Posts Tagged ‘San Diego Classical Music’

Brilliant Strings and Pianos at La Jolla Music Society’s SummerFest 2017

Tuesday, August 8th, 2017

The La Jolla Music Society‘s SummerFest is underway with another exciting season of chamber music and world class performers, this year with a theme of pianos and strings.

Saturday night brought a perfect example of the beauty and soulfulness of La Jolla’s annual music festival, featuring leading musicians from around the world.

Olga

Olga Kern

First there was the amazingly brilliant pianist Olga Kern delighting with three prelude pieces by Rachmaninoff, two  studies by Scriabin and Mily Balakirev’s “Islamey.”  All six pieces, very difficult, were performed from memory by Kern. Then the pianist joined the dynamic soprano, Lybubov Petrova in “Gypsy Songs” from Dvorak.
Petrova

Lyubov Petrova

Taking the evening to an even higher crescendo, the magnificent duo of Christina and Michelle Naughton thrilled the audience with their renditions of a lovely Chopin rondo for two pianos, followed by “Variations on Theme of Paganini for Two Pianos.”

Naughton Pianists

Christina and Michelle Naughton

After a short intermission the evening’s additional highlight was a piano quintet by Dvorak presented by the Miro Quartet and accompanying pianist Inon Barnatan.

Miro Quartet

Miro Quartet

Tickets are still available for the remaining 14 events in the festival at the website of the La Jolla Music Society at www.ljms.org.

Of particular interest are forthcoming violin sonatas by Beethoven, presented over three nights as well as in a free afternoon program. The first of these four Beethoven sonata concerts, on Tuesday, Aug. 15, will feature festival director Cho-Liang “Jimmy” Lin, the Rice University professor whose violin mastery is always loved by Summerfest audiences.

Jimmy

Cho-Liang Lin

A concert goer on Saturday night would have been dazzled by the piano artistry of the glamorous Kern and the beautiful identical Naughton twins. There were repeated gasps in the audience as these women, joined in one number by world class soprano Petrova, came to the stage at the Conrad Prebys Concert Hall at UC San Diego. The sheer beauty of these performers was soon overtaken by appreciation of their fingers, hands and voice.

Then, in a dramatic aesthetic change, in the second half of the Saturday program, came the Miro Quartet accompanied at the piano by the spectacular Barnaton.  The quartet has been together since 1995 and their 38-minute rendition of Dvorak’s piano quintet in a major was chamber music at its finest.  Part of the drama for the audience was seeing these five compelling men honoring Dvorak, after seeing the beautiful women, also with highest skills, in the concert’s first half.

Festival director Jimmy Lin, seated in the audience, could hardly contain his joy and appreciation at his own creation, having brought these colorful and deeply skilled performers to Summerfest. The Dvorak quintet showed off the work of the then 46-year-old composer, who in 1887 wrote this work featuring not only the tradition of classical Viennese forms (Dvorak was a friend and admirer of Brahms, for example) but also employing the passion of his Czech nationalism.  The result of this performance brought the SummerFest audience to their feet, for a well-deserved standing ovation.

Along with the concertizing, SummerFest offers many free encounters and rehearsals.  Substantially enhancing each concert are free  ticket-holder “preludes,” mostly talks presented by the irreplaceable Eric Bromberger, who writes the SummerFest program notes.

Saturday evening, Bromberger interviewed the Naughton twins, which proved to be an evening highlight. (One could learn, for example, that the twins were born in Princeton, NJ, with Chinese and European parents, but their amazing synergism was also on display in this prelude talk.)  If at all possible, these pre-concert prelude events should not be missed by patrons.

This was an evening of amazing hands, passion, beauty and  soulfulness. Asked where is the soul, a reviewer of Summerfest performances had a ready answer: “The soul is where love and joy reside,” filling one with appreciation of what can be found this summer in La Jolla.

La Jolla SummerFest Begins With Compelling “Viennese Masters”

Sunday, August 9th, 2015

by Barry Jagoda

One of the highlights of many Saturday afternoons years ago in my former residence city of Washington, DC, was the monthly chamber music concerts performed in the high-ceiling home of a dear friend, a musical connoisseur.  I thought of those dreamy days while enjoying the magic, Saturday night, August 8,  featuring music from Beethoven, Schubert and Brahms during the opening weekend of this year’s La Jolla Music Society’s SummerFest.

We rejoiced back then in DC of having the inspiration of a trio, or perhaps a string quartet, providing an hour of beautiful music.  But now a SummerFest patron could bath in not only a flautist and two string players presenting a delicious early  serenade written by a young (and already highly accomplished) Beethoven, a perfectly harmonious Schubert string quartet and, finally, six fine players passionately driving a Brahms composition, lead by SummerFest director, the great violinist Cho-Liang Lin.

 

Cho-Liang Lin

 

 

This wonderful summer music festival annually brings to the fortunate attendee, who helps fill the auditorium at the San Diego Contemporary Art Museum, and nearby venues, on evenings and afternoons in August, the special joy of hearing  classical music that is among the world’s best.

To hear flute player Catherine Ransom Karoly join up with violinist Augustin Hadelich and violist Ori Kam for, “Serenade in D major,” light music written in 1801 by Beethoven (just after he had produced his first symphony), was the perfect way to draw in an audience for more than two hours of chamber music.  Light but compelling!

 

Catherine Ransom Karoly

 

 

One might not have known of the origin of the name of the Escher String Quartet, the world famous group brought on to play Schubert’s “String Quartet in A Minor.”   The name is derived from the Dutch graphic artist M.C. Escher’s method of interplay between individual elements working together to make a whole.  This was on brilliant display by violinists Adam Barnett-Hart and Aaron Boyd with Pierre Lapointe on  viola and Brook Speltz, the cellist, in their rendition of  the A minor quartet, thought by many to be Schubert’s finest in the genre.  The standing ovation indicated a sophisticated audience who agreed.

Escher String Quartet

After an intermission six musicians came on stage for Brahms’ “Sextet for Strings in B-flat Major,” which SummerFest Scholar-in-Residence Eric Bromberger (whose prelude lectures and program notes lead paths to understanding for the sophisticated and the casual listener alike) says influences of Schubert, Beethoven and Haydn have been heard in this composition but “the ‘Sextet’ already shows Brahms’ own unmistakable voice and is generally full of sunlight.”  True enough but this is a long piece of chamber music, going on for more than 45 minutes.  Maintaining interest was the wonderful passion demonstrated by the group of musicians (Gary Hoffman and Joshua Roman, cellists; Toby Hoffman and Heiichiro Ohyama, violists; and Kyoko Takezawa and Director Lin on violins) who were brought together for this complex and massive piece.

In a coincidence all three composers were 27 years old when they produced the three pieces under review.  They all have deep connections with the music capital of Austria so the title of the evening’s performance, “Viennese Masters,” is perfectly appropriate.   Not in our nation’s capital, nor even in Vienna itself, is one likely to be more compellingly treated to great performances.  SummerFest continues through August 28.

 

Experience and Originality at La Jolla’s Summerfest

Thursday, August 23rd, 2012

by Barry Jagoda

Summerfest does such a fine job of programming during the month of August each year, in La Jolla, California, and the largest source of this excellence comes from experience, most particularly that of Music Director Cho-Liang (“Jimmy”) Lin.

 

 

 

Maestro Lin’s work was particularly manifest in three ways on August 22, the penultimate night of the Festival.  Lin chose the evening’s program, the memorable and exhausting presentation of all three Brahms’ Trios.  He also brought the refreshing “Newbury Trio” to the stage for a prelude featuring Beethoven’s Piano Trio, No.2.  Most impressive, though, was Lin’s joining up with two of his close friends and great American chamber music performers to star in the Brahms’ works.

 

This experience factor has many distinguishing elements but none exceeds bringing together veteran players to showcase the most capable of composers.  For the Brahms evening Lin, who allowed himself to take the violin role, also brought to the stage Gary Hoffman on the cello and Jon Kimura Parker at the piano, reminding the audience of greatness in musical performance.

Appropriately the group started with Trio’s No. 2 and No. 3, saving the best for last.  These two masterworks were created by Brahms later in his career, 1883 and 1887 respectively.  Then the composer took on, in 1891, the revisions of the first Trio, originally produced when Brahms was only in his early 20s.  It was in playing the revised Trio No. 1, which Brahms recomposed later in his career, that the experienced trio gave the audience a taste of the mature, dynamic late Brahms, whose storehouse of musical knowledge gave him the wherewithal to re-image this great musical piece.  The audience, reinvigorated after an intermission, particularly loved this performance. 

Beginning at 6:30,  way earlier in the evening, the young musical stars of the Newbury Trio, Meta Weiss, cello (center above); Arianna Warsaw-Fan, violin, at left and Henry Kramer, piano, brought a delicacy and studied precision to the Beethoven Piano Trio.  Their presentation was much appreciated, not the least because their freshness and eagerness came from being a young musical group.  Here the opposite of experience, perhaps originality, gave the early audience a real delight.

This was a night when Jimmy Lin, the great violinist, the brilliant teacher and the superb musical director had his skills on full display.

CHAMBER MUSIC AND ROMANCE IN LA JOLLA

Monday, May 14th, 2012

Outside there was a beautiful sunset over the Pacific.   Inside, on Saturday evening May 12, there was an even more romantic scene, as the La Jolla Music Society featured a concert of chamber music by Beethoven and Brahms, staring the world-famous duo of cellist David Finckel and pianist Wu Han.

The two, recently named 2012 Musicians of the Year by the on-line publication “Musical America,” have been married since 1985 and their mutual admiration had to be obvious to everyone who could plainly see them repeatedly turn over their shoulders to the other with smiles of appreciation and more.

While the program aimed to focus on the theme of how Brahms responded to Beethoven, even one trying hard to focus on the composers and the performance had to know that there was also a long-time love affair being played out on stage.

As this captivating event was being prepared for the stage, at the Museum of Contemporary Art San Diego’s Sherwood Auditorium, already under way was prelude lecture on music history by the highly informative Eric Smigel, music professor from San Diego State University.  His 30-minute talk, titled “Hearing a Giant’s Footsteps,” set the scene for an evening of serious chamber music, although, arguably, the Brahms-Beethoven competition was probably overstated.

Johannes Brahms, who lived from 1833 to 1897, and was known to be intimidated by his predecessor, had somehow to cope with Beethoven’s everlasting brilliance.  Ludwig Van Beethoven (1770-1827), of course, knew he was good.  He has been quoted as saying he was certain his compositions would have a long life, perhaps being remembered for fifty years after his death. This may count as the all time understatement of musical history.

As it turned out, though the historical, cultural and musical precedent of Beethoven was in the air, according to the evening’s program notes (co-written by cellist Finckel), Brahms revered Johannes Bach above all other composers.  So, while the concert was titled “Brahms as the Next Beethoven,” the four pieces on the program could be seen as stand-alone works.

The concert never lived up to it’s billing of a competition between Beethoven and Brahms.  In fact, the two Beethoven works—Sonata No. 2 in G Minor and 12 Variations in G Major—did not bring the magnificent sparkle one normally associates with the world’s finest composer.  On the other hand, Brahms Sonata for Cello and Piano No. 1 and Sonata for Cello and Piano No. 2, were clearly favorites of the performers and the audience.

Han took the stage in a cloak of many colors, anchored by a pair of blue suede high heels.  Comparatively Finckel was understated in a black suit with red bow tie.  Seeing these two world famous musicians made one want to know more about their personal lives.

Finckel and Wu have been long-time artistic directors of the Chamber Music Society of Lincoln Center and are also co-directors of the Music@Menlo Festival, now in its tenth year in the Bay Area.  They have an 18-year-old daughter, Lilian.   The family portrait from the video linked here,  and shot at the Aspen Music Festival in 2008, is helpful.   Lilian was then a very young teenager:

http://youtu.be/wpE-e8h1rak

At the evening’s end, the extremely charming Han announced an encore by  saying, “And now we would like to play a Chopin sonata, the very first song we learned to play together, and the story goes from there.”

“Mainly Mozart” Celebrates 22nd Season In San Diego

Wednesday, June 23rd, 2010

     In the world of classical music Lincoln Center’s “Mostly Mozart” Festival is well-known but the similarly named “Mainly Mozart,” a pride of San Diego, has an orchestra of highly regarded players and visiting soloists just as accomplished and passionate. ORxchestra and John Lill 1155 (1)

     “Mainly Mozart” has just ended its 22nd Summer Festival playing before large audiences and featuring such guest celebrity soloists as pianist Andrew Von Oeyen and violinist Sarah Chang and Mezzo-Soprano Frederica Von Stade. The founding conductor and artistic director of the Festival is David Atherton who has led the London Sinfonietta, the San Diego Philharmonic, Hong Kong Philharmonic and guest conducted dozens of the major orchestras world-wide. DA Particular (1)

     Each of this summer’s eight evening programs focused on works of Mozart but paired with another master composer, including Dvorak, Brahms, Copland, all presented in downtown San Diego’s splendidly restored and revitalized Balboa Theater. BalboaExteriornew (1)

     On Saturday night, June 19th, before a packed house, the magnificent violinist James Ehnes delivered a never to be forgotten performance in the difficult and rewarding Beethoven Violin Concerto in D. Ehnes was thrilling in his soloist rendition, particularly the 24 minute opening movement, so long that it took a musical genius to keep the audience focused and deeply engaged. The Festival Orchestra knew they were participating in a great symphony presentation. At the end the audience stood en-mass, clapping with more than a few bravos heard from the crowd. Ehnes has been described as “a modern day Joshua Heifitz,” and this captivating performance justified such an historic comparison. james_ehnes (1)

     Also on the program was Beethoven’s short “Overture to Prometheus” and two lovely Mozart works, the charming and diverting “Serenata Notturna,” which passes for what the conductor might have considered “lighter” music and the great Symphony 38, “Prague.”

     And at the intermission, on this the Festival’s final night, and as the audience filed out at the conclusion one could hear appreciative murmurs along with “I’m definitely re-subscribing for next year!” Echoing this sentiment we will certainly put “Mainly Mozart” on the calendar for its 23rd season in June, 2011.