Saturday, May 27, 2023

GLENDALE NOON CONCERTS (Live in person free concerts) 6/7/23

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

Please wear a mask in the Sanctuary. 

 610 E. California Ave Glendale, CA 91206

On Wednesday, June 7, 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  6/7/23

at 12:10-12:40 pm PT

 

Douglas Masek

Soprano and Alto Saxophone

 

Adrienne Albert (b. 1941)

Tango Sozinho (2021)

 

David Heath (b. 1956)   

Coltrane (1981)                                                                                                                              

Bill Cunliffe (b. 1956)                                

Before Times (2022)

                                                                                                                       

Victor Morosco (b.1936)

Blue Caprice (1981)

 

 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  6/7/23 event page: 

 https://www.facebook.com/events/9302064539868385

Preview of the NEXT CONCERT:

Wednesday JUNE 21, 2023

at 12:10-12:40 pm PT:

Solo Recital

KEES WIERINGA –piano

https://www.keeswieringa.com

 

 

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: 

The internationally renowned saxophonist DOUGLAS MASEK whose performances have emphasized versatility in a wide range of musical styles, from classical and contemporary to jazz, have consistently garnered critical acclaim.  The Los Angeles Times “...playing is smooth, sinuous, stunning, stylish, dazzling, and glowing with the requisite rich color.”  The Daily Review in Oakland, California, wrote that “Masek plays with dazzling virtuosity”, while The Outlook in Santa Monica, California, declared that “Masek’s performance was marvelous...his control was almost uncanny...extraordinary musicianship”.  Pamina Concerts in Barcelona, Spain, adds that “Masek’s playing is always exquisite and full of feeling and musicality”.  In South Africa, The Argus wrote “Masek”s tone: beautiful and pure” and the Cape Times added “dynamic and magical”.

 

He has also shared the stage with contemporary artists such as: John Legend, Elvis Costello, Diana Krall, Herbie Hancock, Wynton Marsalis, Natalie Cole, Kristen Chenoweth, Christina Aguilera, Dee Dee Bridgewater, Barbara Morrison, Audra McDonald, Cher, Barry Manilow, Johnny Mathis, and Seth MacFarlane, among others.  Also, performances with notable conductors such as: Gustavo Dudamel, Esa-Pekka Salonen, Kent Nagano, John Mauceri, Andre Previn, MichaelTilson Thomas, Leonard Slatkin, Jorge Mester, James Conlan, David Robertson, Carl St.Clair, Valery Gergiev, Valery Ryvkin, Jeffrey Kahane, Nir Kabaretti, Giselle Ben-Dor, Rachael Worby, JoAnn Falletta,and Marin Alsop among others.,

In addition, he has also worked on motion picture sounds tracks for John Williams, Randy Newman, David Newman, Howard Shore, Bruce Broughton, Alex North, John Barry, Basil Poledouris, Alan Silvestri, Carter Burwell, Randy Edelman, Mark Watters, and others.

 

With extensive concert touring in the United States, Europe, Asia, South Africa, and

South America, He has also performed as soloist at the Singapore Sun Festival, American Music Festival in Cluj-Napoca, Romania, the China International Music Festival(Beijing), the Aspen Music Festival, Ojai Music Festival, Santa Fe Chamber Music Festival, the Idyllwild Arts Academy, and extensive performing throughout the Far East.  Additional performances include featured solo appearances with the Los Angeles Philharmonic Orchestra, Hollywood Bowl Orchestra, Pasadena Pops Orchestra, Long Beach Symphony,

Symphony in the Glen, New West Symphony, Pasadena Symphony, Pacific Symphony,

Santa Barbara Chamber Orchestra, Santa Barbara Symphony, Los Angeles Opera Company, Long Beach Opera, Ostgota Symphony(Sweden), orchestras in South Africa include: The Cape Town Symphony, National Symphony Orchestra, Free State Symphony, KwaZulu-Natal Symphony, Transvaal Philharmonic Orchestra, Transylvania Philharmonic Orchestra in Romania., and played to rave reviews as soloist with the Los Angeles Philharmonic’s New Music Group, performing Franco Donatoni’s “Hot”, with Esa-Pekka Salonen conducting. 

Having received his Bachelor of Music degree from the University of Cincinnati College- Conservatory of Music, and his MM degree in Woodwinds from The Ohio State University, Dr. Masek completed his academic education with a Doctorate in Musical Arts from the University of Southern California.

 

Douglas has also recorded for Centaur, Albany, Cambria, Atlantic, Koch International, Stereophile, Summit, Navona, and Philips Classics recording companies. Additionally, he has performed on motion picture soundtracks for Sony, Warner, Paramount, Universal, Disney and 20th Century, along with television and radio broadcasts. Having premiered dozens of compositions written exclusively for him, Masek's discography includes nine CD collections. You can learn more about Douglas Masek and hear sound samples at his website:  www.dougmasek.com  

 

PROGRAM NOTES:

 

TANGO SOZINHO – Adrienne Albert (b. 1941)

Originally composed in July of 2020 and conceived as a piece for solo oboe, Los Angeles based composer, Adrienne Albert reworked this composition for saxophonist, Doug Masek, in 2021. “Originally, I thought the title of this work would be "Alone", as, sadly, this terrible Covid virus has forced school music programs and professional organizations to rethink the way musicians are able to play together for the foreseeable future.” ... Adrienne Albert

 

COLTRANE – David Heath (b. 1956)

Born in Manchester, England, David Heath began writing music in 1975, basing his music harmonically and rhythmically on the music of jazz saxophonist, John Coltrane and jazz trumpeter, Miles Davis.  COLTRANE was written in 1981 and is a musical tribute to John Coltrane. The first half is blues-based while the second half is influence by North Indian music.

 

BEFORE TIMES – Bill Cunliffe (b. 1956)

Written for Doug Masek in 2022, by Grammy-Award winning jazz pianist and arranger Bill Cunliffe, “Before Times” is what many of us called the pre-pandemic world.  But, in addition, I had the weird ear worm with the harmonic progression loosely based on a 70’s Lionel Ritchie tune called Hello. The harmony of it is very much something that could have been a passacaglia in the day.” ...Bill Cunliffe

 

BLUE CAPRICE – Victor Morosco (b.1936)

Born in New York City, composer and saxophonist Victor Morosco wrote BLUE CAPRICE in 1981.  It was written to be a virtuosic solo similar to a Paganini caprice but based on the Blues, hence BLUE CAPRICE.  A Theme and Variation premise, the work is an anthology of historical jazz with references to Bebop, Gospel, Kansas City, and Chicago styles.


Friday, May 5, 2023

GLENDALE NOON CONCERTS (Live in person free concerts) 5/17/23

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

Please wear a mask in the Sanctuary. 

 610 E. California Ave Glendale, CA 91206

On Wednesday, May 17, 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  5/17/23

at 12:10-12:40 pm PT

BRENDAN WHITE- piano

Program: 

Eleanor Alberga

It's Time

 

Sergei Rachmaninoff

Sonata No. 2, Op. 36

Allegro agitato (B-flat minor)

Non allegro—Lento (E minor—E major)

Allegro molto (B-flat major)

 

 

Frederic Rzewski

War Song No. 10

 

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  5/17/23 event page: 

 

 https://www.facebook.com/events/6318090688213067

 

Preview of the NEXT CONCERT:

Wednesday JUNE 7, 2023

at 12:10-12:40 pm PT:

Solo Recital

DOUG MASEK – saxophone

 http://www.dougmasek.com/

 

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: 

Born in Jackson, Tennessee, but now based in Los Angeles, pianist Brendan White appears frequently in solo recitals and chamber ensembles and as a soloist with orchestra. As soloist, White has performed with Musica Nova (Eastman School of Music), Vicente Chamber Orchestra, Orchestra of the Verdugos, Crown City Symphony, Delta Symphony Orchestra and Jackson Symphony Orchestra.

 

As a recording artist, White was featured on Danaë Vlasse’s Grammy Award-winning album Mythologies. White’s collaborations in Southern California have included the Mühlfeld Trio, which won the prestigious Beverly Hills Auditions, the Speakeasy Society, and Eighteen Squared. He is an original member of the Sunset ChamberFest in Los Angeles. White’s repertoire spans many centuries and genres and he has worked with well-known composers such as Thomas Adès, Stephen Cohn, Donald Crockett and Danaë Vlasse.

 

White is also a composer of original music. Local recital appearances include: Piano Spheres Emerging Artist Series, Soundwaves in Santa Monica, Silicon Beach CO Recital Series, Glendale Noon Concerts, Pasadena Presbyterian Music at Noon, Music@Mimoda, and Mason Concerts. He attended the Eastman School of Music and the Thornton School of Music, University of Southern California.

Sunday, April 23, 2023

GLENDALE NOON CONCERTS (Live in person free concerts) 5/3/23

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.

https://jonathanflaksman.com/

 

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