92nd Street Y Opening Night and "Russian October" Concerts
92Y's 17-18 season opens on October 5 with internationally renowned cellist Mischa Maisky joining the "amazing precision" (Huffington Post) of the notably conductorless Orpheus Chamber Orchestra, which returns to 92Y for the first time in 15 years, to celebrate the cellist's 70th birthday season. Together, they open 92Y's illustrious concert season.
Thursday, October 5, 2017 at 8PM
92Y - Kaufmann Concert Hall, NYC
Orpheus Chamber Orchestra
Mischa Maisky, cello
Saturday, October 21, 2017 at 8 PM
92Y – Kaufmann Concert Hall, NYC
Special Event: Paco Peña, flamenco guitar
Tuesday, October 24, 2017 at 7:30 PM
92Y – Kaufmann Concert Hall, NYC
Sunday, October 29, 2017 at 3 PM
92Y – Kaufmann Concert Hall, NYC
Masters of the Keyboard
Nikolai Lugansky, piano
For complete information, visit www.92Y.org
--Hannah Goldshlack-Wolf, Kirshbaum Associates
American Classical Orchestra Presents First NY Period Performance of Mozart's Mass in C Minor
The American Classical Orchestra, "the nation's premier orchestra dedicated to period instrument performance (Vulture)," presents its first performance of Mozart's choral masterpiece, Mass in C Minor (Robert Levin edition), on Tuesday, November 7, 2017 at 8:00 p.m. at Alice Tully Hall, Lincoln Center, joined by sopranos Hélène Brunet and Clara Rottsolk, tenor Brian Giebler, bass Stephen Eddy, and the ACO Chorus, led by Music Director and ACO founder Thomas Crawford. The program also includes Cherubini's rarely performed Démophoon Overture, and Beethoven's Symphony No. 8.
Considered his finest choral work, Mozart's Mass in C Minor was left unfinished like his Requiem. American pianist-scholar Robert Levin, who also completed an edition of Mozart's Requiem that Gramophone Magazine describes as "arguably the most convincing realisation," was commissioned by Carnegie Hall to complete the Mass, which premiered there in 2006, followed by a worldwide tour. This is the first New York performance using period instruments, such as Mozart heard in his time.
New this season are concert previews with the full orchestra, led by Maestro Crawford, beginning a half hour prior to each concert. Audience members are invited to listen to musical excerpts from the concert and hear insights about the program. Concert previews are free to all ticket-holders.
Additional concerts in the ACO's 2017-18 season include a performance of CPE Bach's Magnificat and the Christmas portion of Handel's Messiah on December 4 with the ACO Chorus and soloists at St. Ignatius of Antioch Church; five Baroque concertos with violinist Stephanie Chase at Alice Tully Hall on February 8; and a program of works by Brahms, Schubert, and Ries with contralto Avery Amereau and the ACO Men's Chorus on March 24.
For more information, visit www.aconyc.org
--Katy Salomon, Morahan Arts and Media
Slavyanka Chorus Announces 2017 Festival of Russian Choral Music
Slavyanka Russian Chorus and Artistic Director Irina Shachneva today announced the second Festival of Russian Choral Music with performances on October 15, 20 and 22 throughout the San Francisco Bay Area.
Shining a light on the lesser-known choral masterworks of Russian music's "Silver Age" (late 19th and early 20th centuries), the festival will include three West Coast Premieres of works by Sergei Taneyev -- his monumental choral cantata Ioann Damaskin (John Damascus), Op. 1, and choral composition Sunrise performed by the Festival Chorus and Orchestra with Irina Schachneva conducting, and the aria from his last cantata At the Reading of the Psalm featuring the Festival Orchestra and guest conductor Eric Kujawsky, Founder & Music Director of Redwood Symphony.
Internationally acclaimed Russian countertenor Andrej Nemzer teams up with Elena Stepanova-Gurevich (soprano) and Donna Stoering (piano) for a showcase of works for voice and piano by Tchaikovsky, Taneyev and Rachmaninoff. Nine choral groups from the Bay Area and beyond will present a vast selection of Russian folk songs, and sacred music. These groups include the Festival Chorus of nearly 100 voices; Slavyanka Chorus; women's folk ensembles PAVA, KITKA, Kostroma and ISKRA; and three SF Bay Area Russian church choirs -- the choir of Church of All Russian Saints (Burlingame), Holy Virgin Cathedral Pontifical Choir (San Francisco), and the choir of St. Lawrence Orthodox Christian Church (Santa Cruz).
General admission is priced at $25 with discounted $20 tickets available for students with a valid ID. Free admission for children under the age of 12. Tickets are available for purchase through the Slavyanka Chorus website: http://www.slavyankachorus.org
--Brenden Guy, Media Relations
Concerts at Saint Thomas Presents a Pair of October 2017 Performances
Concerts at Saint Thomas will open its 2017-18 season with a pair of October performances at Saint Thomas Church, Fifth Avenue at West 53rd Street, NYC. The opening concert, Saturday, October 21 at 1:15pm, will feature award-winning carrillonneur Julie Zhu playing a carillon prelude on the twenty-six church bells that ring out over Fifth Avenue, followed immediately by Organist and Director of Music Daniel Hyde playing a program of North German and Dutch music by the precursors to J.S. Bach: Sweelinck, Scheidt, Buxtehude, Böhm, and Bruhns. The concert is part of the sixth bi-annual New York Early Music Celebration.
On Thursday, October 26 at 7:30pm, Daniel Hyde conducts The Saint Thomas Choir of Men and Boys, Orchestra of St. Luke's, and soloists Krista Bennion Feeney, Sara Cutler, Clara Rottsolk, and Adrian Timpau in Arvo Pärt's Cantus in Memoriam Benjamin Britten, John Rutter's Visions, Ralph Vaughan Williams's Five Variants of Dives and Lazarus, and Vaughan Williams's great plea for peace, Dona Nobis Pacem.
For tickets and information, visit www.SaintThomasChurch.org/music/concerts
--Andrew Ousley, Unison Media
Pianist Luca Buratto: Zankel Hall at Carnegie Hall
Italian pianist Luca Buratto, the Honens International Piano Competition's 2015 Prize Laureate, will make his New York debut at Zankel Hall at Carnegie Hall on Wednesday, October 11, 2017, at 7:30 p.m. His program features works by Adès, Janácek, Ligeti, Prokofiev and Schumann. The concert is presented by the Honens International Piano Competition.
Luca Buratto stated, "My program for Carnegie Hall juxtaposes five very different types of works—all great, each having its own perspective and expressiveness: the struggles depicted in the sonatas by Janácek and Prokofiev; music of phantoms, angels and hidden voices in the works by Adès and Ligeti; and the distinctive voice of Schumann in his Humoreske. The music of Schumann has, in fact, become almost an obsession with me. Schumann was a tender poet and a stormy romanticist; his work—passionate, intense, lyrical and revolutionary—heralded a new conception of what music could be. Performing and recording his music is always challenging and inspiring, intensely gratifying—a compelling journey into the mind and the art of my most beloved composer. I will be happy and grateful to share the works of all these composers in Zankel Hall."
For more information, visit carnegiehall.org
--Raphael Zinman, Nancy Shear Arts Services
Free K-8 Music Programs from Music Institute of Chicago
The Music Institute of Chicago will offer one free music performance or activity to every K–8 school in proximity to its campuses, located in Evanston, Downers Grove, Lake Forest, Lincolnshire, and Winnetka, IL, as well as on Chicago's Near North Side during the 2017–18 school year. Schools in these and adjacent communities can request or collaborate on performances, listen-and-learn classes, musical instrument petting zoos, band and orchestra section rehearsals, master classes, and other music education activities.
In addition, students, teachers, and parents from these schools will receive free tickets to concerts on the Music Institute's Faculty and Guest Artist Series, which take place at the historic Nichols Concert Hall, 1490 Chicago Avenue in downtown Evanston. A family-friendly concert opens the series on Saturday, September 23 at 7:30 p.m. A reception follows the performance, when all audience members are welcome to enjoy frozen treats generously provided by Andy's Frozen Custard.
For complete information, visit https://www.musicinst.org/
--Jill Chukerman, JAC Communications
Telemann 360° in Philadelphia
The Telemann 360° festival takes place 11 - 14 October. It is the largest event in the U.S. devoted to the composer in the 250th anniversary year of his death.
The musical highlights are on Friday and Saturday, Oct. 13th and 14th, with Tempesta performing programs that encompass chamber and orchestral works that span Telemann's entire career. There will also be a live talk show on Wednesday, October 11, hosted by Fred Child of Performance Today and Live from Lincoln Center, a concurrent Telemann conference hosted by Temple University, and a variety of concurrent activities, exhibits and tours.
For complete information, visit http://www.musiccointernational.com/artist.php?view=news&nid=8879
--Melanne Mueller, MusicCo International
Buy One, Get One Free Ticket for The Judas Passion
There's no better time to get tickets to see the U.S. Premiere of Sally Beamish's provocative new work The Judas Passion. Experience modern composition on period instruments and feel the power of critically-acclaimed tenor Brenden Gunnell as Judas. Reconsider the old narrative about Judas Iscariot as the anti-hero. And see Nicholas McGegan and America's leading period instrument orchestra and choir, the Philharmonia Baroque Orchestra and Chorale, in a whole new light. Buy tickets now and save 50%.
Buy one ticket and receive another ticket free!
Order online and use promocode: PBO2017
Telemann: Tafelmusik, Suite No. 1 in E minor
Beamish: The Judas Passion
Nicholas McGegan, conductor
Mary Bevan, soprano
Brenden Gunnell, tenor
Roderick WIlliams, baritone
Philharmonia Chorale, Bruce Lamott, director
Friday October 6 @ 8:00 PM
Herbst Theatre, San Francisco, CA
Saturday October 7 @ 8:00 PM
First Congregational Church, Berkeley, CA
Sunday October 8@ 4:00 PM
First Congregational Church, Berkeley, CA
For more information, visit https://philharmonia.org/1617-season/operatic-heroes/ or https://www.cityboxoffice.com/eventperformances.asp?evt=2350
--Philharmonia Baroque Orchestra & Chorale
Five Boroughs Music Festival Presents Rolston String Quartet on October 13
Five Boroughs Music Festival (5BMF) presents the Rolston String Quartet—winner of the 2016 Banff International String Quartet Competition and current Quartet-in-Residence at the Yale School of Music—on Thursday, October 13 at 7:30 p.m. at South Oxford Space in Fort Greene, Brooklyn. The quartet performs Beethoven's String Quartet Op. 18, No. 3, Debussy's String Quartet No. 10, and Schumann's String Quartet Op. 41, No. 3.
Additional concerts in Five Boroughs Music Festival's 2017-18 season include a performance of the Five Borough Songbook, Volume II on Thursday, November 16 at 7:30 p.m. at National Sawdust, completing the Songbook's borough-wide tour; the Lorelei Ensemble on Friday, February 9 at 7:30 p.m. at the Church of St. Luke in the Fields in Manhattan; a collaboration with International Contemporary Ensemble (ICE) and UpBeat NYC on Saturday, March 17 at 8:00 p.m. at Pregones Theater in the Bronx; and concerts by TENET on Friday, May 11 at 7:00 p.m. at King Manor Museum in Jamaica, Queens, and on Saturday, May 12 at 7:30 p.m. at Christ Church Riverdale in the Bronx.
For more information, visit www.5bmf.org or email firstname.lastname@example.org.
--Katlyn Morahan, Morahan Arts and Media
Augustin Hadelich Returns to San Francisco Symphony
Grammy Award-winning violinist Augustin Hadelich returns to the San Francisco Symphony on October 6, 7 and 8, 2017, performing Mendelssohn's Violin Concerto with Polish conductor Krzysztof Urbanski at Davies Symphony Hall.
Augustin made his debut with the San Francisco Symphony in 2013, performing Beethoven's Violin Concerto under the orchestra's Conductor Laureate, Herbert Blomstedt. For his return he reunites with Urbanski following a 2016 collaboration with the Los Angeles Philharmonic, in which Augustin gave a "stylish, riveting performance" of Mozart's Violin Concerto No. 5 "Turkish", according to the Los Angeles Times, continuing, "Hadelich's lean, burnished tone was supremely graceful and communicative."
For more information, visit www.augustin-hadelich.com or http://sfsymphony.org
--Melanne Mueller, MusicCo International
American Opera Projects' Season Opening Benefit
Even the Score: Women Composers @ AOP
Tuesday, Oct 3 | 6:30 PM
Upper West Side home, NYC
Join composers Laura Kaminsky (As One), Missy Mazzoli (Breaking the Waves), Nkeiru Okoye (Harriet Tubman), and Sheila Silver (A Thousand Splendid Suns) for a lively discussion of their work, careers, and the state of contemporary opera, moderated by conductor Steven Osgood (Artistic Director, Chautauqua Opera, AOP's Composers & the Voice) in support of AOP's 2017-18 season.
Evening includes live music, wine and hearty hors d'oeuvres.
Tickets: $300, seating is limited.
For further information and tickets, visit https://www.eventbrite.com/e/aop-season-opening-benefit-tickets-37742190909?utm_source=Copy+of+10-3-17+invitation&utm_campaign=Even+the+Score+reblast&utm_medium=email
--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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