March 13, 2012
The venue is the San Francisco Conservatory’s Osher Salon, the date is March 25. Instrumentalists will perform from 9 a.m. to noon, pianists from noon to 3 p.m., and vocalists from 3 to 5 p.m. At stake: awards totaling more than $20,000 — all from private contributions.
Among the finalists is 10-year-old violinist Sean Takada, a student of Bettina Mussumeli in the San Francisco Conservatory Preparatory Division. He won first place in the Yehudi Menuhin–Helen Dowling Competition.
Takuda and his friends presented a benefit recital for Japan Earthquake Relief in Palo Alto last year and raised over $7,500. Sean plays in a competitive soccer club, and he is trilingual, in English, Japanese, and Spanish.
Instrumental judges on Sunday are Don Ehrlich, Ian Robertson, and Emil Miland; for pianists: Hang Li, Chia-Lin Yang, and Randall Benway; for singers: Karen Anderson, Roz Barak, and Robertson. These are the finalists:
INSTRUMENTAL (ages 18–21)
Yu Gong, 19, violin
INSTRUMENTAL (ages 14–17)
Sean Keegan, 14, guitar
Minku Lee, 15, cello
Michael Chung, 15, cello
Inga Liu, 16, violin
Yujin Ariza, 17, violin
INSTRUMENTAL (ages 11–13)
Elena Ariza, 13 cello
Joseph Wong, 11, violin
James Poe, 12, violin
Tsutomu Copeland, 13, violin
INSTRUMENTAL (ages 8–10)
Sean Mori, violin, 9
Sean Takada, violin, 10
PIANO (ages 8–10)
John K. Baeg, 9
Catherine Huang, 9
Sarah Tuan, 9
PIANO (ages 11–13)
Elliot Wuu, 12
Erin Chen, 12
Hana Mizuta, 13
Heather Chang, 13
PIANO (ages 14–17)
Hanson Tam, 14
Rachel Breen, 15
VOCAL (ages 16–18)
Meagan Rao, 16
Jennie Walstrom, 17
Christabel Nunoo, 17
Laura Corina Sanders, 17
VOCAL (ages 19–25)
Yelena Dyachek, 20
Julia Metzler, 21
Natalie Ballenger, 22
Sonoma’s Green Music Center will open in style this fall. The inaugural season features Lang Lang (Sept. 29), Alison Krauss (Sept. 30), John Adams with Jeffrey Kahane (Oct. 27), Chucho Valdés (Nov. 11), and the Tallis Scholars (Dec. 8).
In 2013 the lineup includes Yo-Yo Ma (Jan. 26), Barbara Cook (Feb. 16), Anne-Sophie Mutter (March 2), Wynton Marsalis (March 21), Lila Downs (Apr. 18), and many more.
Michael Tilson Thomas will lead the San Francisco Symphony in four concerts, and the Green Music Center becomes the Santa Rosa Symphony’s resident venue.
Guest harp soloist Anna Maria Mendieta praised the school’s Virtuoso Players for being “supremely attentive and aware accompanists, which is the hallmark of mature and generous musicians.”
Each section performed in the Fanfares for String Orchestra, Concertmaster Caitlin Gowdy (class of ’12) and Associate Concertmaster Niki Fukada (’13) taking solo turns in the “Sicilienne” and the “Tango Suite,” respectively.
Also on the program: a newly commissioned work, Clarinet Quartet, by Joseph Stillwell, and music by Ernest Bloch (Nigun), Dan Becker (S.T.I.C.), Nicholas Pavkovic (Eight Figments), and Aaron Pike (Child’s Play).
Among participating artists: Valinor Winds; violinists Kevin Rogers, Tess Varley, and Cassie Bequary; cellists Michelle Kwon and Erin Wang; oboist Jessica Huntsman; bassoonist Alexis Luque; hornist Sivan Adato; flutist Sasha Launer; and pianists Aaron Pike and Miles Graber.
Teresa (1853–1917), a child prodigy from Venezuela, made her debut in New York in 1862, to great acclaim. A year later, she played for President Lincoln in the White House. After 1866, Carreño spent most of her life and career in Europe, living in Berlin, and returning periodically to the U.S. on concert tours.
She was also active as a singer, composer, and conductor. She studied with Louis Moreau Gottschalk and Anton Rubinstein. As an adult, Carreño became recognized as one of the great pianists of her time, and she continued to perform on the concert stage until just weeks before her death in her New York City home, the Della Robbia on West End Avenue.
Pianist Eugen d’Albert was one of her four (consecutive) husbands. Besides the hall and the orchestra named for her, there is also a crater on Venus bearing her name. There are piano rolls of her performances still in existence.
This is the second installment of a festival inaugurated in Shanghai last May as part of a five-year agreement between the sister-schools to produce annual events in alternating locations. The San Francisco Conservatory’s participation in the festival is made possible by a grant from the Cha Foundation of Hong Kong.
On March 15, works by Mendelssohn and Brahms will bracket San Francisco student Sahba Aminikia’s One Day: Tehran and Shanghai student Zhu Yiqing’s An Elegy in the Dark Moonlight, in addition to Music for String Quartet and Sheng by Shuya Xu, president of the Shanghai Conservatory.
The following day, Elinor Armer’s Piano Quintet, Karl Amadeus Hartmann’s String Quartet No. 1 (Carillon), Shirui Zhu’s Piano Quintet, and works by Tchaikovsky and Shostakovich are on the program.
Directing the festival are San Francisco Conservatory’s Jodi Levitz, cochair of the chamber music program and chair of the string department; Mack McCray, chair of the piano department and cochair of the chamber music program; Wei He, a member of the San Francisco Conservatory’s violin faculty; and Jensen Lam, director of the Shanghai Conservatory’s chamber music atelier.
Participants have been selected from some 900 applicants for this, the oldest such program for young artists, and one that has produced hundreds of professionals and scores of opera stars over the years.
Philharmonia Baroque’s Nicholas McGegan, San Francisco Opera’s Giuseppe Finzi, Mark Morash, and Juilliard faculty member Gary Wedow lead performances this summer:
Merola artists participate in 12 weeks of master classes with Stephen Blier, Warren Jones, Martin Katz, and Carol Vaness (Merola ’76), along with S.F. Opera Center Director of Musical Studies Mark Morash (’87). Among the guest teachers: Alessandra Cattani, John Churchwell (’96), Susanne Mentzer, Robin Guarino, Peter Grunberg, and Patricia Kristof Moy.
The Merola Class of 2012:
Elizabeth Baldwin, Sylvania, Ohio
Jennifer Cherest, La Plata, Maryland
Aviva Fortunata, Calgary
Jacqueline Piccolino, Palatine, Illinois
Suzanne Rigden, Dartmouth, Nova Scotia, Canada
Rose Sawvel, Denver
Melinda Wittington, Wilson, North Carolina
Erin Johnson, Washington, New Jersey
Sarah Mesko, Hot Springs
Carolyn Sproule, Montreal
Joshua Baum, Kansas City, Missouri
Casey Candebat, New Orleans
Albert Glueckert, Portland, Oregon
Theo Lebow, Sierra Madre, California
Yi Li, Shandong, China
Andrew Stenson, Rochester, Minnesota
Chuanyue Wang, Hei Long Jiang, China
Joseph Lattanzi, Mableton, Georgia
Hadleigh Adams, Palmerston North, New Zealand
Gordon Bintner, Regina, Saskatchewan, Canada
Seth Carico, Signal Mountain, Tennessee
Matthew Scollin, Walled Lake, Michigan
Andrew Kroes, Onalaska, Wisconsin
Francesco Fraboni, Senigallia, Italy
Artem Grishaev, Moscow
Elena Lacheva, Plovdiv, Bulgaria
Kevin Miller, Bronx
Sun Ha Yoon, Seoul
APPRENTICE STAGE DIRECTOR:
Jennifer Williams, Mclean, Virginia
Aimard, who is artistic director of the Aldeburgh Festival, has served as artistic adviser to Exquisite Labyrinth, Southbank Centre’s Boulez Festival.
Composers György Ligeti and György Kurtág are among Aimard’s specialties, and he will perform seven pieces by the latter.
The rest of the recital features works from Schumann’s Bunte Blätter, Liszt’s Unstern: sinister, disastro and Jeux d’eau à la Villa d’Este, concluding with Debussy’s Book II of Préludes.
Attending the screening will be director Bob Hercules and several Joffrey alumni for a Q&A to follow the film. Narrated by Mandy Patinkin, the film documents how the Joffrey revolutionized American ballet by combining modern dance with traditional ballet technique, combining art with social statement, and setting ballets to pop and rock music scores — among the first that started these now-popular trends.
The documentary includes rare archival footage, along with interviews with former and current Joffrey star dancers, and shows how the company repeatedly resurrected itself after devastating financial and artistic setbacks, and went on to introduce cutting-edge choreographers such as Twyla Tharp, Laura Dean, and Margo Sappington to larger audiences.
There are excerpts from such seminal Joffrey works as Astarte, Trinity, and Billboards, plus collaborations with choreographers Twyla Tharp (Deuce Coupe), Kurt Jooss (The Green Table), and Leonide Massine (Parade).
An excerpt from the report on the event:
In the early days, music was written to mirror God’s mind as seen in the design of the night sky. The “how” in this era: polyphony, independently moving voices that suggest how the planets move. “Truly this was the music of the spheres.”
Then, in 1600, came the birth of opera, a development whose “what” was not to mirror the mind of god but to follow the emotional turbulence of man. The how, now: to stack up chords of harmonies, with an incredible variety of emotions. Here, Tilson Thomas takes a moment to contemplate the difference between a major and a minor chord, the difference between happiness and sadness. “37 freaking vibrations,” he says drily, to applause.
Around 1880, music changed once again, as a new, miraculous way of passing things on meant that people could now hear music all the time, without needing to be able to play an instrument, read music, or even go to a concert. “Technology democratized music by making everything available; it spearheaded cultural revolution,” says Tilson Thomas. “Technology pushed composers to tremendous extremes; computers and synthesizers [prompted] intellectually impenetrable complexity.” And at the same time, technology pushed us to live in a culture of improvisation that is sliced, diced, distributed, and sold. What is the long-term effect of this? No one knows. But one real question remains: What happens when the music stops? What sticks?
An enraged customer disrupted a Bruckner concert mid-performance, shouting “rubbish!”, “terrible” and “too slow.”
The traditionally stifling, snobby atmosphere is definitely something we should bid good riddance too, but there’s a fine line between rebellion and rudeness, and this outburst sounded a bit ridiculous. But, in any case, the UK’s classical music revolution is thrilling, and a physical expression every now and again can be galvanising.
A review in the Guardian says:
Charles Barber’s new book gives us the troubled, funny perfectionist behind the ecstatic music-making There are musical myths — and then there’s Carlos Kleiber. The conductor — voted last year by 100 members of his profession as the greatest of all time, ever, in BBC Music Magazine — was, even before his death in 2004, the embodiment of the enigmatic reclusive genius — the maestro who, as Herbert von Karajan put it, would only conduct when his freezer was empty.
... He was one of the funniest, most communicative musicians who ever lived, but never gave an interview; he was tormented by the ghost of his father, the great conductor Erich Kleiber; and he once gave a concert as long as his fee was a new Audi A8 with all the trimmings.
There are grains of truth in all of those (the Audi one is definitely true), but there’s much, much more to Kleiber than the myth-making. At least there is now, thanks to Charles Barber’s astonishing new book, Corresponding With Carlos: A Biography of Carlos Kleiber. Charles had a unique relationship with Kleiber. As a conducting student at Stanford University, with dazzling boldness and naivety, he wrote to Kleiber out of the blue and said he wanted to study with him.
The key was Barber’s use of humor and irony to attempt to elicit a response from Kleiber — it worked. Barber never formally became a student of Kleiber’s (nobody ever did), but from 1989 until the maestro’s death, he corresponded with the supposedly unknowable Carlos, and as well as this vivid account of Kleiber’s life, Barber’s book publishes pretty well the complete letters he received.