$30 advanced, $35 at the door
General Admission (Seated) - Doors open at 3PM
https://www.matthaimovitz.com/
Renowned as a musical pioneer, multi-Grammy-nominated cellist Matt Haimovitz is praised by The New York Times as a “ferociously talented cellist who brings his megawatt sound and uncommon expressive gifts to a vast variety of styles” and by The New Yorker as “remarkable virtuoso” who “never turns in a predictable performance.” He brings a fresh ear to familiar repertoire, champions new music, and initiates groundbreaking collaborations, as well as creating innovative recording projects. In addition to his touring schedule, Haimovitz mentors an award-winning studio of young cellists at the School of Music at the University of Minnesota Twin Cities and is the first-ever John Cage Fellow at The New School's Mannes School of Music in New York City.
Haimovitz made his debut in 1984, at the age of 13, as soloist with Zubin Mehta and the Israel Philharmonic. He has gone on to perform on the world’s most esteemed stages, with such orchestras and conductors as the Berlin Philharmonic, the New York Philharmonic with Zubin Mehta, the English Chamber Orchestra with Daniel Barenboim, the Boston Symphony Orchestra with Leonard Slatkin, and the Orchestre Symphonique de Montréal with Kent Nagano. His latest endeavor, THE PRIMAVERA PROJECT, encompasses 81 new commissions from a diverse intersection of North American communities and has been featured in the most recent 59th Venice Biennale Arte.
Making his first recording at 17 with the Chicago Symphony Orchestra, Haimovitz’s recording career encompasses more than 30 years of award-winning work on Deutsche Grammophon (Universal), Oxingale Records, and the PENTATONE Oxingale Series. His honors include the Trailblazer Award from the American Music Center, the Avery Fisher Career Grant, the Grand Prix du Disque, and the Premio Internazionale “Accademia Musicale Chigiana.” He studied with Leonard Rose at The Juilliard School and graduated magna cum laude with highest honors from Harvard University. Haimovitz plays a Venetian cello, made in 1710 by Matteo Gofriller.
https://christopheroriley.com/
Pianist, arranger, collaborative artist, composer, educator and media personality; Christopher O’Riley follows his passions into a fractal array of innovative directions, ever striving for the truest and deepest human connection, through performance, collaboration, communion. Living by the Duke Ellington adage, “There are only two kinds of music in the world; good music and the other kind” O’Riley spotlights the greatness inherent in all great music, self-evident in his all-embracing genre-fluid range of projects.
It is with Mr. O’Riley’s dedication to empowering the learning abilities, the personalities and imaginations of artists, young and old, that he comes to his latest endeavor. As he shares performances of his home-recorded traversal of J.S. Bach ~ The Well-Tempered Clavier he has produced an online archive of video lectures, Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier, a series illuminating a new perspective on each Prelude and Fugue, expanding on all the ways the paucity of Bach’s notation encourages us to engage creatively, imaginatively, engaging the inherent freedoms in all parameters of musical notation; instruction and insight to inspire transcendence and epiphany.
In his solo repertoire, O’Riley has always been expanding and building transformatively, first branching out into early Virginalists, William Byrd, Orlando Gibbons, Giles Farnaby, then Bach’s less celebrated keyboard creator, Jean Phillipe Rameau. O’Riley first ventured into the art of piano transcription most famously with his arrangement of the Flower Duet, “Viens, Mallika!” from Leo Delibes’ Lakme, then two by Bach, the Trio Sonata in C Major, and the Dorian Toccata & Fugue, Astor Piazzolla’s Verano Porteño. Apollon musagete, O’Riley’s favorite work of Igor Stravinsky, and Liszt’s transcription of Berlioz ~ Symphonie Fantastique are two major works which O’Riley has amended copiously
More genre-fluid projects resulted from his work with cellist, Matt Haimovitz. Their first project was an homage to the iPod: Shuffle.Play.Listen (Oxingale/Pentatone), a two-disc set, featured repertoire of Stravinsky, Piazzolla, Martinu, Janacek as well as arrangements of Radiohead, Cocteau Twins, Blonde Redhead, John McGlaughlin, and movements from recent Centenary-celebrant, Bernard Herrmann’s score to the Alfred Hitchcock film, Vertigo. A similarly genre-straddling, Russian oriented project, TROIKA posed established masterpieces for cello and piano by Prokofiev, Shostakovich and Rachmaninoff with arrangements of each, as well as of more contemporary Russian artists, Victor Tsoi and the protest band, Pussy Riot, and The Beatles’ anthemic Back In The U.S.S.R.
O’Riley’s work with Matt Haimovitz crossed disciplines as well as genres: 2015 saw the release of their Beethoven.Period (Pentatone), their traversal of the Sonatas and Variations recorded on Matt’s gut-strung cello and an original 1828 Broadwood, a maker whose sound found in Beethoven deep sympathy.