Haydn Cello Concerto No. 1 in C major with Robert Hasty and the Kenosha Symphony Orchestra
Brahms Double Concerto with Stefan Hersh, violin, Scott Krijnen, conductor, and the Palo Alto Chamber Orchestra
Brahms Piano Trio No. 1 in B major, Op. 8 with Adam Neiman, piano and Stefan Hersh, violin
The Bridges Composition Competition calls on young composers from around the globe to add their creative perspectives to the “bridge” between the Steans Institute’s jazz and classical focuses with new works written for string quartet and jazz rhythm trio.
Edmonton Chamber Music Society -- Summer Solstice Music Festival at Yardbird
Edmonton Chamber Music Society -- Summer Solstice Music Festival at Trinity Lutheran Church
Edmonton Chamber Music Society -- Summer Solstice Music Festival at Trinity Lutheran Church
Musical Love Triangle: Brahms and the Schumanns
Start your day with the stunning, panoramic sunrise over Newport’s iconic Cliff Walk and the Atlantic Ocean as the Festival Artists take you on a meditative and uplifting journey. Set on the terrace of Rosecliff, with its breathtaking views and serene atmosphere, this year’s Sunrise Meditations concert offers a unique opportunity to enjoy the music in a peaceful outdoor setting.
Surrounded by the serene beauty of the Norman Bird Sanctuary, join the Festival Artists for this delightful outdoor morning program of captivating chamber music in harmony with nature. Set amidst the sanctuary’s stunning natural surroundings, this year’s Strings in Nature concert features Haydn’s playful The Joke Quartet, Spohr’s Grand Duo for Violin and Viola, Schubert’s lyrical String Trio in B-flat Major, and Strauss’s charming Variations on a Bavarian Folk Song. As the music unfolds, don’t be surprised if the birds themselves join the performance, adding their own melodies to this charming and peaceful performance.
Set against the stunning backdrop of The Elms, this intimate performance will explore Ravel’s unparalleled mastery of orchestration, from his elegant Sonatine for Piano to his String Quartet in F Major, dedicated to his teacher Gabriel Fauré. The program will highlight his emotional depth and distinct style, inviting you to experience Ravel’s enduring legacy in a personal and immersive setting within the historic atmosphere of The Elms, honoring a composer whose works continue to resonate across generations.
Step into the historic Emmanuel Church for an afternoon of French quintets from the 19th and 20th centuries, performed by the Festival Artists. Paired with Emmanuel Church’s stunning English Gothic Revival architecture, the ensemble brings a fresh perspective to these classic pieces in a program highlighting the rich musical tradition of French composers, featuring works by Louis Gouvy, Reynaldo Hahn, and Jean Cras. Join us for an unforgettable afternoon that celebrates the beauty of French music and the exquisite acoustics of one of Newport’s most charming venues.
Scott Yoo and the Festival Artists will take you on a "museum docent's tour" of John Adams' Chamber Symphony during this one-hour event. He and the musicians will discuss the pieces' histories, the composers' influences and musical styles, and perform some selections. These are amazing opportunities to learn a little more about this great music before you attend the concerts.
The annual concert in Mission San Luis Obispo once again features an incredible quintet by Mozart, featuring two violas. Brahms' Sextet is up next, which shows the composer's mastery of this particular ensemble. The Festival Brass kick off the second half with sonorous pieces by Gabrieli, and living American composer John Adams' 1992 Chamber Symphony finishes the program, conducted by Scott Yoo.
The Festival Artists return to the Harold J. Miossi CPAC for the final chamber concert of the summer. Lesser known Austrian composer Thuille is best remembered for his sextet for piano and winds, which opens this program. Then we will hear Bridge's Piano Quintet and Dorothy Rudd Moore's Three Pieces. Finishing the program is Mendelssohn's Viola Quintet, one of the final pieces he composed which was not published until four years after his death because he deemed it "not good."
