Audiophile: RECORD NEWS: PENTATONE Oxingale Series – BEETHOVEN, Period.Spesial

January 12, 2015

PENTATONE has initiated a cooperation with the American record company Oxingale Records. Now they launch the debut work of their collaboration, which has subcategory Oxingale Series.

The release BEETHOVEN, Period is the first release in a seried where PENTATONE cooperate with Oxingale Records. Here the Grammy nominated cellist Matt Haimovitz and the pianist Christopher O’Riley have recorded Beethoven sonatas for cello and fortepiano.

It is played on historical instruments, where the Goffriller cello of Matt Haimovitz is built in Venice in 1710, while Christopher O’Riley plays on a Broadwood fortepiano from 1823.

 

There are five sonatas on this double SACD from PENTATONE, with opus numbers. 5 No.1 & 2, 69, and 102 No.1 & 2. An eavesdrop reveals a soft but vivid performance rendered with good sound at 16bits / 44.1kHz.

We hope to come back with a review of the multi-channel reproduction of this SACD from PENTATONE.

 

 

Read more at PENTATONE

Read more at Oxingale Records


Press release from PENTATONE

Baarn, The Netherlands, 12 January 2015BEETHOVEN, Period. is the debut release on thePENTATONE Oxingale Series.Oxingale Records, the trailblazing artists’ label founded in 2000 by Matt Haimovitzand composer Luna Pearl Woolf, has joined forces with the Netherlands-based label PENTATONE, renowned for its discerning artistic quality and superior sound standards. The international release of BEETHOVEN, Period. will be followed by new albums and reissues from Haimovitz, Woolf, and their musical collaborators – published as Super Audio CD and as high quality downloads – on the newPENTATONE Oxingale Series.

 

“15 years ago, Luna and I founded Oxingale to pave a way for us to share music that we are passionate about, with an audience that we believed was seeking meaning and musical adventure,” says Matt Haimovitz, continuing, “For us, classical music is a living, breathing art form. We started Oxingale to bring to life what has been in our minds and hearts, whether by composers working 300 years ago, newly inked works, or improvisations. The invitation to collaborate with PENTATONE is an affirmation. With our shared sense of artistic and sonic values, we look forward to bringing our vision and energy to a label which has shown an optimistic and uncompromising attitude in its contributions to culture and the future of classical music.”

“There was never any doubt for PENTATONE to join forces with OXINGALE Records,” says PENTATONE’s managing director, Dirk Jan Vink. “We believe the works of Oxingale artists bring a fantastic addition to our catalogue. With PENTATONE’s warm, dynamic and detailed sound capturing the superb works and performances of Oxingale’s artists, we look forward to bringing you a range of prestigious work in prime quality.”

The new collaboration launches on February 1, 2015 with the release of BEETHOVEN, Period., the complete collection of sonatas and variations for pianoforte and violoncello recorded on period instruments by Grammy-nominated cellist Matt Haimovitz and pianist Christopher O’Riley. Following later in the year are two more releases: Shuffle. Play. Listen, the  groundbreaking recording, also with O’Riley, which saw Herrmann, Janacek and Stravinsky come together with Radiohead, the Cocteau Twins and John McLaughlin; and an all-Schubert album featuring the Arpeggione Sonata and the Cello Quintet. Also forthcoming is a 3-CD box set of Haimovitz’s solo cello recordings from the last 15 years, including 20 world premiere recordings and two newly released tracks: Orbit, by Philip Glass and a new arrangement of the Beatles’ Helter Skelter for solo cello by Woolf.

Grammy-nominated Matt Haimovitzis acclaimed for both his tremendous artistry and as a musical visionary – pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Mr. Haimovitz made his debut at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon with James Levine and the Chicago Symphony Orchestra. Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records. In 2000, he made waves with his Bach “Listening-Room” Tour, for which Haimovitz took Bach’s beloved cello suites out of the concert hall and into clubs. Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Diapason d’Or.

Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Rileyis known to millions as the host of NPR’s From the Top, now in its fifteenth year on air. A guest soloist with virtually all of the major American orchestras, O’Riley has also performed recitals throughout North America, Europe, and Australia. O’Riley strives to introduce new audiences to classical music with an almost missionary zeal by performing piano arrangements of music by Radiohead, Elliott Smith, Pink Floyd, and Nirvana alongside traditional classical repertoire. A prolific recording artist, O’Riley has recorded for Sony Classical, Oxingale Records, RCA Red Seal, Decca, and Harmonia Mundi. He has received the prestigious Avery Fisher Career Grant and an equally coveted four-star review from Rolling Stone magazine.

Matt Haimovitz and Christopher O’Riley, two fearless musicians who have bonded over common musical passions of wide range and scope, reunite forBEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s  Sonatas for Pianoforte and Cello. Matt Haimovitz, praised as a musical visionary in pushing the boundaries of classical music performance, and O’Riley, acclaimed for his engaging and deeply committed performances and known to millions as the host of NPR’s From the Top, turn back the clock to record for the first time on period instruments – Haimovitz’s Venetian Matteo Gofriller cello of 1710 set up with gut strings and an early 19th century tailpiece, and O’Riley with an 1823 original Broadwood fortepiano.

The new recording on two SACDs is available internationally on February 1, 2015 on the PENTATONE Oxingale Series.

 

By: 

Read at: Audiophile 

The Examiner: Haimovitz and O’Riley to tour with historically-informed Beethoven performances

January 5, 2015
Cover of the recording being discussed

Next month cellist Matt Haimovitz and pianist Christopher O’Riley will release their next duo album. Following up on their two-CD album Shuffle.Play.Listen, released by Oxingale Records in September of 2011, their new album will be “something completely different.” Its title isBEETHOVEN, Period. (including both punctuation marks); and it is another two-CD set. The Oxingale brand has been taken over by PentaTone classics, and the new album will be released on the new PENTATONE Oxingale Series label. The new recording is currently available for pre-order from Amazon.com.

The album title is to be read with the connotation that it presents recordings of historically-informed compositions by Ludwig van Beethoven for cello and piano performed on period instruments. In fact, two CDs are sufficient to hold all eight of Beethoven’s pieces for “pianoforte and violoncello” (as they are listed in the in the index of the Princeton University Press edition of Alexander Wheelock Thayer’s biography of the composer), five sonatas and three sets of variations. For the recordings Haimovitz played a 1710 cello made by the Venetian Matteo Gofriller with gut strings and an early nineteenth-century tailpiece; and O’Riley accompanied him on a Broadwood fortepiano made in 1823.

This release will be marked by an eight-city North American tour, during which O’Riley will sample a variety of fortepianos along the way (while Haimovitz will travel with his cello). These Beethoven performances should be a far cry from the Shuffle.Play.Listen repertoire, which interleaved major works from the twentieth-century repertoire with Bernard Herrmann’s suite of music he composed for Alfred Hitchcock’s Vertigo on one CD and sampled the rock repertoire of groups such as Arcade Fire and Radiohead on the other. However, while at Harvard University Haimovitz wrote his senior thesis on the Beethoven sonatas; so these are likely to be highly informed interpretations, supplemented with extensive liner notes written by Haimovitz. The tour schedule will be as follows:

  • Thursday, January 29, 7:30 p.m., Northridge, California: Valley Performing Arts Center
  • Saturday, January 31, 8 p.m., Glendora, California: Haugh Performing Arts Center
  • Monday, February 2, 8 p.m., Seattle, Washington: Tractor Tavern
  • Tuesday, February 3, 7 p.m., Portland, Oregon: Millennium Records
  • Wednesday, February 4, 7:30 p.m., Portland, Oregon: live streaming of a house concert
  • Thursday, February 5, 9 p.m., Eugene, Oregon: Sam Bonds
  • Tuesday, February 10, 8 p.m., San Francisco, California: San Francisco Conservatory of Music
  • Wednesday, March 11, 7:30 p.m., Montreal, Quebec: Bourgie Concert Hall
  • Saturday, April 11, noon, New York, New York: Metropolitan Museum of Art

Broadway World: Haimovitz and O’Riley Reunite for New Beethoven Tour

January 5, 2015

Matt Haimovitz and Christopher O’Riley, two fearless musicians who have bonded over common musical passions of wide range and scope, reunite for BEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s Sonatas for Pianoforte and Cello. Grammy-nominated Matt Haimovitz, praised as a musical visionary in pushing the boundaries of classical music performance, and O’Riley, acclaimed for his engaging and deeply committed performances and known to millions as the host of NPR’s From the Top, turn back the clock to record for the first time on period instruments – Haimovitz’s Venetian Matteo Gofriller cello of 1710 set up with gut strings and an early 19th century tailpiece, and O’Riley with an 1823 original Broadwood fortepiano. The new recording on two SACDs is available internationally on February 1, 2015 on the PENTATONE Oxingale Series.

Haimovitz and O’Riley take BEETHOVEN, Period. on tour-sampling a variety of fortepianos en route-starting in Los Angeles on January 29, through April 11, when they perform at the Metropolitan Museum of Art in New York City.Complete tour dates and details below.

“Each time I approach Beethoven’s Sonatas and Variations for Piano and Cello is a life-affirming milestone,” says Haimovitz, who wrote his undergraduate thesis on the Beethoven Sonatas at Harvard University twenty years ago, “To grapple with the composer’s uncompromising vision, and his ideal of equality and balance. Yet, nothing could have prepared me and Chris for the revelation of exploring these works using period instruments. With this setup, the fact that the cello can easily overpower its partner changes everything. Suddenly, the consideration is no longer “how can the cello cut through the multi-voiced powerhouse of a concert grand piano,” but “how can it make room for the nuances of the 19th century fortepiano?””

For his part, O’Riley, who has recorded extensively on a variety of instruments, was amazed by the problem-free 1823 fortepiano: “It was exceedingly unexpected and astonishing to find that this nearly 200-year old instrument was in such immaculate condition. I’d place this in my Top Five instruments I’ve ever played.”

Finding the ideal tuning was also revelatory. While there were a variety of tunings in use in Beethoven’s Vienna, Matt and Chris found that their instruments resonated ideally at A=430, a microtone lower than the modern A=440 and higher than the Baroque A=415. “I think we all vibrate a little better at that pitch,” says O’Riley.

For Haimovitz and O’Riley, there is no more fascinating, influential, and documented figure than Beethoven. And, centuries before the duo blurred the lines between Radiohead and Stravinsky – as in their acclaimed Shuffle.Play.Listen for the Oxingale label – Beethoven had already embraced vernaculars within his music, using popular themes of the day by Mozart and Handel in his Variations. Returning to the cello and piano over three important periods in his career – early, middle, and late – Beethoven reveals his innermost struggles and triumphs as he marries the two disparate instruments, fearlessly unshackling the cello from its continuo origins, and confronting the challenges of its low voice in relation to the piano’s polyphony. Within a twenty-year period, Beethoven singlehandedly created and immortalized the genre.

Extensive liner notes by Matt Haimovitz explore further details and insights into the Sonatas and Variations -Opus 5, Opus 69, and the Opus 102 Sonatas, completed exactly 200 years ago, in 1815. Also in the notes, William Meredith, Director of The Ira F. Brilliant Center for Beethoven Studies, and Executive Director of The American Beethoven Society, discusses the 1823 Broadwood fortepiano used in the recording.

BEETHOVEN, Period. is the debut release on the PENTATONE Oxingale Series. Oxingale Records, the trailblazing artists’ label founded in 2000 by Matt Haimovitz and composer Luna Pearl Woolf, has joined forces with the Amsterdam-based label PENTATONE, renowned for its discerning artistic quality and superior audiophile technology. The international release of BEETHOVEN, Period. will be followed by new albums and reissues from Haimovitz, Woolf, and their musical collaborators – in SACD 5.1 surround sound and as high definition downloads – on the new PENTATONE Oxingale Series.

BEETHOVEN, Period. is a Tippet Rise Production. The recording was made possible by the American Beethoven Society.

Grammy-nominated Matt Haimovitz is acclaimed for both his tremendous artistry and as a musical visionary – pushing the boundaries of classical music performance, championing new music and initiating groundbreaking collaborations, all while mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal. Mr. Haimovitz made his debut at the age of 13, as a soloist with Zubin Mehta and the Israel Philharmonic, and at 17 he made his first recording for Deutsche Grammophon with James Levine and theChicago Symphony Orchestra. Haimovitz’s recording career encompasses more than 20 years of award-winning work on Deutsche Grammophon and his own Oxingale Records. In 2000, he made waves with his Bach “Listening-Room” Tour, for which Haimovitz took Bach’s beloved cello suites out of the concert hall and into clubs. Haimovitz’s honors include the Concert Music Award from ASCAP, the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Diapason d’Or.

Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Riley is known to millions as the host of NPR’s From the Top, now in its fifteenth year on air. A guest soloist with virtually all of the major American orchestras, O’Riley has also performed recitals throughout North America, Europe, and Australia. O’Riley strives to introduce new audiences to classical music with an almost missionary zeal by performing piano arrangements of music by Radiohead, Elliott Smith, Pink Floyd, and Nirvana alongside traditional classical repertoire. A prolific recording artist, O’Riley has recorded for Sony Classical, Oxingale Records, RCA Red Seal, Decca, and Harmonia Mundi. He has received the prestigious Avery Fisher Career Grant and an equally coveted four-star review from Rolling Stone magazine.

Read at: Broadway World

BEETHOVEN, Period.

BEETHOVEN, Period.

BEETHOVEN, Period.

BEETHOVEN, Period.

PRE-ORDER NOW:
PENTATONE OXINGALE Series
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Matt Haimovitz and Christopher O’Riley, two fearless musicians who have bonded over common musical passions of wide range and scope, reunite for BEETHOVEN, Period., an illuminating voyage back to the birth of the cello/piano genre with Beethoven’s Sonatas and Variations. Grammy-nominated Matt Haimovitz, praised as a musical visionary in pushing the boundaries of classical music performance, and O’Riley, acclaimed for his engaging and deeply committed performances and known to millions as the host of NPR’s From the Top, turn back the clock to record for the first time on period instruments – Haimovitz’ Venetian Matteo Gofriller cello of 1710 set up with gut strings and an early 19th century tailpiece, and O’Riley with an 1823 original Broadwood fortepiano. The new recording on 2 SACDs is available internationally on February 1, 2015 on the PENTATONE Oxingale Series.

Having shared ideas and projects for some time, there was no doubt for PENTATONE to join forces with OXINGALE RECORDS. This is a union of two innovative and devoted recording companies with a long history of producing reputable records and collaborating with esteemed artists. Delivered in PENTATONE’s signature warm, dynamic and detailed sound, this recording gives an opportunity for a straight encounter with the power of the rich interaction between the two instruments in surround sound on super audio CD and as a high definition download.

Matt Haimovitz and Christopher O'Riley | BEETHOVEN, Period.

Haimovitz and O’Riley recording at Skywalker Studios.

For Haimovitz and O’Riley, there is no more fascinating, influential, and documented figure than Beethoven. And, centuries before the duo blurred the lines between Radiohead and Stravinsky – as in their acclaimed Shuffle.Play.Listen for the Oxingale label – Beethoven had already embraced vernaculars within his music, using popular themes of the day by Mozart and Handel in his Variations. Returning to the cello and piano over three important periods in his career – early, middle, and late – Beethoven reveals his innermost struggles and triumphs as he marries the two disparate instruments, fearlessly unshackling the cello from its continuo origins, and confronting the challenges of its low voice in relation to the piano’s polyphony. Within a twenty- year period, Beethoven singlehandedly created and immortalized the genre.

Extensive liner notes by Matt Haimovitz explore further details and insights into the Sonatas and Variations – Opus 5 and 6, Opus 69, and the Opus 102 Sonatas, completed exactly 200 years ago, in 1815. Also in the notes, William Meredith, Director of The Ira F. Brilliant Center for Beethoven Studies, and Executive Director of The American Beethoven Society, discusses the 1823 Broadwood fortepiano used in the recording.

“Each time I approach Beethoven’s Sonatas and Variations for Piano and Cello is a life-affirming milestone,” says Haimovitz, who wrote his undergraduate thesis on the Beethoven Sonatas at Harvard University twenty years ago, “To grapple with the composer’s uncompromising vision, and his ideal of equality and balance. Yet, nothing could have prepared me and Chris for the revelation of exploring these works using period instruments. With this setup, the fact that the cello can easily overpower its partner changes everything. Suddenly, the consideration is no longer “how can the cello cut through the multi-voiced powerhouse of a concert grand piano,” but “how can it make room for the nuances of the 19th century fortepiano?”

For his part, O’Riley, who has recorded extensively on a variety of instruments, was amazed by the problem-free 1823 fortepiano: “It was exceedingly unexpected and astonishing to find that this nearly 200-year old instrument was in such immaculate condition. I’d place this in my Top Five instruments I’ve ever played.”

Finding the ideal tuning was also revelatory. While there were a variety of tunings in use in Beethoven’s Vienna, Matt and Chris found that their instruments resonated ideally at A=430, a microtone lower than the modern A=440 and higher than the Baroque A=415. “I think we all vibrate a little better at that pitch,” says O’Riley.

Tracks

CD 1
Sonata No. 1 in F major, Op. 5 Nr. 1
1. I Adagio sostenuto
2. I Allegro
3. II Rondo: Allegro vivace

4. 12 Variations on “Ein Mädchen oder Weibchen” for Cello and Piano, Op. 66 

 

Sonata in G Minor Op. 5, Nr. 2 
5. I Adagio sostenuto ed espressivo
6. I Allegro molto più tosto presto
7. II Rondo: Allegro

8. 12 Variations on “See the conquering hero comes” for Cello and Piano, WoO 45

CD 2
Sonata in A Major Op.69 26:24
1. I Allegro ma non tanto
2. II Scherzo: Allegro molto
3. III Adagio cantabile
4. III Allegro vivace

5. Variations on “Bei Männern, welche Liebe fühlen”, for Cello and Piano, WoO 46

Sonata in C Major Op.102 Nr.1
6. I Andante
7. I Vivace
8. II Adagio
9. II Allegro vivace

Sonata in D Major Op.102 Nr.2
10. I Allegro con brio
11. II Adagio con molto sentimento d’afeto
12. III Allegro fugato

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

GazetteNet.com: Music review: As Haimovitz and O’Riley shuffled and played, the audience gladly listened

April 2, 2014

The distinguished cellist Matt Haimovitz returned to the University of Massachusetts Amherst Monday, together with the brilliant pianist Christopher O’Riley, with“Shuffle.Play.Listen,” an unusual (if not eccentric) concert before a full house in the Fine Arts Center Concert Hall. Both musicians were faultless in their playing, and O’Riley was perfect as an accompanist even when the music demanded heavy chords and fortissimo passages full of brilliant scales and arpeggios. He is known as the host and accompanist of NPR’s Sunday program “From the Top,” and his career has included transcriptions of rock music and jazz, as well as the classical canon.

Haimovitz, well known in western Massachusetts (he once lived in Northampton, and was on the UMass faculty), has, like the eminent cellist Yo Yo Ma, played in what used to be considered unusual settings, such as bars and clubs. He has, like O’Riley, been a pioneer in extending the range of his instrument’s literature from the classical canon to rock and jazz. The audience could expect an extraordinary mix of classical, pop and jazz pieces, and they were not disappointed.

The performers did not always announce what they were about to play nor was there a printed program. As the word “shuffle” in the concert’s title implied, the order of the pieces was both unusual and unexpected. The only piece to suffer from this was Beethoven’s “Twelve Variations on a Theme of Mozart,” which seemed austere in its setting between modern pop pieces. Here O’Riley played with lucid delicacy and Haimovitz switched, as it were, to a more restrained style.

The concert began with music from 1958, composed by Brian Herrmann for Alfred Hitchcock’s film masterpiece, “Vertigo.” It continued with a song by the British rock band Radiohead, performed with intense emotion by Haimovitz.

Next, the duo performed the cello sonata in C major composed by Sergei Prokofiev in 1949, a time for Russians of the joy of liberation from the war and sadness for the damage and immense loss of life that it caused.

Both musicians were fully engaged in this difficult work, playing as one, yet allowing each to come forward brilliantly when the music demanded. This work was the central piece of the program in scale and substance, and the most satisfying.

There followed a contrasting piece by the Argentinian Astor Piazzolla, who died in 1992. His music was devoted to the tango, whose style he extended to what he called the nuevo tango, with its rich counterpoint of contrasting rhythms and harmonies, energetically played, an invitation, it seemed, for the audience to get up and dance.

In addition to the Beethoven, the second half included a very energetic piece (not announced) that showed off the brilliant bowing of the cellist. Later there was an exceptionally gentle and beautiful piece, “Orchard,” by Philip Glass.

To end the concert the performers turned to the music of John McLaughlin, a virtuoso guitarist, now in his 70s. In the 1970s McLaughlin had formed a small orchestra called Mahavishnu, a name sometimes used by McLaughlin and indicative of his interest in and use of Indian music. A single hearing was not enough to gauge the depth of this captivating music.

For their encore the players chose “In the Backseat,” a song from the Canadian rock group Arcade Fire. True to the song’s lyrics — “I like the peace / In the backseat / I don’t have to drive / I don’t have to speak / I can watch the countryside / And I can fall asleep” — the selection brought a quiet and peaceful ending to the concert.

By: MARK MORFORD

Read at: Gazettenet.com

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

Shuffle.Play.Listen

CBC Music: Classical crossover that doesn’t suck, from Punch Brothers to 2Cellos

March 6, 2014

Don’t let anyone tell you that classical crossover is lacking in any sort of artistic merit. At its best, this unfairly victimized genre of music can be just as moving and expressive as the traditional classical music you hear in the concert hall.

Classical crossover has gotten a sour reputation from a few bad apples who tried just a little too hard to be cool. Crossover’s reputation is so bad that many crossover artists despise the label, despite fitting perfectly into the definition of combining classical with other genres.

CBC Music has your guide to classical crossover that doesn’t suck. Hit play on the YouTube playlist below to hear the best of the unfairly maligned genre, then click “open gallery” above to start the guide.

Read and watch at: CBC Music

By: Michael Morreale

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

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