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Saturday Concerts at 8 PM |
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Get your tie-dyes and your love beads and come back with us to the Age of Aquarius as we present Bernstein’s stunning, often controversial Mass, one of the icons of the 1970s. Commissioned by Jackie Kennedy for the opening of The Kennedy Center, Mass follows the liturgy through the Celebrant, portrayed by UCSD Gospel Choir Director Ken Anderson, with frequent interruption and commentary from the “congregation.” We offer three performances of this rarely-heard theater-piece.
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A program of perspectives on and from America. Charles Ives offers three snapshots of symbolic places in New England, while California composer Lou Harrison looks to China for inspiration in his concerto for pipa (Chinese lute) that blends West Coast with the Far East. Our soloist is internationally-renowned Wu Man, for whom the concerto was written. We conclude with Dvorak’s great symphony, which he described as “Greetings from America.” Note: The Sunday, February 7 concert begins at 1:00 p.m.
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Music from two of Poland’s most notable composers. On the first half are Penderecki’s heartfelt Chaconne—In Memoriam John Paul II, a U.S. premiere, and Szymanowski’s unique symphony for piano and orchestra, dedicated to Artur Rubinstein. Chorus and soloists join the orchestra for Szymanowski’s Stabat Mater, which grew out of the composer’s study of sixteenth-century Polish liturgical music and which he intended as a “Polish Requiem.” The result is subtle, haunting, and very beautiful.
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| A program that combines quite different music from Vienna. Mozart’s final two symphonies -- both towering masterpieces – frame Alban Berg’s Violin Concerto, which Berg dedicated “To the memory of an angel”: it was written in memory of Alma Mahler’s daughter Manon, who died at age 18. Violinist Pasha Tseitlin, a past winner of our Young Artists Competition, will be the soloist. This year’s Nee Commission is also premiered.
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Our season concludes with one of the key works of the twentieth century. Benjamin Britten wrote War Requiem for the consecration of the rebuilt Coventry Cathedral, which had been destroyed in World War II. “My subject is war, and the pity of war,” wrote poet Wilfred Owen, and the War Requiem fuses Owen’s war poems with the Latin Mass for the Dead. Britten scores this moving music for monumental forces: boys choir, organ, chorus, three soloists, a chamber orchestra, and symphony orchestra.
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