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January 2019

Panel Discussion – Revolutionary or Evolutionary?

January 24
Barrett Recital Hall, Pasadena Conservatory of Music, 100 North Hill Ave.
Pasadena, CA 91106 United States

A product of the Enlightenment and of the French Revolution, Beethoven reached maturity as man and artist while the Napoleonic wars ravaged Europe. Invaded repeatedly by the French, Vienna was ultimately to suffer from within under repressive police rule. These regimes and epic, destabilizing conflicts created the modern world. How did they impact Beethoven’s view of society, his sense of self and his music? Today his music is so iconic it has lost much of its impact, but just how radical was it in his time, and how has his music influenced the composition and reception of that which followed?

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Panel Discussion – Revolutionary or Evolutionary?

January 25
Santa Barbara City College

A product of the Enlightenment and of the French Revolution, Beethoven reached maturity as man and artist while the Napoleonic wars ravaged Europe. Invaded repeatedly by the French, Vienna was ultimately to suffer from within under repressive police rule. These regimes and epic, destabilizing conflicts created the modern world. How did they impact Beethoven’s view of society, his sense of self and his music? Today his music is so iconic it has lost much of its impact, but just how radical was it in his time, and how has his music influenced the composition and reception of that which followed?

Find out more »

February 2019

Beethoven & Reich

February 8 @ 7:30 pm PST
Hahn Hall, Music Academy of the West, 1070 Fairway Road
Santa Barbara, CA 93108 United States
+ Google Map
$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 10 @ 3:00 pm PST
Museum of Ventura County, 100 E. Main St.
Ventura, CA 93001 United States
+ Google Map
$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

BUY TICKETS

Find out more »

Beethoven & Reich

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

BUY TICKETS

Find out more »

Beethoven & Reich

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

BUY TICKETS

Find out more »

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

February 28
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

Find out more »

March 2019

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

March 1
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

Find out more »
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