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, NOVEMBER 15, 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/location
Glendale Noon Concerts 11/15/23
at 12:10-12:40 pm PT
Ken Aiso - violin
Valeria Morgovskaya – piano
MAURICE RAVEL
Sonate posthume pour Violon et Piano (1897)
EDWARD ELGAR
Violin Sonata in E minor, Op. 82 (1918)
Allegro. Risoluto
Romance. Andante
Allegro non troppo
Scroll down to see artist bios:
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 11/15/23 event page:
https://www.facebook.com/events/320267017405916
Preview of the NEXT CONCERT:
Wednesday DECEMBER 6, 2023
at 12:10-12:40 pm PT
Duo Recital
Ruth Kasckow -flute
Bryan Pezzone - piano
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 BIOS:
Internationally acclaimed violinist/violist Ken Aiso has performed worldwide as soloist, chamber and orchestral musician. Ken graduated form the Royal Academy of Music in London studying with Erich Gruenberg. His other teachers include Eduard Schmieder and Chikashi Tanaka. Equally at home with modern and period instruments, Ken has appeared as principal violin with the Orchestra of the Age of Enlightenment, the London Philharmonic, the Hallé and the Scottish Chamber Orchestras.
He has been invited to renowned music festivals in UK, France, Sweden, Switzerland, India, Georgia, Bolivia and Kazakhstan, and has taught at Montecito Summer Music Festival since 2008. Ken is a laureate of Long-Thibaud International Competition in Paris and International Music Competition of Japan, and was elected Associate of Royal Academy of Music in London. He received Shimousa Kan-ichi Music Award in his native Japan in 2018. Since moving to Los Angeles in 2015, Ken has been serving as faculty at Loyola Marymount and La Sierra Universities, and performs with Los Angeles Chamber Orchestra.
Valeria Morgovskaya, pianist, graduated from the Kiev State Conservatory. Since her immigration to the US in 1990, Ms Morgovskaya has been in high demand as accompanist for singers and all orchestral instrumentalists. She has been an official accompanist to festivals and courses such as Piatigorsky Cello Seminar and Beverley Hills Music Festival, and has performed throughout the US, Germany and Japan, as well as on numerous radio broadcast. She has provided accompaniment for many national and international competitions, and was an official accompanist at Schoenfeld International String Competition in Hong Kong (2013) and Harbin (2014). Ms. Morgovskaya is currently staff accompanist at Loyola Marymount University and UCLA, and is often engaged in that capacity at USC, Cal State Long Beach, Colburn School, Montecito International Music Festival, Academy of the West and Idyllwild School of Music and the Arts.
Program Notes:
In June 1895, the twenty-year-old Maurice Ravel’s Conservatoire professor Émile Pessard described his harmony exercises as ‘exact’—Pessard lived on until 1917, perhaps long enough to blush at this judgment. At all events, in the exam in the summer of 1895 these exercises weren’t exact enough for the jury and Ravel had to leave the institution, before returning as a member of Fauré’s composition class in January 1898. In the meantime, he began a Violin Sonata in A major, but got no further than the first movement. This information comes from a note he sent to the violinist Paul Oberdoerffer in June 1929, consisting of the opening violin phrase and a dedication to him ‘in memory of the 1st performance of the uncompleted first sonata (18…)’. Oberdoerffer went on to teach violin at the Conservatoire and wrote light music for his instrument with titles such as Chinoiserie and La petite fleur de mon jardin. Ravel’s single movement, in sonata form, juxtaposes modal writing, as at the opening, with more chromatic harmonies, including two passages of downward sliding chords that sound like Delius. The joins may not always be totally convincing, but there is no mistaking Ravel’s way with a lyrical idea. -Roger Nichols
Elgar’s father, in addition to owning a music shop, tuned pianos and played the organ at church, so it was almost inevitable that young Edward would learn these instruments. But the violin was the instrument he truly loved. He played it in many amateur orchestras, and for a time planned on a solo career. His Violin concerto (Op. 61) is one of the most significant of the twentieth century. Yet, unaccountably, the Violin sonata is neglected in almost inverse proportion to the fame of the concerto. This sonata, Elgar’s last work for violin, written in 1918, is a 25-minute masterpiece imbued with the spontaneous lyricism of Schubert and the passionate warmth of Brahms. Elgar himself left this concise description of his sonata: “The first movement is bold and vigorous, then a fantastic, curious movement with a very expressive middle section; a melody for the violin they say it is as good or better than anything I have done in the expressive way … the last movement is very broad and soothing, like the last movement of the Second Symphony.”
-Ning Feng
