We’re having fun with numbers on Now Is the Time, Sunday, May 12th at 10 pm. Four dances for piano is what Keith Carpenter calls An even number of odd pieces, and Sketches Set Seven, also for piano, is Ed Bland’s contribution to what he calleds “urban classical funk.”
Mr. Bland passed away after this show was produced, so we honor his memory with this look into his wide-ranging career.
Charles Wuorinen’s Dodecadactyl is a fun two-guitar romp through the twelve pitches, and from her set of life-rhythm-inspired Genesis works is Janika Vandervelde’s Genesis V, for four guitars. For two sopranos is the riveting Madrigal III by Sergio Cervetti, setting a text from pre-Columbian Mexico.
from John Williams: Concerto for Tuba and Orchestra
Concertos for low instruments bookend a concerto for orchestra on Now Is the Time, Sunday, May 5th at 10 pm. Gunther Schuller conducts Orchestra 2001 in his Concerto da Camera, a classical-sized work with twists. Carter Brey’s singing tone dives deep into Steven Gerber’s Cello Concerto, bringing up a work of warmth and beauty.
The program opens with a perky yet challenging Concerto for Tuba and Orchestra by John Williams. Although he’s known worldwide for his decades of award-winning film scores, he’s written many concert pieces—including concertos. This one has become a repertoire piece for tubists since he composed it in 1985.
It’s different ways to say good night on Now is the Time, Sunday, April 28th at 10 pm. Alex Freeman’s solo piano Night on the Prairies leads to a sextet in Jeremy Beck’s In Flight until Mysterious Night (and do we hear Steely Dan in there?). Yo-Yo Ma’s Silk Road Ensemble then runs with the Night of the Flying Horses of Osvaldo Golijov.
Then, two quartets. Night Blossoms of Mary Jane Leach is a haiku for four singers, and the four string instruments of Kronos play Terry Riley’s long-breathed Cadenza on the Night Plain, out into that good night.
We’re traveling far and enjoying the journey on Now is the Time, Sunday, April 21st at 10 pm. From his CD Stream of Stars, Dylan Mattingly’s Atlas of Somewhere on the Way to Howland Island imagines the last flight of Amelia Earhart, somewhere over the Pacific, finishing with the movement “Islanded in a Stream of Stars.”
James Aikman’s CD Tremors From a Far Shore yields his Violin Sonata No. 2, a large-breathed work opening with a piano-centered Habanera. It also includes a second-movement Homage to his grandmother. Miguel del Aguila’s softly delicious Pacific Serenade leaves us wanting to hear more from him, as we continue on our way.