Music Features en Stories of Survival: Angele Dubeau and Elaine Stritch <p></p><p><span style="line-height: 1.5;">The old saying goes, "What doesn't kill you makes you stronger." &nbsp;</span><strong style="line-height: 1.5;">Angele Dubeau</strong><span style="line-height: 1.5;">&nbsp;is living proof. &nbsp;An acclaimed&nbsp;violinist and leader of the ensemble </span><strong style="line-height: 1.5;">La Pieta</strong><span style="line-height: 1.5;">, </span>Dubeau's<span style="line-height: 1.5;"> story is both hopeful and enlightening. &nbsp;</span></p> Fri, 25 Jul 2014 21:29:17 +0000 Joe Patti & Jill Pasternak 7516 at Stories of Survival: Angele Dubeau and Elaine Stritch Voices from the Heartland <p>New music hears old tunes on <strong>Now Is the Time, Saturday, July 26th at 9 pm</strong> at and WRTI-HD2. George Crumb has a way—like no one else—of investing the simplest gesture with mystery and grandeur. He fills his seventh American Song Book, <em>Voices from the Heartland</em>, with these touches of wonder assembled in these hymns, spirituals, folk songs, and American Indian chants. Soprano Ann Crumb and baritone Patrick Mason are accompanied by Orchestra 2001, conducted by James Freeman.<br /><br />Beginning the show, there's just time enough to hear a movement from David Amram's Violin Concerto. His <em>Celtic Rondo</em> breathes the air of long ago from another place, or maybe he hears the spirits of ancestors from any place. Charles Castleman is the soloist.<br /> Fri, 25 Jul 2014 14:55:23 +0000 Kile Smith 7518 at Voices from the Heartland This Floating World <p>Islands and dances and flutes seem to float&nbsp;on&nbsp;<strong>Now Is the Time, Saturday, July 19th&nbsp;at 9 pm</strong> at and&nbsp;WRTI-HD2. Haiku of Basho inspired Edie Hill's <em>This Floating World</em>&nbsp;for solo flute; Elena Ruehr's <em>The Law of Floating Objects</em>&nbsp;is for one flutist&nbsp;multiplied many times. An excerpt from <em>A Floating Island</em> is Matthew Greenbaum's chamber opera&nbsp;on an episode from <em>Gulliver's Travels</em> by Jonathan Swift, where some are so lost in thought&nbsp;they don't see what's right in front of them.<br /><br />The Habanera makes us think of Cuba and islands (okay, it's a stretch), and we find one in <em>5 Pages from John's Book of Alleged Dances</em> by John Adams. Robert Ackerman improvises <em>Havana Special</em>, clarinet and bass, and there's just enough time for an Ackerman encore, <em>Scena</em>.<br /> Fri, 18 Jul 2014 09:59:00 +0000 Kile Smith 7492 at This Floating World Legendary Man of Music: Lorin Varencove Maazel, 1930-2014 <p></p><p><span style="line-height: 1.5;">Maestro </span><strong style="line-height: 1.5;">Lorin Maazel&nbsp;</strong><span style="line-height: 1.5;">passed away last Sunday at the age of 84. &nbsp;This legendary man of music devoted over 75 years to his craft. To him, music was a bridge-builder - a way to bring peace to the world and its people. &nbsp;</span></p> Thu, 17 Jul 2014 19:43:25 +0000 Joe Patti & Jill Pasternak 7502 at Legendary Man of Music: Lorin Varencove Maazel, 1930-2014 Star Soprano Diana Damrau Scratches An Itch <p>Soprano Diana Damrau usually sticks with her forte of mainstream opera. Indeed, she's made her name&nbsp;in such demanding roles as Mozart's Queen of the Night, Strauss' Zerbinetta, Donizetti's Lucia di Lammermoor and Verdi's Violetta. But not long ago, she had this itch that needed scratching. And scratch she did, to excellent result.</p><p></p> Tue, 15 Jul 2014 15:23:13 +0000 Joe Patti & Jill Pasternak 7230 at Star Soprano Diana Damrau Scratches An Itch Our Town Holidays with Ives and Copland <p>In America, small-town New England holds our attention. Whoever we are, it’s our town. The paper’s delivered, there’s gossip at the kitchen table, children are born, children go to school, a choir sings, there’s marriage, there’s death. It’s just life—or perhaps life, liberty, and the pursuit of happiness is the perfect description of this American scene, for American it is, and <em>Our Town</em>, the Thornton Wilder play, captures it perfectly.<br /><br /><em>Our Town</em> hit Broadway in 1938 and was an immediate success. Wilder won a second Pulitzer for it (his 1927 novel <em>The Bridge of San Luis Rey</em> was his first), and Universal Pictures made it into a film two years later. They signed the red-hot classical composer Aaron Copland to write the score. His biggest triumphs were yet to come—<em>Appalachian Spring</em>, <em>Rodeo</em>, <em>A Lincoln Portrait</em>—but <em>Billy the Kid</em> and <em>El Salón México</em> had already put him on the map. We often don’t think of Copland as a film composer, but with <em>The Red Pony</em> to go along with <em>Our Town</em> and others, he’s one of the best.</p><p></p><p>Copland fills the poignancy and the matter-of-factness of Wilder’s play. Life-affirming yet without triumphing, the music sings lightly but is warmed by coals that glow from deep emotions. Aaron Copland, born and raised in Brooklyn and trained in Paris, could nevertheless deliver a western prairie, eastern mountains, or a New England town. He has defined “American composer” in the popular imagination better than anyone else.<br /><br />Though Charles Ives celebrated his native New England over and over in his music, much of it never found the light of day, let alone the ears of a concert-going public, until decades after its creation. The very title of today’s work is a conundrum. Is it <em>Holidays</em>, <em>Holiday Symphony</em>, <em>Holidays Symphony</em>, <em>Four New England Holidays</em>, or <em>A Symphony: New England Holidays</em>? His disinterest in a composer’s career often left the details to others.<br /><br />From the squared phrases of marching bands to flying shrieks of disharmony, from church hymns to layered and crashing sonic sculptures, the music of Ives is like a boy at a parade. He <em>knew</em> the sound of two bands playing on intersecting streets just as vividly as he had felt the giddiness of holding an ice cream cone on a summer afternoon or the elation of fireworks at night. All we have to be is that boy, and we’ll get Ives in a flash.<br /><br />The holidays in this work are in chronological order: Washington’s Birthday, Decoration (now Memorial) Day, The Fourth of July, and Thanksgiving. The last one he composed first, starting in 1887, as organ music for a Thanksgiving service. He revised and completed it by 1904. Washington’s Birthday he began in 1909, finishing it in 1913, the same year he finished The Fourth of July. Decoration Day is from 1912 (unpublished until 1989).<br /><br />To picture New England at the very time Ives was composing the <em>Holidays Symphony</em>, picture <em>Our Town</em>. It takes place in fictional Grover’s Corners, New Hampshire between 1901 and 1913. Maybe Wilder’s play and Copland’s music are the grown-up, considered look at the small American town, with no illusions but with all love. Ives’s <em>Symphony</em> is the boy’s look, wide-eyed. With that love and with those eyes, wherever we’re from, this is our town.</p><p> Wed, 02 Jul 2014 09:50:00 +0000 Kile Smith 7460 at Our Town Holidays with Ives and Copland A Summer's Day <p>Celebrate the solstice on <strong>Now Is the Time, Saturday, June 21st at 9 pm</strong> at and WRTI-HD2. <em>Into Light</em> is Marilyn Shrude's orchestral paean to youth and possibility, and Lewis Spratlan outlines an entire day of activity—both fun and contemplative—ending with a starry night, in <em>A Summer's Day</em>. Looking at the evening sky reflected in Italy's Lake Como, Laura Elise Schwendinger asks <em>C’è la Luna Questa Sera?</em> ("is there a moon tonight?").<br /><br />As Monet painted the same scene in different light (including his Rouen Cathedral series from 1892-1893), Jennifer Higdon used materials from her <em>blue cathedral</em> in different ways in <em>Light Refracted</em> for clarinet, string trio, and piano. One of Brian Dykstra's piano rags is the deliciously floating <em>Sweet Daydreams</em>, and in <em>light moving</em>, David Lang provides an encore for Hilary Hahn.<br /> Fri, 20 Jun 2014 16:52:01 +0000 Kile Smith 7437 at A Summer's Day Miniatures on Now Is the Time <p>Miniatures are big on <strong>Now Is the Time, Saturday, June 14th at 9 pm</strong> at and WRTI-HD2. The <em>Pastiche</em> of John Biggs is a riot of tunes you already know, skillfully arranged, while <em>Miniatures</em> are original offerings from Louis Anthony deLise's brand-new CD for flute and piano. A concertino is a small concerto, but Harold Schiffman's, for oboe, is the biggest work on the program and a lyrical treat.<br /> Sat, 14 Jun 2014 20:38:31 +0000 Kile Smith 7408 at Miniatures on Now Is the Time Igor Levit: The Next-Generation Pianist Tackles Beethoven <p></p><p>Born in 1987, and now in his 20s, he's been called, "...the finest pianist of his generation," by the <em>UK Telegraph</em>, who also commented that, ..."[he] shows that he's set to be one &nbsp;of this century's big names." He's<strong> Igor Levit.</strong> And his latest CD of the last five piano sonatas of Ludwig von Beethoven has been creating quite a stir.</p><p></p> Fri, 13 Jun 2014 23:14:22 +0000 Joe Patti & Jill Pasternak 7100 at Igor Levit: The Next-Generation Pianist Tackles Beethoven Songs With and Without Words <p>Singing can be vocal or instrumental on <strong>Now Is the Time, Saturday, June 7th at 9 pm</strong> at and WRTI-HD2. A tribute to a family, carved in cemetery marble, is the choral <em>Notturno in Weiss</em> (Nocturne in White) by Robert Moran. Joseph Hallman's <em>Three Poems of Jessica Hornik</em>&nbsp;uses voice with an expanded chamber ensemble, while Anthony Iannaccone selects a solo piano for his <em>Song without Words</em>.<br /><br />An Uruguayan legend or <em>Leyenda</em> comes from Sergio Cervetti for voice and orchestra, and from her ten-year-old daughter's poem about a Cape Cod berry-picking excursion, Elena Ruehr creates the all-instrumental <em>Blackberries</em>.<br /> Fri, 06 Jun 2014 14:12:19 +0000 Kile Smith 7386 at Songs With and Without Words