Previews

Janos Gereben - January 25, 2010
 [The sound of Max Bruch’s Kol Nidrei is heard, starting with the full sound of the cello, as Arnold Schoenberg and Theodor Adorno listen.]

Schoenberg: “Stop! Today is Yom Kippur, the Day of Atonement when Kol Nidre is played. But why always Max Bruch’s? At least up here, on Parnassus, let’s hear my version for a change. Without the cello sentimentality of the Bruch.

Jason Victor Serinus - January 25, 2010
How can religious music devoid of language serve as a unifying force in a world divided by doctrine? This question led Veretski Pass, a unique klezmer trio, to create a new body of Jewish religious music titled The Klezmer Shul. Premiering in Jewish venues in Alameda (Feb. 8), Berkeley (Feb. 10), and Palo Alto (Feb.
Marianne Lipanovich - January 19, 2010
In some ways, the Ying Quartet will be returning to its roots when it plays the “American” String Quartet, Op. 96, by Dvořák at Kohl Mansion in February. Written when the composer was living in rural Iowa, it’s a special piece for the quartet, according to Phillip Ying, who plays viola.
Georgia Rowe - January 19, 2010
In today’s economic climate, it can be easier for musical organizations to find an audience than a permanent venue. Since founding the Gold Coast Chamber Players a decade ago, violist and Music Director Pamela Freund-Striplen has been steadily building a following for chamber music in Contra Costa County.
Jeff Kaliss - January 19, 2010
Flautist Tadeu Coelho is finding, on his group’s first tour of the U.S., that American musical palates are pleased by a healthy mix of genres. He believes that his fellow Brazilians are endemically suited to serving up eclecticism.

“It has to do with our heritage,” Coelho points out. “We are a very mixed population, from African, European, Japanese, and native Indian.

Janos Gereben - January 18, 2010

Going back about six decades now, there were Alan Watts in Marin and the American Academy of Asian Studies in San Francisco, the pioneering Esalen Institute in Big Sur, Lou Harrison’s gamelan works from San José and Santa Cruz, Berkeley’s Center for World Music, and countless others.

Michael Zwiebach - January 13, 2010

Jazz pianist Taylor Eigsti has made a name for himself with his own music, and is well-known to Bay Area jazz lovers. Peninsula Symphony subscribers heard him with the orchestra two years ago, and now have the chance to meet him again, as he and Mitchell Sardou Klein's orchestra tackle three great Gershwin scores: Rhapsody in Blue, Cuban Overture, and Porgy and Bess Symphonic Suite.

Michael Zwiebach - January 13, 2010

The oboe is not the easiest instrument to play under the best of circumstances. So deciding to play Baroque and classical oboes, the less-techologically advantaged forerunners of the modern instrument might seem like a recipe for frustration akin to attempting to surf the internet with a 1980s-era personal computer.

Michael Zwiebach - January 13, 2010

Of the many big names in postwar modernist composition, György Ligeti stands out because his music retains the power to influence and inspire young musicians. The new music group sfSound acknowledges this status in their upcoming concert. Ligeti's glittering Chamber Concerto is the focal point, with a number of musicians from the Bay Area composing short works in response to it.

Joseph Sargent - January 12, 2010
Major anniversaries of a famous composer’s birth or death often occasion great fanfare, yet such honors are seldom accorded the anniversary of the publication of an individual piece.