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Music in NYC: Mozart a la Haydn by Mostly Mozart Festival Orchestra and Steven Osborne, piano

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Music in NYC: Mozart a la Haydn by Mostly Mozart Festival Orchestra and Steven Osborne, piano

Mostly Mozart Festival Finale with Mozart à la Haydn program performed by pianist Steven Osborne and Mostly Mozart Festival Orchestra with Louis Langrée conducting on Friday, August 9, 2019 at 7:30 pm and Saturday, August 10, 2019 at 7:30 pm at David Geffen Hall

Steven Osborne, piano, Louis Langree, conductor, Mostly Mozart Festival Orchestra
Steven Osborne, piano (photo Benjamin Ealovega), Louis Langree, conductor (photo Jennifer Taylor), Mostly Mozart Festival Orchestra (photo Richard Termine)

The Mostly Mozart Festival Orchestra’s 2019 season ends on a lighthearted note, with four works that are more connected than they may seem at first glance. Pianist Steven Osborne performs the cheerful piano concerto Shostakovich composed for his son Maxim’s 19th birthday. Maxim, then a budding pianist, is said to have been the inspiration for the tongue-in-cheek inclusion of the Hanon piano exercises in the final movement, a musical joke. Schnittke displays a similar sense of humor in his Moz-Art à la Haydn, in which every note in the piece has been repurposed from either Haydn or Mozart. Beginning with dimmed lights, it quotes Haydn’s “Farewell” Symphony and Mozart’s Symphony No. 40, incorporating stage-play among the musicians, and, like the Farewell, leaving the conductor alone at the end. Mozart’s beloved “Haffner” Symphony, one of the composer’s most challenging, yet fun, works, is a joyous conclusion to the summer.

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Program

Haydn: Overture in D major, Hob. Ia:7

Shostakovich: Piano Concerto No. 2 in F major, Op. 102

Schnittke: Moz-Art à la Haydn

Mozart: Symphony No. 35 in D major, K.385 (“Haffner”)

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Naumburg Orchestral Concerts: Orpheus Chamber Orchestra and Bandoneonist JP Jofre

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Naumburg Orchestral Concerts: Orpheus Chamber Orchestra and Bandoneonist JP Jofre

Naumburg Orchestral Concerts Series presents Orpheus Chamber Orchestra with bandoneon virtuoso JP Jofre in free program Pasión – A Concert Of Spanish/South American Music; on Tuesday, August 6, 2019 at 7 pm at Temple Emmanu-El 

Orpheus Chamber Orchestra
Orpheus Chamber Orchestra / Image is courtesy of the orchestra

On Tuesday, August 6, 2019 at 7pm, Orpheus Chamber Orchestra returns to Naumburg Orchestral Concerts for the series’ 114th season, this year held in Temple Emmanu-El due to repairs on the iconic Naumburg Bandshell in Central Park.

The free program, titled Pasión – A Concert Of Spanish/South American Music, features bandoneon virtuoso JP Jofre in his own composition Tangodromo 1 for bandoneon and strings (2016) and Piazzolla’s Adiós Nonino for bandoneon and strings. Orpheus recorded Jofre’s Double Concerto for Violin and Bandoneon with Jofre and violinist Michael Guttman for a 2018 release on the Progressive Sounds Label.

JP Jofre, bandoneonist
JP Jofre, bandoneonist ; photo credit Mihyun Kang

The program also includes Turina’s La Oración del torero, Op. 34; Rodrigo’s Zarabanda lejana y villancico; Villa-Lobos’s Bachianas Brasilieras No. 9; Gabriela Lena Frank’s “Chasqui and Coqueteos” from Leyendas: An Andean Walkabout; and Ponce’s Estampas Nocturnas.

Naumburg Orchestral Concerts are FREE and ALL require tickets, available online or by registering with a form at the door. Allow extra time for tickets and for a security check when arriving for the concerts.

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    Program:
    Joaquin Turina (1882-1949): La Oración del torero, for string orchestra, Op. 34
    Joaquin Rodrigo (1901-1999): Zarabanda lejana y villancico
    Juan Pablo Jofre (b. 1983): Tangodromo 1 for bandoneon and strings
    JP Jofre, bandoneon
    Astor Piazzolla (1921-1992): Adiós Nonino, for bandoneon and strings
    JP Jofre, bandoneon
    Heitor Villa-Lobos (1887–1959): Bachianas Brasilieras No. 9 for string orchestra
    Gabriela Lena Frank (b. 1972): “Chasqui and Coqueteos” from Leyendas: An Andean Walkabout
    Manuel Ponce (1882-1948): Estampas Nocturnas
         La Noche
    En tiempos del rey sol
    Arrulladora
    Scherzo de Puck

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    dell’Arte Opera Festival at La MaMa Theater: Works by Women

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    dell’Arte Opera Festival at La MaMa Theater: Works by Women

    Whitney George and Bea Goodwin
    Whitney George, Bea Goodwin, stage and music directors / Images are courtesy of dell’Arte Opera Festival

    Join dell’Arte’s inspiring young singers this August 10-25 as we celebrate the contributions of great female composers in a thrilling exploration of Voices from the Tower

    Our August mainstage productions are “La liberazione di Ruggiero” by Francesca Caccini (1625), playing opposite the World Premiere of dell’Arte’s first commissioned piece  “Princess Maleine” by Whitney George and Bea Goodwin.  All productions are offered with orchestra and English surtitles at the handicap-accessible La Mama Theatre on East 4th Street as part of their “Summer Shares” program.  You can also see “Scenes from the Tower” featuring excerpts by T. Musgrave and V. Bond and all of Viardot’s charming “Cendrillon”.

     

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    Voices from the Tower Program

    La Liberazione di Ruggiero (Francesca Caccini, 1625)

    August 10, 11m, 15, 17, 23, 25m

    Princess Maleine (Whitney George, libretto by Bea Goodwin) World Premiere

    August 16, 18m, 20, 22, 24

    Scenes from the Tower

    August 21, 24m

    Cendrillon (Pauline Viardot, libretto by Pauline Viardot, 1904)

    Mary, Queen of Scots (Thea Musgrave, libretto by Thea Musgrave, 1977)

    Mrs. President (Victoria Bond, libretto by Hilary Bell, 2001)

    Les Boulangers (Lili and Nadia Boulanger)

    August 17m

    Works (TBA) by sisters Lili and Nadia Bolanger performed as a recital by members of dell’Arte ensemble and cover artists, accompanied by dell’Arte musical staff.

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    Festival Dates: August 10-25, 2019

    Festival Venue: La Mama Theatre on East 4th Street

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    Nightlife in NYC: Seven-String Guitar Recital by Oleg Timofeyev at Russian Samovar

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    Nightlife in NYC: Seven-String Guitar Recital by Oleg Timofeyev at Russian Samovar on June 27, 2019

    The World’s Leading Expert on the Russian Guitar Oleg Timofeyev performs an instrumental program “The Golden Age of Russian Guitar” at the legendary Russian Samovar on Thursday, June 27, 2019 at 8.30 pm
    Contributed by Lena Khandros
    Guitarist Oleg Timofeyev
    Guitarist Oleg Timofeyev / Image courtesy of the artist

    Perhaps some of you have noticed occasional guitars in the famous masterpieces of Russian literature:  for example, Natasha Rostova dances to her uncle’s guitar playing in Tolstoy’s “War and Peace,” or Telegin plays a polka on his guitar in Chekhov’s “Uncle Vanya.” But barely anybody knows that from its very beginning in the 1790s, the Russian guitar tradition has been very different from the Western-European one.  To make the matters worse, by the end of the 20th Century, this unique and exciting tradition was pretty much abandoned in Russia. 

    Oleg Timofeyev is the person behind the world-wide revival of the Russian seven-string guitar (or semistrunka).  In 1999 he defended his Ph. D. dissertation on the subject, at Duke University.  Since then he recorded more than 30 CD albums, featuring different repertoires:  classical, contemporary, Russian-Romani (“Gypsy”), Jewish, and even Georgian.  Since 2006 he produces annual Russian Guitar Festivals, that bring players from Russia, Ukraine, Belorus, Kyrgyzstan, France, Germany, Sweden, Norway, and Australia. 

    But most of Timofeyev’s activities, including his festivals, happen far away from the City.  It is of particular interest for New Yorkers, then, to attend his intimate, engaging performance at the Tolstoy Lounge.  For every piece he will be playing on his original 1912 guitar by Mikhail Eroshkin, Timofeyev will tell a story that will put the music in its historical and cultural context.  For example, he will share with you a shockingly light-wing variations on the Russian anthem “God Save the Czar,” and will explain the roots of the disproportional popularity of Oginski’s Polonaise in Russian and Soviet culture.

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    Program

    Polonaise melancholique, Ignatz von Held (1766-1814)

    Allegro – Kozaque – Air Russe, A. Swientitsky (ca. 1803)

    Folie d’Espagne, Andrei Sychra (1773–1850) God Save the Tsar!

    Cachucha Pietro Pettoletti,(ca. 1795-ca. 1870?)

    L’illusion perdue and the Orphan’s song, Nikolay Alexandrov (1818-1884)

    Polonaise in E Major, Michał Ogiński

    Polonaise in G Minor, (arr. by Sychra)

    Waltz, Pavel Ladyzhensky

    As Beyond the Dear River, Mikhail Vysotsky

    Ukrainian Song (1791-1837)

    Ukrainian Dance, Vasily Sarenko (1814-1881)

     

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    Date & Time: Thursday, June 27, 2019 – doors open at 7.30 pm / music from 8.30 pm

    Venue: 256 W 52nd St, New York, NY 10019   

    The Next Festival of Emerging Artists with Miranda Cuckson

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    The Next Festival of Emerging Artists with Miranda Cuckson

    Submitted by Jennifer Wada

    Violinist Miranda Cuckson
    Violinist Miranda Cuckson ; Photo credit John Rogers, Spectrum

    The Next Festival of Emerging Artists has been described as holding a “unique place in the vastly diversifying field of new music.” Led by the festival’s founder and artistic director, Peter Askim, the young musicians of Next Festival 2019 are joined by violinist and contemporary music star Miranda Cuckson for a program including the U.S. premiere of Toshio Hosokawa’s “Hika” (2015) for violin and string orchestra, and Toru Takemitsu’s “Nostalghia” (1987) for violin and string orchestra; as well as three works for string orchestra alone: Aaron Jay Kernis’s “Sarabanda in Memoriam” (2004), Reena Esmail’s “Teen Murti” (2018); and the world premiere of a work by Peter Askim. www.next-fest.org
    National Sawdust
    Date: Sunday, June 2, 2019, at 7:00 pm
    Tickets: $25 in advance, $29 at the door
    Venue: https://nationalsawdust.org/event/the-next-festival-of-emerging-artists/