Ravalli Republic: Shuffle.Play.Listen: Pianist Matt Haimovitz and cellist Christopher O’Riley to perform at Hamilton PAC

November 20, 2014

“Shuffle.Play.Listen” is the program title of the upcoming concert by acclaimed pianist and host of NPR’s From the Top Christopher O’Riley and Grammy-nominated cellist Matt Haimovitz, to be presented this Saturday evening by the Bitterroot Performing Arts Council.

Monica Grable, executive director of the BPAC, said the Bitterroot Valley audience will be wowed by this performance.

“We’ve only begun to present classical music within the past few years and we strive to offer the best of whatever genre we are presenting – these are some of the best,” said Grable.

“Whether or not people view themselves as a classical music fan, this is a musically diverse concert that anyone would enjoy live. Seeing great artists perform live is infinitely better than any other medium.”

Haimovitz and O’Riley are “each considered rock stars of the classical music world, both known for engaging a new generation and blurring the lines between classical and a wide range of other popular music genres – including rock. In this exciting concert, the celebrated artists will perform from a wide-ranging playlist including works by Stravinsky, Piazzolla, Radiohead, John McLaughlin and Arcade Fire.”

“This concert is particularly exciting for music lovers of all kinds; although they are highly regarded as classical musicians, they are also known for creating arrangements – covers – of complex rock tunes by bands like Radiohead,” said Grable. “This is a not-to-be-missed concert.

“Christopher O’Riley is one of the most renowned pianists in the country, though most people know him from his radio show, From the Top, showcasing phenomenal young musicians. He continues to enjoy the most diverse creative life of any pianist of his generation and plays a multitude of styles and genres from pre-Baroque to compositions of the present day: as concerto soloist and conductor, the dozens of works in his repertoire with orchestra span all centuries.”

“Matt Haimovitz is a Grammy-nominated artist who has received a lot of attention for his work inside and outside of classical music. He is a contemporary cellist that everyone is paying attention to. He brings a fresh ear to familiar repertoire, champions new music and initiates ground-breaking collaborations as well as creating innovative recording projects.”

The Bitterroot Performing Arts Council is continuing their tradition of educational outreach experiences and has partnered with both performers to offer master classes on Saturday afternoon at 1:30 p.m.

Christopher O’Riley will conduct a master class for invited advanced high school and college students on the stage of the Hamilton Performing Arts Center and an audience is welcome to observe. In this class, valley students will be able to participate in the conversation and watch O’Riley as he works with University of Montana piano students who will have prepared pieces for him to critique.

The master class with Matt Haimovitz, for invited advanced high school and college students, will take place in the Hamilton High School choir rehearsal room, where an audience is also welcome.

BPAC has scholarship tickets available for student musicians to attend the evening concert. Anyone interested should call the box office at 363-7946.

For more information about the artists visit their websites: christopheroriley.com and matthaimovitz.com.

By: Michelle McConnaha

Read at: Ravalli Republic

The Morning Call: Matt Haimovitz joins Allentown Symphony for Elgar Cello Concerto

October 29, 2014

An award-winning cellist joins an award-winning orchestra for an award-worthy program of music by Beethoven, Elgar and Sierra this weekend at Miller Symphony Hall.

Matt Haimovitz will team up with the Allentown Symphony Orchestra in Elgar’s celebrated Concerto for Cello, on a program that also features Beethoven’s Symphony No. 5 and the Pennsylvania premiere of Roberto Sierra’s “Montuno.”

Haimovitz, who won a Grammy Award for Best Classical Producer and a Grammy nomination for Best Classical Crossover Album for his 2011 release “Meeting of the Spirits,” will be in good company when he takes the stage at Symphony Hall. The orchestra, under the baton of music director Diane Wittry, is the 2014 winner of the American Prize in Orchestral Performance in the professional orchestra division.
The American Prize, founded in 2009, is a series of nonprofit competitions designed to recognize and reward performing artists, ensembles and composers in the United States. Based on submitted recordings, it is awarded annually in many areas of the performing arts. Winners receive cash prizes, professional adjudication and regional, national and international recognition.

Haimovitz, 43, has received a fair share of recognition himself. Praised for the intensity of his playing by Newsweek and his technical panache by The Boston Globe, he is a champion of new music and brings familiar repertoire to new audiences in unexpected places.

The Israeli-born cellist, who divides his home between Montreal and New York, has appeared with some of the most revered orchestras of the world, including the Berlin Philharmonic, the New York Philharmonic and the Boston Symphony.

Haimovitz studied at the Collegiate School in New York and at Juilliard in the final class of Leonard Rose. He continued his cello studies with Ronald Leonard and Yo-Yo Ma, and in 1996 received a B.A. with highest honors from Harvard University.

Like Ma, Haimovitz challenges the conventional definition of a concert cellist. He has played Bach’s solo cello suites in beer halls and biker bars, and has been known to saw through a Led Zeppelin tune from time to time with his eight-cello band, Uccello. It was with Uccello that he made “Meeting of the Spirits.” That disc features nine jazz milestones, including works by Billy Strayhorn, Miles Davis and George Gershwin, in arrangements by Pittsburgh composer David Sanford.
But it will be Elgar’s cello concerto, not Miles Davis’ “Half Nelson,” that Haimovitz will be performing at Symphony Hall. Completed in 1919, it was Elgar’s last major work for orchestra, and one dominated by a sense of anguish. Not only was Elgar suffering from illness, but he also was deeply depressed by the destruction he witnessed in World War I. To give a voice to his pain, he chose the cello for its rich-toned yet brooding personality and its searing, dark timbre.

After the dark and gloomy opening of the first movement, the clarinets introduce a fleeting theme of idyllic release, treated in the graceful manner of a siciliana. The second movement is prefaced by a pizzicato version of the cello’s opening recitative. Haimovitz’s treatment here should be interesting to see — not too long ago, he attacked a pizzicato in David Sanford’s “22 Part I” with such enthusiasm he pulled a string right out of the bridge.

A meditative adagio follows, and by the end of the piece the recitative of the first movement is heard again, with tension dramatically building as the cello sings through all but a single measure.

In contrast to the elegiac nature of Elgar’s cello concerto is Roberto Sierra’s “Montuno” (From the Mountains). Sierra, a native of Puerto Rico, came to prominence in 1987, when his first major orchestral composition, “Jubilo,” was performed at Carnegie Hall by the Milwaukee Symphony Orchestra. In 2008, his Viola Concerto was a finalist for the Pulitzer Prize in Music Composition.

A “montuno” is an instrumental dance form originating in the hilly regions of eastern Cuba that fuses Spanish guitar and vocal music with the vibrant rhythms of Afro-Cuban percussion. Sierra, who rooted his work in the form’s early traditions, writes that his orchestral “Montuno” is based on the “clave,” a traditional Latin rhythmic pattern and its corollary two-measure chord sequence. The work builds into a series of variations as more instrumental voices are added before coming to an exhilarating close.

Not much more can be said about Beethoven’s iconic fifth symphony, with the exception of pointing out the extreme difficulty in getting that first “da-da-da-DUM” off to a good start. Those four notes — the single most forceful, electrifying and recognizable opening to a symphony — actually are preceded by a rest, and getting it right takes lots of work.

That four-note rhythmic idea permeates the rest of the symphony as well, followed by the elaborate variations of the slow movement. In the famous scherzo, Beethoven quotes and transforms the opening of the final movement of Mozart’s Symphony No. 40. The finale closes in a blaze of C-major glory, with trombones, piccolo and contrabassoon, all held in reserve by Beethoven until this climactic movement.

•Allentown Symphony Orchestra with cellist Matt Haimovitz, 8 p.m. Nov. 1, 3 p.m. Nov. 2, Miller Symphony Hall, 23 N. Sixth St., Allentown. Tickets: $19-$52; $10 students. 610-432-6715, http://www.millersymphonyhall.org. Parking available in the transportation deck at Sixth and Linden streets.

 

Steve Siegel

Read at: The Morning Call

Arts and Culture Blog, Atlanta: Locked-out Atlanta Symphony musicians to perform 3 concerts Friday and Tuesday

October 10, 2014

The locked-out players of the Atlanta Symphony Orchestra, billing themselves as ATL Symphony Musicians, will be presenting concerts on Friday and next Tuesday.

  • Friday’s performances will be at Oglethorpe University‘s Conant Performing Arts Center at 7 and 9 p.m., with an audience reception with the musicians open to both audiences on the Conant’s picnic grounds at 8 p.m.

Prior is the Emory University Department of Music conducting chair as well as conductor of the Rome (Ga.) Symphony Orchestra.Richard Prior will conduct approximately 35 musicians in programs of Mozart’s Requiem — with the Atlanta Mozart Choir, a.k.a. some 75 members of the Atlanta Symphony Orchestra Chorus — and Barber’s Adagio for Strings.

General admission tickets are $25; $75 for “special onstage seating.” The Conant is at 4484 Peachtree Road N.E., Atlanta.

  • Tuesday’s concert will be in the Dunwoody Methodist Church sanctuary and will feature cellist Matt Haimovitz, with Prior again conducting. The program will feature Haydn’s Cello Concerto in C Major, Prior’s “Elegy for Aurora” and a selection of Baroque and contemporary works.

7:30 p.m. General admission tickets (available at the door only) are $25; $15 seniors; $5 students. 1548 Mt. Vernon Road, Dunwoody. www.dunwoodyumc.org.

Prior also will conduct the season-opening Emory Symphony Orchestra program at 8 p.m. Oct. 18 at Emory. The program includes a world premiere of Prior’s  Concerto for Cello and Orchestra that will feature artist-in-residence Haimovitz.

Free. Emerson Concert Hall of the Schwartz Center for Performing Arts, 1700 N. Decatur Road, Atlanta. (Free parking in the Fishburne deck next to the Schwartz Center.)

By: Howard Pousner

Read at: Arts and Culture Blog, Atlanta

Coventry Telegraph: Celebrating pioneers of minimalism

April 4, 2014

A celebration of minimalist music takes place in Coventry this month when the Basel Symphony Orchestra calls in on the city as part of their first UK tour.

The orchestra will be playing three works hailed as “minimalist masterpieces” at Warwick Arts Centre on April 23, 7.30pm.

Under the baton of their music director Dennis Russell Davies, they will be performing three 20th century works: John Adams’s Harmonielehre, a dream-inspired score for large orchestra; Arvo Pärt’s These Words, a meditation for string orchestra and percussion on human foibles and delusions; and the European premiere of Philip Glass’s Cello Concerto No2, featuring Matt Haimovitz, an Israeli-born cellist now based in the US and Canada.

The Coventry concert marks the start of a UK tour in which the orchestra will focus on pioneering minimalists. It reflects the passion of Davies, an American conductor and pianist who first encountered minimalist works in the early 1970s and has become a champion of living composers and modern music.

He says: “This repertoire area has been part of my musical life for over 40 years. Philip Glass and I were considered the young upstarts of our generation back then. Now we’re thought of as the senior citizens!”

Hans-Georg Hofmann, the orchestra’s artistic manager, says: “It’s special for us to play this repertoire with someone who is so closely associated with it. Audiences will be able to trace the development of minimalist music from the Harmonielehre of 1985 to Glass’s recent Second Cello Concerto.

“This is a fantastic project for us and is part of the great adventure in sound we’re enjoying with our music director. “

Davies, in turn, praises his players. “They can handle anything written over the past 120 years and, for instance, really hold the intensity demanded by Glass and Pärt.

“It’s time now to introduce the orchestra to a wider audience, which is why I’m so looking forward to our appearances in the UK. I believe a large audience will want to hear our minimalist programmes.”

Tickets on 024 7652 4524.

By: Patsy Fuller

Read at: Coventry Telegraph 

Gazzettenet.com: Headliners: Matt Haimovitz, Christopher O’Riley at UMass FAC: Local Vocal Chord Bowl at NHS

March 28, 2014

Mixing it up

Cello virtuoso (and former Valley resident) Matt Haimovitz has long been a critic of what he calls the artificial and outmoded boundaries that divide classical and popular music, and with the emergence of the iPod generation — a listening public that mixes Mozart with Lady Gaga — he’s serendipitously discovered an audience in synch with his doctrine. Taking its title from media-player terminology, “Shuffle.Play.Listen,” Haimovitz’s new two-disc collaboration with Christopher O’Riley — a classical pianist similarly inclined to genre-jumping — interweaves an arrangement of film composer Bernard Herrmann’s five-part suite for Alfred Hitchcock’s “Vertigo” with related pieces by Igor Stravinsky, Argentine tango composer Ástor Piazzolla and Czech composers Bohuslav Martinu and Leoš Janáček (disc one), then delves further into the mosaical (disc two) with a series of arrangements of works by various outre rock artists (Arcade Fire, Radiohead, Cocteau Twins) to create “a wonderfully diverse musical experience performed by two incredibly complex artists” (All Things Strings).

On Monday Haimovitz and O’Riley bring their Shuffle.Play.Listen tour to the UMass Fine Arts Center Concert Hall for a 7:30 p.m. show. The first half of the concert is pre-arranged; the second half will be programmed from the stage to allow the players to share contexts and permit the music to flow seamlessly from one genre to the next.

$15, $30, $40 general; $10 Five College, GCC, STCC students and youth 17 and under. There is a pre-concert talk with NEPR afternoon classical music host Walter Carroll at 6:30 p.m. at the University Club. 545-251, fineartscenter.com

By: Dan DeNicola

Read at: Gazettenet.com

Cleveland Classical: Preview: Tuesday Musical to present A Far Cry with Matt Haimovitz on March 11

March 7, 2014

Cellist Matt Haimovitz will be the featured soloist with the Boston-based chamber orchestra, A Far Cry, on the Tuesday Musical Series at E.J. Thomas Hall in Akron on March 11 at 7:30 pm.

Haimovitz, who made his debut at the age of 13 with Zubin Mehta and the Israel Philharmonic, and his first recording four years later with James Levine and the Chicago Symphony, first appeared on the Tuesday Musical series in 1991. A Far Cry, a self-conducted ensemble, was founded in 2007 by “The Criers,” a collective of 17 young professional musicians who intended to develop an innovative, rotating leadership both on and off stage.

The Akron concert will include two works by Luigi Boccherini, his Quintet in C, subtitled “Night Music on the Streets of Madrid,” and his Cello Concerto in C. Haimovitz will also be featured in the first performance of Luna Pearl Woolf’s arrangement of Bloch’s Prayer from Jewish Life, and the orchestra will complete the program with Elgar’s Introduction and Allegro and Janáček’s Idyll. Continue reading

Matt Haimovitz

Kingston Whig-Standard: From Bach and Stravinsky to Arcade Fire

February 28, 2014

Like the selections he plays, cellist Matt Haimovitz likes to sometimes veer off the traditional path.

For example, around the turn of the century, Haimovitz embarked on his Bach Listening Room Tour, which saw him eschew concert halls and the like in favour of playing in jazz clubs and rock venues across the continent.

“I wanted to reach out to an audience that wasn’t coming to the concert hall,” Haimovitz said Wednesday over the phone from Tucson, Ariz., where he had been performing the night before. “I wanted to play music that was really important to me that wasn’t being presented in a concert hall.”

While the tour made sense to Haimovitz — he first thought of redefining what it meant to be a classical musician when he was doing his undergrad at Harvard University and noticed that no one his age was in the audience — it didn’t to others. Continue reading

South Florida Classical Review: Cellist Haimovitz a late addition to New World concert

January 15, 2014

This weekend’s New World Symphony concert just got an extra bit of added star power.

Cellist Matt Haimovitz will perform the cello part in Gyorgy Kurtág’s Double Concerto for Piano, Cello and Two Chamber Ensembles at the New World Symphony Saturday night.

“What an amazing piece the Kurtag is!” said Haimovitz. “I did not know the Double Concerto. It’s an ingenious and complex microtonal score with each soloist in charge of an ensemble within the orchestra.

“I would have agreed to play it in Siberia….but I’ll take Miami.”

The “Sounds of the Times” concert, which will be conducted by Reinbert de Leeuw, will also include Kurtág’s …quasi una fantasia…, Ligeti’s Double Concerto for Flute and Oboe, and Bartók’s Suite from The Miraculous Mandarin. Concert time is 7:30 p.m. Saturday at New World Center, Miami Beach. nws.edu

By: Lawrence A. Johnson

Read at: South Florida Classical Review

The Detroit News: Artists reimagine classical music for a contemporary audience

January 8, 2014

This weekend, the Chamber Music Society of Detroit presents a pair of noteworthy concerts with a couple of first-rate, and deliciously unconventional, musicians.

Christopher O’Riley, in addition to being an accomplished classical pianist, hosts “From the Top,” NPR’s popular radio showcase for young musicians (not currently heard in the Detroit market). Every week on the show, he plays a brief interlude going into the show’s station break. One day, having run through the gamut of Chopin preludes and Bach inventions, he decided to try something different. When he’d finished, the show’s announcer came on saying, “That was Christopher O’Riley, our host, playing ‘Karma Police’ by Radiohead.” Continue reading

Detroit Performs: Shuffle. Play. Listen. Christopher O’Riley and Matt Haimovitz with Chris Felcyn

January 8, 2014

Pianist Christopher O’Riley and cellist Matt Haimovitz will be appearing in concerts sponsored by the Chamber Music Society of Detroit this weekend. On Thursday, Jan. 9 at 3 p.m. they’ll be guests of Chris Felcyn on The Well-Tempered Wireless program of WRCJ 90.9 FM. Tune in and find out which Jimmy Stewart co-star has become a big fan of their music. Continue reading