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February 2019

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

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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

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Ives & Beethoven

March 10 @ 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 @ 7:30 pm PDT
Rothenberg Hall, The Huntington, 1151 Oxford Rd.
San Marino, CA 91108 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

BUY TICKETS

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Ives & Beethoven

March 14 @ 8:00 pm PDT
Zipper Hall, The Colburn School, 200 S Grand Ave
Los Angeles, CA 90012 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

BUY TICKETS

Find out more »

Ives & Beethoven

March 15 @ 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

BUY TICKETS

Find out more »

April 2019

Panel Discussion – The Romantic Hero

April 4
Barrett Recital Hall, Pasadena Conservatory of Music, 100 North Hill Ave.
Pasadena, CA 91106 United States

Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and Kant, emerging as the archetypal genius for Romantics, who declared the artist to be a world-shaking demigod and hero. Was this deification the first step in a stultification of the concert experience, resulting in the imperious reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a contemporary audience to enjoy the music of today?

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Panel Discussion – The Romantic Hero

April 5
Santa Barbara City College

Grounded in the objectively classical world of Mozart and Haydn, Beethoven flourished in the era of Goethe and Kant, emerging as the archetypal genius for Romantics, who declared the artist to be a world-shaking demigod and hero. Was this deification the first step in a stultification of the concert experience, resulting in the imperious reverence of the concert hall and the rigid canonization of the 18th and 19th century masters? 250 years after his birth is part of Beethoven’s legacy a constriction of the concert experience that makes it harder for a contemporary audience to enjoy the music of today?

Find out more »
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