musician opportunities for highly lyrical expression.
In 1819, the 22-year-old Schubert was on vacation in the mountains. Relaxing in the most congenial of surroundings, he met Sylvester Paumgartner, a wealthy amateur cellist. Paumgartner commissioned Schubert to compose a work for his group, which consisted of piano, violin, viola, cello and double bass, and the result was the famous "Trout" Quintet in A Major. The work takes its name from the fourth movement's theme and variations, which use the melody from Schubert's earlier art song "Die Forelle" (The Trout). The wavering ascending accompaniment accentuates the irresistible straightforwardness of the melody.
The concert program takes place Sunday, September 24 at 7 p.m. at First Baptist Church of Geneva-Chapelstreet Church, 2300 South Street in Geneva; Wednesday, September 27 at 7:30 p.m. at the PianoForte Studios, 1335 S. Michigan Avenue in Chicago; and Sunday, October 1 at 7:30 p.m. at Music Institute of Chicago's Nichols Concert Hall, 1490 Chicago Avenue in Evanston, IL. 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, The Orion Ensemble
Kenneth Woods and English Symphony Orchestra Announce 2017-18 Season
Kenneth Woods embarks on his fifth season as Principal Conductor and Artistic Director of the English Symphony Orchestra (ESO), building on a fruitful conductor-orchestra partnership that continues to go from strength to strength. The 2017-18 season reflects Woods' wide-ranging talents, including Classical and Romantic perennials, popular evergreens, commissions and world-premieres, and multi-media presentations.
With decades-old roots established throughout the Midlands, Woods and the ESO continue to cultivate their associations throughout Elgar Country and the surrounding region with an increased number of performances in over a half dozen venues. Further afield, Woods and the ESO return to two cherished London venues and debut in Bristol. Outside of the traditional concert hall, the ESO continues its valuable work with young musicians through its Orchestra Courses, and performances for the elderly in care homes and hospices.
The 2017-18 season marks the ESO's second as Orchestra-in-Residence of Worcester Live, the city's leading live events presenter. Four performances in Worcester's premiere venues Huntingdon Hall and the Swan Theatre range from family-friendly events to world-premieres and unique theatrical stagings.
The Worcestershire-based English Symphony Orchestra, the "International Orchestra of Elgar Country," is an ensemble that has become synonymous with artistic excellence, innovative and visionary programming, distinctive commissioning, ground-breaking recording, a welcoming and immersive concert experience, transformative youth programmes and service to the community.
With the appointment of Kenneth Woods as Principal Conductor and Artistic Director in 2013, the orchestra has become a major force in British musical life.
The season gets under way on 26 August 2017, the season running through May 2018. For complete concert information, please visit www.eso.co.uk.
--Melanne Mueller, MusicCo International
A New Opera in the American Museum of Natural History's Hall of Saurischian Dinosaurs
On Site Opera will present the World Premiere of Rhoda and the Fossil Hunt, a new opera by John Musto with libretto by Eric Einhorn, at the American Museum of Natural History's Hall of Saurischian Dinosaurs this Fall. Performances of the family-friendly opera - which will run approximately 20 minutes - will be free with museum admission, and will take place September 23, 24, 29, 30, October 1, 6, 7, 8, 13, 14, 15 (Fridays at 11:30am; Saturdays and Sundays at 12:00 & 2:30).
Rhoda and the Fossil Hunt is based on the real-life experiences of Rhoda Knight Kalt (soprano Jennifer Zetlan) and her trips to the American Museum of Natural History (AMNH) with her grandfather Charles R. Knight (baritone Robert Orth), the famous naturalist artist who was commissioned by Dr. Henry Fairfield Osborn (tenor Patrick Cook), paleontologist and president of the AMNH, to create paintings and sculptures of prehistoric creatures – many still on display at the AMNH today. During the performances, audiences will join Rhoda as she goes on a hunt for missing fossils around the hall, while learning about the interconnectedness of creativity and science.
Dates & Location:
Sept 23, 24, 29, 30
Oct 1, 6, 7, 8, 13, 14, 15
*Fridays at 11:30am; Saturdays and Sundays at 12:00 & 2:30.*
Central Park West & 79th St, New York, NY 10024
For information, visit http://osopera.org/
--Andrew Ousley, Unison Media
LA Master Chorale Tickets on Sale
Single tickets for the Los Angeles Master Chorale's 2017/18 season are now on sale. The season opens on September 23 and continues through to June 2018 in Walt Disney Concert Hall with nine concert programs presented over this time.
Tickets start at $29 and are available to purchase online from lamasterchorale.org, by phone from 213-972-7282, or in person from the box office at the Dorothy Chandler Pavilion at The Music Center, of which the Master Chorale is a resident company. It will be the Los Angeles Master Chorale's 54th concert season and Grant Gershon's 17th season as the Kiki and David Gindler Artistic Director.
The new season includes the solo Disney Hall conducting debut of Jenny Wong whose title has been elevated from Assistant Conductor to Associate Conductor. Wong will conduct the December 10 concert of Bach's six motets.
Tickets and information for all concerts are available now:
Tickets can also be purchased in-person at the Dorothy Chandler Pavilion Box Office Monday – Saturday, 10 AM – 6 PM.
--Jennifer Scott, LA Master Chorale
Green Music Center 2017–18 Season – Single Ticket Announcement
Nestled in the picturesque foothills of Northern California's esteemed wine country, the Green Music Center (GMC) is a focal point for arts in the Northern San Francisco Bay Area, presenting year-round programming of premiere classical, contemporary, jazz, chamber, and world music artists in concert. The GMC campus includes the 1,400-seat Weill Hall, the intimate 240-seat Schroeder Hall, as well as the highly unique summertime concert-going experience of Weill Hall + Lawn.
Green Music Center, Sonoma State University, 1801 East Cotati Avenue, Rohnert Part, CA 94928. Phone 1.866.955.6040.
For a complete listing of all of the season's offerings, visit http://gmc.sonoma.edu/events-by-presenter
--Green Music Center
River Oaks Chamber Orchestra Announces Its 2017-18 Season
ROCO (also known as The River Oaks Chamber Orchestra) of Houston, Texas is excited to announce its 2017–18 season, themed "Cultivate Curiosity." Featuring a staggering nine world premiere commissions (to add to their already-impressive 58) inspired by everything from JFK and nursery rhymes, to punk rock and Disney, the inventive programming also includes concerts that pair chocolates with strings, beer with brass, and lullabies with epitaphs.
Spread out across 16 different venues, ROCO performances will take audiences trick or treating at Houston's Heritage Society (with a musical performer in each historical building), celebrate the Day of the Dead in a gallery surrounded by retablos and altars, and honor the local philanthropists the Mastersons at their magnificent home Rienzi, which they donated to the Museum of Fine Arts, Houston.
Alecia Lawyer, ROCO's founder, artistic director and principal oboist, said of the season: "In our 13th season, ROCO celebrates all the ways that we embrace innovation, and we encourage audiences at home and in the concert hall to dig deeper into what links their personal experiences to the musicians and the music that brings us together."
ROCO's In Concert series, which features the full 40-person orchestra and live videostreamed performances, kicks off September 22 & 23.
For complete information, visit http://rocohouston.org/
--Andrew Ousley, Unison Media
The Making of The Judas Passion
Philharmonia Baroque Orchestra is making history with the Orchestra of the Age of Enlightenment (OAE) in London. Never before have two of the world's greatest period-instrument orchestras commissioned a new work together, and in October, you'll experience the U.S. premieres in the San Francisco Bay Area.
Sitting across the kitchen table a few years ago, Nicholas McGegan and composer and friend Sally Beamish (his neighbor in Scotland) talked about creating a new work for period instruments. Sally was fascinated by the story of Judas Iscariot and sought to create a work that would present Judas in a new light. Sally joined forces with librettist David Harsent to bring Judas to life and now The Judas Passion is ready for its world premieres in the United Kingdom.
The UK performances will take place on Sunday, September 24 at Saffron Hall in Essex and on Monday, September 25 at St. John's Smith Square in London. These performances are accompanied by All Words of Forgiveness, a literary project exploring the role of forgiveness in contemporary society. If you're in London in September, let us know since PBO Executive Director Courtney Beck will be there.
For more information, visit http://www.oae.co.uk/category/whats-on/
Following the performances in London and Essex, Nic will conduct the American premieres of The Judas Passion with PBO in October, featuring the same world class cast from the UK.
For more information, visit https://philharmonia.org/2017-2018-season/the-judas-passion/
--Marketing, Philharmonia Baroque
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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