Left Coast Chamber Ensemble’s (LCCE) 2016—2017 season culminates with Francophilia, a program of music for soprano, flute, cello, and piano exploring the French sound with works by Caplet, Debussy, Dutilleux, Massenet, and Ravel, along with French-influenced works by American composers Aaron Copland and Kurt Rohde.
Distinctly sophisticated, refined, brutal and ravishing, French classical music is cooly passionate. For this concert Left Coast flutist Stacey Pelinka chose music from this incredible sound world including Maurice Ravel's Chansons madécasses and the more contemporary Sonatine by Henri Dutilleux. “The modern school of flute playing arose in France and French music is at the heart of the flute repertoire,” explains Pelinka. “The Ravel is one of my favorite pieces. It's so economic, making very sensual and expressive music out of very few notes, a brilliant piece of orchestration--some of the best writing for piccolo ever.”
Soprano Nikki Einfeld and the ensemble also perform Debussy, Massenet, and Caplet, along with selections from Aaron Copland’s Songs of Emily Dickinson. Copland, an American composer, went to Paris as a young man to study music and came home to create an American sound. His combination of austerity and sincerity blends American and French sensibilities. According to American composer Ned Rorem, “…the solar system is torn between two aesthetics: French and German…Blue is French. Red is German. Yes is French. No is German.” Rorem believed he and Copland belonged in the French category.
Complementing its foray into the French sound, Left Coast is proud to present the world premiere of Power Is Everywhere songs on texts by Foucault by celebrated American composer Kurt Rohde. “I find the writings and lectures of the groundbreaking thinker Michel Foucault to be direct, anything but simple, and yet always so clear,” said Rohde. “This new work is an assemblage of various writings and lectures, all in English. The singer is the observer, actor, and deliverer of the message; she is not there to simply sing the text – she is there to instigate the way the music unfolds.” Rohde’s piece is influenced by a confluence of operatic works, song cycles and theater. “It is not supposed to be any of those all the time. It is OK if it seems like it is from time to time,” the composer explains. “The power of how we think a voice is supposed to be used in song was a big part of how I wrote this piece – trying to be direct and clear, but not simple.”
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Distinctly sophisticated, refined, brutal and ravishing, French classical music is cooly passionate. For this concert Left Coast flutist Stacey Pelinka chose music from this incredible sound world including Maurice Ravel's Chansons madécasses and the more contemporary Sonatine by Henri Dutilleux. “The modern school of flute playing arose in France and French music is at the heart of the flute repertoire,” explains Pelinka. “The Ravel is one of my favorite pieces. It's so economic, making very sensual and expressive music out of very few notes, a brilliant piece of orchestration--some of the best writing for piccolo ever.”
Soprano Nikki Einfeld and the ensemble also perform Debussy, Massenet, and Caplet, along with selections from Aaron Copland’s Songs of Emily Dickinson. Copland, an American composer, went to Paris as a young man to study music and came home to create an American sound. His combination of austerity and sincerity blends American and French sensibilities. According to American composer Ned Rorem, “…the solar system is torn between two aesthetics: French and German…Blue is French. Red is German. Yes is French. No is German.” Rorem believed he and Copland belonged in the French category.
Complementing its foray into the French sound, Left Coast is proud to present the world premiere of Power Is Everywhere songs on texts by Foucault by celebrated American composer Kurt Rohde. “I find the writings and lectures of the groundbreaking thinker Michel Foucault to be direct, anything but simple, and yet always so clear,” said Rohde. “This new work is an assemblage of various writings and lectures, all in English. The singer is the observer, actor, and deliverer of the message; she is not there to simply sing the text – she is there to instigate the way the music unfolds.” Rohde’s piece is influenced by a confluence of operatic works, song cycles and theater. “It is not supposed to be any of those all the time. It is OK if it seems like it is from time to time,” the composer explains. “The power of how we think a voice is supposed to be used in song was a big part of how I wrote this piece – trying to be direct and clear, but not simple.”
Left Coast Chamber Ensemble’s (LCCE) 2016—2017 season culminates with Francophilia, a program of music for soprano, flute, cello, and piano exploring the French sound with works by Caplet, Debussy, Dutilleux, Massenet, and Ravel, along with French-influenced works by American composers Aaron Copland and Kurt Rohde.
Distinctly sophisticated, refined, brutal and ravishing, French classical music is cooly passionate. For this concert Left Coast flutist Stacey Pelinka chose music from this incredible sound world including Maurice Ravel's Chansons madécasses and the more contemporary Sonatine by Henri Dutilleux. “The modern school of flute playing arose in France and French music is at the heart of the flute repertoire,” explains Pelinka. “The Ravel is one of my favorite pieces. It's so economic, making very sensual and expressive music out of very few notes, a brilliant piece of orchestration--some of the best writing for piccolo ever.”
Soprano Nikki Einfeld and the ensemble also perform Debussy, Massenet, and Caplet, along with selections from Aaron Copland’s Songs of Emily Dickinson. Copland, an American composer, went to Paris as a young man to study music and came home to create an American sound. His combination of austerity and sincerity blends American and French sensibilities. According to American composer Ned Rorem, “…the solar system is torn between two aesthetics: French and German…Blue is French. Red is German. Yes is French. No is German.” Rorem believed he and Copland belonged in the French category.
Complementing its foray into the French sound, Left Coast is proud to present the world premiere of Power Is Everywhere songs on texts by Foucault by celebrated American composer Kurt Rohde. “I find the writings and lectures of the groundbreaking thinker Michel Foucault to be direct, anything but simple, and yet always so clear,” said Rohde. “This new work is an assemblage of various writings and lectures, all in English. The singer is the observer, actor, and deliverer of the message; she is not there to simply sing the text – she is there to instigate the way the music unfolds.” Rohde’s piece is influenced by a confluence of operatic works, song cycles and theater. “It is not supposed to be any of those all the time. It is OK if it seems like it is from time to time,” the composer explains. “The power of how we think a voice is supposed to be used in song was a big part of how I wrote this piece – trying to be direct and clear, but not simple.”
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Distinctly sophisticated, refined, brutal and ravishing, French classical music is cooly passionate. For this concert Left Coast flutist Stacey Pelinka chose music from this incredible sound world including Maurice Ravel's Chansons madécasses and the more contemporary Sonatine by Henri Dutilleux. “The modern school of flute playing arose in France and French music is at the heart of the flute repertoire,” explains Pelinka. “The Ravel is one of my favorite pieces. It's so economic, making very sensual and expressive music out of very few notes, a brilliant piece of orchestration--some of the best writing for piccolo ever.”
Soprano Nikki Einfeld and the ensemble also perform Debussy, Massenet, and Caplet, along with selections from Aaron Copland’s Songs of Emily Dickinson. Copland, an American composer, went to Paris as a young man to study music and came home to create an American sound. His combination of austerity and sincerity blends American and French sensibilities. According to American composer Ned Rorem, “…the solar system is torn between two aesthetics: French and German…Blue is French. Red is German. Yes is French. No is German.” Rorem believed he and Copland belonged in the French category.
Complementing its foray into the French sound, Left Coast is proud to present the world premiere of Power Is Everywhere songs on texts by Foucault by celebrated American composer Kurt Rohde. “I find the writings and lectures of the groundbreaking thinker Michel Foucault to be direct, anything but simple, and yet always so clear,” said Rohde. “This new work is an assemblage of various writings and lectures, all in English. The singer is the observer, actor, and deliverer of the message; she is not there to simply sing the text – she is there to instigate the way the music unfolds.” Rohde’s piece is influenced by a confluence of operatic works, song cycles and theater. “It is not supposed to be any of those all the time. It is OK if it seems like it is from time to time,” the composer explains. “The power of how we think a voice is supposed to be used in song was a big part of how I wrote this piece – trying to be direct and clear, but not simple.”
show less
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