Our spring break is coming to an end – 10 days of rehearsal-free bliss – and now comes the push to the end. Lots going on both within the orchestra and without.
April is a pretty big month. First, we get started with a double bill jazz concert with Dave Frishberg and Patrick Lamb under the direction of Jeff Tyzik on April 6-7. Then the orchestra welcomes back Carlos Kalmar (after how long?) for a great concert April 13-15 featuring the LA Guitar Quartet (playing Rodrigo’s Andalusian Concerto), Walter Piston’s Suite from The Incredible Flutist (which we’re recording) and Stravinsky’s amazing ballet score Petroushka. Our next concert (April 20-22) is a huge freakin’ program which is my highlight of the season (I think, there’s so much to like) – Antheil’s Jazz Symphony, Bernstein’s Serenade (with James Ehnes, violin), and Copland’s Third Symphony. Then, for a complete change of pace, we are joined by Portland indie band Blind Pilot for their first concerts with symphony orchestra on April 27th. Lots more info and tickets here.
On April 11th I’m playing the Brahms B-flat Sextet with some colleagues for a house party fundraiser for PHAME Academy (one of the most worthy causes that I know of), which is one of the most fun and incredible pieces to play for any string player. First of all, it’s Brahms. If you’re a string player who doesn’t love Brahms, I really don’t have any time for you. No, really. You can hate on Beethoven all you want, but Brahms is my boy. The B-flat sextet is such a youthful and exuberant example of early Brahms. Great melodies everywhere, lush writing (perhaps even a bit overly lush), and balls out writing. Love it.
I’m taking part in several of the Classical Up Close concerts, whose programs will be revealed in their entirety soon. I don’t think it’s too much out of turn for me to reveal my part in these programs, so here goes. The Arnica Quartet is joining with OSO principal bassoonist Carin Miller Packwood to perform Russell Platt’s Quintet for Bassoon and Strings (1996-97), which is a wonderful piece that really shows off all the great qualities of the bassoon. It’s almost a mini concerto (indeed, there is a version of it for bassoon and string orchestra) and it pays homage to Stravinsky and Schoenberg, among others. Carin plays it stunningly, so I’d make sure to hear her.
I’m also playing three movements of the William Primrose arrangement of Beethoven’s String Trio in D, Op. 8, which is known as the Notturno for viola and piano. It’s a not too virtuosic arrangement, but it does give the viola a chance to play some lovely Classical period melodies that were largely denied the instrument by the composers of the day. I’ll be joined by the wonderful collaborative pianist Cary Lewis. It’s a great opportunity to play a work that’s new to my repertoire without having to prepare an entire recital program.
Finally, with my wife Heather Blackburn (my favorite cellist) and Cary Lewis, I’m playing Brahms’ own arrangement of his Trio for Clarinet, Cello and Piano in A major, Op. 114. It works quite nicely for the viola in lieu of clarinet, and is just one of the most sublime pieces of chamber music ever written. I’m looking forward to playing it again very much!
http://youtu.be/PZjdhN9bbZ0