Streaming on FACEBOOK
Glendale Noon Concerts
11/18/20:
CALICO WINDS
WORKS FOR CLARINETS & HORN
During the Covid-19 "Safer at Home" period,
Glendale Noon Concerts will bring our programs
to you via streaming on Facebook and Youtube:
The NOVEMBER 18, 2020 program can be viewed at this link
beginning at 12:10 pm PDT.
LINK TO VIEW CONCERT:
https://www.facebook.com/rachel.berry.90038882/posts/10223546142030710
Also view the concert on Youtube:
https://www.youtube.com/watch?v=huQfadyTwuw
Glendale City Church Youtube Channel:
https://www.youtube.com/channel/UCt6zEXA-8F7CPOixLDWxGBA
Watch previous Glendale Noon Concerts streams:
https://www.youtube.com/watch?v=5oAfaPgGGMw&list=PLms1LJpnTpJzK7Yf6ryh2zyFMlkl7qC2z
Read about the previous programs: http://glendalenoonconcerts.blogspot.com
Facebook stream: GLENDALE NOON CONCERTS
Every FIRST & THIRD WEDNESDAY at 12:10 pm PDT
On Wednesday NOVEMBER 18, 2020 at 12:10 pm PDT:
CALICO WINDS:
http://calicowinds.com
Kathryn Nevin – clarinet
Peter Nevin – clarinet
Rachel Berry – horn
Charles
Koechlin (1867-1950)
Quatre Petites Pièces, Op.
173
pour Clarinette et Cor (1938)
I. Pastorale
II. Dans la forêt
III. L’appel de la chasse
IV. Nocturne
Willson Osborne (1906-1979)
Rhapsody for Clarinet (1958)
David Amram (b. 1930)
Blues and Variations for Monk
for unaccompanied French Horn (1982)
Francis Poulenc (1899-1963)
Sonata for Two Clarinets (1918)
I. Presto
II. Andante
III. Vif
George Frederic Handel (1685-1759)
Sonata in D, HWV 424
for Two Clarinets and Horn
I. Overture: Grave; Allegro ma non troppo
II. Larghetto
III. Andante allegro
IV. Allegro
(Scroll down for individual artist bios & program notes)
NOV 18 Facebook event page:
https://www.facebook.com/events/463550684629200
Please keep checking the site below for updates.
A list of upcoming concerts will be posted soon.
Streaming on Wednesday DECEMBER 2, 2020 at 12:10-12:40 pm PDT:
Violinist Nancy Roth
Pianist Lorenzo Sanchez
Beethoven Violin Sonata, Op.30 #3
Subito —Lutoslawski
PLEASE HELP THESE CONCERTS TO CONTINUE WITH A DONATION:Or by mailing it to 610 E California Ave, Glendale, CA 91206 to the Friends of Music.
The Glendale Noon Concerts series is presented by Glendale City Church every first & third Wednesday at 12:10-12:40 pm. www.glendalecitychurch.orgGlendale City Church also presents the Second Saturday Concert Series,
Much appreciation to the Hennings-Fischer Foundation for their mission to support art & education and their generous grant to GNC.
RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
ARTIST BIOS:
Rachel Berry is the horn player and
a founding member of Calico Winds, a critically acclaimed and nationally
touring wind quintet. She has been a member of the Mexico City Philharmonic and
the Rishon Le-Zion Symphony (Israel). Ms. Berry has been a soloist with the
Pacific Coast Chamber Orchestra, toured the United States with Yanni and
performed Sgt. Pepper Live with Cheap Trick at the Paris, Las Vegas. She has
played at numerous summer festivals including the Chautauqua Festival (New
York), the Scotia Festival (Canada) and the Round Top Festival (Texas).
In addition
to free-lancing around the Southland, Ms. Berry is a
member of the Thousand Oaks Philharmonic, the Desert Symphony and principal
horn of the Santa Cecilia Orchestra. Ms.Berry is an
avid hiker, hiking the John Muir Trail, (230 miles with Half Dome) in seventeen
days in 2014.
Kathryn Nevin earned her MM and DMA in Clarinet Performance from
University of Southern California. Dr. Nevin has performed with many orchestras
including San Diego Symphony, Pasadena Symphony, New West Symphony, Long Beach
Symphony, Long Beach Opera, Santa Barbara Symphony, Opera Santa Barbara,
Monterey Symphony and Fresno Philharmonic. She is a member of St. Matthew’s
Chamber Orchestra, Desert Symphony, Redlands Symphony Orchestra and Long Beach
Municipal Band. Dr. Nevin is an active soloist and chamber musician, having
been a founding member of several award-winning ensembles. She is currently a
member of Calico Winds. She has been a concerto soloist with the Redlands
Symphony, Culver City Symphony, La Sierra Symphony, University of Redlands Wind
Ensemble and Wheaton (Illinois) Municipal Band. Dr. Nevin has been featured on
NPR’s “Performance Today.” She has taught and performed as part of the
Montecito International Music Festival, and in addition, has appeared in
chamber music concerts with faculty at the University of Redlands, the Taylor
String Quartet, the Shanghai Quartet, as well as with Los Angeles Philharmonic
principal strings. She is currently the Artist Teacher of Clarinet at the
University of Redlands.
Peter Nevin is an active freelance performer throughout Southern
California. He currently plays Principal Clarinet in the Fresno Philharmonic,
the Desert Symphony in Palm Desert, and is a member of the Long Beach Municipal
Band. He also performs frequently with many other orchestras, including the
Pacific Symphony, Los Angeles Chamber Orchestra, California Philharmonic, San
Diego Symphony, Santa Barbara Symphony, Santa Barbara Chamber Orchestra, San
Bernardino Symphony, Riverside County Philharmonic, and the Redlands Symphony.
He has performed chamber music as a member of the Imbroglio Quintet, Pacific
Winds Quintet, and North Wind Quintet as well as with the Southwest Chamber Music Society. Mr. Nevin received his M.M. and Advanced Studies Diploma in
Clarinet Performance from the University of Southern California.
PROGRAM NOTES:
French composer, educator and author, Charles Koechlin, was highly eclectic in inspiration, drawing musically from French folksong, Bachian chorale as well as the music of his teacher Fauré. He was interested in nature, the orient, astronomy, photography and Hollywood film. He was fascinated by the hunting horn which he himself played. This charming duo for horn and clarinet exploits the full range of each instrument, often treating them in close imitation, and works well to be performed antiphonally.
Willson Osborne was a student of Paul Hindemith at Yale University, and like his teacher wrote in a neoclassic/neo romantic language. The Rhapsody was written for bassoon originally, and later adapted for clarinet. Its changing tempos and meters, with much rubato encouraged, as well as the fluid change of mood from quiet mystery to intense drama, all contribute to a sense of improvisation from the performer.
As David Amram celebrates his 90th birthday, he continues to writing new music and to perform around the world as a guest conductor, soloist, multi-instrumentalist, band leader at jazz, folk and classical festivals and narrates them in five languages. He started his professional life in music as a French hornist in the National Symphony Orchestra (Washington, D.C.) in 1951. After serving in the US Army from 1952-54, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. David Amram’s friendship with pianist, Thelonious Monk (1917-1982) began in 1955. Monk encouraged him to pursue using the French horn as an improvising instrument in jazz ensembles, as well as pursuing his dreams of being a composer of contemporary symphonic music. Blues and Variations for Monk are based on the timeless structure of the classic 12-bar blues. The first three notes are a motif based on the unique musical style of Thelonious Monk.
Francis Poulenc was largely self-educated musically. He was associated and influenced by Erik Satie and was one of a group of French composers known as Les Six, known for
music which breaks from the late 19th Century conventions in harmony and form. His music swings from deeply reverent and introspective to humorous and raucous, often within the same work, or even between subsequent phrases of music. This Sonata for two clarinets is often bracing, mesmerizing, surprising, and highlights the extreme dynamic capabilities of the instrument.
This trio by G. F. Handel for two clarinets and horn is the first work by the composer, and certainly one of the earliest works in history, to include the clarinet in its full range. It dates from the middle of the 18th Century (1741-1754), and reflects typical wind writing by the composer, as found in his orchestral suites and oratorios. It is also one of the earliest examples of chamber music that divorces itself from the continuo tradition.
