Author: Mike Rush

“For orchestras around the world this past year, strings have been the thing,” writes Lawrence A. Johnson in Wednesday’s (4/14) Chicago Classical Review. “Unlike their brass and woodwind colleagues, string players can perform while masked. Happily, the latest episode (No. 17) in the Chicago Symphony Orchestra’s streaming CSO Sessions series provides some variety [with] Serenade in B flat, K. 361/370a, the ‘Gran Partita.’ … The ‘Gran Partita’ … scored for 13 instruments … is Mozart’s largest work for wind ensemble … spanning seven movements…. Production values were first class. The recorded performance was introduced by CSO section oboist Lora Schaefer and proved visually striking with the dozen winds arranged in a circle on the stage of an empty Orchestra Hall (double-bass player Robert Kassinger sat outside). Despite the unorthodox setup, the instrumental colors emerged clearly and cohesively as did the blended tutti sound in the final mix…. It was wonderful to hear (and see) such front-desk stalwarts as oboist William Welter, clarinetist Stephen Williamson, and bassoonist Keith Buncke playing Mozart with apt grace and sensitivity…. All the players brought jaunty swagger to the second Menuetto’s main theme and the inward lyricism of the Romanze was deftly contrasted with the bumptious trios.”

“When everything shut down a year ago, orchestras found their entire seasons canceled, soloists lost their engagements, and musicians lost their work. Predictably enough, written reviews of classical events evaporated almost entirely,” writes Laurie Niles in Tuesday’s (4/13) Violinist.com. “So I found it heartening when, on Monday, I read … a review by John von Rhein [in Chicago Classical Review] of violinists Paul Huang and Danbi Um’s North Shore Chamber Music Festival recital Saturday with pianist Amy Yang…. Saturday’s concert allowed just 25 seats for in-person viewing, and one of those precious seats went to von Rhein…. Our art does not exist in any real way, unless people pay attention to it…. We all know about the existence of bad classical music coverage and bad-faith, downright ignorant music criticism…. What could be worse than that? Well, silence is worse. If we are wise, we will recognize that the conversations around our classical music events are as important as the events themselves, when it comes to building an enthusiastic community for classical music…. As we rebuild from this pandemic time, we need to support existing arts journalists and also to train a new generation in this art.”

“The Petersburg Symphony Orchestra String Quartet, Woodwind Quintet, and Bonefire Trombone Choir will be performing a free community concert at the Beacon Theatre sponsored by the City of Hopewell” on May 16, writes Kristi Higgins in Saturday’s (4/10) Progress-Index (Petersburg, VA). “Due to COVID-19 pandemic restrictions, the tickets are for specific seats in 2-person, socially distanced seating pods. Audience members are required to wear masks. Established in 1978, the Petersburg Symphony Orchestra [PSO] is a diverse ensemble of musicians who make music for the Tri-Cities region and beyond.… Musical selections for the concert include: String Quartet in C Major, K. 157 – Allegro, Presto (Wolfgang Amadeus Mozart), Excerpts from The Four Seasons (Antonio Vivaldi), Country Club Rag (Scott Joplin), Divertimento (Wolfgang Amadeus Mozart), St. Louis Blues, Metro Suite, Shenandoah (arr. Bill Holcombe), Rustic Holiday (Paul Koepke), Fanfare for Trombones (Andrew C. Fox), Yorkshire Ballad (James Barnes), El Gato Montes (Manuel Panella), and Achieved is the Glorious Work (Franz Joseph Haydn).” Ulysses Kirksey is music director of the Petersburg Symphony Orchestra, which has been performing virtual chamber concerts during the pandemic.

“A citizen advisory committee tasked by the city of Texarkana, Texas, to pick the future management company for the city-owned Perot Theatre has selected the Texarkana Symphony Orchestra for the job,” writes Aaron Brand in Tuesday’s (4/13) Texarkana Gazette (TX). The next step will be “approval by the City Council, said Robby Robertson, the city parks and recreation director who has overseen the selection process. This contract would start in the fall. ‘The Texarkana Symphony Orchestra is pleased to have the confidence of the City’s community committee as the new managers of the Perot Theatre,’ said the Texarkana Symphony Orchestra … executive director, Andrew Clark…. The venerable, historic theater in downtown Texarkana … has brought entertainment to the city for nearly a century, ranging from Broadway shows to vaudeville to concerts and movies…. The City Council will vote on the recommendation after negotiations yield a contract agreement…. Opened in 1924, the Perot started as the Saenger Amusement Co.’s ‘Gateway to the West’ theater and was later restored in the 1970s and ‘80s. It’s now on the National Register of Historic Places.” The Texarkana Symphony performs at the theater, which was previously managed by Texarkana Regional Arts & Humanities Council.

“For a second straight year, the Peninsula Music Festival Symphony Series has fallen victim to the COVID-19 pandemic, although a smaller series will be held in its place,” writes Christopher Clough in Tuesday’s (4/12) Green Bay Press-Gazette (WI). “The festival announced Monday afternoon it is canceling its long-running annual season of nine classical music concerts in August performed by a professional symphony orchestra because of ongoing health safety concerns … as well as the financial viability of possibly having to present concerts with reduced audience sizes to allow for social distancing in its usual home at Door Community Auditorium…. Executive director Christoph Ptack said … the organization also had to take into account the ramifications of bringing together 80-some musicians … along with technical and support staff…. Ptack noted [the early cancellation] gives the musicians time to make alternate plans for losing this gig, instead of canceling a couple weeks before it would have started and leaving them with no options to work elsewhere…. Organizers are planning a three-concert Recital Series taking place … Aug. 5, 12 and 19, in the Kress Pavilion in Egg Harbor…. The programs will feature music for piano and string instruments.”

Ohio’s Canton Symphony Orchestra will present its first virtual concert on April 10, a chamber event featuring music for string quartet. The concert will be streamed live and include the option to order a charcuterie box and bottle of wine, in partnership with Canton-based Fromage du Monde, delivered to patrons’ homes in Cuyahoga, Medina, Stark, Summit, Portage, Wayne, Holmes, Tuscarawas, Carroll, Columbiana, Mahoning, and Trumble counties. Patrons can purchase tickets to the virtual concert with or without the charcuterie box/wine package. A quartet of Canton Symphony musicians—violinists Cristian Zimmermann and Emily Cornelius, violist Laura Kuennen-Poper, and cellist Brian Klickman—will perform Schubert’s Quartettsatz in C minor (D. 703); “Andante Cantabile” and “Juba” from Florence Price’s String Quartet No. 2; Haydn’s “Emperor” String Quartet, Op. 76, No. 3; and Rune Tonsgaard Sørensen’s Shine You No More.

“Founded in 2010 by violinists Maia Jasper White and Kevin Kumar, Salastina might be one of Los Angeles’ best kept musical secrets,” writes Victoria Looseleaf in Saturday’s (4/3) San Francisco Classical Voice. “The group comprises six resident artists … on a mission to broaden the definition of what classical music was, is, and can be.’ … Salastina, whose homes are Barrett Hall at the Pasadena Conservatory and the Edye Second Space at the Broad Stage in Santa Monica [performed] seven pairs of concerts a year. Until COVID-19 hit, that is…. Salastina has not only transformed its delivery system, it appears to be thriving…. Every Tuesday via Zoom, the organization has been presenting what it calls Virtual Happy Hour, offering live musical performances, conversations, and interaction with music lovers all over the world… Salastina has counted among its participants … violinist Hilary Hahn … and film composer Alan Menken…. Salastina’s pandemic programming has also included Project: Music Heals Us, where musicians perform private, virtual bedside concerts for patients, their families, and medical staff in UCLA’s ICU. [When Salastina resumes in-person concerts], ‘The key word is integration, and by that, I mean integrating the digital programming with real live programming,’ says Jasper White.”

“After almost 30 years as a member of the Oklahoma City Philharmonic, Ted Cox is finally getting his moment in the spotlight,” writes Brandy McDonnell in Saturday’s (4/3) Oklahoman. “For his first time with the orchestra, the principal tuba player will be the soloist for the philharmonic’s April 24 Classics concert on … Richard Strauss’ Horn Concerto No. 1 in E-flat.… Said Cox, ‘It’s great to have the opportunity…. That doesn’t come around very often.… So, it’s kind of nice that landed.’ Cox will be featured as soloist on a bill showcasing German composers … as the OKC Philharmonic continues to plan its programs and sometimes shift its schedule in response to the COVID-19 pandemic…. Although the orchestra continues to limit capacity, require masks and maintain social distancing in the seats as well as on the stage, OKC Philharmonic Music Director Alexander Mickelthwate said the audiences and excitement seem to be growing, especially as more people get their COVID-19 vaccines…. The OKC Philharmonic’s principal tubist since 1992, Cox said he started out in fourth grade playing trumpet.… Just before eighth grade … he switched to the tuba. ‘And I fell in love with the sound of it,’ Cox said.”