ALERTS:
This week’s FREE Friday Noon Musicale – which takes places from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison at 900 University Bay Drive – features tenor J. Adam Shelton (below) and pianist Rayna Slavova in music by George Bizet, Benjamin Britten, Joaquin Turina and Richard Strauss.
Plus, the Friday night recital by pianist Marco Grieco at Farley’s House of Pianos has been CANCELLED due to visa problems.
By Jacob Stockinger
This is another “train wreck” weekend for classical music, as the Wise Critic likes to say.
Saturday night especially has a lot of competing events. They include:
At 7:30 p.m. in Old Music Hall, a performance of Wolfgang Amadeus Mozart’s opera “The Magic Flute” by University Opera.
And a FREE cello recital in Mills Hall at 8 p.m. by UW-Madison professor Parry Karp – with pianist mother Frances and pianist brother Christopher — that features music by Benjamin Britten, George Crumb and Ludwig van Beethoven (two violin sonatas as transcribed for cello by Parry Karp.)
But one non-local event stands out.
The San Francisco-based, Grammy-winning Kronos Quartet (below top) — which since 1973 has pioneered crossover genres and in so doing popularized chamber music — performs on Saturday night at 8 p.m. in Shannon Hall (below bottom) at the Wisconsin Union Theater.
The program features the typical eclectic mix of the Kronos Quartet, which plays string quartet versions of jazz, rock and blues music as well as contemporary classical music. (At bottom, in a historic YouTube video, is the classic Kronos performance of “Purple Haze” by rocker Jimi Hendrix.)
Included is music by Laurie Anderson, Jelly Roll Morton, Thelonius Monk and Charles Mingus as well as works by Maru Kouyoumdjian, Vladimir Martynov, Komitas, Michael Daugherty and Dan Becker.
Here is a link with the program, ticket prices, biographies of the players, critical reviews and videos.
http://www.uniontheater.wisc.edu/season14-15/kronos-quartet.html
MASTER CLASS: Violist Hank Dutt of the Kronos Quartet will be giving a master class in Mills Hall, on Friday, from 3:30 to 5:30 p.m. It is open to the public. The menu includes J.S. Bach’s Suite No. 6 and Chaconne for four violas, Elliott Carter’s “Figment IV” and the String Quartet by Maurice Ravel.
By Jacob Stockinger
They made chamber music hip when it used to be square.
I’m talking about the Kronos String Quartet, which for decades has, in Bob Dylan’s famous lyrics, remained “Forever Young.”
But they aren’t young except in spirit, where it really counts.
In case you missed it, a week ago Friday was the 40th anniversary of the internationally acclaimed and ever-performing, ever-recording, ever-commissioning and ever-morphing Kronos Quartet (below).
The Kronos Quartet, which has a local Wisconsin tie through the original cellist Jean Jeanrenaud (below), who retired in 1998 from the group and its hectic touring, made history in many ways.
For one, the Kronos changed the notion and model of string quartets and chamber music in general. They were unafraid to go electric when needed. And so they expanded the audience for string quartets and chamber music to younger people.
The Kronos focused on modern and contemporary music and commissioned hundreds of new works from contemporary composers. That is a formidable legacy for the future.
The Kronos focused on crossover music and broke the mold of separate categories. (Below, they are playing outdoors in Warsaw, Poland, in 2006.)
The Kronos focused on ethnic music and Third World composers. (Below, they are playing with celebrated Chinese pipa player Wu Man, who is in the center of the photo.)
In the end, they sold millions of recordings and helped change the business model that string quartets and chamber music used to survive and prosper. (Below, they are performing on the BBC Radio in 2012.)
Some critics of the Kronos might say they didn’t change it for the better. But what the Kronos did has remained permanent and popular. It changed the scene for many quartets that came after them, including the popular Quartetto Gelato and the Turtle Island String Quartet.
So to catch up with all that the Kronos represents, here are links to some pieces from background history and backstories to concert reviews.
Here is the story that was on NPR:
And here is a link to the NPR blog “Deceptive Cadence” that also offers sounds samples of pioneering work done by the Kronos. (Below, in 2013 in photo by Jay Blakesberg.)
http://www.npr.org/blogs/deceptivecadence/2014/03/25/293849927/kronos-quartet-at-40-songs-we-love
Here is a fine, comprehensive profile by The New York Times:
http://www.nytimes.com/2014/03/23/arts/music/kronos-quartets-40-year-adventure.html?_r=0
Here is a review of the concert in Carnegie Hall that appeared in the New York Times:
Plus here is a review of the same program done earlier on the West Coast by The Los Angles Times:
The Ear likes a lot of the Kronos’ work. But curiously I prefer some of the ethnic and crossover music -– a version of rock and roll icon Jimi Hendrix’s “Purple Haze” (in a popular YouTube video at the bottom) is the famous example — better than much of the contemporary stuff.
Two of my favorite Kronos CDs are “Pieces of Africa,” with its contagious rhythms, and “Winter Was Hard,” with its short but intense miniatures that included both early music and new music.
What is your favorite Kronos Quartet album or even single performance?
And what role did the Kronos Quartet play in your own appreciation of chamber music, especially string quartets, and contemporary classical music or new music?
The Ear wants to hear.