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DTSTART;TZID=Europe/Bucharest:20231028T150000
DTEND;TZID=Europe/Bucharest:20231028T150000
DTSTAMP:20260423T182659
CREATED:20230925T202145Z
LAST-MODIFIED:20231002T210338Z
UID:2193-1698505200-1698505200@americanromanianfestival.org
SUMMARY:Musical Delights / October 28\, 2023
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nChamber Concert\nSaturday\, October 28\, 2023\, 3 p.m.\nSteinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI 48390\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Tickets: $25 adults / $10 students[vc_raw_html]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[/vc_raw_html][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Join us on Saturday\, October 28\, 2023\, at Steinway Piano Gallery Detroit for the chamber music concert “featuring compositions by Dvořák\, Crosmer\, and Dumitrescu. \n  \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nSujin Lim\, violin\nMarian Tănău\, violin\nMike Chen\, viola\nJeremy Crosmer\, cello\n\n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text][/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n\nThe Program\n  \nAntonín Dvořák (1841–1906) \nTerzetto in C Major\, Op. 74 (B. 148) \nIntroduzione: Allegro ma non troppo \nLarghetto \nScherzo: Vivace—Trio: Poco meno mosso \nTema con variazioni \n  \nJeremy Crosmer (b. 1987) \nString Quartet No. 6\, “Reflections” \nTempo I Presto \nAndante maestoso \nAllegro vivace \nAndante cantabile \nAllegretto \n  \nINTERMISSION \n  \nIon Dumitrescu (1913–1996)
 \nString Quartet No. 1 in C Major \nAllegro con brio \nAndante soave molto semplice \nAllegro scherzando giusto e rustico \nAllegro risoluto \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n\nProgram Notes\nAntonín Dvořák—Terzetto in C Major\, Op. 74 (B. 148)\nWritten in about two weeks\, the Terzetto in C Major was composed in January 1887 with the intention of being performed by two of Dvořák’s violinist friends and himself on viola. Such a performance never took place\, however\, as the viola part proved to be too difficult for Dvořák. The first public performance of the Terzetto took place on March 30\, 1887\, in Prague\, given by Karel Ondříček\, Jan Buchal\, and Jaroslav Šťastný. Composed in four movements\, the work is a classic\, full of beautiful themes and singing melodies contrasted with energetic moments\, dotted and rapid rhythms\, and tempo changes. \nJeremy Crosmer—String Quartet No. 6\, “Reflections”\n“Throughout my life\, my music has been inspired by the great “Americana” composers such as Copland\, Bernstein\, and Ives. With this quartet\, I wanted to reflect on what it means to be American. The special thing about being American is that it is different for everyone\, because our identity is made up of fragments that reflect the people around us. For instance\, my version of America includes a deeply rooted Asian culture. Forming a melodic throughline from these diverse fragments is the basis of the first movement. The American Dream is also a journey that differs for each individual: The second movement bubbles and echoes motifs from the first\, as if from a distant world. Finally\, being American means wandering through the unknown possibilities the future holds for each of us\, and creating our own path along the way—a path that mirrors the experiences we’ve had and the people we’ve met.” – Jeremy Crosmer \nIon Dumitrescu —String Quartet No. 1 in C Major\nIon Dumitrescu was born in 1913 in the Vâlcea region of Romania and studied composition in Bucharest with renowned composers such as Mihail Jora and Ionel Perlea. He was an important representative of the Romanian school of composition\, and his works are rooted in Romanian folklore. Dumitrescu’s String Quartet No. 1 is in the key of C major and has four movements. The first movement\, composed in sonata form\, has two melodic themes. The first one has a folk-dancing character while the second one is a singing theme. The second movement\, Andante soave molto semplice\, has the components of a lied\, reminiscent of the Romanian folk song “Doina.” The third movement has a characteristic folk-tune rhythm full of life and dynamism. The final movement is a Rondo in which the principal melody is influenced by Romanian Christmas carols called “Colinde.” A second theme is then introduced that suggests the character of bagpipes. This concert marks the Detroit debut of this work. \n[/vc_column_text][/vc_column][/vc_row]
URL:https://americanromanianfestival.org/event/musical-delights-october-28-2023/
LOCATION:Steinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
ATTACH;FMTTYPE=image/jpeg:https://americanromanianfestival.org/wp-content/uploads/2023/09/arf-2023-photos-oct28.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Bucharest:20230408T150000
DTEND;TZID=Europe/Bucharest:20230408T150000
DTSTAMP:20260423T182659
CREATED:20230102T130009Z
LAST-MODIFIED:20230328T230730Z
UID:1996-1680966000-1680966000@americanromanianfestival.org
SUMMARY:Schumann & Enescu Piano Quartets / April 8\, 2023
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nSchumann & Enescu Piano Quartets\nChamber Concert\nSaturday\, April 8\, 2023\, 3:00 p.m.\nSteinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI 48390[/vc_column_text][/vc_column][/vc_row]Admission $25 adults / $10 students[vc_row][vc_column][vc_raw_html]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[/vc_raw_html][vc_column_text]Join us on April 8\, 2023\, at Steinway Piano Gallery for the chamber music concert “Schumann & Enescu Piano Quartets” featuring compositions by George Enescu and Robert Schumann. \n  \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nMarian Tanau\, violin\nMike Chen\, viola\nDavid LeDoux\, cello\nKazimierz Brzozowski\, piano\n\n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text]   [/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n\nThe Program\nGeorge Enescu (1881-1955)\nPiano Quartet No. 2 in d minor\, Op. 30 (1944)\nI. Allegro moderato\nII. Andante pensieroso ed espressivo\nIII. Con moto moderato—Allegro agitato \nINTERMISSION \nRobert Schumann (1810–1856)\nPiano Quartet in E-flat Major\, Op. 47 (1842)\nI. Sostenuto assai—Allegro ma non troppo\nII. Scherzo: Molto vivace—Trio I—Trio II\nIII. Andante cantabile\nIV. Finale: Vivace \n  \n[/vc_column_text][/vc_column][/vc_row] \n\nProgram Notes\nPiano Quartet No. 2 in d minor\, Op. 30 (1944)\nProgram Note by Marian Tănău \nEnescu completed his Piano Quartet No. 2 in May 1944 while he was at his villa near Sinaia\, Romania. At the time\, Romania was in the middle of one of the worst periods of the Second World War. In contrast with the tumultuous time\, the Piano Quartet is full of tranquility and peace. The work is dedicated to Gabriel Fauré\, who was Enescu’s composition teacher during his days at the Paris Conservatoire. \nThe composition was premiered on October 21\, 1947\, at the Library of Congress in Washington\, D.C.\, by the Albeneri Piano Trio and guest violist Milton Katimus. \nThe quartet is written in three movements: Allegretto moderato\, Andante pensieroso ed espressivo\, and Con moto moderato—Allegro agitato. \nThe first movement is in the key of d minor and has the structure of a sonata form. The second movement is composed in E Major and has the form of a three-part song. The last movement is an agitated fast movement in free sonata form. It is composed in d minor but ends with a change to D Major in the coda. \nEnescu liked to compose cyclical works\, and this piece is no exception. The idea presented in the opening of the first movement gets developed in the thematic content of the entire quartet\, with the initial idea recurring and incorporated in various other sections of the work. \nPiano Quartet in E-flat Major\, Op. 47 (1842)\nProgram Note by Jonathan Blumhofer \nSchumann’s Piano Quartet dates from the “chamber music year” of 1842\, which also saw the completion of the three string quartets and the Piano Quintet. If the latter is\, perhaps\, the more brilliant of the two works for keyboard and strings\, there’s at least no faulting the sweeping lyricism\, deep reservoirs of emotion\, and spectacular technique to be found on nearly every page of the Quartet. \nIts first movement opens with a noble\, chorale-like theme in the strings punctuated by tolling octaves in the piano. This flows directly into the main body of the movement\, a brisk Allegro marked by a snappy opening figure that transforms into a rather lyrical tune played by cello and violin over a chugging piano accompaniment. Its second theme falls into two parts: a rising scale\, followed by a descending arpeggio. It’s often heard in canonic textures or in the vicinity of a choral-like cantus firmus. \nThe brisk second movement channels Schumann’s friend Mendelssohn’s “elfin” style\, here\, though\, a bit darker and dourer. It’s sprightly and whimsical\, all the same\, filled with impetuous energy that’s only interrupted by the two trio sections that pop up in the middle. \nIn the third movement\, Schumann’s considerable gifts as a tunesmith are fully on display. The cello opens with a gorgeous\, expansive melody that’s passed to each member of the quartet and heard with slightly varied accompaniments in each iteration. In the middle comes a striking\, devotional passage that seems to recall late Beethoven\, but does little to dispel the music’s sense of yearning. \nThe brilliant finale offers two contrasting ideas: a lively\, extroverted fugato and a more ambiguous\, songful tune. Neither really wins out—the blazing coda pays homage to both—but perhaps that’s the point. Musical complexity and contradiction are but a reflection of the same human characteristics\, a fact of which Schumann was well aware.
URL:https://americanromanianfestival.org/event/schumann-enescu-piano-quartets-april-8-2023/
LOCATION:Steinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
ATTACH;FMTTYPE=image/jpeg:https://americanromanianfestival.org/wp-content/uploads/2023/01/romerican-ag-202311.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Bucharest:20230407T113000
DTEND;TZID=Europe/Bucharest:20230407T113000
DTSTAMP:20260423T182659
CREATED:20230102T100049Z
LAST-MODIFIED:20230218T213050Z
UID:2016-1680867000-1680867000@americanromanianfestival.org
SUMMARY:Schumann & Enescu Piano Quartets - Selections / April 7\, 2023
DESCRIPTION:Schumann & Enescu Piano Quartets – Selections\nChamber Concert\nFriday\, April 7\, 2023\, 11:30 a.m.\nSchaver Recital Hall\, Old Main\, 4841 Cass\, Suite 1321\, Detroit\, Michigan 48201\n \nFree Admission\nJoin us on April 7\, 2023\, at Schaver Recital Hall for the chamber music concert “Schumann & Enescu Piano Quartets” featuring selections by George Enescu and Robert Schumann. \n  \n\n[vc_row][vc_column width=”1/1″][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nMarian Tanau\, violin\nMike Chen\, viola\nDavid LeDoux\, cello\nKazmierz Brzozowski\, piano\n\n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text] \n    \n[/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row] \n\nThe Program\nSelections from: \nGeorge Enescu (1881-1955)\nPiano Quartet No. 2 in d minor\, Op. 30 (1944)\nI. Allegro moderato\nII. Andante pensieroso ed espressivo\nIII. Con moto moderato—Allegro agitato \nRobert Schumann (1810–1856)\nPiano Quartet in E-flat Major\, Op. 47 (1842)\nI. Sostenuto assai—Allegro ma non troppo\nII. Scherzo: Molto vivace—Trio I—Trio II\nIII. Andante cantabile\nIV. Finale: Vivace \n  \n\nProgram Notes\nPiano Quartet No. 2 in d minor\, Op. 30 (1944)\nProgram Note by Marian Tănău \nEnescu completed his Piano Quartet No. 2 in May 1944 while he was at his villa near Sinaia\, Romania. At the time\, Romania was in the middle of one of the worst periods of the Second World War. In contrast with the tumultuous time\, the Piano Quartet is full of tranquility and peace. The work is dedicated to Gabriel Fauré\, who was Enescu’s composition teacher during his days at the Paris Conservatoire. \nThe composition was premiered on October 21\, 1947\, at the Library of Congress in Washington\, D.C.\, by the Albeneri Piano Trio and guest violist Milton Katimus. \nThe quartet is written in three movements: Allegretto moderato\, Andante pensieroso ed espressivo\, and Con moto moderato—Allegro agitato. \nThe first movement is in the key of d minor and has the structure of a sonata form. The second movement is composed in E Major and has the form of a three-part song. The last movement is an agitated fast movement in free sonata form. It is composed in d minor but ends with a change to D Major in the coda. \nEnescu liked to compose cyclical works\, and this piece is no exception. The idea presented in the opening of the first movement gets developed in the thematic content of the entire quartet\, with the initial idea recurring and incorporated in various other sections of the work. \nPiano Quartet in E-flat Major\, Op. 47 (1842)\nProgram Note by Jonathan Blumhofer \nSchumann’s Piano Quartet dates from the “chamber music year” of 1842\, which also saw the completion of the three string quartets and the Piano Quintet. If the latter is\, perhaps\, the more brilliant of the two works for keyboard and strings\, there’s at least no faulting the sweeping lyricism\, deep reservoirs of emotion\, and spectacular technique to be found on nearly every page of the Quartet. \nIts first movement opens with a noble\, chorale-like theme in the strings punctuated by tolling octaves in the piano. This flows directly into the main body of the movement\, a brisk Allegro marked by a snappy opening figure that transforms into a rather lyrical tune played by cello and violin over a chugging piano accompaniment. Its second theme falls into two parts: a rising scale\, followed by a descending arpeggio. It’s often heard in canonic textures or in the vicinity of a choral-like cantus firmus. \nThe brisk second movement channels Schumann’s friend Mendelssohn’s “elfin” style\, here\, though\, a bit darker and dourer. It’s sprightly and whimsical\, all the same\, filled with impetuous energy that’s only interrupted by the two trio sections that pop up in the middle. \nIn the third movement\, Schumann’s considerable gifts as a tunesmith are fully on display. The cello opens with a gorgeous\, expansive melody that’s passed to each member of the quartet and heard with slightly varied accompaniments in each iteration. In the middle comes a striking\, devotional passage that seems to recall late Beethoven\, but does little to dispel the music’s sense of yearning. \nThe brilliant finale offers two contrasting ideas: a lively\, extroverted fugato and a more ambiguous\, songful tune. Neither really wins out—the blazing coda pays homage to both—but perhaps that’s the point. Musical complexity and contradiction are but a reflection of the same human characteristics\, a fact of which Schumann was well aware. \n 
URL:https://americanromanianfestival.org/event/schumann-enescu-piano-quartets-selections-april-7-2023/
LOCATION:Schaver Recital Hall\, Wayne State University\, 480 W Hancock St\, Detroit\, MI\, 48201\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
ATTACH;FMTTYPE=image/jpeg:https://americanromanianfestival.org/wp-content/uploads/2023/01/romerican-ag-202310.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Bucharest:20230305T150000
DTEND;TZID=Europe/Bucharest:20230305T150000
DTSTAMP:20260423T182659
CREATED:20230101T090010Z
LAST-MODIFIED:20230218T214143Z
UID:2034-1678028400-1678028400@americanromanianfestival.org
SUMMARY:Passionate Enescu & Martin String Octets / March 5\, 2023
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nChamber Concert\nSunday\, March 5\, 2023\, 3:00 p.m.\nThe War Memorial\, 32 Lake Shore Dr\, Grosse Pointe Farms\, MI 48236\n[/vc_column_text][/vc_column][/vc_row]Buy Tickets: $25 adults / $10 students[vc_row][vc_column][vc_column_text]Join us on March 5\, 2023\, at The War Memorial in Grosse Pointe Farms for the chamber music concert “Passionate Enescu: & Martin String Octets” featuring compositions by George Enescu as well as a commissioned work by American composer Colin Martin. \n  \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nKimberly Kaloyanides Kennedy\, violin\nHeidi Han\, violin\nSujin Lim\, violin\nMarian Tănău\, violin\nMike Chen\, viola\nWilliam Haapaniemi\, viola\nJeremy Crosmer\, cello\nCole Randolph\, cello\nColin Martin\, Commissioned Composer 2023\n\n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text][/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n\nThe Program\nColin Martin (b. 1993)\nAmerikinetics for String Octet (2023) \nI. Very fast\, with country spirit\nII. Slowish\, jazzy\nIII. Fast\, with big city energy \nINTERMISSION \nGeorge Enescu (1881–1955)\nOctet for Strings\, Op. 7 (1897)             \nI. Très modéré\nII. Très fougueux\nIII. Lentement\nIV. Mouvement de valse ben rythmée \n[/vc_column_text][/vc_column][/vc_row] \n\nProgram Notes\nAmerikinetics (2023)\nProgram Note by Colin Martin \n“Amerikinetics” is a portmanteau of “American” and “kinetics\,” meaning the study of motion. It refers to the lively American rhythms that serve as the basis of the entire work and give it a sense of propulsive movement. The first movement\, “Very fast\, with country spirit\,” is largely in 10/8 time and evokes fiddle/bluegrass music of the American south. The second movement\, “Slowish\, jazzy\,” relies on a swing rhythm to produce a seductive nocturne. The third movement\, “Fast\, with big city energy\,” features a syncopated\, propulsive rhythm that evokes the energy of America’s lively major cities. A hectic\, polytonal middle section in mixed meter evokes the sometimes-chaotic nature of city life. I’d like to extend my thanks to the American Romanian Festival for this commission and for giving me the opportunity to compose this invigorating piece. \nOctet for Strings\, Op. 7 (1899–1900)\nProgram Note by David B. Levy \nRomanian composer\, violinist\, conductor\, and educator George(s) Enescu was born on August 19\, 1881\, in Liveni-Vîrnav (later renamed “George Enescu”) in the old Kingdom of Romania and died in Paris on May 4\, 1955. His first name acquired an added “s” in France. There is no disagreement that Enescu was the most gifted musician ever to emanate from his native Romania. His impact on contemporaneous Romanian musicians and subsequent generations remains strong even today\, and his ability to retain a vast repertory of music in his memory was prodigious. Enescu’s influence\, however\, was truly international in scope\, earning him praise of musicians from across the globe. As a teacher of violin\, Yehudi Menuhin\, Ivry Gitlis\, Arthur Grumiaux\, and Ida Haendel were among his most illustrious students. His activity as a conductor was widespread\, having especially been active in Paris and New York\, where he came under consideration as the successor to Arturo Toscanini as music director of the New York Philharmonic in 1936. As a composer\, Enescu is best known for his two Romanian Rhapsodies\, whose popularity have overshadowed his other compositions\, much to the composer’s annoyance. His Octet for Strings was composed between 1899 and 1900\, and its first performance took place on December 18\, 1909\, in the Salle des Agriculteurs in Paris\, as part of a festival concert of Enescu’s chamber works in the Soirées d’Art concert series. The performers were the combined members of the Géloso and Chailley Quartets. The Octet is dedicated to André Gedalge\, a composer and educator whose students included Enescu\, Charles Koechlin\, and Maurice Ravel. \nEnescu’s Octet for Strings proudly takes its place as one of the masterworks of the rich repertoire of string chamber music. According to the biographical article on the composer in the New Grove Dictionary of Music and Musicians\, “melodic line was\, for Enescu\, the vital principle of music: as he wrote in his autobiography\, ‘I’m not a person for pretty successions of chords … a piece deserves to be called a musical composition only if it has a line\, a melody\, or\, even better\, melodies superimposed on one another.’” This principle certainly applies well to the Octet\, a piece whose first movement offers the listener no fewer than six melodies\, or melodic ideas\, all of which inform the events of its vast four-movement canvas. Speaking of his year-and-a-half-long work on the 40-minute piece\, Enescu is quoted as having said\, “I wore myself out trying to make work a piece of music divided into four segments of such length that each of them was likely at any moment to break. An engineer launching his first suspension bridge over a river could not feel more anxiety than I felt when I set out to darken my paper.” \nThe most famous string octet in the repertory\, of course\, is the wonderfully exuberant Op. 20\, composed by the young Felix Mendelssohn when he was a mere 13 years old. Enescu was not too far behind his predecessor\, having finished his Octet when he was only 19. An accomplished violinist\, the Romanian master certainly knew how to exploit the full range of possibilities in writing for string instruments. The Octet certainly taxes the virtuosity of its performers. Even more\, it reveals Enescu’s considerable skill as a master of color and counterpoint. Having lived in Vienna and Paris\, he was also keenly attuned to the styles of his contemporaries\, including Gustav Mahler and Claude Debussy. While the influence of these styles is occasionally discernible by listeners familiar with those idioms\, the Octet retains its own palpable freshness and originality. The four movements are titled (in French): Très modéré\, Très fougueux (ardent)\, Lentement\, and Mouvement de Valse bien rythmée. This final movement is\, indeed\, a true fin de siècle tour de force\, whose wildly frantic final measures could be seen as a precursor to Ravel’s symphonic poem La valse.
URL:https://americanromanianfestival.org/event/passionate-enescu-an-evening-of-string-octets-march-5-2023/
LOCATION:The War Memorial\, 32 Lake Shore Dr\, Grosse Pointe Farms\, MI\, 48236\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
ATTACH;FMTTYPE=image/jpeg:https://americanromanianfestival.org/wp-content/uploads/2023/01/passtonate-enescu.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Bucharest:20230304T150000
DTEND;TZID=Europe/Bucharest:20230304T150000
DTSTAMP:20260423T182659
CREATED:20230101T080001Z
LAST-MODIFIED:20230219T192952Z
UID:1965-1677942000-1677942000@americanromanianfestival.org
SUMMARY:ROmerican Avant-Garde Recital & Book Signing / March 4\, 2023
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nROmerican Avant-Garde Recital\n Piano Recital\nSaturday\, March 4\, 2023\, 3:00 p.m.\nSteinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI 48390[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]Admission $20 adults / $10 students[/vc_column][/vc_row][vc_row][vc_column][vc_raw_html el_id=”PayPal-buy-tickets”]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[/vc_raw_html][vc_column_text]The daring works proposed by ROmerican Avant-Garde explore emotional themes ranging from anger to dreams and rebelliousness\, with a whiff of nostalgia from Eastern Europe and post-war America. Echoing our 21st-century identity crisis\, this program testifies to a need for a new\, avant-garde approach. \nConceived as a “revisited” classical piano recital\, ROmerican Avant-Garde is a concert experience lasting about 50 minutes\, without applause\, and almost without interruption\, between the works. This unusual musical program\, which presents American and Romanian compositions written mainly during the first half of the 20th century and dedicated to the piano\, is centered around a work never performed in Europe until now\, since its premiere in Paris in 1955: The Seven Deadly Sins by Jacob Druckman. \nJoin us for a classical piano recital featuring Dinu Mihailescu and special guest book signing by author Andrei S. Markovits. \n  \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nDinu Mihailescu\, piano \n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text][/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text] \n\nTeaser Trailer\n\n \n  \n\nThe Program\nJohn Cage (1912–1992)\nIn a Landscape (1948) \nRemus Georgescu (1932–2021)\nThree Miniatures for Piano (2004)\nI. Berceuse\nII. Sicilienne\nIII. Marche \nJacob Druckman (1928–1996)\nThe Seven Deadly Sins (1955)\nI. Pride\nII. Envy\nIII. Anger\nIV. Sloth\nV. Avarice\nVI. Gluttony\nVII. Carnality \nLeonard Bernstein (1918–1990)\n“For Aaron Copland” from Seven Anniversaries (1943) \nAaron Copland (1900–1990)\nFour Piano Blues (1926–1948)\nI. Freely Poetic\nII. Soft and Languid\nIII. Muted and Sensuous\nIV. With Bounce \nGeorge Enescu (1881–1955)\n“Carillon Nocturne” from Pièces Impromptues (1916) \n  \n\nProgram Notes\nProgram Note by Dinu Mihailescu \nThe daring works proposed by ROmerican Avant-Garde explore emotional themes ranging from anger to dreams and rebelliousness\, with a whiff of nostalgia from Eastern Europe and post-war America. Echoing our 21st-century identity crisis\, this program testifies to a need for a new\, avant-garde approach. \nJacob Druckman\, one of the principal composers of the American musical avant-garde\, is also considered one of the greatest orchestrators of his generation. The Seven Deadly Sins is his only known piece for solo piano. Composed in Europe—more specifically in Paris—this work might represent an “experimental plane” for the composer\, who continued to try out new forms\, techniques\, and styles of composition upon his return to the United States. \nAdept in the atonal style\, all the while including reminiscences of tonality that are magistrally “hidden” in his musical discourse\, Druckman finds his principal sources of inspiration in the music of Igor Stravinsky and Aaron Copland—with whom he studied composition at Tanglewood. Beginning in the 1960s\, this American composer became impassioned with electronic music and by opera\, two elements that will contribute to the originality of his future musical creations. \nJohn Cage\, an emblematic composer of American experimental music\, adept in the dissonant style\, and in particular of the prepared instrument\, is represented in the program by an early work\, rarely played in public and very surprising in its melodicity: In a Landscape. This piece\, written in 1948\, is reminiscent of a meditation; it was composed during a period of profound questioning in the composer’s life\, a period during which he became involved in Zen culture and wrote another work in the same style: Dream. In this program\, In a Landscape symbolizes the opening toward an imaginary world that is sometimes burlesque—at once grotesque and sweetly nostalgic. \nRemus Georgescu\, renowned Romanian conductor and composer is represented in this context of musical avant-garde by Three Miniatures for Piano\, compositions that are close to Béla Bartók and Igor Stravinsky’s music\, dissonant and very rhythmically dynamic music\, which expresses a great inner freedom. \nConsequently\, the respective atmospheres proposed by these short pieces are diverse\, passing through the mystery of nocturnal life and the ambiguity of dreams/nightmares (Berceuse)\, postromantic nostalgia (Sicilienne) and caricature (Marche). The association with Druckman’s work is therefore obvious. These three miniatures\, which follow the opening work (Cage’s In a Landscape)\, play the role of preparing the listener’s ear\, and gradually lead them toward the fantastical reality of the post-war world (1955). \nThe third American composer\, who completes the program\, Aaron Copland\, nicknamed “the Dean of American Composers\,” is one of the most original and influential composers of the 20th century. Having studied composition with Nadia Boulanger in Paris for three years\, his vast musical creation is interwoven with surprising mixtures of the artistic currents of the moment (such as as jazz\, Postimpressionism\, and neoclassicism) as well as the new musical languages with which the most “rebellious” composers experimented at the beginning of the 20th century: serial music\, atonality\, new sounds and effects produced on traditional instruments\, etc. \nAs if in an avant-garde poem\, almost out of context and in a fleeting manner\, Leonard Bernstein “intervenes” and pays tribute to his teacher and friend\, Aaron Copland\, with the miniature titled “For Aaron Copland.” This work is taken from the collection Seven Anniversaries\, which includes seven works for solo piano written between 1942 and 1943. These short pieces represent a musical gift for the birthday of each friend of the composer. The “miniature” character is again used to prepare for the entrance\, this time\, of Copland’s Four Piano Blues. \nThe last piece in this musical “collage” is “Carillon Nocturne\,” by the renowned Romanian composer George Enescu. Inspired by Romanian folk music\, the impressionist movement and\, later\, by Asian music\, Enescu creates his own language by finding the perfect balance between his sources of inspiration and his own musical intuition. \nThrough this original representation of chimes\, Enescu’s work suggests an atmosphere of tranquility and stability at the end of the program\, which allows the audience to gently reconnect with itself. The dissonances are no longer the real harmonic conflicts of The Seven Deadly Sins\, but rather a faithful representation of the natural resonances of the bells\, at once high and at the same time deep\, produced this time by the piano. \nThe Project\n“The two years of the Covid-19 pandemic put a brutal halt to face-to-face cultural events: in particular\, to live performances. Even after health restrictions were eased\, audiences were reluctant to return for a quite some time; some never returned to concerts at all\, which speaks to the fragility and fluidity of audiences. During this period\, the following thought came to me: ‘In view of the habits that have radically changed since the beginning of the pandemic\, I see here an opportunity to rethink classical concerts in order to make them accessible to a new audience beyond the habitual traditional music lovers.’ This thought was the impetus for the concept of ROmerican Avant-Garde. The choice to bring an American repertoire linked to Romanian works allows us to highlight the cultural links that exist through music of all times\, despite wars\, distance and social upheaval. If George Enescu’s nocturnal nostalgia in Romania at the dawn of World War I resonates with John Cage’s post-war imaginary landscapes in New York in 1948\, American Jacob Druckman’s 1955 atonal “rebellion” in Paris can resonate with a young 21st century audience going through a period of profound transformation; an audience that is more and more concerned about the current dramatic global situation that humanity is facing\, and that participates actively in its improvement.” \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][vc_row_inner][vc_column_inner width=”3/4″][vc_column_text] \nBook Signing\nSpecial Guest & Book Signing\nSaturday\, March 4\, 2023\, 3:00 p.m.\nSteinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI 48390 \nAndrei S. Markovits\, author \nAndrei S. Markovits was born in late 1948 as the only child of a Hungarian-speaking\, middle-class Jewish family in Timișoara\, where he spent the first nine years of his life. He then emigrated first to Vienna\, Austria\, and then to New York City\, where he went to Columbia University\, receiving five degrees there. The first 25 years as a university professor included stints at Harvard University\, Boston University\, Wesleyan University\, and many universities in Germany\, Austria\, Switzerland and Israel. He then joined the faculty at the University of Michigan in 1999\, where he spent the next 25 years in his academic career. His many books\, articles\, essays\, and reviews have appeared in 15 languages. In 2012\, the Federal Republic of Germany bestowed on him the Order of Merit\, First Class\, which is the highest honor awarded to any civilian\, German and foreign. \nHis most recent book is a memoir titled The Passport as Home: Comfort in Rootlessness published by the Central European University Press in Budapest and Vienna. A Romanian translation will be published by Editura Hasefer in Bucharest in April of this year. \nThe Passport as Home: Comfort in Rootlessness\nBook Summary \nThis is the story of an illustrious Romanian-born\, Hungarian-speaking\, Vienna-schooled\, Columbia-educated and Harvard-formed\, middle-class Jewish professor of politics and other subjects. Markovits revels in a rootlessness that offers him comfort\, succor\, and the inspiration for his life’s work. As we follow his quest to find a home\, we encounter his engagement with the important political\, social\, and cultural developments of five decades on two continents. We also learn about his musical preferences\, from classical to rock; his love of team sports such as soccer\, baseball\, basketball\, and American football; and his devotion to dogs and their rescue. Above all\, the book analyzes the travails of emigration the author experienced twice\, moving from Romania to Vienna and then from Vienna to New York. \nMarkovits’s Candide-like travels through the ups and downs of post-1945 Europe and America offer a panoramic view of key currents that shaped the second half of the twentieth century. By shedding light on the cultural similarities and differences between both continents\, the book shows why America fascinated Europeans like Markovits and offered them a home that Europe never did: academic excellence\, intellectual openness\, cultural diversity and religious tolerance. America for Markovits was indeed the “beacon on the hill\,” despite the ugliness of its racism\, the prominence of its everyday bigotry\, the severity of its growing economic inequality\, and the presence of other aspects that mar this worthy experiment’s daily existence. \n[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/4″][vc_column_text][/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]
URL:https://americanromanianfestival.org/event/romerican-march-4-2023/
LOCATION:Steinway Piano Gallery Detroit\, 2700 E West Maple Rd\, Commerce Charter Twp\, MI\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
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BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20230303T193000
DTEND;TZID=America/Detroit:20230303T193000
DTSTAMP:20260423T182659
CREATED:20230101T070011Z
LAST-MODIFIED:20230218T214315Z
UID:2059-1677871800-1677871800@americanromanianfestival.org
SUMMARY:Black Angels / March 3\, 2023
DESCRIPTION:[vc_row][vc_column][vc_column_text] \nChamber Music Concert\nFriday\, March 3\, 2023\, 7:30 p.m.\nThe War Memorial\, 32 Lake Shore Dr\, Grosse Pointe Farms\, MI 48236\n[/vc_column_text][/vc_column][/vc_row]Buy Tickets: $25 adults / $10 students[vc_row][vc_column][vc_column_text]Join us on March 3\, 2023\, at The War Memorial in Grosse Pointe Farms for the chamber music concert “Black Angels” featuring compositions by George Crumb and Constantin Silvestri. \n  \n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nSujin Lim\, violin\nMarian Tănău\, violin\nWill Haapaniemi\, viola\nJeremy Crosmer\, cello\n\n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text][/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text][vc_row][vc_column width=”1/1″][vc_column_text] \n\nConcert Program\nConstantin Silvestri (1913–1969)\nString Quartet No. 2\, Op. 27 (c. 1944)\nI. Con passione—disperato; Agitato e molto espressivo\nII. Brillante giocoso\nIII. Nostalgico\nIV. Con virtuosità\, ma leggiero \nSujin Lim\, violin; Marian Tănău\, violin; Will Haapaniemi\, viola; Jeremy Crosmer\, cello \n– INTERMISSION – \nGeorge Crumb (b. 1929)\nBlack Angels for Electric String Quartet (1970) \nI. Departure\n1. THRENODY I: Night of the Electric Insects\,\n2. Sounds of Bones and Flutes\n3. Lost Bells\n4. Devil-music\n5. Danse Macabre (Duo alternativo: Dies Irae) \nII. Absence\n6. Pavana Lachrymae (Der Tod und das Mädchen) (Solo obbligato: Insect Sounds)\n7. THRENODY II: BLACK ANGELS!\n8. Sarabanda de la Muerte Oscura (Solo obbligato: Insect Sounds)\n9. Lost Bells (Echo) (Duo alternativo: Sounds of Bones and Flutes) \nIII. Return\n10. [Solo: Aria accompagnata] God-music\n11. Ancient Voices\n12. Ancient Voices (Echo)\n13. THRENODY III: Night of the Electric Insects \nMarian Tănău\, violin; Sujin Lim\, violin; Will Haapaniemi\, viola; Jeremy Crosmer\, cello \n[/vc_column_text][/vc_column][/vc_row] \n\nProgram Notes\nString Quartet No. 2\, Op. 27 (c. 1944)\nProgram Note by David B. Levy \nRomanian composer and conductor Constantin-Nicolae Silvestri was born in Bucharest on May 31\, 1913\, and died in London on February 23\, 1969. By age 6\, he was already starting to play piano and organ\, and he gave his first public performance at age 10. His studies led him to the Târgu Mureş and Bucharest Conservatories. Despite any formal training in conducting\, he made his debut in this capacity in his teens. In 1930\, he made his debut with the Bucharest Radio Symphony Orchestra\, and five years later was associated with the Romanian Opera and the “George Enescu” Philharmonic Orchestra. From 1948 to 1956\, Silvestri taught at the Bucharest Conservatory\, where among his best-known students was Sergiu Comissiona\, a conductor who enjoyed considerable success in the United States. As a composer\, he produced works for piano\, orchestra\, and chamber music\, including the String Quartet No. 2\, Op. 27\, composed in the 1940s. \nSilvestri’s music is not well-known outside of his native Romania and Eastern Europe. His reputation was built primarily on his activities as a conductor. According to the biographical article in the New Grove Dictionary of Music and Musicians\, Silvestri’s style blended “neoclassical constructivism\, with occasional shades of expressionism.” His String Quartet No. 2\, Op. 27\, is cast in a chromatically embellished key of a minor\, and is in four movements marked “Con passione—agitato e molto espressivo\,” “Brillante\, giocoso\,” “Nostalgico\,” and “Con virtuosità\, ma leggiero.” Despite its mild level of dissonance and thematic angularity\, the work displays elements of folklorism\, but without the citation of actual folk music. \nBlack Angels for Electric String Quartet (1970)\nProgram Note by David B. Levy \nAmerican composer George [Henry] Crumb [Jr.] was born on October 24\, 1929\, in Charleston\, West Virginia\, and died in Media\, Pennsylvania\, on February 6\, 2022. The son of musicians (both parents were members of the West Virginia Symphony)\, Crumb grew up in an environment filled with classical and romantic music\, as well as music composed by early twentieth-century masters. He received training in composition at the Mason College of Music and Fine Arts (University of Charleston)\, the University of Illinois\, and the University of Michigan. His favorite composers included Mahler\, Debussy\, and Bartók\, but his own music frequently quoted music by Bach\, Chopin\, Schubert\, and Richard Strauss\, and others\, always with a specific dramatic or programmatic goal in mind. His Black Angels for Electric String Quartet (1970\, published 1971) is one such piece\, quoting a part of Schubert’s lied “Tod und das Mädchen” (“Death and the Maiden”). Schubert himself used this theme in the variation movement of his String Quartet in d minor. Crumb was the recipient of several prestigious grants\, as well as the winner of the Pulitzer Prize in Music (1968). Black Angels is Crumb’s reaction to the horrors of the Vietnam War. It was commissioned by the University of Michigan and was first performed by the Stanley Quartet in October 1970. An inscription in the score reads “Finished on Friday the Thirteenth\, March 1970 (in tempore belli).” In addition to their amplified instruments\, the performers are required to play crystal glasses\, maracas\, suspended tam-tam\, and gong\, as well as using their voices to produce phonemes and reciting numbers in a variety of languages. \nGeorge Crumb was a composer who was at once conscious of the tradition of concert music to which he belonged\, as well as the social issues of his day. Many of his works made use of texts by the Spanish poet Federico García Lorca\, most notably Ancient Voices of Children (1970). This work\, and many others\, makes use of theatrical effects and lighting. According to Crumb’s own program notes\, Black Angels (Thirteen Images from the Dark Land) is a “parable on our troubled contemporary world.” The work is rife with multiple layers of symbolism\, part of which is numerological (7 and 13). The interval of the tritone\, known as “the devil in music” (diabolus in musica) in the Middle Ages\, plays an important role throughout the piece. In addition to the Schubert quotation\, Crumb also alludes to the medieval Latin chant Dies irae that is the sequence in the Catholic Mass for the Dead. This tune was also used to great effect by Berlioz in his Symphonie fantastique and by Rachmaninoff in several of his works. Crumb also opens the work with a movement titled “Night of the Electric Insects”—a clear reference to a (non-electric) effect found in some music by Bartók.  \nWhile Black Angels is linked specifically to the composer’s response to the Vietnam War\, its dramatic message is timeless. In writing the words in tempore belli (in time of war)\, for example\, Crumb was doubtlessly aware of the title of Joseph Haydn’s Missa in tempore belli (Mass in Time of War) of 1796. Crumb described the structure of Black Angels as a “huge arch-like design” portraying “a voyage of the soul [in three stages]” being “Departure (fall from grace)\, Absence (spiritual annihilation) and Return (redemption).” Even here\, Crumb was surely thinking of the three movements of Beethoven’s Sonata for Piano\, Op. 81a (“Lebewohl” or “Les Adieux”)\, whose three movements are labeled Departure\, Absence\, and Return. While much of Black Angels is harsh and angular\, the use of tonal quotations provides a helpful anchor for the listener.
URL:https://americanromanianfestival.org/event/black-angels-march-3-2023/
LOCATION:The War Memorial\, 32 Lake Shore Dr\, Grosse Pointe Farms\, MI\, 48236\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
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DTSTART;TZID=Europe/Bucharest:20230302T193000
DTEND;TZID=Europe/Bucharest:20230302T193000
DTSTAMP:20260423T182659
CREATED:20230101T060036Z
LAST-MODIFIED:20230219T193027Z
UID:1985-1677785400-1677785400@americanromanianfestival.org
SUMMARY:ROmerican Avant-Garde / March 2\, 2023
DESCRIPTION:ROmerican Avant-Garde\n Piano Recital\nThursday\, March 2\, 2023\, 7:30 p.m.\nCook Recital Hall\, 333 W Circle Dr\, East Lansing\, MI 48824\n \nFree Admission\nThe daring works proposed by ROmerican Avant-Garde explore emotional themes ranging from anger to dreams and rebelliousness\, with a whiff of nostalgia from Eastern Europe and post-war America. Echoing our 21st-century identity crisis\, this program testifies to a need for a new\, avant-garde approach. \nConceived as a “revisited” classical piano recital\, ROmerican Avant-Garde is a concert experience lasting about 50 minutes\, without applause\, and almost without interruption\, between the works. This unusual musical program\, which presents American and Romanian compositions written mainly during the first half of the 20th century and dedicated to the piano\, is centered around a work never performed in Europe until now\, since its premiere in Paris in 1955: The Seven Deadly Sins by Jacob Druckman. \n  \n\n[vc_row][vc_column width=”1/1″][vc_row_inner][vc_column_inner width=”1/4″][vc_column_text] \nArtists\nDinu Mihailescu\, piano \n[/vc_column_text][/vc_column_inner][vc_column_inner width=”3/4″][vc_column_text]\n \n[/vc_column_text][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row] \n\nTeaser Trailer\n\n \n  \n\nThe Program\nJohn Cage (1912–1992)\nIn a Landscape (1948) \nRemus Georgescu (1932–2021)\nThree Miniatures for Piano (2004)\nI. Berceuse\nII. Sicilienne\nIII. Marche \nJacob Druckman (1928–1996)\nThe Seven Deadly Sins (1955)\nI. Pride\nII. Envy\nIII. Anger\nIV. Sloth\nV. Avarice\nVI. Gluttony\nVII. Carnality \nLeonard Bernstein (1918–1990)\n“For Aaron Copland” from Seven Anniversaries (1943) \nAaron Copland (1900–1990)\nFour Piano Blues (1926–1948)\nI. Freely Poetic\nII. Soft and Languid\nIII. Muted and Sensuous\nIV. With Bounce \nGeorge Enescu (1881–1955)\n“Carillon Nocturne” from Pièces Impromptues (1916) \n  \n\nProgram Notes\nProgram Note by Dinu Mihailescu \nThe daring works proposed by ROmerican Avant-Garde explore emotional themes ranging from anger to dreams and rebelliousness\, with a whiff of nostalgia from Eastern Europe and post-war America. Echoing our 21st-century identity crisis\, this program testifies to a need for a new\, avant-garde approach. \nJacob Druckman\, one of the principal composers of the American musical avant-garde\, is also considered one of the greatest orchestrators of his generation. The Seven Deadly Sins is his only known piece for solo piano. Composed in Europe—more specifically in Paris—this work might represent an “experimental plane” for the composer\, who continued to try out new forms\, techniques\, and styles of composition upon his return to the United States. \nAdept in the atonal style\, all the while including reminiscences of tonality that are magistrally “hidden” in his musical discourse\, Druckman finds his principal sources of inspiration in the music of Igor Stravinsky and Aaron Copland—with whom he studied composition at Tanglewood. Beginning in the 1960s\, this American composer became impassioned with electronic music and by opera\, two elements that will contribute to the originality of his future musical creations. \nJohn Cage\, an emblematic composer of American experimental music\, adept in the dissonant style\, and in particular of the prepared instrument\, is represented in the program by an early work\, rarely played in public and very surprising in its melodicity: In a Landscape. This piece\, written in 1948\, is reminiscent of a meditation; it was composed during a period of profound questioning in the composer’s life\, a period during which he became involved in Zen culture and wrote another work in the same style: Dream. In this program\, In a Landscape symbolizes the opening toward an imaginary world that is sometimes burlesque—at once grotesque and sweetly nostalgic. \nRemus Georgescu\, renowned Romanian conductor and composer is represented in this context of musical avant-garde by Three Miniatures for Piano\, compositions that are close to Béla Bartók and Igor Stravinsky’s music\, dissonant and very rhythmically dynamic music\, which expresses a great inner freedom. \nConsequently\, the respective atmospheres proposed by these short pieces are diverse\, passing through the mystery of nocturnal life and the ambiguity of dreams/nightmares (Berceuse)\, postromantic nostalgia (Sicilienne) and caricature (Marche). The association with Druckman’s work is therefore obvious. These three miniatures\, which follow the opening work (Cage’s In a Landscape)\, play the role of preparing the listener’s ear\, and gradually lead them toward the fantastical reality of the post-war world (1955). \nThe third American composer\, who completes the program\, Aaron Copland\, nicknamed “the Dean of American Composers\,” is one of the most original and influential composers of the 20th century. Having studied composition with Nadia Boulanger in Paris for three years\, his vast musical creation is interwoven with surprising mixtures of the artistic currents of the moment (such as as jazz\, Postimpressionism\, and neoclassicism) as well as the new musical languages with which the most “rebellious” composers experimented at the beginning of the 20th century: serial music\, atonality\, new sounds and effects produced on traditional instruments\, etc. \nAs if in an avant-garde poem\, almost out of context and in a fleeting manner\, Leonard Bernstein “intervenes” and pays tribute to his teacher and friend\, Aaron Copland\, with the miniature titled “For Aaron Copland.” This work is taken from the collection Seven Anniversaries\, which includes seven works for solo piano written between 1942 and 1943. These short pieces represent a musical gift for the birthday of each friend of the composer. The “miniature” character is again used to prepare for the entrance\, this time\, of Copland’s Four Piano Blues. \nThe last piece in this musical “collage” is “Carillon Nocturne\,” by the renowned Romanian composer George Enescu. Inspired by Romanian folk music\, the impressionist movement and\, later\, by Asian music\, Enescu creates his own language by finding the perfect balance between his sources of inspiration and his own musical intuition. \nThrough this original representation of chimes\, Enescu’s work suggests an atmosphere of tranquility and stability at the end of the program\, which allows the audience to gently reconnect with itself. The dissonances are no longer the real harmonic conflicts of The Seven Deadly Sins\, but rather a faithful representation of the natural resonances of the bells\, at once high and at the same time deep\, produced this time by the piano. \nThe Project\n“The two years of the Covid-19 pandemic put a brutal halt to face-to-face cultural events: in particular\, to live performances. Even after health restrictions were eased\, audiences were reluctant to return for a quite some time; some never returned to concerts at all\, which speaks to the fragility and fluidity of audiences. During this period\, the following thought came to me: ‘In view of the habits that have radically changed since the beginning of the pandemic\, I see here an opportunity to rethink classical concerts in order to make them accessible to a new audience beyond the habitual traditional music lovers.’ This thought was the impetus for the concept of ROmerican Avant-Garde. The choice to bring an American repertoire linked to Romanian works allows us to highlight the cultural links that exist through music of all times\, despite wars\, distance and social upheaval. If George Enescu’s nocturnal nostalgia in Romania at the dawn of World War I resonates with John Cage’s post-war imaginary landscapes in New York in 1948\, American Jacob Druckman’s 1955 atonal “rebellion” in Paris can resonate with a young 21st century audience going through a period of profound transformation; an audience that is more and more concerned about the current dramatic global situation that humanity is facing\, and that participates actively in its improvement.” \n 
URL:https://americanromanianfestival.org/event/romerican-march-2-2023/
LOCATION:Cook Recital Hall\, 333 W Circle Dr\, East Lansing\, MI\, 48824\, United States
CATEGORIES:2023 American Romanian Festival,2023 Concert Series,American Romanian Festival Events
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