LA Chamber Orchestra's Baroque Conversations featuring Violinist Allan Vogel

By -
Los Angeles Chamber Orchestra’s (LACO) enlightening five-concert “Baroque Conversations” series showcasing exceptional Baroque music launches its sixth year with a program of Bach and Biber on Thursday, January 26, 7 pm, at Zipper Concert Hall in downtown Los Angeles. Special guest Elissa Johnston, soprano, joins LACO Principal Oboe Allan Vogel, who leads the program in celebration of his 40th anniversary with LACO, Concertmaster Margaret Batjer, Principal Cello Andrew Shulman, Principal Flute David Shostac, Flute and Soprano Janice Tipton and Principal Keyboard Patricia Mabee. The concert opens with Heinrich Ignaz Franz Biber’s Courente from Mystery Sonata No. 12, “The Ascension,” and also features pieces by Bach, ranging from Toccata in D minor, BWV 913, and Trio Sonata in G major, BWV 1038, to such arias as “Schafe können sicher weiden” (“Sheep may safely graze”) from Cantata No. 208 and “Bist du bei mir” (“If you are with me”), BWV 508, a work lost in the Second World War and rediscovered in the Kiev Conservatory in 2000. In signature LACO style, the artists share their insights into the music from the stage and invite questions from the audience. LACO's “Baroque Conversations” explores the genesis of orchestral repertoire from early Baroque schools through the pre-classical period. A pre-concert reception, beginning at 6 pm, is free to all ticket holders.

Tickets ($50) are on sale now and may be purchased online at laco.org, by calling LACO at 213 622 7001, or at the venue box office on the night of the concert, if tickets remain. Student rush tickets ($10), based on availability, may be purchased at the box office the day of the concert.


LOS ANGELES CHAMBER ORCHESTRA’S
BAROQUE CONVERSATIONS SERIES
LAUNCHES WITH EVENING OF BACH AND BIBER
FEATURING SPECIAL GUEST SOPRANO ELISSA JOHNSTON

LACO Principal Oboe Allan Vogel Leads the Program,
Which Features Concertmaster Margaret Batjer, Principal Cello Andrew Shulman,
Principal Flute David Shostac, Flute and Soprano Janice Tipton
and Principal Keyboard Patricia Mabee

Thursday, January 26, 7 pm, at Zipper Concert Hall, Downtown Los Angeles

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more