This evening the Left Coast Chamber Ensemble (LCCE) will launch its 29th season. Since the performance will take place at the Berkeley Piano Club, it does not quite fit in with my attempts to limit my articles to “live” concerts within the San Francisco city limits. However, because the performance will be streamed a week later, those honoring my San Francisco constraint will still have an opportunity to experience it. The remainder of the season will return to the usual conventions of admitting audiences to the space where the music will be performed. Those three concerts will not take place until next year, but I suspect that there will be readers that are already interested in saving the San Francisco dates. The dates of the individual concerts, along with hyperlinks to the event pages from which tickets may be purchased, are as follows:
Sunday, October 24, 5 p.m., Long Distance Call: Readers may recall that, this past February, LCCE live-streamed the world premiere of Mark Winges’ “Spun Light,” which was described as a “distanced concerto” for violin with quintet accompaniment. This month’s program will present world premiere performances of two further composition conceived with such distancing in mind. The first of these will be Laura Rose Schwartz’ “Parse,” scored for distanced soprano, flute, cello, and piano. This will be followed by Ryan Suleiman’s “The Robin,” with the same scoring expect for the flute being replaced by a piccolo. The flute will also figure in the remaining two works on the program. One of these is the final trio composed by Louise Farrenc, her Opus 45 scored for flute, cello, and piano. The other will be Olivier Messiaen’s “Le merle noir” (the blackbird). As was observed this past Friday, this piece, written in 1952, is probably Messiaen’s first effort to create a composition based on birdsong. The recording of this concert will be available for streaming until this coming November 14.
Monday, January 10, 7:30 p.m., Living in Color: The title of this program is based on the winner of the 2019 LCCE composition contest, Sarah Gibson’s “I Prefer Living In Color,” scored for percussion and instrumental ensemble. At the other end of the timeline, there will be two compositions from the early twentieth century, Gabriel Fauré’s Opus 120 piano trio in D minor and the first of the three Opus 30 Myths, “La fontaine d'Arethuse” (the fountain of Arethusa), composed by Karol Szymanowski. More recent compositions will be the three pieces that John Luther Adams called “Canticles of the Birds,” “La Cigarette” by Colin Roche, and Errolyn Wallen’s energetic “Dervish.” This performance will take place at the Noe Valley Ministry, located at 1021 Sanchez Street, between 23rd Street and Elizabeth Street, a short walk from the trolley stop at 24th Street and Church Street.
Monday, April 11, 7:30 p.m., Clarinet Party: LCCE clarinetist Jerome Simas will be joined by two of his single-reed colleagues, Carey Bell, Principal Clarinet of the San Francisco Symphony, and Jeff Anderle, founding member of the Sqwonk duo and the Splinter Reeds quintet. The three of them will perform Wolfgang Amadeus Mozart’s K.Anh. 229 divertimento in B-flat major and Anderle’s arrangement of the Board of Canada song “Zoetrope.” In addition, Simas will give the world premiere performance of a suite for bass clarinet and piano composed by David Garner. The program will also include “Echoes” by Olly Wilson, “Seven Pasos” by Sebastián Tozzola, and “Peace” by Jessie Montgomery. The performance will take place in the main building of the San Francisco Conservatory of Music (SFCM), located at 50 Oak Street, a short walk from the Van Ness trolley station.
Monday, June 6, 7:30 p.m., Myth & Memory: Berio Folk Songs with New Companions: As the title indicates, the program will include the arrangements of folk songs from a global variety of different sources that Luciano Berio composed for his wife Cathy Berberian in 1964. (As the Wikipedia page for this composition puts it, “the Berberian–Berio marriage was nearing its end, but their artistic partnership continued.”) The program will also present world premiere performances of five new works (as yet untitled) by Linda Catlin Smith, Hiroya Miura, Chris Castro, Seong Ae Kim, and Ingrid Stolzel. Finally, the program will include Carl Schimmel’s “Ladle Rat Rotten Hut,” which had been scheduled for its world premiere on March 9, 2020 but was cancelled due to COVID-19. This performance will also take place at SFCM.
In addition, LCCE has created a Web page for subscription tickets for all three of the 2022 programs at the price of $75.
Finally, violinist Anna Presler and cellist Leighton Fong, founders of LCCE, will be performing this coming Saturday as part of the San Francisco International Arts Festival (SFIAF). They will perform Zoltán Kodály’s Opus 7 duo for violin and cello. The full program will be shared with the Chamber Music Society of San Francisco, the string quartet whose members are violinists Jory Fankuchen and Natasha Makhijani, violist Clio Tilton, and cellist Samsun van Loon. They will perform two trio selections, the first of Ludwig van Beethoven’s Opus 9 set of string trios in the key of G major and Ernst von Dohnányi’s Opus 10 serenade in C major. This shared program will last for an hour with no intermission. It will take place at the Black Point Battery on the grounds of Fort Mason, beginning at noon this Saturday, October 23. Tickets will be sold for $18 and $20. SFIAF has created an event page for this concert, which includes hyperlinks for both individual tickets and passes to multiple Festival shows.
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