If you close your eyes and listen to the music, you can picture the onscreen action: the young mother unnerved by the sudden departure of her baby’s nanny, the wily tramp finding the key under the mat and infiltrating the isolated house, the husband working to the ticking clock of office deadlines suddenly thrown into a different race against time when his wife’s frantic phone call to him is cut off, and the chase to the rescue in a stolen car pursued by the law.
Composer Luna Pearl Woolf conjures the pictures in your mind’s eye with the orchestral-sounding richness of eight cellos, a full complement of drums and a glockenspiel. Continue reading →
“Vilna Poems / Akoka: The End of Time / In Commemoration of the 70th Anniversary of the Warsaw Ghetto Uprising” read the title sheet of the Jewish Music Festival’s concert at Berkeley Repertory Theatre on Saturday. I didn’t get the connection. Vilnius is the capital of Lithuania. Quatuor pour la Fin du temps is a famous quartet by the French Catholic mystic Olivier Messiaen. So? Continue reading →
Virtuoso cellist Matt Haimovitz has made a career of bringing classical music to people who don’t hear it much. In the mid-’90s, having played as soloist with major orchestras in venues like Carnegie Hall, the Israeli-born, American-raised musician got frustrated with the narrowness of classical-music culture and the kind of career typically Continue reading →
The exciting eccentricities of November’s classical music programming at eXcentris
McGill music professor and renowned cellist Matt Haimovitz—who now adds artistic advisor and artist-in-residence at the recently repurposed eXcentris to his CV—has made it his mission to expand the parameters of classical music, what it is and who it’s played for. In that spirit, his latest album, Figment, covers a good part of Continue reading →
An inventive cellist with an insatiable curiosity, Matt Haimovitz was playing Bach in nightclubs before (Le) Poisson Rouge was a glimmer in anyone’s eye; no wonder he’s gotten into the swim here instantly. Tonight he’s celebrating Continue reading →
A sequel to his 50-State solo cello tour and recording, Anthem, released in 2003, Figment is a return to Haimovitz’s signature solo set, embracing the musical communities of his two home countries, the US and Canada. Inspired by Continue reading →