Each week, SFCV looks behind the scenes to give you a sneak peak of what's coming up on stages around the Bay Area...so you can learn about concerts before they happen.
You might think of the standard Haydn symphony as measured and placid, but not the 52nd. It’s unusual in that it’s in a minor key and has numerous tumultuous passages designed to stir the emotions, even fear, among listeners of the time. The concerto, by contrast, is less agitated, but completely in tune with our “Age of Anxiety.” Not excessively dissonant, and even tuneful in the last movement, the work offers ingeniously unsettling triadic harmonies that descend into despair in the profound second movement, at times accompanied by unpredictable, convulsive throbs. Its offbeat rhythms will be a challenge to the orchestra and soloist alike. Fortunately, one of the best contemporary players around — Leila Josefowicz — will be tackling its soaring lines and passionate declamation.
After a few welcome drinks at intermission, try to remember the sound, not of the preceding Adès work, but of the Haydn. The ensuing Mozart will make even the Haydn sound like darkest night in comparison. It’s not just the more memorable melodies and lighter disposition of the music. Listen carefully to the woodwinds: The Haydn symphony has no flutes or clarinets in it, and its oboes hardly play anything but chords. When you hear the flutes and clarinets play gorgeous melodies in the Mozart, you’ll realize that despite what Haydn and Adès say, there is hope for civilization.
James Gaffigan, who will be conducting, will give extended remarks on the works for the Friday, April 3 concert, and an after-concert Q&A session Saturday, April 4.More »
Think about that as you listen to the Kalichstein-Laredo-Robinson Trio in their concert for Chamber Music San Francisco. Here’s a group of world-renowned soloists, yet they have performed as a piano trio for 32 years now and show no signs of slowing down; if anything, their egoless connection to each other keeps growing. It helps, probably, that violinist Jaime Laredo and cellist Sharon Robinson are married to each other, but the connection comes through the music. “The day we take making music for granted or get complacent is the day I pack up my fiddle,” Laredo told an interviewer for The Strad magazine, during their 30th anniversary year. So far, if reviews can be believed, that hasn’t happened.
Professionals of all stripes like to play chamber music because it is so much about interaction. Some people get really good at it. Chamber musicians are the kind of people who can read people’s emotional cues, the inflections in a voice, a body’s posture. You can watch Kalichstein, Laredo, and Robinson react to each other — both to what they hear and to what they see in each other’s countenance.
Not surprisingly, each of them is also an excellent teacher. Joseph Kalichstein has taught piano at Juilliard for many years, where he now has an endowed chair in chamber music. Jaime Laredo holds an endowed chair in violin at Indiana University, where Robinson also teaches. Their master classes are highly esteemed.
These experienced friends have also gotten to know their repertory well over the course of three decades, so that the music emanates from them easily and naturally. In their San Francisco program, they bring together the dark intensity of Shostakovich’s Piano Trio No. 2 (1944), written in the midst of World War II and dedicated to a recently deceased friend, and the lyrical, often playful “Archduke” Trio, Op. 97, by Beethoven, one of a number of works dedicated to his longtime student and staunch supporter/patron, the Archduke Rudolph of the Austrian royal family. The Shostakovich requires virtuosity and steely determination. The Beethoven is more genial and spontaneous, requiring a whiff of aristocratic, classical style.
The Kalichstein-Laredo-Robinson Trio has recorded both pieces, but, like many good musicians, they’re always tinkering with and often changing their approach to music they know. As Kalichstein says, when asked about the group’s longevity, “We just keep trying to get it right.” That seems like an odd statement from a group that so often gets it right.More »
Catching up with Nicholas McGegan isn’t easy. He may be based in Berkeley, but as a conductor and expert in Baroque and early music, he’s in demand across the country and in Europe, with forays into Asia. But when he is at home, one of his roles is as music director laureate of San Francisco’s Philharmonia Baroque Orchestra. Their upcoming performances of Handel’s Athalia will allow us to hear one of the composer’s lesser-known oratorios. We caught up with him at Yale, where he answered some questions about the upcoming concerts and his approach to music in general.