Igor Stravinsky

Stravinsky’s Russian Accent

Friday, April 8, 2011, 8:00 p.m
Music Center at Strathmore.

Rediscover the music that changed everything, shocking audiences of the early 20th century and continuing to shape the course of the art through the 1960s. In this program you will hear Stravinsky’s searing Les Noces, written for chorus, pianos and percussion and the Russian folk wedding songs that inspired the piece; his explosive Concerto for Piano and Winds and Symphonies for Wind Instruments, which inaugurated his neo-classical period.

Stravinsky: Concerto for Piano and Winds
Stravinsky: Symphonies for Wind Instruments
Stravinsky: Danse Sacrale from The Rite of Spring, arranged for four pianos and percussion (D.C. premiere)
Stravinsky: Les Noces

Alexander Toradze, piano
George Vatchnadze, piano
Genadi Zagor, piano
Vakhtang Kodanashvili, piano
Edisher Savitski, piano
The Washington Bach Consort (J. Reilly Lewis, Founder & Music Director)
Angel Gil-Ordóñez, conductor

Read the complete program, click here

Read the previews for The Stravinsky Project, click here>

Listen to WETA’s radio interview of Angel Gil-Ordóñez and Joseph Horowitz about the Stravinsky Project, recorded on Tuesday, April 5, 2011 as part of the Classical Conversations

The Stravinsky Project is made possible with support from the National Endowment for the Arts, the Andrew W. Mellon Foundation, and the D.C. Commission for the Arts and Humanities.

Stravinsky Remixed & Stravinsky and the Theater

Friday, April 8, 2011, 1:15–5:30 p.m.
McNeir Hall at Georgetown University.

Georgetown University’s multimedia Friday Music Series launches the festival with two innovative adaptations of Stravinsky’s music for ballet. Apex Winds, comprised of members of the Kennedy Center Opera House Orchestra, United States Marine Band and the Richmond Symphony Orchestra, introduce a new woodwind quintet arrangement of Stravinsky’s groundbreaking The Rite of Spring. Husband and wife duo Ralitza Patcheva, piano and Vasily Popov, cello, perform the lyrical Suite Italienne (after Pulcinella).

At 2:30, join Professors Mitchell Morris (UCLA), Robynn Stilwell (Georgetown University) and Jann Pasler (UCSD) for an afternoon symposium examining Stravinsky as a theatrical artist and his tradition of reusing and repurposing old material — both his own and others’ — in inventive ways.

Stravinsky on Film

Saturday, April 9, 2011, 1:00–6:30 p.m.
National Gallery of Art.

The National Gallery of Art hosts two film biographies — Tony Palmer’s Stravinsky: Once at a Border and Richard Leacock’s A Stravinsky Portrait (D.C. premiere) — with commentary and a live piano performance by Alexander Toradze.

View larger version on YouTube

Stravinsky and the Piano

Sunday, April 10, 2011, 4:00–6:00 p.m.
Music Center at Strathmore.

Three great Russian pianists — Alexander Toradze, George Vatchnadze, and Genadi Zagor — reveal the soul of Stravinsky’s music in this chronological survey of the composer’s works for piano, including his two-piano arrangement of The Rite of Spring, the Washington-area premiere of Scherzo from the Sonata in F Sharp Minor, Tango, Piano Sonata, Concerto for Two Solo Pianos and an improvisation that references each of the works. Host Joseph Horowitz is your guide, offering informed and witty commentary.

Join the artists for a free post-concert discussion moderated by Joseph Horowitz.

Interpreting Stravinsky

Sunday, April 10, 2011, noon to 3:45 p.m.
Mansion at Strathmore.

Hosted by Joseph Horowitz, this event includes three parts:

1. The Stravinsky Odyssey: films and photographs by Katya Chilingiri. One-day only exhibition of photographs documenting Stravinsky’s odyssey from Russia to Switzerland to France to California, along with Chilingiri’s filmed interviews with his descendants. Chilingiri will offer a guided tour, followed by discussion.

2. Rex Lawson performs Stravinsky’s final pianola version of Les Noces (American premiere) in a rarely heard version for solo pianola (mechanical piano) created by the composer.

3. Using archival recordings, film, and music in live performance, pianists Alexander Toradze, George Vatchnadze, and Genadi Zagor take issue with Stravinsky.

Joe Horowitz

joeExecutive Director

PCE Executive Director Joseph Horowitz has long been a pioneer in classical music programming, beginning with his tenure as Artistic Advisor for the annual Schubertiade at the 92nd Street Y. As Executive Director of the Brooklyn Philharmonic Orchestra, resident orchestra of the Brooklyn Academy of Music, he received national attention in the 1990s for “The Russian Stravinsky,” “American Transcendentalists,” “Flamenco,” and other festivals exploring the folk roots of concert works.

As director of the NEH “Music Unwound” initiative, Horowitz currently oversees a national consortium of orchestras, festivals, and conservatories engaged in thematic festivals across the US. Music Unwound projects have included bringing Dvorak’s “New World” Symphony to a South Dakota Indian reservation, and taking an El Paso “Copland and Mexico” festival across the border to Juarez.

Over the past three decades, Horowitz has created more than 100 interdisciplinary music festivals —including the annual American Composers Festival presented by the Pacific Symphony Orchestra. In Fall 2008, he inaugurated the New York Philharmonic’s “Inside the Music” series, writing, hosting and producing a program about Tchaikovsky’s Pathétique symphony; his subsequent Philharmonic productions explored Dvořák, Brahms and Stravinsky.

Called “a force in classical music today, a prophet and an agitator” by the New York Times, and “our nation’s leading scholar of the symphony orchestra” by Charles Olton, former President of the League of American Orchestras,. Horowitz is also the award-winning author of ten books mainly dealing with the institutional history of classical music in the United States. Both his Classical Music in America: A History (2005) and Artists in Exile: How Refugees from 20th Century War and Revolution Transformed the American Performing Arts (2008) were named best books of the year by The Economist. As Project Director of an NEH National Education Project, as well as an NEH Teacher Training Institute, he is the author of a book for young readers entitled Dvořák in America, linked to a state-of-the-art DVD.

For the NEA, Horowitz served as Artistic Director of an annual national institute for music critics, based at Columbia University. A former New York Times music critic, he writes regularly for the Times Literary Supplement (UK) and contributes frequently to scholarly journals. He lectures widely in the United States and abroad. His many honors and awards include a Guggenheim Fellowship, two NEH fellowships, an Honorary Doctorate from DePauw University, and a commendation from the Czech Parliament for his many festival projects exploring Dvořák in America. His website is www.josephhorowitz.com. His blog: www.artsjournal.com/uq.

(Photo: Maggie Horowitz)

El Amor Brujo / The Soldier’s Tale


Saturday, December 3, 2011 @ 2:00pm and 8:00pm
Sunday, December 4, 2011 @ 2:00pm
Davis Performing Arts Center, Gonda Theatre
37th & O Street, NW
Washington, DC
TICKETS ONLY $25 ($5 with Student ID)

Manuel de Falla: EL AMOR BRUJO

“A real flamenca, this gypsy woman! And God how she sings and dances!”  —Ángel Álvarez Caballero in El PaisA new production of Falla’s demonic flamenco masterpiece starring the legendary flamenco cantaora ESPERANZA FERNANDEZ in her DC debut.

El Amor Brujo originated as a gypsy entertainment supported by a small pit orchestra. Today, we know this work only through its popular orchestral suite, including the torrid Ritual Fire Dance. PostClassical Ensemble’s new production restores to Amor Brujo its narrative, dance, and flamenco song components.

El Amor Brujo by Manuel de Falla
Esperanza Fernandez, cantaora
Dancers from Peridance Contemporary Dance Company (New York City)
Lighting and set design by Robbie Hayes
Costume design by Deb Sivigny
Directed and choreographed by Igal Perry
PostClassical Ensemble conducted by Angel Gil-Ordóñez

Pre-concert presentations with Antonio Muñoz Molina and Igal Perry.

Igor Stravinsky: THE SOLDIER’S TALE

 “What shall it profit a man if he gain the whole world, and lose his own soul?” Stravinsky’s Soldier’s Tale explores this timeless question in the guise of a folk tale.  In this new production, modern technology and traditional theater craft collide in a narrative that cuts to the core of mankind’s innocent desire to have it all: health, wealth, and companionship.

Actors from Georgetown University’s Department of Performing Arts
Directed by Anna Harwell Celenza
Lighting and set design by Robbie Hayes
Costume design by Deb Sivigny
Choreography by Igal Perry
PostClassical Ensemble conducted by Angel Gil-Ordóñez

To read the performance’s program, click here.

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