The Well-Tempered Ear

Here are the classical music nominations for the 63rd annual Grammy Awards in 2021

November 28, 2020
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By Jacob Stockinger

It’s time again for the annual Grammy Awards (below).

Although determined by the recording industry and often considered promotional marketing, they might be more helpful given the peculiar circumstances of the past year.

After all, the coronavirus pandemic has changed our listening habits.

Perhaps you now listen mostly via computer to virtual online concerts and performances that are streamed.

Perhaps you listen to Compact Discs using home stereo systems.

Perhaps you subscribe to a streaming service such as Apple Music, Amazon Music, Spotify and others.

However you listen to music, you might find the following list useful, especially as it comes at the beginning of the holiday shopping and gift-giving season.

You might also find the nominations for the 63rd annual Grammy Awards informative about individual musicians and musical groups in your area.

They can help you judge how many or how few contemporary composers and new works get performed.

Performers provide other examples. You might find it interesting, for example, that soprano Sarah Brailey (below) has been nominated for her role in the solo vocal work “The Prison” by Ethel Smyth. Brailey is a graduate student at the University of Wisconsin-Madison Mead Witter School of Music and a co-founder and performer of the free monthly Just Bach concerts.

Pianist Shai Wosner (below, in a photo by Marco Borggreve), who played late Schubert sonatas at the Salon Piano Series at Farley’s House of Pianos, is included in a list of producer awards for his recording of those sonatas.

The Milwaukee Symphony Orchestra and Florentine Opera have been nominated for a recording of Carlisle Floyd’s opera “Prince of Players.” 

Conductor Julian Wachner (below top), violinist Augustin Hadelich (below middle) and pianist Jonathan Biss (below bottom) have all performed with the Madison Symphony Orchestra, some more than once.

Soprano Laquita Mitchell (below) — who has sung with the Madison Opera — has been nominated for her performance in the choral work “Sanctuary Road” by Paul Moravec. 

Cellist Matt Haimovitz (below top) and composer Luna Pearl Woolf (below bottom) have been nominated for the latter’s “Fire and Flood.” Both have appeared with UW-Madison orchestral and choral groups.

If you notice more local connections, please leave word in the Comment section.

The winners will be announced on CBS Television the evening of Sunday, Jan. 31, 2021.


73. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)

·      DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
 

·      GERSHWIN: PORGY AND BESS 
David Frost and John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)
 

·      HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis and Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
 

·      IVES: COMPLETE SYMPHONIES (below)

Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)
 

·      SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’
David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)

·  
  74. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)

·      BLANTON ALSPAUGH

• Aspects Of America – Pulitzer Edition (Carlos Kalmar and Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov and PaTRAM Institute Singers)
• Dvorak: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda and National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher and Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar and Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale and Orchestra Of St. Luke’s)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir and Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly and Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz and Choir Of Trinity Wall Street)

·      DAVID FROST (below)

• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra and Chorus)
• Gluck: Orphée ed Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra and Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern and Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra and Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra and Chorus)

·      JESSE LEWIS

• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes and Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer and Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha and International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)

·      DMITRIY LIPAY

• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel and Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes and Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 – The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel and Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard and Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 and Symphony No. 2, ‘The Four Temperaments’ (Thomas Dausgaard and Seattle Symphony)

·      ELAINE MARTONE

• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman and Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior and Oliverio: Orchestral Works (Robert Spano and Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon and Los Angeles Master Chorale)

75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.

·      ASPECTS OF AMERICA – PULITZER EDITION (below)
Carlos Kalmar, conductor (Oregon Symphony)
 

·      CONCURRENCE
Daniel Bjarnason, conductor (Iceland Symphony Orchestra)
 

·      COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
 

·      IVES: COMPLETE SYMPHONIES
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
 

·      LUTOSLAWSKI: SYMPHONIES NOS. 2 and 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)

76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.

·      DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
 

·      FLOYD, C.: PRINCE OF PLAYERS 
William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
 

·      GERSHWIN: PORGY AND BESS (below)
David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
 

·      HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)
 

·      ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Sturzer, producers (Orchestra of The Deutsche Oper Berlin; Chorus of The Deutsche Oper Berlin)

·    

77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

·      CARTHAGE
Donald Nally, conductor (The Crossing)
 

·      DANIELPOUR: THE PASSION OF YESHUA (below)
JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)
 

·      KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale and The Saint Tikhon Choir)
 

·      MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)
 

·      ONCE UPON A TIME
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)

·       

78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

·      CONTEMPORARY VOICES
Pacifica Quartet
 

·      HEALING MODES
Brooklyn Rider
 

·      HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra
 

·      HYNES: FIELDS
Devonté Hynes and Third Coast Percussion
 

·      THE SCHUMANN QUARTETS
Dover Quartet

·      

79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.

·      ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
 

·      BEETHOVEN: COMPLETE PIANO SONATAS (below)
Igor Levit
 

·      BOHEMIAN TALES
Augustin Hadelich; Jakub Hrusa, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
 

·      DESTINATION RACHMANINOV – ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
 

·      THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O’Neill; David Alan Miller, conductor (Albany Symphony)

·       

80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

·      AMERICAN COMPOSERS AT PLAY – WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)
 

·      CLAIRIÈRES – SONGS BY LILI and NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
 

·      FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
 

·      A LAD’S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)
 

·      SMYTH: THE PRISON
Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

·       

81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

·      ADÈS CONDUCTS ADÈS
Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
 

·      SAARIAHO: GRAAL THEATER; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
 

·      SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
 

·      THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK and MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
 

·      WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer

·      

82. Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

·      ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)
 

·      DANIELPOUR: THE PASSION OF YESHUA
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
 

·      FLOYD, C.: PRINCE OF PLAYERS (below)
Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)
 

·      HEARNE, T.: PLACE
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)
 

·      ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)

If you want to see many more nominations, including those for pop, rock, folk, hip hop, jazz and videos, go to: https://www.grammy.com/grammys/news/2021-grammys-complete-nominees-list


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Classical music: Acclaimed native son Kenneth Woods returns this weekend to conduct the Madison Symphony Orchestra. He talks to The Ear about what Madison meant to him and his international career

March 2, 2020
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By Jacob Stockinger

This weekend, native Madisonian Kenneth Woods (below) returns from his home in the UK to conduct three performances of the Madison Symphony Orchestra.

The concerts feature two MSO debuts: the prize-winning young Canadian violinist Blake Pouliot performing Mendelssohn’s Violin Concerto in E minor; and the acclaimed guest conductor, Kenneth Woods, leading the orchestra for the MSO premiere of Haydn’s Symphony No. 96, “Miracle” plus Richard Strauss’ tone poem Ein Heldenleben (A Hero’s Life).

Performances will be held in Overture Hall on Friday night, March 6, at 7:30 p.m.; Saturday night, March 7, at 8 p.m.; and Sunday afternoon, March 8, at 2:30 p.m.

Single tickets are $19-$95 each and are on sale now, along with discounted tickets, at: https://madisonsymphony.org/event/the-miracle/; through the Overture Center Box Office at 201 State Street; or by calling the Box Office at (608) 258-4141. Fees apply to online and phone sales.

You can view program notes for this concert online at http://bit.ly/msomar2020programnotes

A Prelude Discussion by Randal Swiggum will take place one hour before each concert.

Guest conductor Kenneth Woods is a busy and versatile musician. He is the Principal Conductor of the English Symphony Orchestra and the artistic director of both the Colorado MahlerFest and the Elgar Festival in England. (You can hear Woods conducting Carl Maria von Weber’s “Oberon” Overture in the YouTube video at the bottom.) 

Woods has won accolades for rediscovering and recording the music of the Austrian-British composer Hans Gàl. Woods, who has played guitar in a rock band, is also a professional cellist who solos with orchestras and plays chamber music. He writes a respected blog. And he currently plays and records in the Briggs Piano Trio for Avie Records.

For much more information about Kenneth Woods, including his blog “A View From the Podium,” go to: https://kennethwoods.net/blog1/

Woods recently spoke via email to The Ear about what Madison has meant to him and to his international career.

How did living in Madison play a role in your decision to become a professional musician?

Madison offered me a chance to hear music at an early age. I was taken to watch a rehearsal of the Wisconsin Youth Symphony Orchestra as a very young kid, maybe three or four years old. That made a huge impression on me, especially seeing the rehearsal process. Later, my parents took us to all the UW Symphony Orchestra concerts for years.

There’s really no reason not to take young kids to concerts! For me, a love of live music led to a love of recorded music, listening to records at home, and from there, to an interest in playing music as a kid.

We were lucky to have a very strong music program in the Madison public schools when I was growing up here. The orchestras at Memorial High School played some really impressive repertoire under Tom Buchhauser (below top, in a photo by Jon Harlow). The UW Summer Music Clinic made being a musician social – it was a great immersion with one’s peers.

Most important, however, was probably the Wisconsin Youth Symphony Orchestras (WYSO). Playing under Jim Smith (below bottom) was the most fantastic education in orchestral playing one could hope for. He and Tom are a big part of why I became a conductor.

Madison in those days wasn’t a super-pressurized scene, like one might encounter around the big pre-college programs in New York or LA. But what I might have missed in terms of conservatory-level instrumentalists in every corridor, one made up in terms of feeling like you could find your own path. By the time I was in high school, I pretty much knew music was that path.

How did your experiences in Madison help prepare you for that career?

I learned so much about rehearsing from Jim Smith. In his first year, we worked on Dvorak’s 8th Symphony pretty much all year. Every week, he opened our ears to new facets of the music. I’ve never forgotten that.

I went off to Indiana University to do my Bachelor’s degree, but returned to Madison for a Master’s, when I studied cello with UW-Madison professor Parry Karp (below top).

Those were wonderful years for me. I learned an enormous amount from Parry as both a cello teacher and chamber music coach (and especially as a person).

I played in fantastic chamber groups, did lots of wacky new music and had solo opportunities. UW Symphony Orchestra conductor David Becker (below bottom) even gave me my first meaningful chance to rehearse an orchestra when he had me take a couple of rehearsals on the Copland Clarinet Concerto.

And I played in both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra. I came away from that time with both new skills and new confidence.

What does returning to your hometown to conduct the Madison Symphony Orchestra mean to you?

It’s both very exciting and a little surreal. Under the leadership of John DeMain (below top, in a photo by Greg Anderson), the MSO (below bottom, in a photo by Peter Rodgers) has come so far since the time I was in it. And the new hall is such a treasure for all of Wisconsin – it’s practically a different orchestra.

I still have many friends and former mentors in the orchestra and it’s going to be wonderful to see them all and make music together again after so long.

But it’s more than a homecoming. It’s a chance to celebrate where we’ve all been and what we’ve all done the last 20 years or so. My musical life has mostly been in the UK for a long time, so to re-connect with my musical roots here is rather magical.

What are your major current and upcoming projects?

The English Symphony Orchestra (below) represents the biggest chunk of my musical life. This year we’re celebrating Beethoven’s 250th birthday and the orchestra’s 40th anniversary.

The ESO has a special commitment to new and unknown music, and right now we’re in the midst of something called the 21st Century Symphony Project, which involves commissioning, premiering and recording nine new symphonies by diverse composers. It’s one of the most ambitious commissioning projects I’ve ever heard of, let alone been involved in.

I’m also excited about this year’s Colorado MahlerFest in Boulder, where we’re focusing on Mahler’s Symphony No. 2 “Resurrection” this May, which will crown a week of music exploring themes of color and visual art with music by Wagner, Messiaen and British composer Philip Sawyers.

Is the MSO program special to you?

I must say that it was incredibly generous of John DeMain to offer me such a fantastic program. Not every music director is gentleman enough to let a guest have Ein Heldenleben.

What would you like the public to know about your approach to music and about the specific works by Haydn, Mendelssohn and Richard Strauss?

Haydn’s music is maybe the richest discovery of my adult life. I didn’t get it as a kid, largely because most performances I heard were so dull.

His music is so varied, and his personality so complex, one mustn’t try to reduce him down to a simplistic figure. The late symphonies, of which this is one of the finest, are inexhaustible sources of wisdom, beauty, humor and sanity.

The Mendelssohn is really an astonishing piece. I’ve probably conducted it as much as any piece of music, with so many different soloists, all of whom had hugely different temperaments, personalities, sounds and approaches.

I’ve played it with some of the greatest violinists in the world and with young students. Somehow, whoever is playing, it always leaves me, and the audience, smiling. I’m pretty sure we can continue that streak with Blake Pouliot (below, in a photo by Jeff Fasano).

The Strauss is a rich, personal, wise, funny and moving work. It’s always a challenge, particularly bringing out all the astonishing detail in the score, but it’s also a real joy to perform. If the Mendelssohn always leaves me smiling, the Strauss always leaves me smiling with a tear in my eye.

 


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Classical music: Here is the corrected program for the Oakwood Chamber Players, who open the new year with music by Mozart and Stravinsky plus new music by living composers this Saturday night and Sunday afternoon

January 9, 2020
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CORRECTION: By mistake, The Ear earlier posted the wrong program for the Oakwood Chamber Players this weekend. Here is the correct information. The Ear apologizes for the error and any inconvenience.

By Jacob Stockinger

The first concerts for the new year by the Oakwood Chamber Players (below) will be take place this Saturday night, Jan. 11, at 7 p.m., and Sunday afternoon, Jan. 12, at 2 p.m., at the Oakwood Village University Woods Center for Arts and Education at 6209 Mineral Point Road in Madison, on Madison far west side near West Towne Mall.

The program begins with a witty opener, “L’Heure de Berger” by French composer Jean Francaix (below) for woodwind quintet and piano. The piece’s three movements cleverly depict the quirky personalities of patrons observed at a Parisian restaurant.

“Y Deryn Pur” for oboe, violin, viola and cello — by the award-winning British composer Cecilia McDonald (below) is based on an expressive Welsh folk tune, “The Gentle Dove.”

Written early in his career, Russian composer Igor Stravinsky’s “Pastorale” is a soothing song without words for a mixed quintet of winds and strings. It is a delicate piece originally written for voice and piano, then re-orchestrated for the sustained sonorities of a chamber ensemble.

“Silver Dagger” is a plaintive tale told through a traditional Appalachian folk song and re-envisioned emotionally and dramatically for violin, cello and piano by American composer Stacy Garrop (below).

The “Suite Belle Epoque in Sud-America” was written for the Berlin Woodwind Quintet by Brazilian composer and conductor Julio Medaglia (below). It bursts with vitality and expressive melodies while celebrating a variety of South American musical styles. (You can hear his suite in the YouTube video at the bottom.)

The perennial simplicity, beauty and warmth of Mozart are showcased in his “Adagio in F,” performed by bassoon and string trio.

The program concludes with “Ralph’s Old Records” by Kenji Bunch (below) – a fresh and humorous composition for flute, clarinet, violin, viola, cello and piano that takes listeners through a series of brief movements inspired by an old family record collection.

Tickets are available at the door and are priced at $25 for adults, $20 for seniors, and $5 for students, or at www.oakwoodchamberplayers.com

The Oakwood Chamber Players are a professional music ensemble  supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation

 


Posted in Classical music
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