Portland Tribune: Bang on a man: A night at the symphony like no other
Andy Akiho, the Oregon Symphony's composer-in-residence, plays 'Sculptures: Concert for Orchestra and Video' in response to Jun Kaneko’s art
Bashing away on a giant head is one way to get butts in seats at any American symphony, as the appetite for another night of Mahler in tuxedoes wanes. The Oregon Symphony is working hard to make its concerts more edgy, more postmodern and even a little more diverse.
A member of the Oregon Symphony’s Creative Alliance, Andy Akiho is the Oregon Symphony’s Composer-in-Residence. The Nov. 4-6 show at first glance looks like a night of old chestnuts such as Tchaikovsky’s “Pathétique” and Dvořák’s “Othello Overture,” but it also contains Akiho’s “Sculptures: Concert for Orchestra and Video.”
Portland Tribune
By Joseph Gallivan
Andy Akiho, the Oregon Symphony's composer-in-residence, plays 'Sculptures: Concert for Orchestra and Video' in response to Jun Kaneko’s art
Bashing away on a giant head is one way to get butts in seats at any American symphony, as the appetite for another night of Mahler in tuxedoes wanes. The Oregon Symphony is working hard to make its concerts more edgy, more postmodern and even a little more diverse.
A member of the Oregon Symphony’s Creative Alliance, Andy Akiho is the Oregon Symphony’s Composer-in-Residence. The Nov. 4-6 show at first glance looks like a night of old chestnuts such as Tchaikovsky’s “Pathétique” and Dvořák’s “Othello Overture,” but it also contains Akiho’s “Sculptures: Concert for Orchestra and Video.”
Read more here.
Oregon Arts Watch: Footloose and fancy free: Leonard Slatkin with Oregon Symphony
After a gap of many years, the conductor/composer/author returns to Portland for a concert of Mason Bates, Beethoven, and Elgar’s ‘Cello Concerto’ with Joshua Roman.
Leonard Slatkin is footloose and fancy free. No longer tethered to the music directorship of a particular orchestra, the internationally acclaimed conductor can pick and choose which orchestra he gets to lead. This weekend (October 14-16), it will be the Oregon Symphony in a program that includes works by Beethoven, Elgar, and American composer Mason Bates.
Over a 50-plus-year career, Slatkin has racked up six Grammy awards, 35 Grammy nominations, over 100 recordings, and directed every major orchestra around the world. And the concerts in Portland are not the first time that he has visited the Rose City.
Oregon Arts Watch
By James Bash
After a gap of many years, the conductor/composer/author returns to Portland for a concert of Mason Bates, Beethoven, and Elgar’s ‘Cello Concerto’ with Joshua Roman.
Leonard Slatkin is footloose and fancy free. No longer tethered to the music directorship of a particular orchestra, the internationally acclaimed conductor can pick and choose which orchestra he gets to lead. This weekend (October 14-16), it will be the Oregon Symphony in a program that includes works by Beethoven, Elgar, and American composer Mason Bates.
Over a 50-plus-year career, Slatkin has racked up six Grammy awards, 35 Grammy nominations, over 100 recordings, and directed every major orchestra around the world. And the concerts in Portland are not the first time that he has visited the Rose City.
“My parents were members of the Hollywood String Quartet and used to play a series in Portland,” he said in a Zoom conversation. “That would have been in the ‘50s. I know that I came to Portland with them at least once.”
Read more here.
The Berkshire Edge: Preview: Dover String Quartet in new lineup at South Mountain, October 15
Pittsfield — Up until just a few weeks ago, the Dover String Quartet’s reputation was excellent. But now it is about to soar, as Julianne Lee has departed the Boston Symphony Orchestra to join the group as violist. Lee played in the BSO’s first desk of second violinists, having joined the orchestra in her early 20s before she had even graduated from New England Conservatory. A wunderkind of staggering talent, Lee plays violin and viola with equal ease.
The Berkshire Edge
By David Noel Edwards
Pittsfield — Up until just a few weeks ago, the Dover String Quartet’s reputation was excellent. But now it is about to soar, as Julianne Lee has departed the Boston Symphony Orchestra to join the group as violist. Lee played in the BSO’s first desk of second violinists, having joined the orchestra in her early 20s before she had even graduated from New England Conservatory. A wunderkind of staggering talent, Lee plays violin and viola with equal ease.
All members of the Dover Quartet studied at the Curtis Institute of Music, Philadelphia’s uber-elite school for prodigies. So, yes, they all play at Lee’s level. Still, notwithstanding their proximity at Curtis to innumerable viola virtuosos, they must be pinching themselves over their extraordinary luck at welcoming Lee into their group.
Read more here.
Broadway World: The Azrieli Foundation And Analekta Release NEW JEWISH MUSIC, VOL. 4 - AZRIELI MUSIC PRIZES
The Azrieli Foundation is pleased to announce the October 6th release of New Jewish Music, Vol. 4 - Azrieli Music Prizes on Analekta. The album features the world-premiere recordings of three prize-winning works by the 2022 Azrieli Music Prizes Laureates Iman Habibi (2022 Azrieli Commission for Jewish Music), Aharon Harlap (2022 Azrieli Prize for Jewish Music) and Rita Ueda (2022 Azrieli Commission for Canadian Music). These works are brought vividly to life by the Orchestre Métropolitain under the direction of Artistic Partner Nicolas Ellis.
Broadway World
By Chloe Rabinowitz
The Azrieli Foundation is pleased to announce the October 6th release of New Jewish Music, Vol. 4 - Azrieli Music Prizes on Analekta. The album features the world-premiere recordings of three prize-winning works by the 2022 Azrieli Music Prizes Laureates Iman Habibi (2022 Azrieli Commission for Jewish Music), Aharon Harlap (2022 Azrieli Prize for Jewish Music) and Rita Ueda (2022 Azrieli Commission for Canadian Music). These works are brought vividly to life by the Orchestre Métropolitain under the direction of Artistic Partner Nicolas Ellis.
Read more here.
The Dallas Morning News: Dallas Symphony Dazzles: Fabio Luisi Conducts Schuman, Copland and Liszt’s Faust Symphony
The all-American first half — William Schuman’s flashy American Festival Overture and Aaron Copland’s sublime Clarinet Concerto — fine. But then 70 minutes of Lisztian rumination and bombast on Goethe’s Faust?
…
Anthony McGill, principal clarinetist of the New York Philharmonic (and brother of former DSO principal flutist Demarre McGill, now with the Seattle Symphony), played most expressively, with plenty of pizzazz when called for. Luisi and the orchestra were right with him.
The Dallas Morning News
By Scott Cantrell
It seemed an odd way to start a symphony season, but I was convinced Thursday night.
It did seem an odd way to start a symphony season.
The all-American first half — William Schuman’s flashy American Festival Overture and Aaron Copland’s sublime Clarinet Concerto — fine. But then 70 minutes of Lisztian rumination and bombast on Goethe’s Faust?
…
Anthony McGill, principal clarinetist of the New York Philharmonic (and brother of former DSO principal flutist Demarre McGill, now with the Seattle Symphony), played most expressively, with plenty of pizzazz when called for. Luisi and the orchestra were right with him.
Read more here.
Photo Credit: Sylvia Elzafon
Blogcritics: Exclusive Interview: Parlando Founder and Music Director Ian Niederhoffer Previews October 4 ‘Odysseys’ Concert, with Music of Tchaikovsky, Jimmy Lopez, Joey Roukens
The New York City-based chamber orchestra Parlando aims to bridge the gap between audience and performer.
That might sound a bit self-evident – doesn’t every artist and ensemble want to connect with listeners?
But for Parlando and its founder and music director Ian Niederhoffer, “bridging the gap” means something special: truly direct communication, and engagement in creative and fun ways.
Blogcritics
By Jon Sobel
The New York City-based chamber orchestra Parlando aims to bridge the gap between audience and performer.
That might sound a bit self-evident – doesn’t every artist and ensemble want to connect with listeners?
But for Parlando and its founder and music director Ian Niederhoffer, “bridging the gap” means something special: truly direct communication, and engagement in creative and fun ways.
Niederhoffer engages with the audience before each concert, explicating the theme of the program. The selections vary widely, but each concert’s theme connects standard works with new or underrepresented music. The upcoming “Odysseys” concert, October 4 at Merkin Hall, brings together two contemporary pieces, Jimmy Lopez’s Guardian of the Horizon and Joey Roukens’ Visions at Sea, with Tchaikovsky’s Souvenir de Florence.
Read more here.
Photo Credit: Rebecca Fay
KUSC: Classical Californians: Anne Akiko Meyers
This week, our Classical Californian will be violinist Anne Akiko Meyers, who will share some of her favorite pieces of music. The playlist includes two composers who have written concertos for her, some selections from the world of movie music, as well as works by a pair of composers best known for their writing for choral voices. The Southern California native has most recently released a recording of Fandango by Arturo Márquez, with Gustavo Dudamel leading the Los Angeles Philharmonic. She’s worked with a who’s who of contemporary composers, and since making her first national TV appearance on the Tonight Show with Johnny Carson when she was 11, she’s been performing to admiring audiences around the world. The instrument that she plays, the “Ex-Vieuxtemps Guarneri del Gesù” dates from 1741, and belonged to the Belgian violinist Henri Vieuxtemps in the 1800s.
KUSC
This week, our Classical Californian will be violinist Anne Akiko Meyers, who will share some of her favorite pieces of music. The playlist includes two composers who have written concertos for her, some selections from the world of movie music, as well as works by a pair of composers best known for their writing for choral voices. The Southern California native has most recently released a recording of Fandango by Arturo Márquez, with Gustavo Dudamel leading the Los Angeles Philharmonic. She’s worked with a who’s who of contemporary composers, and since making her first national TV appearance on the Tonight Show with Johnny Carson when she was 11, she’s been performing to admiring audiences around the world. The instrument that she plays, the “Ex-Vieuxtemps Guarneri del Gesù” dates from 1741, and belonged to the Belgian violinist Henri Vieuxtemps in the 1800s.
Read more here.
Photo Credit: Dina Douglass
The Columbian: Vancouver Symphony Orchestra rides wave of enthusiasm into 45th year, opens season with Prokofiev
Eager to build on the success of August’s Vancouver Arts & Music Festival that drew crowds to Esther Short Park, the Vancouver Symphony Orchestra is loading up a panoply of terrific concerts for its 45th season.
Music Director Salvador Brotons has scheduled a vibrant mix of beloved gems and less familiar works. That should appeal to patrons and attract newbies to Skyview Concert Hall, where the hometown orchestra has performed since 1999.
The Columbian
By James Bash
Eager to build on the success of August’s Vancouver Arts & Music Festival that drew crowds to Esther Short Park, the Vancouver Symphony Orchestra is loading up a panoply of terrific concerts for its 45th season.
Music Director Salvador Brotons has scheduled a vibrant mix of beloved gems and less familiar works. That should appeal to patrons and attract newbies to Skyview Concert Hall, where the hometown orchestra has performed since 1999.
This weekend, the orchestra will kick off the season with Prokofiev’s Symphony No. 4 and two pieces that are favorites of classical music audiences: Ravel’s “Bolero” and Rachmaninoff’s Piano Concerto No. 2, which will feature virtuoso Antonio Pompa-Baldi.
A native of Italy, Antonio Pompa-Baldi started playing on a toy piano when he was just 3. The following year he began piano lessons and quickly excelled on the keyboard. As a young teenager, he won several competitions in Italy before winning the Cleveland International Piano Competition in 1999 and the silver medal at the 2001 Van Cliburn International Piano Competition
Read more here.
Photo Credit: Paul Quackenbush
The Oregonian: Suzanne Nance – Singing CEO of All Classical Radio – leads the station to a new studio and into the future
All Classical Radio is on a roll. Actually, it’s more of a grand crescendo. The station at 89.9 FM, formerly known as All Classical Portland, is celebrating its 40th anniversary with a new name, a new logo, and a massive move of its offices and broadcasting services to downtown Portland.
To top that off, All Classical Radio now has bragging rights as the number one classical music station in the nation. Talk about keeping Portland weird!
“We’ve received our ratings from Nielsen, and they said it is not even close,” said All Classical’s President and CEO Suzanne Nance. “We’ve been pulling a 6.5 market share, and the closest competitor is 3.0.”
The Oregonian
By James Bash
All Classical Radio is on a roll. Actually, it’s more of a grand crescendo. The station at 89.9 FM, formerly known as All Classical Portland, is celebrating its 40th anniversary with a new name, a new logo, and a massive move of its offices and broadcasting services to downtown Portland.
To top that off, All Classical Radio now has bragging rights as the number one classical music station in the nation. Talk about keeping Portland weird!
“We’ve received our ratings from Nielsen, and they said it is not even close,” said All Classical’s President and CEO Suzanne Nance. “We’ve been pulling a 6.5 market share, and the closest competitor is 3.0.”
Those numbers are supported by an increasing membership for the non-profit station, which now boasts over 12,000 members and a local audience of over 250,000 listeners in Oregon and Southwest Washington.
Read more here.
Photo Credit: Dave Killen
OperaWire: Canada’s Azrieli Foundation Introduces the Azrieli Music, Arts, and Culture Center
The Canadian Azrieli Foundation, known for its annual music competition and dedication to the arts, has announced the establishment of the Azrieli Music, Arts, and Culture Center (AMACC).
The creation of the Center comes after reviewing a decade of its arts support, signaling an expanded commitment from the Foundation.
AMACC reflects the Foundation’s goal to provide consistent backing as a funder and partnership as a collaborator to Canada’s art and culture community.
OperaWire
By Chris Ruel
The Canadian Azrieli Foundation, known for its annual music competition and dedication to the arts, has announced the establishment of the Azrieli Music, Arts, and Culture Center (AMACC).
The creation of the Center comes after reviewing a decade of its arts support, signaling an expanded commitment from the Foundation.
AMACC reflects the Foundation’s goal to provide consistent backing as a funder and partnership as a collaborator to Canada’s art and culture community.
The Foundation’s Azrieli Music Competition has grown to become the largest composition competition in Canada, with commissions awarded for Jewish, Canadian, and international compositions.
In an official press statement, Dr. Sharon Azrieli said, “By uniting our grant-making, sector collaborations, strategic initiatives, and Azrieli Music Prizes program under the AMACC banner, we will create an impact that is greater than the sum of its parts, ensuring more Canadians of all ages enjoy a deeper relationship with the arts.”
Read more here.
Photo Credit: Danylo Bobyk