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February 2019

Beethoven & Reich

February 12, 2019 @ 7:30 pm PST
Rothenberg Hall, The Huntington, 1151 Oxford Rd.
San Marino, CA 91108 United States
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$58

Beethoven Sonata for Piano & Violin in C Minor, Op. 30, Nº. 2
Beethoven Piano Sonata in C Minor, Op. 111
Reich Different Trains    

Kristin Lee The Bernard Gondos Chair in Violin
Jason Uyeyama Violin
Richard O’Neill Principal Viola
Ani Aznavoorian Principal Cello
Gilles Vonsattel Piano

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Beethoven & Reich

February 14, 2019 @ 8:00 pm PST
Zipper Hall, The Colburn School, 200 S Grand Ave
Los Angeles, CA 90012 United States
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$58

Beethoven Sonata for Piano & Violin in C Minor, Op. 30, Nº. 2
Beethoven Piano Sonata in C Minor, Op. 111
Reich Different Trains    

Kristin Lee The Bernard Gondos Chair in Violin
Jason Uyeyama Violin
Richard O’Neill Principal Viola
Ani Aznavoorian Principal Cello
Gilles Vonsattel Piano

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Panel Discussion – Tonality, The Late Quartets, and Beyond … or not.

February 28, 2019
Barrett Recital Hall, Pasadena Conservatory of Music, 100 North Hill Ave.
Pasadena, CA 91106 United States

Composers favored certain keys for certain moods, most famously the driving and demonic C minor for Beethoven. Why is this the case, and why his rare and special use of, for instance, C# minor? How does the use of keys within movements help define their nature? When we come to Beethoven’s late music, why are quartets so hallowed and, indeed, just how forward looking are they? “By the late years, an uncanny duality develops: On the one hand, the sense that Beethoven might do anything harmonically, that he would venture to the far ends of the musical earth; on the other, always there, rock-solid, the triads, the tonic and the dominant, the familiar landmarks of classical harmony.” –Jeremy Denk

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March 2019

Panel Discussion – Tonality, The Late Quartets, and Beyond … or not.

March 1, 2019
Santa Barbara City College

Composers favored certain keys for certain moods, most famously the driving and demonic C minor for Beethoven. Why is this the case, and why his rare and special use of, for instance, C# minor? How does the use of keys within movements help define their nature? When we come to Beethoven’s late music, why are quartets so hallowed and, indeed, just how forward looking are they? “By the late years, an uncanny duality develops: On the one hand, the sense that Beethoven might do anything harmonically, that he would venture to the far ends of the musical earth; on the other, always there, rock-solid, the triads, the tonic and the dominant, the familiar landmarks of classical harmony.” –Jeremy Denk

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Ives & Beethoven

March 10, 2019 @ 3:00 pm PDT
Museum of Ventura County, 100 E. Main St.
Ventura, CA 93001 United States
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$58

Ives Piano Sonata No. 2, Concord, Mass., 1840–60
Beethoven String Quartet in E-flat Major, Op. 127

Molly Morkoski, Piano; The Calder String Quartet

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Ives & Beethoven

March 12, 2019 @ 7:30 pm PDT
Rothenberg Hall, The Huntington, 1151 Oxford Rd.
San Marino, CA 91108 United States
+ Google Map
$58

Ives                                              Piano Sonata No. 2, Concord, Mass., 1840–60
Beethoven                                 String Quartet in E-flat Major, Op. 127

Adrian Spence Principal Flute
Molly Morkoski
 Piano
The Calder String Quartet

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Ives & Beethoven

March 14, 2019 @ 8:00 pm PDT
Zipper Hall, The Colburn School, 200 S Grand Ave
Los Angeles, CA 90012 United States
+ Google Map
$58

Ives                                              Piano Sonata No. 2, Concord, Mass., 1840–60
Beethoven                                 String Quartet in E-flat Major, Op. 127

Adrian Spence Principal Flute
Molly Morkoski
 Piano
The Calder String Quartet

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Ives & Beethoven

March 15, 2019 @ 7:30 pm PDT
Hahn Hall, Music Academy of the West, 1070 Fairway Road
Santa Barbara, CA 93108 United States
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$58

Ives                                              Piano Sonata No. 2, Concord, Mass., 1840–60
Beethoven                                 String Quartet in E-flat Major, Op. 127

Adrian Spence Principal Flute
Molly Morkoski
 Piano
The Calder String Quartet

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