Haydn, Quartet Op. 20, No. 4; Adams, String Quartet No. 1, First Quartet; Debussy, String Quartet
Single tickets for the 2023 Festival go on sale March 7
The legendary John Adams, 2022 composer-in-residence and co-curator of this week’s programs, shares the podium with Music Director Peter Oundjian in this can’t-miss concert, beginning with a commissioned work by Timo Andres, an exceptional composer personally selected by Adams. Adams’ own orchestral masterpiece City Noir brims with cinematic lyricism and yearning melodies. “The music should have the slightly disorienting effect of a very crowded boulevard peopled with strange characters,” says Adams, “...the kind who only come out very late on a very hot night.” John Adams’ son Samuel is a formidable composer in his own right, and a 2019 Guggenheim Fellow; his lyrical and haunting Chamber Concerto gives violinist Tessa Lark an opportunity to shine.
Now in its second year, Kaleidoscope brings back and builds upon the theatrical elements that audiences loved: lighting, cinematography, a hint of stage magic, and an atmosphere like no other concert. Kaleidoscope is infused with bold musical color and moments of surprise, pairing energetic (and accessible) contemporary music with mesmerizing soloists. This captivating performance centers around composer-in-residence and co-curator John Adams’ own Road Movies, which shifts through empty desert landscapes and “not unfamiliar roads.” Come experience something unique.
The Festival’s focus on today’s music continues as world-renowned conductor and Festival composer-in-residence/co-curator John Adams takes the podium to lead his off-beat and grooving Must the Devil Have All the Good Tunes? with the extraordinary Jeremy Denk at the piano — listen for a second “detuned honky-tonk piano” to add its voice. Music Director Peter Oundjian conducts the final symphony by Christopher Rouse, which The New York Times called Rouse’s Sixth “a haunting and profound farewell” true to the composer’s character: “all of Mr. Rouse — contemplative elegy, rowdy playfulness, eclectic homage — is in this score.” In her Tumblebird Contrails, composer Gabriella Smith calls to mind the Pacific Ocean and “keening gulls, pounding surf, rush of approaching waves, sizzle of sand, and sea foam in receding tide.”
Meet the Festival Fellows: eight aspiring professional musicians who receive coaching and performance opportunities through the Festival and its guest artists.
This excellent community music school is also the educational arm of our organization.