New York Philharmonic Music Director Alan Gilbert has called Israeli-born pianist Inon Barnatan “a complete artist: a wonderful pianist, a probing intellect, passionately committed.” Barnatan’s May program explores multiple approaches to the idea of variations in music, opening with Handel’s Chaconne, built around an eight-bar theme, and concluding with Brahms’s use of a simple theme from Handel’s First Harpsichord Suite and 25 variations of astonishing variety. The work closes with a masterful and exultant fugue built upon a four-note motif from the original theme.
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PCMS offers two value packages for frequent concert-goers: a Full-Season subscription and an All-Perelman Theater subscription. The All-Perelman subscription includes 33 concerts at a reduced rate of $24 a ticket. If you have any questions, please call the PCMS Box Office at 215-569-8080 or e-mail Box Office Manager Bradford Kochel [email protected]
PCMS offers two value packages for frequent concert-goers: a Full-Season subscription and an All-Perelman Theater subscription. The Full-Season subscription includes all 55 concerts at a reduced rate of $20 a ticket. If you have any questions, please call the PCMS Box Office at 215-569-8080 or e-mail Box Office Manager Bradford Kochel [email protected]
Six premier chamber musicians and lifelong friends unite to perform a pair of seminal works by Brahms. The B-flat Major Sextet offers an astonishing wealth of melody and masterful sense of proportion while the G Major Sextet is quieter and more reflective: a work of austere beauty.
A great piano recital is chamber music in its purest form, intimate yet universal. In the hands of a master such as Paul Lewis, it can be a transcendent experience and a personal sharing of ideas and emotions. A protégé of Alfred Brendel, Lewis shares his mentor’s affinity for Austro-German repertoire, revealing melancholy beauty and emotional ambiguity with a “fine balance of Olympian poise and emotional engagement” (Chicago Tribune). His keen musical sensitivity and profound interpretive finesse ensure a solo recital that is not to be missed.
Canadian bass-baritone Gerald Finley has long been recognized as “a recitalist of rare versatility, a concert artist of the first rank, and an opera singer of distinction” (New York Times). Joined by his longtime recital partner, Julius Drake, the Grammy Award winner returns to PCMS by popular demand with a program that encompasses Russian songs, Lieder, and English and American folk songs.
The famed foursome from Denmark returns to PCMS with a new program entitled The Hunt. “Hear the horns calling through the centuries,” writes the Quartet of this innovative program. “It’s all about hunting, from Haydn and Mozart classical imitations of hunting trips to Brahms’s large-scale last string quartet to Jörg Widmann’s Jagdquartett, where the poor cellist has to play the hunted fox, who finally gets shot in the end.”
Sir András Schiff commands international respect as a paragon of refinement and musical integrity. PCMS is thrilled to welcome back this renowned master pianist as he performs a varied and rich program exploring the expressive possibilities of the keyboard. Last season, the San Francisco Classical Voice called Schiff’s recital “among the most memorable in recent SF Symphony offerings … elegant, intimate, playful, dramatic, always sincere and honest.”
“A fresh and vital participant in what is a golden age of American string quartets” (New Yorker), the exceptionally-refined Daedalus Quartet has established itself as a leader among the new generation of string ensembles. Currently quartet-in-residence at the University of Pennsylvania, the Daedalus excels at interpreting the music of our time as will be heard in the Philadelphia premiere of Vivien Fung’s Clarinet Quintet with the “extraordinary and formidable clarinetist” (New York Times) Romie de Guise-Langlois.
“Devotion, drollery, despair: Luca Pisaroni can sing them all, and he does so with intelligence, musicality and impeccable taste” (Bachtrack). The Italian bass-baritone’s recitals have been lauded by critics across the globe: “There was much to admire in the evening-long program of songs … especially Mr. Pisaroni’s rich, muscular timbre and smooth-flowing legato … Mr. Pisaroni’s diction was clean, and his choice of texts … hinted at a discerning reader and thinker” (New York Times).