In a Strings exclusive, Matt Haimovitz has released a music video from his forthcoming album, The Cello Suites According to Anna Magdalena (Pentatone), of the Prelude from Bach’s Cello Suite No. 1. Set in the lush and enchanted gardens in Kauai’s National Tropical Botanical Garden, Haimovitz talks Bach, his cello, and the captivating beauty of the Moreton Bay fig tree backdrop. His album will be released on Friday, October 9. Stay tuned for a feature story on Haimovitz and his journey reimaging the cello suites in our upcoming December issue of Strings magazine—on stands mid-October. Continue reading →
Fresh off the heels of his revelatory period-instrument recording of the complete Beethoven Sonatas and Variations with Christopher O’Riley, BEETHOVEN, Period., Haimovitz releases J.S. Bach: The Cello Suites according to Anna Magdalena on baroque cello and cello piccolo, the five-string instrument for which Bach’s Suite VI was likely intended.
The original manuscript of J.S. Bach’s 6 Suites for Cello Solo has been lost to history. One of our only apostles is a copy made by Anna Magdalena, Bach’s second wife, her handwriting uncanny in its likeness to the composer’s own. Since 1890, when Casals found a published copy in a second-hand music shop and first performed the suites in public 20 years later, the suites have been both Bible and Holy Grail of the solo cello repertoire – each cellist searching for his own way into the heart of this music. Continue reading →
“Orbit”: Music for Solo Cello (1945-2014)
Matt Haimovitz, cello
In this fascinating three-disc survey of music for solo cello written since the end of World War II, this ferociously talented cellist brings his megawatt sound and uncommon expressive gifts to a vast variety of styles, often with surprising results. Mr. Haimovitz finds sensuality in Pierre Boulez, Baroque stringency in Philip Glass and Verdian drama in Salvatore Sciarrino. By turns heartwarming, scary, playful and groovy, this recording reveals worlds inside a single instrument. The ghost of Bach is never far away, of course, but the specter Mr. Haimovitz conjures most vividly is that of Jimi Hendrix, whose rendition of “The Spar-Spangled Banner” he imitates in all its subversive brilliance.
In Brief: Over the long summer there was of course a plethora of other offerings that held my attention. Orbit – Music for Solo Cello (Pentatone PTC 1586) is a 3-CD compilation comprising material originally released over the past decade by Montreal-based Matt Haimovitz on his own Oxingale label. Even for an aficionado such as myself nearly four hours of nothing but the sound of a single cello in repertoire drawn from a single time period (1945-2014) might get to be a bit “much of a muchness,” but I must say that my attention did not wane. From the opening title track, Continue reading →
OSWEGO — Renowned cellist Matt Haimovitz will launch the season’s Artswego Performing Arts Series at SUNY Oswego with the unaccompanied cello suites of Johann Sebastian Bach performed in four different campus and community locations on Sept. 15 and 16.
Cellist Matt Haimovitz, who as a prodigy played with Zubin Mehta at 13 and recorded with the Chicago Symphony at 17, now takes it to the streets. He will offer a four-stop “Moveable Feast” of Bach suites Sept. 15-16, concluding with a performance for SUNY Oswego’s Performing Arts Series at 7:30 p.m. Sept. 16, in Sheldon Hall ballroom.
With earlier stops in Syracuse, downtown Oswego and the college’s Penfield Library, the musical tour will conclude with Haimovitz’ ticketed performance of the last three Bach suites and accompanying overtures in solo recital in at 7:30 p.m. Sept. 16, in SUNY Oswego’s Sheldon Hall ballroom. Continue reading →
It’s easy (too easy) to think of any classical artist who is covering a pop song as a musician who is engaged in a little bit of opportunism. That’s because there is sometimes a little bit of pandering involved. But on other occasions, the crossover move really works. Click play on our mix, and you’ll hear one of those successes: cellist Matt Haimovitz’s scratchy-then-melodic cover of The Beatles’ iconic “Helter Skelter.” Aside from the performance’s ingenuity, it’s impressive that it also comes on Haimovitz’s new multidisc set of solo cello pieces (on which he plays music by Philip Glass as well as Luigi Dallapiccola). Continue reading →
On this day in 1920, women were guaranteed the vote in the USA, which, when finally ratified by the state of Tennessee, led to a majority – basically making it the law of the land that women could vote!
By the beginning of the 20th century, women’s roles were changing drastically. Women were becoming more and more autonomous, working increasingly outside the home and receiving better education. When America entered the war in 1917, women had played an active role in the war effort and a year later, women had acquired equal suffrage with men in 15 states. Commemorating this historic day is a perfect time to reflect on and draw your attention to a handful of strong 21stcentury women in classical music. Continue reading →
THE TOUGH THING about new music is making it memorable. This means providing enough intellectual structure—architecture—so that the listener can remember it after the fact. While I don’t know if this idea is shared by the young composers who are welcomed as guests each year at the Cabrillo Festival it does beg the question. Continue reading →
What do Jimi Hendrix guitar solos, György Ligeti sonatas, Shakespeare sonnets, and Spanish sarabandes all have in common? Each of them appears in one form or another on cellist Matt Haimovitz’s latest release, “Orbit: Music for Solo Cello (1945-2014).”
Sprawling in scope, “Orbit” is a three-disc compilation of music for solo cello featuring works by over 20 contemporary composers, 15 of whom are still living. The ambitious solo album is also one of the first releases on the new Pentatone Oxingale Series. This innovative new project is a collaboration between the Dutch classical music label PENTATONE and Haimovitz’s own trailblazing artists’ label Oxingale Records, which he created in 2000 with his partner in life and music, composer Luna Pearl Woolf. Continue reading →
SANTA CRUZ, CA—The final weekend of the Cabrillo Festival is inevitably invigorating, with one new orchestral piece almost atop the other, sometimes with the ink barely dry.
This is Music Director Marin Alsop’s baby, now in her 24th season on the summer podium here. Here she and the devotees can feast on contemporary sounds, created by figures either well-known (like Philip Glass) or otherwise.Continue reading →