Free Admission GLENDALE NOON CONCERTS
Every First & Third Wednesday at 12:10-12:40 pm
has returned to live performances
in the Sanctuary of Glendale City Church!
RELAX DURING YOUR LUNCH HOUR WITH LIVE MUSIC
The May 3, 2023 concert was recorded and can be viewed at:
https://www.youtube.com/watch?v=rFOrnZmo_fc
Please wear a mask in the Sanctuary.
610 E. California Ave Glendale, CA 91206
On Wednesday, May 3, 2023 at 12:10 -12:40 pm PT,
the Free Admission Glendale Noon Concerts program
will be performed live in the Sanctuary of Glendale City Church.
PARKING INFO:
https://glendalecitychurch.org/our-location/
Glendale Noon Concerts 5/3/23
at 12:10-12:40 pm PT
JONATHAN FLAKSMAN -cello
Paul Hindemith (1895-1963) - Sonate für Violoncello allein op. 25 nr. 3
(1922)
Lebhaft, sehr markiert
Mäßig schnell. Gemächlich
Langsam
Lebhafte Viertel
Mäßig schnell
J.S. Bach (1685-1750) - Suite #3 in C Major for cello solo (ca. 1720)
Prelude
Allemande
Courante
Sarabande
Bourée I & II
Gigue
Eugène Ysaÿe (1858-1931) - Sonate en Ut mineur pour violoncelle seul op. 28 (1924)
Grave
Intermezzo
In modo di recitativo
Finale con brio
Scroll down to see artist bio.
STILL AVAILABLE! Watch previous Glendale Noon Concerts streamed concerts
(April 2020-February 1, 2023):
https://www.youtube.com/watch?v=5oAfaPgGGMw&list=PLms1LJpnTpJzK7Yf6ryh2zyFMlkl7qC2z
Read about the previous programs:
http://glendalenoonconcerts.blogspot.com
Facebook 5/3/23 event page:
https://www.facebook.com/events/1865757397140266/
Preview of the NEXT CONCERT:
Wednesday MAY 17, 2023
at 12:10-12:40 pm PT:
Pianist BRENDAN WHITE
Works by Eleanor Alberga and Sergei Rachmaninoff (Sonata No.2)
Please check the link below for updates
http://glendalenoonconcerts.blogspot.com
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
Much appreciation to the Hennings-Fischer Foundation for their mission to support art and education and their generous grant to GNC.
Artist bio:
Jonathan Flaksman, born in Akron, Ohio in 1981, started playing the cello at five years of age. His first regular teacher was Madalena Burle-Marx. He studied at the Cleveland Institute of Music with Richard Aaron and the Juilliard School with Fred Sherry. He graduated from Mannheim University in Germany in the class of his father Michael Flaksman and completed an artist diploma in orchestral studies. He has had master classes with Harvey Shapiro, Siegfried Palm, Bernard Greenhouse, Youngchang Cho, Jens Peter Maintz, Frans Helmerson, and Ralph Kirshbaum among many others. He attended Interlochen Arts Camp and music festivals in Aspen, Schleswig-Holstein, Cividale (Italy), Łancut (Poland), and Aurora Chamber Music in Sweden. He played in National Theater Mannheim, and as principal cellist of Pfalztheater Kaiserslautern and La Folia Baroque Orchestra. As soloist and chamber musician he has traveled the United States, Europe, and Asia. He attends the Ascoli Piceno Festival annually and performed as soloist with the Bari Symphony at the Carl Orff Festival in Putignano. He has given masterclasses in Italy and in California and has served on the jury of various competitions. He currently lives in Los Angeles, plays with the symphonies of Pasadena and Modesto, and records for tv and film. He is also active as a composer and arranger. He recently won auditions to be Assistant Principal Cellist of New Mexico Philharmonic and to join the Long Beach Symphony. He is tenured since 2015 as Assistant Principal Cellist of Santa Barbara Symphony.
One finds in Paul Hindemith's Sonata for Solo Cello (Opus 25, No. 3) two particular qualities: the kind of brash gestures that characterized the composer's early works, and the idiomatic surety that each of his individual instrumental studies exemplifies. Having mastered the various instrumental idioms early on, works such as the Sonata for Solo Cello differ from his later undertakings in terms of style much more than in maturity.
Composed in the same year as his famous Suite 1922 (for piano), the Sonata for Solo Cello is one of three sonatas for solo string instruments included in his Opus 25. (The others include a sonata for solo viola, another for viola and piano, and a "Little Sonata" for Viola d'Amore and Piano.) The piece was apparently quick work: four of the five movements were said to have been composed in a single day. Likewise, the practical spirit of Gebrauchsmusik (translated roughly, "music for use") inhabits the music in the way the lines seem to explore the contours of the instrument's capabilities. Despite his creative expediency, Hindemith's careful consideration of the instrument's "physiology" allows him to establish a continuum between execution and expression, and a stronger connection between the performer's hands and his/her head.
The five rather
short movements are arranged in a somewhat symmetrical fashion: two relatively
longer movements bookend the composition, while a pair of tiny fast movements
surround the long, slow movement at the work's center. From the outset, the
opening movement carves sharp angles, highlighted by strained double stops and
extreme registral shifts. The player seems to spend much time stirring
restlessly on the lower strings, despite more melodic entreaties from the upper
range. The second movement, though still shadowy, is lighter on its feet, with
a coy tune embellished by occasional turns and trills. The long central
movement indulges in broad strokes of languorous melody, seemingly torn between
launching into heartwrenching lament and succumbing to banal accompanimental
figures. The fourth movement is by far the most lively, but its quick triplets
expend their energy in less than a minute; the final movement turns to
weightier matters, the player again grinding away at the lower strings much of
the time. Here again, dark chordal sawings from the bottom range engage in
dialogue with more lyrical lines in the treble area, the two finally reaching
an uneasy consensus on a perfunctory pizzicato note. Hindemith thus
seems to act out in the music itself his own efforts to breach the divide
between the physical and the emotional.-Jeremy Grimshaw
https://www.bachvereniging.nl/en/bwv/bwv-1009-ii
Ysaÿe Although Eugene Ysaye is known for his virtuosity on the violin, he apparently also studied the cello in his youth, and maintained a great love for the cello's sound. In fact, his compositions for cello comprise the second largest number of pieces in his catalogue (after those for violin, of course!). This Sonata for Solo Cello, Op. 28 was composed around the same time as his solo violin sonatas, and the similarities are certainly audible. What is perhaps more striking about this infrequently performed work is Ysaye's real grasp of cello technique and idiom. It is a difficult work, to be sure - on par with the violin sonatas - which may explain why so few cellists perform it regularly. However, it possesses a rich, dark beauty that accents the existing charm of the cello's depth... -Henle
