Streaming on FACEBOOK & YouTube
Glendale Noon Concerts 1/4/23
Isaac Pastor-Chermak-cello
Miles Graber- piano
perform the
ELLIOTT CARTER Cello Sonata
During the Covid-19 "Safer at Home" period,
Glendale Noon Concerts will bring our programs
to you via streaming on Facebook and YouTube:
On JANUARY 4, 2023 program can be
viewed at this link beginning at 12:10 pm PT.
(VIDEO will be available ongoing)
LINK TO VIEW THE CONCERT:
View on Facebook:
https://www.facebook.com/jacquelinesuzuki/videos/1088940595839870
View on YouTube:
https://www.youtube.com/watch?v=WIZ6z-iRi7c
The program will be archived on the
Glendale City Church YouTube Channel:
https://www.youtube.com/c/GlendaleCityChurch
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 PT
Isaac Pastor-Chermak- cello
Miles Graber- piano
Program:
ELLIOTT CARTER (American, 1908-2012)
Cello Sonata (1948)
Moderato
Vivace, molto leggiero
Adagio
Allegro
Scroll down to see artist bios & program notes.
Facebook 1/4/23 event page:
https://www.facebook.com/events/693764785657062
Please check the link below for updates
http://glendalenoonconcerts.blogspot.com
Streaming next: Wednesday JANUARY 18, 2023 at 12:10-12:40 pm PT
JAMES SULLIVAN – Clarinet and Bass Clarinet
Program:
Andante & Allegretto Domenico Nocentini
Andante cantabile & Allegro Cyrille Rose
Capriccio No. 15 in Bb Vincenzo Gambaro
Three Studies for Solo Clarinet Karel Husa
I Mountain Bird
II Poignant Song
III Relentless Machine
PLEASE HELP THESE CONCERTS TO CONTINUE WITH A DONATION:
https://adventistgiving.org/#/org/ANPPGL/envelope/start
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.org
Concert schedule: www.glendalenoonconcerts.blogspot.com
Glendale City Church also presents the Second Saturday Concert Series,
http://glendalecitychurch.org/index.php/ministries/second-saturday-concert-series.html and sponsors the Caesura Youth Orchestra http://www.mycyo.org
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:
Isaac Pastor-Chermak is Principal Cellist of Vallejo Symphony and Waterloo-Cedar Falls Symphony; Assistant Principal Cellist of Opera San Jose, Fresno Philharmonic, and Stockton Symphony; and a member of Berkeley Symphony, Santa Barbara Symphony, Monterey Symphony, Santa Cruz Symphony, and Reno Philharmonic. He spends his summers at the Eisenstadt Classical Music Festival in Austria, where he is Principal Cellist.
Mr. Pastor-Chermak is in constant demand as a solo artist, performing more than 100 concerts every season on an 1889 Riccardo Antoniazzi cello. Some highlights of recent and upcoming seasons include a five-concert tour of Viennese string sextets (July 2021), the complete Brahms Cello Sonatas (January 2022), the complete Bach Cello Suites (June 2022), and the Haydn D-major cello concerto with Stockton Symphony (March 2023). His CD catalog includes The Shadow Dancer with the Auriga String Quartet; Backlash Bach with Red Cedar Chamber Music; and Preludes and Prologues with pianist Alison Lee. A limited edition vinyl LP, The Year 1948, is due out Fall 2023, and CD release of the Bach Cello Suites is coming Fall 2024. Mr. Pastor-Chermak fits these creative projects around weekly symphonic programs throughout the country, as well as his local teaching and conducting obligations.
As an educator, Mr. Pastor-Chermak teaches a small-but-mighty studio of private students, who receive consistent high marks in regional competitions and have been admitted to the top conservatories in the country. He is Adjunct Professor of Music History at San Francisco Conservatory of Music, and sits on the Board of Directors of East Bay Music Foundation and Calliope East Bay Music and Arts. Mr. Pastor-Chermak holds degrees from the University of California, Berkeley (B.A. with honors) and San Francisco Conservatory of Music (M.M. with honors). Isaac and his wife, pianist Alison Lee, live in a 100-year-old house in the Berkeley Hills. http://isaacpastorchermak.com/
Miles Graber, piano, received his musical training at the Julliard School, where he studied with Anne Hull, Phyllis Kreuter, Hugh Aiken, and Louise Behrend. He has lived in the San Francisco Bay Area since 1971, where he has developed a wide reputation as an accompanist and collaborative pianist for instrumentalists and singers. He has performed with numerous solo artists, including Sarah Chang, Cho-Liang Lin, Camilla Wicks, Axel Strauss, Mimi Stillman, Judith LeClair, Martha Aarons, and Lev Polyakin. Mr. Graber performs frequently with violinists, Mariya Borozina and Christina Mok; flutists Gary Woodward, Amy Likar, and Ai Goldsmith; and clarinetist, Tom Rose. He is a member of the chamber groups, Trio Concertino, MusicAeterna, GGR Trio, and Sor Ensemble; as well as the new music group, Sounds New.
Mr. Graber has been associated with such ensembles as the New Century Chamber Orchestra, Midsummer Mozart, the Oakland-East Bay Symphony, the Berkeley Symphony, the California Symphony, the Santa Rosa Symphony, Oakland Lyric Opera, Berkeley Opera, and Opera San Jose. He has accompanied master classes by such artists as Midori, Joseph Silverstein, Nadja Salerno-Sonnenberg, Pamela Frank, Alexander Barantchik, James Galway, Lynn Harrell, Yo-Yo Ma, Robert Lipsett, Ronald Leonard, and Leon Fleisher. He has been a frequent performance accompanist and chamber player with members of San Francisco Symphony, San Jose Symphony, Berkeley Symphony, California Symphony, Santa Rosa Symphony, San Francisco Symphony Youth Orchestra, Oakland-East Bay Orchestra Oakland-East Bay Youth Orchestra, UC Berkeley Symphony, and members of the San Francisco Conservatory faculty.
He is on the faculty of the Crowden School in Berkeley and he accompanies students of the Young Musicians Program at UC Berkeley. He is a staff accompanist at the San Domenico Conservatory in San Anselmo, California, the San Francisco Conservatory of Music, and Northern California Flute Camp in Carmel Valley. He is pianist for the annual Young Artist Competition at the Mondavi Center for the Arts at UC Davis, as well as the annual Irving Klein Competition at UC San Francisco, and the Summer Brass Institute at the Menlo School in Atherton, California. http://www.milesgraber.com/
PROGRAM NOTES by the composer:
Cello Sonata (1948)
by Elliott Carter
for cello and piano
When I was asked in 1947 to write a work for the American cellist Bernard Greenhouse, I immediately began to consider the relation of the cello and piano, and came to the conclusion that since there were such great differences in expression and sound between them, there was no point in concealing these as had usually been done in works of the sort. Rather it could be meaningful to make these very differences one of the points of the piece. So the opening Moderato presents the cello in its warm expressive character, playing a long melody in rather free style, while the piano percussively marks a regular clock-like ticking. This in interrupted in various ways, probably (I think) to situate it in a musical context that indicated that the extreme disassociation between the two is neither a matter of random or indifference but to be heard as having an intense, almost fateful character.
The Vivace, a breezy treatment of a type of pop music, verges on a parody of some Americanizing colleagues of the time. Actually it makes explicit the undercurrent of jazz technique suggested in the previous movement by the freely performed melody against a strict rhythm. The following Adagio is a long, expanding, recitativelike melody for the cello, all its phrases interrelated by metric modulations. The finale, Allegro, like the second movement based on pop rhythms, is a free rondo with numerous changes of speed that end up by returning to the beginning of the first movement with the roles of the cello and piano reversed.
As I have said, the idea of metrical modulation came to me while writing this piece, and its use becomes more elaborated from the second movement on. The first movement, written last after the concept had been quite thoroughly explored, presents one of the piece’s basic ideas: the contrast between psychological time (in the cello) and the chronometric time (in the piano), their combination producing musical or "virtual" time. The whole is one large motion in which all the parts are interrelated in speed and often in idea; even the breaks between movements are slurred over. That is: at the end of the second movement, the piano predicts the notes and speed of the cello’s opening of the third, while the cello’s conclusion of the third predicts in a similar way the piano’s opening of the fourth, and this movement concludes with a return to the beginning in a circular way like Joyce’s Finnegans Wake.
— E. C.
