Blogcritics: Exclusive Interview: Luke McEndarfer, National Children’s Chorus Artistic Director, on Ukraine Concert at Disney Hall
“When you live from the truth of your purpose, you need not worry, and can know with certainty that you are always headed in the right direction.” Those words of wisdom come to us from Luke McEndarfer, Artistic Director of the the National Children’s Chorus (NCC).
Maestro McEndarfer will lead the NCC in a concert with the American Youth Symphony at Walt Disney Concert Hall in Los Angeles on Feb. 25. Dedicated to the people of Ukraine, the concert, co-led by Maestro Carlos Izcaray, is dubbed “Voices of Peace.” It will feature a performance of Benjamin Britten’s challenging War Requiem.
Blogcritics
By Jon Sobel
“When you live from the truth of your purpose, you need not worry, and can know with certainty that you are always headed in the right direction.” Those words of wisdom come to us from Luke McEndarfer, Artistic Director of the the National Children’s Chorus (NCC).
Maestro McEndarfer will lead the NCC in a concert with the American Youth Symphony at Walt Disney Concert Hall in Los Angeles on Feb. 25. Dedicated to the people of Ukraine, the concert, co-led by Maestro Carlos Izcaray, is dubbed “Voices of Peace.” It will feature a performance of Benjamin Britten’s challenging War Requiem.
Read more here.
Violin Channel: 2024 Azrieli Music Prizes Now Accepting Applications
For its fifth competition, AMP is seeking scores and proposals for a cappella choral works
Established in 2014, the Canada-based Azrieli Music Prizes (AMP) is comprised of four categories: The Azrieli Commission for Canadian Music, The Azrieli Commission for Jewish Music, The Azrieli Prize for Jewish Music, and the inaugural Azrieli Commission for International Music.
The latter category is new to the competition and invites composers worldwide "to creatively engage with the richness of humanity’s diverse cultural heritage," according to AMP.
The 2024 competition is seeking submissions for a cappella choral works that will match the force of its Performance Partner, the Orchestre symphonique de Montréal Chorus (OSM Chorus), including up to four additional instruments and/or soloists.
Violin Channel
For its fifth competition, AMP is seeking scores and proposals for a cappella choral works
Established in 2014, the Canada-based Azrieli Music Prizes (AMP) is comprised of four categories: The Azrieli Commission for Canadian Music, The Azrieli Commission for Jewish Music, The Azrieli Prize for Jewish Music, and the inaugural Azrieli Commission for International Music.
The latter category is new to the competition and invites composers worldwide "to creatively engage with the richness of humanity’s diverse cultural heritage," according to AMP.
The 2024 competition is seeking submissions for a cappella choral works that will match the force of its Performance Partner, the Orchestre symphonique de Montréal Chorus (OSM Chorus), including up to four additional instruments and/or soloists.
Open to the international music community, AMP accepts nominations for works from individuals and institutions of all ages, genders, nationalities, faiths, and backgrounds.
Read more here.
WETA: The Music of Florence Price with Rachel Barton Pine and the Fairfax Symphony
Violinist Rachel Barton Pine will be featured with the Fairfax Symphony performing Florence Price's Violin Concerto No. 2 in a concert on February 11 at the Center for the Arts at George Mason University. I reached out to her to ask about this performance and its place in the context of her career.
WETA
By Evan Keely
Violinist Rachel Barton Pine will be featured with the Fairfax Symphony performing Florence Price's Violin Concerto No. 2 in a concert on February 11 at the Center for the Arts at George Mason University. I reached out to her to ask about this performance and its place in the context of her career.
Evan Keely: You’ve had a long relationship with Cedille Records. Tell us about that, and the genesis of the 1997 album Violin Concertos by Black Composers of the 18th and 19th Centuries (and its 25th-anniversary counterpart, Violin Concertos by Black Composers Through the Centuries).
Rachel Barton Pine: When I was new on the scene back in 1996, Jim Ginsburg – the founder of Cedille Records and my longtime producer, who is Ruth Bader Ginsburg’s son – approached me after one of my performances and said that it would be great to start working together. My career was still in such an early stage that I didn't yet feel quite ready to record the major concertos. Of course, since then, I've recorded all the most popular ones including Brahms, Beethoven, Bruch, and Mendelssohn. But to start with, we wanted to do something that was more repertoire-oriented – where people might buy the album, even if they hadn’t yet heard of the soloist.
Read more here.
American Kahani: Indian American Conductor Sameer Patel Has a Busy Year Ahead in the Western Classical Music Circuit
Indian American conductor Sameer Patel has a lot to look forward to this year. He makes his debut with the Chicago Symphony Orchestra and the Princeton Symphony; as well as return appearances with the Florida Orchestra and La Jolla Symphony and Chorus.
The 40-year-old has been conducting western classical music orchestras for the past 20 years. As artistic director at the San Diego Youth Symphony, he works for an organization that serves “close to 600 students, beginning through pre-professional student musicians annually in 13 full orchestras and large ensembles.”
American Kahani
By Bhargavi Kulkarni
Indian American conductor Sameer Patel has a lot to look forward to this year. He makes his debut with the Chicago Symphony Orchestra and the Princeton Symphony; as well as return appearances with the Florida Orchestra and La Jolla Symphony and Chorus.
The 40-year-old has been conducting western classical music orchestras for the past 20 years. As artistic director at the San Diego Youth Symphony, he works for an organization that serves “close to 600 students, beginning through pre-professional student musicians annually in 13 full orchestras and large ensembles.”
Patel previously worked as an associate conductor at the San Diego Symphony for four years. He left that position in 2019, and over the last couple of years, “especially when things picked back up over the pandemic, and performances started to resume,” he started traveling and working as a guest conductor. With his current job in San Diego, where he lives with his wife and two kids, Patel continues to have one foot in both worlds — “the performance world which is conducting orchestras like in Princeton and in Chicago and elsewhere” — as well as “sharing music with young musicians.”
Read more here.
The Spokesman-Review: Spokane Symphony review: Leonard Slatkin conducted a visual and auditory masterpiece
Unless they had attended other performances led by Leonard Slatkin, ticketholders at this weekend’s concerts by the Spokane Symphony received something more for the price of admission than they expected, something that they should, and probably will always remember.
The Spokesman-Review
By Larry Lapidus
Unless they had attended other performances led by Leonard Slatkin, ticketholders at this weekend’s concerts by the Spokane Symphony received something more for the price of admission than they expected, something that they should, and probably will always remember.
They expected, and certainly received, very fine performances of three works for orchestra: “Double Play”, by Cindy McTee, “Francesca da Rimini,” by Piotr Tchaikovsky and the Symphony No. 1 in C minor of Johannes Brahms. What they could not have expected was an emotional, and even visual journey of such variety, intensity and breadth.
Read more here.
NPR: Marc-André Hamelin: Tiny Desk Concert
Marc-André Hamelin has a marvelous, curious mind. While we chatted before his Tiny Desk concert, he snooped around the CD shelves near my desk, commenting on a few rarities and sharing his own eclectic tastes, including a crazy YouTube mashup of all 15 Shostakovich symphonies stacked on top of each other.
The Boston-based Montreal native is regarded as one of his generation's most technically astounding pianists, but he's no empty virtuoso. His interpretations are probing, precise and warm — keen to bring out humor when necessary. He routinely performs the world's most treacherous repertoire with his characteristic ease. I've witnessed him practically reduce a concert grand to matchsticks, and I've heard him tenderly caress a late Schubert sonata.
NPR
By Tom Huizenga
Marc-André Hamelin has a marvelous, curious mind. While we chatted before his Tiny Desk concert, he snooped around the CD shelves near my desk, commenting on a few rarities and sharing his own eclectic tastes, including a crazy YouTube mashup of all 15 Shostakovich symphonies stacked on top of each other.
The Boston-based Montreal native is regarded as one of his generation's most technically astounding pianists, but he's no empty virtuoso. His interpretations are probing, precise and warm — keen to bring out humor when necessary. He routinely performs the world's most treacherous repertoire with his characteristic ease. I've witnessed him practically reduce a concert grand to matchsticks, and I've heard him tenderly caress a late Schubert sonata.
Hamelin's colossal breadth of repertoire is on display in this smart set of pieces. He begins in the 18th century with the off-kilter antics of C.P.E. Bach — a rondo that stops, starts and swerves with the spirit of improvisation. His limpid rendition of William Bolcom's "Graceful Ghost Rag" (from 1970) emphasizes the bittersweet harmonies with unhurried elegance.
Read more and watch here.
Seen and Heard International: Hometown hero Jonathon Heyward returns to Charleston in triumph
Jonathon Heyward, newly anointed as music director of the Baltimore Symphony, was greeted with warmth and energy, cheers and whistles when he came out on the Gaillard Hall stage to conduct the Charleston Symphony for the first time, an authentic hometown hero. When he turned around to lead the audience in the ‘Star-Spangled Banner’, it seemed like everybody in the sold-out hall was singing with a full-throated musicality that made this one of the best performances of the anthem I had ever heard.
From the first bars of Florence Price’s 10-minute ‘Dances in the Canebrakes’ in William Grant Still’s colorful orchestration, Heyward elicited detail while maintaining momentum and showed great tempo choices, always organic and natural. The clarity and precision of his conducting was reflected in the exuberant playing by the combined forces of the Symphony and the Youth Symphony, in which Heyward had once played cello. He was keen on articulation and integrated small bits into the whole without ever seeming rushed. With his back to the audience, he monitored the proceedings with marionette-like moves on the podium.
Seen and Heard International
By Laurence Vittes
Jonathon Heyward, newly anointed as music director of the Baltimore Symphony, was greeted with warmth and energy, cheers and whistles when he came out on the Gaillard Hall stage to conduct the Charleston Symphony for the first time, an authentic hometown hero. When he turned around to lead the audience in the ‘Star-Spangled Banner’, it seemed like everybody in the sold-out hall was singing with a full-throated musicality that made this one of the best performances of the anthem I had ever heard.
From the first bars of Florence Price’s 10-minute ‘Dances in the Canebrakes’ in William Grant Still’s colorful orchestration, Heyward elicited detail while maintaining momentum and showed great tempo choices, always organic and natural. The clarity and precision of his conducting was reflected in the exuberant playing by the combined forces of the Symphony and the Youth Symphony, in which Heyward had once played cello. He was keen on articulation and integrated small bits into the whole without ever seeming rushed. With his back to the audience, he monitored the proceedings with marionette-like moves on the podium.
Read more here.
Photo Credit: Alyona Photography
New York Classical Review: Clarion Choir soars in spiritual rarity to open Rachmaninoff 150 year
It seems likely that, when the Sergei Rachmaninoff sesquicentennial year of 2023 has run its course, we will find that (with apologies to Joni Mitchell), we looked at Rachmaninoff from both sides now, and we really didn’t know Rachmaninoff at all.
Clarion Choir, jumping the gun by a few hours on New Year’s Eve, introduced a Rachmaninoff relatively few people know with an uplifting performance of his work for unaccompanied chorus, Liturgy of St. John Chrysostom, in the visually splendid sanctuary of the Holy Trinity Greek Orthodox Cathedral on East 74th Street. (A repeat performance New Year’s Day will usher in the celebratory year.)
Was the composer of these static, endlessly-circling choral harmonies really the same person who set the standard for rugged athleticism at the piano? Could the composer who inspired a thousand Hollywood love scenes also liberate one’s spirit from corporeal existence?
New York Classical Review
By David Wright
It seems likely that, when the Sergei Rachmaninoff sesquicentennial year of 2023 has run its course, we will find that (with apologies to Joni Mitchell), we looked at Rachmaninoff from both sides now, and we really didn’t know Rachmaninoff at all.
Clarion Choir, jumping the gun by a few hours on New Year’s Eve, introduced a Rachmaninoff relatively few people know with an uplifting performance of his work for unaccompanied chorus, Liturgy of St. John Chrysostom, in the visually splendid sanctuary of the Holy Trinity Greek Orthodox Cathedral on East 74th Street. (A repeat performance New Year’s Day will usher in the celebratory year.)
Was the composer of these static, endlessly-circling choral harmonies really the same person who set the standard for rugged athleticism at the piano? Could the composer who inspired a thousand Hollywood love scenes also liberate one’s spirit from corporeal existence?
Read more here.
The New York Times: 5 Classical Music Albums You Can Listen to Right Now
In this program — of works by Tania León, Alvin Singleton, Julia Wolfe, David Sanford, Allison Loggins-Hull and Valerie Coleman — none of the music is on autopilot.
Singleton, born in 1940, is the oldest composer represented; his music should be heard in concert halls more frequently. Jennifer Grim’s take on “Argoru III,” for solo flute, digs in to his melodic gifts, as well as his feel for textural variation within five concise minutes. Similarly wide-ranging is León’s “Alma” — the lyrical opening of which follows a winding, entertaining path toward the bumptious rhythmic fillips of its central section. And in Coleman’s “Wish Sonatine,” a work inspired by a Fred D’Aguiar poem about the Middle Passage, the composer navigates between episodes of horror and moments of communal purpose with narrative drive.
The New York Times
‘Through Broken Time’
Jennifer Grim, flute; Michael Sheppard, piano (New Focus)
In this program — of works by Tania León, Alvin Singleton, Julia Wolfe, David Sanford, Allison Loggins-Hull and Valerie Coleman — none of the music is on autopilot.
Singleton, born in 1940, is the oldest composer represented; his music should be heard in concert halls more frequently. Jennifer Grim’s take on “Argoru III,” for solo flute, digs in to his melodic gifts, as well as his feel for textural variation within five concise minutes. Similarly wide-ranging is León’s “Alma” — the lyrical opening of which follows a winding, entertaining path toward the bumptious rhythmic fillips of its central section. And in Coleman’s “Wish Sonatine,” a work inspired by a Fred D’Aguiar poem about the Middle Passage, the composer navigates between episodes of horror and moments of communal purpose with narrative drive.
Read more here.
New Sounds: Keyboard and "Percussion"
Hear music with piano and percussion of ALL kinds - from the inside of a piano with preparations, flower pots, ping pong balls, bowed vibraphone, and even echolocation by an endangered species of bat in works by Matt McBane and Sandbox Percussion, American composer Ellen Reid and the L.A. Percussion Quartet, and Andrew McIntosh for Yarn/Wire.
Listen to some of composer, producer, and violinist Matt McBane’s collaboration with Sandbox Percussion, Bathymetry -a “reference to how bass synthesizers affect percussive sounds, mimicking how the ocean floor shapes the waves above,” (National Sawdust event page.) McBane and Sandbox use monophonic Moog analog synthesizer, found instrument percussion (mixing bowls, ping pong balls, glass bottles), orchestral percussion and drum sets, drawing on minimalism and achieving something close to ambient music to evoke the mysterious underwater depths.
New Sounds
By John Schaefer
Hear music with piano and percussion of ALL kinds - from the inside of a piano with preparations, flower pots, ping pong balls, bowed vibraphone, and even echolocation by an endangered species of bat in works by Matt McBane and Sandbox Percussion, American composer Ellen Reid and the L.A. Percussion Quartet, and Andrew McIntosh for Yarn/Wire.
Listen to some of composer, producer, and violinist Matt McBane’s collaboration with Sandbox Percussion, Bathymetry -a “reference to how bass synthesizers affect percussive sounds, mimicking how the ocean floor shapes the waves above,” (National Sawdust event page.) McBane and Sandbox use monophonic Moog analog synthesizer, found instrument percussion (mixing bowls, ping pong balls, glass bottles), orchestral percussion and drum sets, drawing on minimalism and achieving something close to ambient music to evoke the mysterious underwater depths.
Read more here.