Weekly Magazine

NEW THIS WEEK

PIANIST ANNA FEDOROVA performs for the Steinway Society’s Home Concert Hall, Friday-Monday. HOWARD BURNHAM’S Writ on Water celebrates the life of John Keats in a Saturday webinar. EDDIE MENDENHALL TRIO (pictured above) in an online encore performance at Kuumbwa Jazz in Santa Cruz. FOR DETAILS AND LINKS, CLICK HERE

MARTHA ARGERICH IN HAMBURG THIS FRIDAY

ONE OF THE GREATEST pianists of the late 20th century performs free online, 10am PST. For a preview click HERE  To attend the concert on Friday click HERE

CABRILLO FEST DEADLINE IS MARCH 1

ASPIRING CONDUCTORS are invited to apply for the Cabrillo Festival 2021 Conductor/Composers Workshop, a virtual event. Click HERE

POPS! PROS TEACH

MONTEREY COUNTY POPS musicians are collaborating with Access Monterey Peninsula (AMP1) (Comcast channel 24) every Friday at 4:30pm to teach music clinics for school students, Kindergarten through 12th, emphasizing middle- and high-school students. The telecasts began in November with no fanfare. Click HERE

CHICK COREA, 1941-2021

LAST PERFORMED AT MONTEREY JAZZ FEST in 2017. On his FaceBook page Corea left a message to his fans: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.”

 

18,000-YEAR-OLD INSTRUMENT SOUNDS AGAIN

PURPOSE-CUT conch shell comes back to life. Click HERE

SCHINDLER’S LIST THEME

COR ANGLAIS player Davida Scheffers reduced to tears. Viewed 36 million times.

 

TWYLA MOVES

A NEW DOCUMENTARY on the legendary choreographer is in line for a Great Performances episode planned for March on PBS. Click HERE

GET THEE TO A NUNNERY

 

STUPID IN POLAND: “LGBT-FREE ZONE”

IT ONLY COST them $2.2million in canceled grants. Click HERE

THE HYPERTRAGIC NOTCH

WHILE WELL-DOCUMENTED, the Westernization of music in Turkey began long before the founding in 1923 of the modern Turkish republic. Mustafa Kemal Atatürk told his parliament in 1934, “The quality of today’s music is far from something to make us proud. It is necessary to collect the virtues and ideas of the nation, and to work them within the latest developments of music as soon as possible. Only in this way can Turkish music rise and take its place on the world stage.” Haydn, Mozart and Beethoven all welcomed the music of the Ottoman Janissary military percussion into their music. Atatürk implemented his vision by sending leading Turkish composers of the time to study Western classical music in European musical capitals. Yet despite the achievements of such leading Turkish composers as Ahmet Adnan Saygun, Ferid Alnar, Ulvi Cemal Erkin, Cemal Reşit Rey and Necil Kazim Akses, the relationship has never won general reciprocity between the two cultures. While Saygun and Rey have both contributed works for orchestra and chorus on a major scale, pianist Beyza Yazgan’s earnestly artistic “To Anatolia” of some 26 very brief miniatures by these five composers only seems to underscore the disconnect. To be sure, many of them incorporate Turkish folk song and dance elements, not least modal melodies and charged syncopations, including some from neighboring Armenia, but others seem fully rooted in the European classical tradition without regional inflections. To get on the world stage, what Turkey needs more than a garland of bonbons is a major original musical voice. Kudos to Yazgan for her advocacy. SM

A QUIET MADNESS doesn’t quite live up to its title. The closest it comes is Zydeco Madness (2006) for solo accordion; Stas Venglevski’s virtuosity and timbral palette cinch the deal. The other standouts on this new Belarca CD are Aria for violin (Karen Bentley Pollick and pianist William Susman,) and Seven Scenes for Four Flutes. At 12 minutes, Aria is the most complex and unpredictable piece on the program with its many starts and stops and changes of mood. Seven Scenes, all parts played and overdubbed by Patricia Zuber, examines its potential in seven short ‘variations.’ Between the aforementioned pianist Francesco Di Fiore plays three selected Quiet Rhythms. Susman tends to favor minimalistic repetition. All works composed since the turn of the century. SM

DANNY STEWART AND YUJA WANG GO SURFING

SANTA CRUZ SYMPHONY collaborators during Covid-19.

 

ARMLESS BRAZILIAN GIRL CHOOSES BALLET

VITÓRIA BUENO is much more than bueno. Click HERE

THE BIG BAD WOLF

FRESH REVIEW

CONTRALTO KAREN CLARK opens Santa Cruz Baroque Festival season. Click HERE

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Scott MacClelland, editor; Rebecca CR Brooks, associate editor