Announcing the International Artist Series 2013-14
LeChic Duo Concert
Tuesday, October 22, 2013
As LeChic Duo, emerging talents of the guitar Iren Arutyunyan and Sofia Gleeson bring warmth and fluency to music ranging from classical repertoire to Balkan folk songs, Brazilian works, and contemporary American compositions
Arc Duo Concert
Tuesday, November 19, 2013
The richness of chamber music, the intimacy of a solo performance — flutist Heather Holden and guitarist Bradley Colten, enfolding the audience in their vibrant dialogue
“Electrifying, reflective, and always engaging … a mix of sensuality and thoughtful elegance.” — Guitar Review
João Luiz and Hye-Jin Kim Concert
Tuesday, January 14, 2014
João Luiz of the noted Brasil Guitar Duo and Korean violinist Hye-Jin Kim, both winners of the prestigious Concert Artists Guild (CAG) competition, team up in a special CAG Cultural Crossroads program to offer an exciting mix of dance-inspired classical repertoire and folk songs of their native lands
Lily Afshar Concert
Tuesday, March 4, 2014
With her effortless command of the instrument, the Iranian-born Lily Afshar delivers an exotic mix of classical repertoire and works that shimmer with Eastern influence
“Draws together the seemingly disparate spheres of classical guitar and world music … one of the 21st century guitar’s most individual and creative figures.”— Classical Guitar
Duo Roldán Concert
Tuesday, April 1, 2014
The deep warmth of Ana Ruth Bermúdez’s cello, framed beautifully by guitarist Rene Izquierdo’s impeccable articulation and tonal palette, in music of Europe and Latin America
“Izquierdo’s big sound and command made his guitar a worthy partner to Bermudez’s cello in songs by Manuel de Falla … Bermudez gave them full voice and phrased generously.” — Milwaukee Journal Sentinel
June Meeting: Lars Frandsen
Thursday, June 6, 2013
The Interaction of Tonality and Serialism in Henze’s Royal Winter Music
Hans Werner Henze’s Royal Winter Music has long been regarded as one of the most important solo guitar works of the twentieth century. Music based on Shakespeare abounds in the opera and the ballet, but the portrayal of Shakespearean characters for a solo instrument is unique, even beyond the comparatively insular world of the classical guitar.
Henze was one of the first composers of the post-war generation to embrace serialism, and one of the first to also reject it as the sole premise of modern music. In Henze’s music we find a lyricism, uncommon to contemporary music, that embraces both traditional tonality side by side with serialism. These disparate elements inform the
