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Search Results 813 items found for "" Fullscreen Page | PCC SEARCH | PCC SEARCH PARLANCE FRIENDS AND PATRONS | PCC PARLANCE FRIENDS AND PATRONS To become a Parlance Patron, please review the following Information. Then download , fill out, and return the Commitment Form. Thank you! Parlance Chamber Concerts | classical chamber music in Northern New Jersey | 6 South Monroe Street, Ridgewood, NJ, USA 2024-2025 SEASON COVID-19 Info for Parlance Chamber Concerts attendees: Read more here. BUY TICKETS 2024 – 2025 CONCERTS SUNDAY, SEPTEMBER 29, 2024 AT 4 PM CELLOBRATION! CARTER BREY, CELLO RAFAEL FIGUEROA, CELLO EDWARD ARRON, CELLO ZVI PLESSER, CELLO JEEWON PARK, PIANO Parlance Chamber Concerts’s 17th season will begin joyfully on September 29 with a “Cellobration” spotlighting four of today’s leading cellists. Carter Brey , principal of the New York Philharmonic; Rafael Figueroa , principal of the Metropolitan Opera Orchestra; Zvi Plesser , professor at The Juilliard School; and the versatile soloist and chamber musician Edward Arron will join forces in a rich selection of cello solos and ensembles by Bach, Mozart, Haydn, Chopin, Mendelssohn, Rachmaninoff, and others . LEARN MORE SUNDAY, OCTOBER 20, 2024 AT 4 PM MODIGLIANI QUARTET AMAURY COEYTAUX, VIOLIN LOÏC RIO, VIOLIN LAURENT MARFAING, VIOLA FRANÇOIS KIEFFER, CELLO Founded in 2003, the Paris-based Modigliani Quartet occupies the upper echelon of string quartets. In addition to their annual tours in the United States and in Asia, the quartet’s European tours have inspired acclaim in the major concert halls of London, Paris, Vienna, Berlin, and Saint Petersburg. ​ The elite French ensemble will perform a wide-ranging program that will include Joaquín’s Turina’s lushly impressionistic La oración de torero (The Bullfighter’s Prayer), Brahms’s tenderhearted Quartet in B-flat, Op. 67 , and Beethoven’s sublime Quartet in E minor, Op. 59, No. 2 . His student, Carl Czerny, wrote that the second movement “occurred to Beethoven while he was contemplating the starry sky and thinking of the music of the spheres.” LEARN MORE “ A gripping and persuasive performance, played with awesome individual and communal brilliance ” — The Strad (London) SUNDAY, NOVEMBER 17, 2024 AT 4 PM PIANIST PAUL LEWIS PLAYS SCHUBERT’S LAST THREE SONATAS ​ ​ On November 17 , the poetic English pianist Paul Lewis will return to PCC's stage. Universally acclaimed for his sovereign Schubert interpretations, Lewis will perform Schubert’s profound final trilogy of sonatas . LEARN MORE SUNDAY, DECEMBER 15, 2024 AT 4 PM THE VIRTUOSO FLUTIST DENIS BOURIAKOV, FLUTE A RECITAL FOR FLUTE AND ORCHESTRA with MUSICIANS FROM THE NEW YORK PHILHARMONIC MICHAEL PARLOFF, CONDUCTOR ​ ​ On December 15 , the phenomenal Crimean flutist Denis Bouriakov will perform a recital of concertos for flute and orchestra by Mozart, Bach, François Devienne and Saint-Saëns . He will be supported by an ensemble of Musicians from the New York Philharmonic conducted by PCC’s Artistic Director Michael Parloff. LEARN MORE SUNDAY, JANUARY 19, 2025 AT 4 PM THE VIRTUOSO ORGANIST PAUL JACOBS, ORGAN ​ ​ On January 19 , the Grammy Award-winning organist Paul Jacobs will again grace our stage in a afternoon of towering masterpieces for the King of Instruments by Bach and Liszt . Don’t miss the musician that the Washington Post called “one of the great living virtuosos . LEARN MORE “Paul Jacobs is one of the great living virtuosos.” — The Washington Post “… An obliterating performance by one of the major musicians of our time.” - Alex Ross, The New Yorker SUNDAY, FEBRUARY 9, 2025 AT 4 PM THE VIRTUOSO CELLIST STEVEN ISSERLIS, CELLO CONNIE SHIH, PIANO ​ On February 9, the renowned British cellist Steven Isserlis will make his long-awaited Parlance debut. Celebrated worldwide for his deeply communicative artistry, Isserlis radiates joy and virtuosity with every note he plays. His internationally diverse program will include works by Beethoven, Martinu, Boulanger , and Edvard Grieg’s soaring sonata for cello and piano . “Steven Isserlis can have the listener in perpetual wonder at the ingredients of his art…” — The Australian “Isserlis's incomparable technique, phrasing, expression and sensitivity across all the tempi and dynamics, quite simply, were incredible. There can be no doubt that Isserlis is an inspired and inspiring - musician” — Limelight Magazine ​ LEARN MORE SUNDAY, MARCH 9, 2025 AT 4 PM CELEBRATE RAVEL’S 150th BIRTHDAY! ERIKA BAIKOFF, SOPRANO SOOHONG PARK, PIANO ​ ​On March 9 , celebrate Maurice Ravel’s 150th Birthday with the beguiling Russian-American soprano Erika Baikoff and the stellar Korean pianist Soohong Park. Their recital will feature a selection of Ravel’s most alluring song cycles and ravishing piano solos, including Shéhérazade and Gaspard de la nuit . LEARN MORE “As Barbarina in the Met’s Le Nozze di Figaro, soprano Erika Baikoff made the most of her moment to shine. When staged simply and sung so beautifully, as it was here, Barbarina’s short aria, ‘L’ho perduta…me meschina’, is one of the brightest musical gems in the opera.” — Seen and Heard International "What sounds like easy playing in both senses of the word actually requires not only extraordinary technique but also a sensitive feeling for the breaks and depths of Schumann's music. Only a few people can do this really well, like pianist Soohong Park , the gold medal winner of the Guildhall School of Music and Drama” — Die Glocke, Germany. SUNDAY, APRIL 13, 2025 AT 4 PM QUARTETTO DI CREMONA CRISTIANO GUALCO, VIOLIN PAOLO ANDREOLI, VIOLIN SIMONE GRAMAGLIA, VIOLA GIOVANNI SCAGLIONE, CELLO ​ On April 13 , the lustrous Quartetto di Cremona will make their eagerly anticipated return to PCC. The award-winning Italian ensemble will perform pinnacles of the quartet repertoire including Debussy’s luminous String Quartet and Beethoven’s spiritually transcendent Quartet in A minor, Op. 132 . LEARN MORE “It’s a rare blend: breadth of sound and capriciousness combined with perfect tuning and ensemble has the players sounding absolutely of one voice… Nothing less than life-affirming.” – Gramophone SUNDAY, MAY 18, 2025 AT 4 PM LATE NIGHT WITH LEONARD BERNSTEIN A MULTIMEDIA CABARET JAMIE BERNSTEIN, HOST AMY BURTON, SOPRANO JOHN MUSTO, PIANO MICHAEL BORISKIN, PIANO ​ ​On May 18 , you won’t want to miss our star-studded seasonal finale, Late Night with Leonard Bernstein . This multimedia cabaret will be hosted by the Maestro’s daughter, Jamie Bernstein , in collaboration with acclaimed soprano Amy Burton and pianists John Musto and Michael Boriskin . They will provide an affectionately intimate portrait of the multifaceted titan of 20th-century American music. LEARN MORE “A look at the after-hours maestro [that] revealed his mischievous personality and musical predilections … the audience filled the room with lusty laughs and applause.” — The New York Times ABOUT PARLANCE CHAMBER CONCERTS VIDEO INTRO TO PARLANCE CHAMBER CONCERTS Michael Parloff introduces the mission and history of PCC. Audience members share their experiences. LEARN MORE PCC: A VIDEO SAMPLER See short video clips from past seasons, featuring the Emerson Quartet, Sir James Galway Richard Goode, and others. MEET THE ARTISTS ABOUT THE SEASON 17 YEARS OF GREAT MUSIC MAKING Blog | PCC All Posts Check back soon Once posts are published, you’ll see them here. TICKETS | PCC TICKETS 4 EASY WAYS TO BUY TICKETS ONLINE BY PHONE Purchase tickets by phone through Purple Pass Tickets at 800-316-8559 , Option 1 IN PERSON Box Office Ticket Sales will start at 3 PM on all concert days BY MAIL Download PCC Mail Order Ticket Form SEE BELOW LOCATION AND DIRECTIONS All performances take place at: West Side Presbyterian Church 6 South Monroe Street Ridgewood, NJ ​ For directions, click here . 2024-2025 SEASON SUNDAY, SEPTEMBER 29, 2024, AT 4 PM CELLOBRATION! Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, OCTOBER 20, 2024, AT 4 PM MODIGLIANI STRING QUARTET Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, NOVEMBER 17, 2024, AT 4 PM PAUL LEWIS, PIANO SCHUBERT’S FINAL SONATAS Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, DECEMBER 15, 2024, AT 4 PM “THE VIRTUOSO FLUTIST” DENIS BOURIAKOV MUSICIANS FROM NY PHILHARMONIC ​ Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, JANUARY 19, 2025, AT 4 PM “THE VIRTUOSO ORGANIST” PAUL JACOBS ​ Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required SUNDAY, FEBRUARY 9, 2025, AT 4 PM “THE VIRTUOSO CELLIST” STEVEN ISSERLIS, CELLO CONNIE SHIH, PIANO Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, MARCH 9, 2025, AT 4 PM MAURICE RAVEL’S 150TH BIRTHDAY ERIKA BAIKOFF, SOPRANO SOOHONG PARK, PIANO Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, APRIL 13, 2025, AT 4 PM QUARTETTO DI CREMONA Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required ​ SUNDAY, MAY 18, 2025, AT 4 PM LATE NIGHT WITH LEONARD BERNSTEIN JAMIE BERNSTEIN, HOST Adults (40 – 64): $45 Seniors (65+): $35 Young Adults (21 – 39): $25 Students (12 – 20): $15 Children (8 - 11): No Tickets Required BOARD OF DIRECTORS | PCC BOARD OF DIRECTORS Founders Michael and Inmo Parloff Artistic Director Michael Parloff Artistic Advisory Board James Galway David Finckel Thomas Hampson Members of the Emerson String Quartet (Emeritus): Philip Setzer Eugene Drucker Lawrence Dutton Paul Watkins ​ Executive Board Donald Reeder , Chairman of the Board Michael Parloff , P resident Warren F. Cooke , Vi ce President Elizabeth Forbes, Secretary Edward Lowentha l Peter Riemer Development Director Inmo Parloff Leadership Council Thomas and Heidi Ahlborn Anne Bosch Catherine Cooke Eugene Cornell and Susan Mayo Paul Gridley Christina Hembree Adrian and Christina Jones Gary Knapp Ronald and Mollie Ledwith Thomas and Carol Martin Dorothy Neff Barry Poskanzer and Mary Krugman Suzanne Taranto Donald and Gigo Taylor Adagio and Allegro (“Fantasy”) in F minor, K. 594, WOLFGANG AMADEUS MOZART (1756-1791) WOLFGANG AMADEUS MOZART (1756-1791) Adagio and Allegro (“Fantasy”) in F minor, K. 594 May 19, 2019: Paul Jacobs, organ On October 3, 1790, Mozart wrote from Frankfurt to his wife, Constanze, in Vienna: “I have now made up my mind to compose at once the Adagio for the clockmaker and then to slip a few ducats into the hand of my dear wife.” He went on to complain about the shrill little pipes of such a high-pitched instrument and his distaste for the childish sound. The “clockmaker” seems to have been Father Primitivus Niemecz, librarian at Esterháza Palace and colleague of Haydn, who had made several clock-organs for which Haydn wrote or arranged music. Most of Europe’s popular automated instruments, ranging from hand-held devices and table-top clocks to full sized organs, provided entertainment in palaces and mansions, but the mechanical clock for which Mozart wrote the Adagio and Allegro, K. 594, graced the mausoleum of a private gallery and waxworks collection in Vienna. The gallery had been created by Joseph Nepomuk Franz de Paula, Baron Deym von Stržitéž, who operated under the alias Johann Müller after an illegal duel had forced him to leave his post in the Austrian army. Among his collection of plaster casts of ancient artworks and wax figures of famous people, Müller had created a most unusual monument to “the unforgettable and world-famous” Field Marshal Ernst Gideon, Baron von Laudon (or Loudon), who had died on July 14, 1790. A wax figure of Laudon could be viewed in a glass coffin, “splendidly illuminated from 8 o’clock in the morning until 10 o’clock at night,” and, said the announcement in the Weiner Zeitung, “upon the stroke of each hour a Funeral Musique will be heard and will be different every week. This week the composition is by Herr Kapellmeister Mozart.” Mozart’s relationship with Father Niemecz remains a mystery, but it seems clear that the link between them was the commission from Müller for the mausoleum. As is happened, Mozart’s “wholly appropriate” music soon became the only music to be featured at the monument. He had actually written two pieces for this commission, both in F minor—K. 594, dated December 1790, which contains three sections, Adagio-Allegro-Adagio, and K. 608, dated March 3, 1791, also in three sections but reversing the tempo scheme to Allegro-Andante-Allegro. Yet a third organ-clock piece followed on May 4, 1791, an Andante in F major, K. 616, but that piece was intended for a clock organ of higher range. This or a similar piece, rather than the F minor pieces, was likely what prompted Mozart’s complaints from Frankfurt about writing for such a high-pitched instrument, but with any of these three pieces he would have been quite happy to know that today they are usually performed on an organ or piano four-hands. The Adagio and Allegro, K. 594, begins in solemn chords over rising bass gestures, after which the bottom drops out to let the treble ring. Similar shorter alternations of registers bring on the majestic and jubilant Allegro, whose many passages of imitative and sequential fast notes make a glorious display in two repeated sections. The Adagio then returns with some bold chromatic explorations before resolving contemplatively in the home key. © Jane Vial Jaffe Return to Parlance Program Notes MARK WALKER, DRUMS MARK WALKER, DRUMS Drummer/percussionist/composer Mark Walker, originally from “Central America” (Chicago, Illinois) began his tenure with Paquito D’Rivera in 1989, when Paquito came to Chicago and needed a drummer who could handle a variety of rhythmic styles. Since then Mark has performed around the globe and recorded many Grammy award-winning albums, not only with Paquito, but also Oregon, Caribbean Jazz Project, Michel Camilo, Lyle Mays, Cesar Camargo Mariano, New York Voices, Patricia Barber, and many more. Mark is also associate professor at Berklee College of Music and has a side project called the “Berklee Brothers,” comprised of Berklee faculty. MARK ROMATZ, BASSOON MARK ROMATZ, BASSOON Mark L. Romatz, bassoon, is currently Second Bassoon and Contrabassoon of the Metropolitan Opera Orchestra. Prior to that appointment, the University of Michigan graduate held positions with the Montreal, Jacksonville, Savannah, Duluth and Flint Symphonies. He has been a member of the Bellingham, Grand Teton, Grant Park, Colorado, Spoleto, Lancaster, Sunflower and the Buzzard Bay Music Festivals. Mr. Romatz has been a faculty member at Mcgill University in Montreal, the University of Florida, St. Olaf College and the University of Minnesota-Duluth. He has served as Acting Second Bassoonist with the Minnesota Orchestra and has performed with the Chicago and Detroit Symphony Orchestras, the New York Philharmonic and the Saint Paul Chamber Orchestra. He studied with L Hugh Cooper and John Miller. SUNDAY, SEPTEMBER 24, 2017 AT 3 PM | PCC SUNDAY, SEPTEMBER 24, 2017 AT 3 PM DANCES, ROMANCES, AND MENDELSSOHN’S OCTET BUY TICKETS RAFAEL FIGUEROA, CELLO Principal Cello, Met Orchestra MARK HOLLOWAY, VIOLA “Warm and intimacy.” — Neue Zürcher Zeitung PAUL NEUBAUER, VIOLA “A master musician.” — The New York Times MICHAEL BROWN, PIANO “Formidable pianist” — The New York Times DANBI UM, VIOLIN “Danbi Um’s playing is utterly dazzling…a marvelous show of superb technique” — The Strad ARNAUD SUSSMANN, VIOLIN “Beauty of sound and elegance.” — Nice Matin SEAN LEE, VIOLIN “Breathtakingly beautiful.” — The New York Times EMILY DAGGETT SMITH, VIOLIN “Irrepressible élan.” — The Seattle Times MIHAI MARICA, CELLO “Stunning Performance” — New York Times FEATURING ABOUT THE PERFORMANCE BUY TICKETS Parlance Chamber Concerts’s gala opener will showcase nine dazzling artists in scintillating dances and soulful romances by Beethoven, Fauré, Saint-Saëns, Falla, and others . The afternoon will climax with their collaboration in Felix Mendelssohn’s Octet for strings , the 16-year-old composer’s miraculous melding of youthful exuberance and sovereign musical command. PROGRAM Frédéric Chopin Valse Brilliante in A flat, Op. 34, No. 1 for piano Program Notes Gabriel Fauré Romance in B flat, Op. 28 for violin and piano Program Notes Gaspar Cassadó Sardana and Jota from Suite for solo cello Program Notes Ludwig van Beethoven Romance in F, Op. 50 for violin and piano Program Notes Jenö Hubay Scenes de la Csarda, No. 3, Op. 18 for violin and piano Program Notes Félicien David La Nuit (arr. Vieuxtemps) for viola and piano Program Notes Manuel de Falla Danse Espagnole from La Vida Breve for violin and piano Program Notes Camille Saint-Saëns Romance, Op. 36 for cello and piano Program Notes Hermann Schulenburg Gypsy Romance and Csardas for viola and piano Program Notes Felix Mendelssohn Octet in E-flat, Op. 20 for strings Program Notes Arnaud Sussmann, violin; Michael Stephen Brown, piano: Fauré - Romance in B-flat, Op. 28: Hear violist Paul Neubauer and pianist Wu Han perform Valdez’s Gypsy Serenade: Piano Trio No. 1 in C minor, op. 8, DMITRI SHOSTAKOVICH (1906–1975) DMITRI SHOSTAKOVICH (1906–1975) Piano Trio No. 1 in C minor, op. 8 October 30, 2016: Wu Han, piano; Philip Setzer, violin; David Finckel, cello The sixteen-year-old Shostakovich composed his First Piano Trio in the throes of love for Tatyana Glivenko, daughter of a well-known Moscow philologist. He had met her on holiday on the Crimean peninsula in the summer of 1923 and wrote home to his mother extolling the virtue of “free love,” though he commented that marriage was valuable for family life. He maintained a relationship with Tatyana for years—largely through correspondence, for they were often geographically separated. Toward the end of the summer of 1923, when Tatyana had already gone home, Shostakovich began his one-movement Piano Trio. He wrote to Tatyana asking her permission to dedicate the piece to her and divulged, “About three years ago I wrote a piano sonata; it was of course a childish thing, immature, but it had some material that was not bad and which I included in the trio in the form of a second subject.” Scholar Sofia Khentova reports that he also employed material from the first movement of a quintet he had written and abandoned the previous April. According to some sources, the Trio received a trial performance during the screening of a silent film on October 25, 1923, at the Harlequinade Cinema in Petrograd, with violinist Veniamen Sher, cellist Grigori Pekker, and the composer at the piano. Others assert that Shostakovich did not begin playing piano for silent films until 1924. In any case, the same group did perform the work, provisionally retitled Poem, at the Petrograd Conservatory in December 1923 (on the 13th or 19th, depending on the source). On April 7, 1924, Shostakovich played the Trio as part of his successful audition for entry into the Moscow Conservatory. Another performance, often listed as the public premiere, took place on March 20, 1925, at the Moscow Conservatory with violinist Nikolas Fyodorov, cellist Anatoli Yegorov, and pianist Lev Oborin. The composer performed the Trio several more times, but the score then lay in obscurity until 1983, when it was published with the reconstruction of a missing passage of twenty-two measures in the piano part, made in 1981 by Shostakovich student Boris Tischenko. Written in Shostakovich’s early post-Romantic style, the Trio contains only hints of some of his later edgy sonorities, but does show characteristic marchlike and perpetual-motion ideas alongside lush lyricism. The introduction begins meditatively with three chromatically descending notes in the cello that generate much of the movement. The main theme proper exhibits both forthright and scherzando qualities. His self-borrowing, which would become a lifelong trait, appears here, as he mentioned to Tatyana, in his lyrical second theme, emerging as a singing cello melody from ethereal piano chords. It unfolds almost identically—even as to key (E-flat major), time signature (6/4), and tempo marking (Andante)—to the second movement of a B minor piano sonata he had written and discarded in 1920 or 1921, thus preserving the material he modestly called “not bad.” Shostakovich’s sonata form is free and rhapsodic, swinging easily in and out of many keys and incorporating a wide variety of tempos. He ends in a grand, climatic recall of his lyrical theme, capped by a brief rush of the perpetual motion. © Jane Vial Jaffe Return to Parlance Program Notes Previous 1 2 3 4 5 ... 68 Next