We’re in the blue to purple section of the color wheel on Now is the Time, Sunday, February 24th at 10 pm. The blues are brought to us by Frank Ticheli’s wind orchestra, John King’s string quartet for Ethel, and Libby Larsen’s flute and guitar homage to Dizzy Gillespie and Ray Charles.
A Christopher Campbell interval spans wavelengths so that we may meet Efraín Amaya’s Venezuelan-spiced flute concerto. Joshua Stamper’s Incredible Purple sings the boundary between blues and something ineffable. Well, there’s a trombone.
This week virtuoso flutist Robert Stallman and renowned harpsichordist Edwin Swanborn invite you to join them at Leipzig's famed Cafe Zimmermann for Obbligato Sonatas for Flute and Harpsichord. Featured composer is Johann Sebastian Bach, who has also brought along a pickup group of musician friends to flesh out the evening.
Music lovers, professionals and amateurs are all welcome to share delicious coffee, stimulating conversation, spirits and the stories behind the great music. Saturday, February 23, 11:30 am to 12:30 pm
The cello sings on Now is the Time, Sunday, February 17th at 10 pm. The seven-movement Sonata No. 2 for Unaccompanied Cello of Michael Hersch is a journey of lament, passion, and poignancy. There is darkness and depth in all of Hersch's music, but it is always leavened with an inescapable, sincere lyricism. This is thoroughly involving.
Allen Shawn has written operas on librettos by his brother, actor and playwright Wallace Shawn, music for the film My Dinner with Andre, and lots of piano and chamber music. He calls his own music eclectic, and there's always a wry element just around the corner. But don't allow that to cause you to miss his crafting of satisfying, skillful works, including these six Episodes for Cello and Piano.
One of the world's foremost and most prolific artists returns to Crossover this week. But the Australian pianist Rudolf Buchbinder isn't just a virtuoso. He's a really interesting person as well. One who loves life just as much as music.
Review including examples from David Bennett Thomas, Paths.
Listeners look for categories, but artists freely create, and David Bennett Thomas is, first of all, an artist. Neo-this, post-that, or fusion-with-something-else may be of interest to others, but the artist is interested only in creating.
David Bennett Thomas works in jazz and classical music, but he doesn’t put one foot in one and one in the other. He’s a professional, so he commits to either, depending on his purpose. He’s an artist, so he’s true, regardless of what he’s composing. He laughs and loves life, so his music is filled with humor and, perhaps what is most revolutionary in our earnest age, happiness.
It's as if we were all sent Valentines on Now is the Time, Sunday, February 10th at 10 pm. We're proud of all the music by women composers our show has aired since we began in 2008, but this program we've set aside for them and to some pieces that could be Valentines. Maybe.
It's not that we take anything for granted, as Annie Gosfield reminds us in Don't Bite the Hand That Feeds Back. Linda Robbins Coleman's piano rag is a Valentine to a dear member of the family, her beloved cat. The Syncopated Lady may be Carol Barnett or her pianist, Tomoko Deguchi. Valentine's Day is filled with flowers and poetry; Jasmine Flower is from Victoria Bond's CD Peculiar Plants, and Jennifer Higdon wrote String Poetic for the outstanding violinist Jennifer Koh.
Warming up the day is Anne LeBaron on harp, augmented, with Heat Wave 1, and Nicola Melville plays the searing Tango Gardél of Stacy Garrop.
Sony Classical's new disc featuring the venerable Academy of St. Martin in the Fields (ASMF) will be released on Feb. 12th; but this outing is different from any other ASMF recording. It's violinist Joshua Bell's first recorded appearance with the Academy as it's new music director.
This week on Crossover, Jill premieres this recording of Beethoven's 4th and 7th symphonies, and speaks with Josh about his role as music director of the Academy of St. Martin in the Fields.
The violin takes on many guises on Now is the Time, Sunday, February 3rd at 10 pm. A “Fantasy for Violin” is what Michael Horvit calls his Daughters of Jerusalem. A concerto in all but name, it’s a passionate circling of texts from the Song of Solomon. She searches for her lover; she pleads; she despairs; she looks her friends in the eyes and asks them, What would you do?
Henri Lazarof’s Violin Concerto No. 3 is every bit a concerto, dramatic and expressionistic, and enjoys a powerful reading from violinist Christiane Edinger.
Welsh-born Hilary Tann has lived and taught in the U.S. for many years. The Cresset Stone takes its name from the hollowed-out rock holding oil for light in earlier times; such a stone in a cathedral inspired Tann’s work for solo violin, and includes a Gregorian Kyrie.
Angele Dubeau speaks with Jill Pasternak on Crossover February 2, 2013
This week, Jill speaks with a returning favorite guest, acclaimed Canadian violinist Angele Dubeau. Dubeau and her all-female string ensemble, La Pieta, recently released an album dedicated to the music of the movies. Silence, on joue! A Time for Us, gets its subtitle from the Nino Rota composition used in the Franco Zefirelli film, Romeo and Juliet. The ensemble effortlessly glides through movie music from John Williams to Erich Korngold, from Cinema Paradiso to the Lord of the Rings, and much more, with the same attention to performance as it gives to Bartok, Vivaldi, Glass, Cage, and others.
Listen to Crossover on Saturday mornings at 11:30 am on WRTI-FM, with an encore Friday evening at 7 pm on WRTI's all-classical web stream and HD-2.
It's two different kinds of quartets, both inspired by great, but different, works of art, on Now is the Time, Sunday, January 27th at 10 pm. Michael Ellison heard the Borromeo String Quartet perform Beethoven's late quartet, the Opus 131, and the experience prompted a desire to write for Borromeo; to write a work with the greatness of Beethoven's in his mind. Ten years later he did just that, and his String Quartet #2, for Borromeo, is the result.
The movements in Robert Maggio's Two Quartets are 1. Desire, Movement and 2. Love, Stillness. He calls for an unusual quartet of two flutes and two cellos, which can produce a ravishing and mesmerizing sound. The title? Maggio was reading T.S. Eliot's Four Quartets at the time. The mystic, meditative parallel is apt.