University of Rochester
All concerts are free unless otherwise noted. All concerts listed are open to the public. Please note that all concerts are subject to change.
Ticket Information • Performance Halls
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The Eastman School of Music hosts student recitals throughout the academic year. Program information is subject to change.
This recital is free and open to the public.
Formed by members of Amsterdam’s
famed Royal Concertgebouw Orchestra (RCO), Camerata RCO performs chamber
music in multiple formations from duet to small chamber orchestra, with
a special focus on the Classical and Romantic repertoire for winds and
strings, and active relationships with living composers.
Tickets are available online
at eastmantheatre.org, in
person at the Eastman Theatre Box Office (433 East Main St.), or by calling
The Eastman School of Music hosts student recitals throughout the academic year. Program information is subject to change and will be available in advance.
Thursday Lunchtime Concerts:
Transcontinental Musical Journey
Located at the First Universalist Church, corner of South Clinton and Court Streets
Violinist Letitia Jap, from the studio of Professor Renee Jolles, and pianist Nathan Cheung, from the studio of Natalya Antonova, perform the music of Kreisler, Bach, Ravel, and Schumann.
Check out http://esm.rochester.edu/community/calendars/lunchtime/ for more details!
Please note that if Rochester City Schools are closed due to inclement weather, the church building will also be closed and the concert will be canceled. These concerts are presented by the Eastman Community Music School in cooperation with the First Universalist Church.
For further information about the concerts or for information about classes or private lessons call the Community Music School at 274-1400.
Audra McDonald, vocalist
After playing to a sold-out crowd in 2015, superstar Audra
McDonald returns to the RPO for a one-night-only engagement with all-new
material. With a record-breaking six Tony® Awards, two Grammy® Awards, an Emmy®
Award, and a long list of other accolades to her name, she is among today’s
most highly regarded performers. She’s known for her roles on Broadway in Lady
Day at Emerson's Bar and Grill, Carousel, Master Class, Ragtime, A Raisin in
the Sun, and Porgy and Bess. Join Audra for an evening of Broadway and other
For more information on the event and tickets, visit the
Rochester Philharmonic Orchestra (RPO) website at http://www.rpo.org or call
the Patron Services Center at (585) 454-2100.
Eastman Organ Community Concert
Saturday, January 27, 2018Immanuel Lutheran Church (Webster)131 W Main St, Webster, NY 145803:00 PMThe
concert series features short organ recitals by Eastman students as
part of the department’s ongoing initiative to bring outstanding organ
music to the Rochester community. Performances are held in various
churches around the area, giving residents many convenient opportunities
to attend. Since every pipe organ is different from others, both
performers and concert-goers enjoy the diverse soundscapes and colors of
the variety of instruments showcased throughout the series.From
November to May, students will perform monthly concerts that facilitate a
musical connection between organists and the community beyond weekly
Sunday services. Events are open to the public, and a free-will offering
will benefit the Eastman Organ Department student travel fund.
For more information: https://www.esm.rochester.edu/organ/community-concerts/
Contact series coordinator Caroline Robinson: email@example.com
Free admission with a retiring collection to benefit the Eastman Organ Student Travel Fund.
Soul (2011) by Augusta Read Thomas 10’
Ketter & Noemie Raymond-Friset, cello
(1924) by Leoš Janáček 20’
Ricker, bass clarinet
Braziliera 6a (1981) by Fransicso Mignone 5’
en forme de habanera (1907) by Maurice Ravel (arr. Oubradous) 3’
for Wind Instruments (1923) by Igor Stravinsky 17’
Sakakeeny & Karl Vilcins, bassoons
Prosser & Steve Felix, trumpets
Zalkind & Tanner Jackson, trombones
George Sakakeeny ESM BM ’78, has appeared as a soloist with orchestras throughout North and South America, Europe, and the Far East, including engagements in Vienna at the historic Musikverein, at Severance Hall with members of the Cleveland Orchestra, and a nationally televised concert in Japan under the baton of Seiji Ozawa. Three major works for bassoon and orchestra have been commissioned for him. Libby Larsen’s full moon in the city (2013), Peter Schickele’s Bassoon Concerto (1998,) and Viennese composer Alexander Blechinger’s Faggottkonzert (1997.)
As a soloist, he has been recorded numerous times including his latest solo CD, “full moon in the city” which features four previously unrecorded works for solo bassoon and orchestra, Blechinger’s Faggottkonzert with the Kiev Camerata, and his famous recording of the Villa-Lobos Duo for Oboe and Bassoon with oboist Alex Klein, on the IDRS 25th Anniversary CD. Other available media featuring George Sakakeeny include two teaching videos published by the new world symphony.
Professor Sakakeeny served on the faculty of the Oberlin Conservatory for 28 years. In addition he has served as visiting professor for graduate studies at Simon Bolivar University in Caracas, Venezuela, and guest professor at the Central Conservatory of Music of Beijing. Each summer he serves as principal bassoonist and faculty of the Eastern Music Festival, and as a faculty member at the Round Top Festival Institute.
Sakakeeny formerly held principal bassoon positions of the New Japan Philharmonic, Handel & Haydn Society of Boston, Opera Company of Boston, Boston Musica Viva, Promusica Chamber Orchestra of Columbus, and CityMusic Cleveland. He has also served as principal bassoonist of the Grand Teton Music Festival, New Hampshire Music Festival, and Peninsula Festival, and has performed extensively with the Boston Symphony and Boston Pops orchestras.
Many of Sakakeeny’s former students have gone on to hold positions in symphony orchestras, chamber ensembles, and universities throughout North and South America and the Far East. He has been invited to teach master classes at three conferences of the International Double Reed Society and is regularly invited to serve as a jury member for national and international competitions. He also served for seven years in an ongoing capacity as wind coach and bassoon teacher in the Venezuelan National Youth Orchestra System, known as El Sistema. His contributions included teaching master classes to orchestra members, leading wind sectionals, and providing training to the bassoon teachers of El Sistema through his position as guest professor of the Latin American Bassoon Academy.
Sakakeeny has given numerous solo recitals and taught master classes at leading institutions such as the Paris Conservatory, the Juilliard School, Tchaikovsky National Music Academy in Kiev, Rice University, and the Tokyo University of the Fine Arts. He has served in longer-term teaching residencies at the Central Conservatory of Music in Beijing, Shanghai Conservatory of Music, Seoul National University, the Conservatoire National Supérieur Musique et Danse in Lyon, France, and the New World Symphony.
He is the author of the e-book Making Reeds Start to Finish with George Sakakeeny.
Tickets for all Faculty Artist Series performances are $10 general admission, but are free to University of Rochester ID holders and current series subscribers.
Tickets are available:
-online at http://eastmantheatre.org/events/fas-spring2018-sakakeeny/
- over the phone at (585)274-3000
-or in person at the door
Stacy Garrop – Silver Dagger
In 1994, I heard for the
first time an Appalachian folk song called Silver Dagger at a folk
festival. The simplicity of the melody joined with a cautionary love
tale enthralled me, and I spent the next several years researching the
song. What emerged from my research were dozens of variants of the song,
both in terms of text as well as melody and title. The variants that I
discovered could be grouped more or less under three different titles:
Silver Dagger, Drowsy Sleeper, and Katie Dear. All of these versions
revolve around the same Romeo and Juliet premise: a boy asks a girl for
her parents’ consent to marry. The story has various endings: the
parents won’t give approval, so the girl and boy each end their lives
with a silver dagger; the girl turns the boy down and sends him away to
find another love; the girl forsakes her parents and runs away with the
boy; and so on. In my trio, I incorporate two complete versions of the
folk song, one of Katie Dear and one of Silver Dagger, as well as
motives from a variant of Drowsy Sleeper. - Stacy Garrop
– Night Scenes
Donald Crockett’s Piano Trio, Night Scenes, is a tasting
plate for the imagination. Crockett himself alludes to the work as
“meant to evoke scenes from imaginary movies.” It is easy to imagine the
characters from each of these vignettes, popping out of the musical
motifs. The first movement, Scatter the Barbarians, is a quick and
aggressively fleeting work. The main motif of small sixteenth note
segments is progressively lengthened one sixteenth note at a time until
it is halted by harsh cluster chords that signal its passage to a
different instrument. These chords are almost certainly the theme of the
barbarians, huffing and puffing as they scatter in fear. Eventually,
these cluster chords assert themselves more regularly on top of the
modifying rhythmic fragment, forcing it into a regular meter. The Blue
Guitar projects sultry melodies, sung from a chesty voice, accompanied
by the piano in the role of the blue guitar. Eventually, the work
digresses into momentary chaos. As Crockett describes it, “perhaps
several guitarists showed up and it’s too dark or late to play
together.” Heralded by a steady groove, the third movement The Midnight
Train gathers steam slowly. Bell like gestures represent the train’s
signal as it arrives in the station. Finally, the work ends with Night
Hawks, inspired by the famous Edward Hopper painting by the same name.
Crockett invites the listener to imagine the music as accompanying a
scene with the characters from the painting. - Katherine Petersen
Visconti – Lonesome Roads
Lonesome Roads was inspired by memories of
long, cross-country car trips and the rumbling, uneven grooves that
underscore a constantly-shifting landscape. Beginning from the faintest
murmurs, the music evokes a vast space that can be alternately lonely,
hypnotic, or hard-driving and rhythmic. Across several brief,
fragmentary movements, the initial melodic murmurings assemble
themselves into propulsive ostinato figures and wild, aggressive riffs
colored with raw timbres and powerful rhythms characteristic of rock and
beat-driven music. These movements may be played in any order so that
each ensemble can make their own journey with the piece, which becomes a
kind of road atlas with many routes connecting any two points. It’s
pure “driving music”, a mixtape populated with the vastness, diversity,
and flavor of the North American landscape. This work was commissioned
for the Gryphon, Deseret, and Triple Helix piano trios by the Barlow
Endowment for Music Composition at Brigham Young University and the 2010
International Barlow Prize. - Dan Visconti
Café Music – Paul
The idea to compose Café Music first came to me in 1985
after sitting in one night for the pianist at Murray’s Restaurant in
Minneapolis, Minnesota. Murray’s employs a house trio that plays
entertaining dinner music in a wide variety of styles. My intention was
to write a kind of high-class dinner music – music which could be played
at a restaurant, but might also (just barely) find its way into a
concert hall. The work draws on many of the types of music played by the
trio at Murray’s. For example, early 20th-century American, Viennese,
light classical, gypsy, and Broadway styles are all represented. A
paraphrase of a beautiful Chassidic melody is incorporated in the second
movement. - Paul Schoenfield
About Angela Bermúdez
With over 9 years of
experience, Angela has been sharing her work in different places being a
special guest, exponent of her art, panelist and speaker at several
conventions in North & South America and Africa. Her work has been
recognized worldwide through interviews on radio, television and
important sites and magazines focused on Gaming and Technology.
is also recognized by companies and communities such as Sony,
PlayStation, Konami, Warner, Mensa, etc; for her collaborations in art,
costume making, character design and others. Her work has been seen in
TV Commercials, SM Campaigns and Billboards around the streets of Costa
Rica. Now that she discovered a better way to express her skills in the
world of live painting, she has been showing a different way to collide
the colors in front of many people in several occasions for the past 2
years and many more to come.
About Fifth House Ensemble
Praised by the
New York Times for its “conviction, authority, and finesse,” the
Chicago-based Fifth House Ensemble harnesses the collaborative spirit of
chamber music to reach beyond the traditionally-perceived limits of
classical music. The ensemble’s artistic, educational, and civic
programs engage theater groups, video game designers, corporate
innovators, and folk bands to share stories as diverse as the
communities it serves.
Performances in previous seasons include those at
Texas Performing Arts, Civic Music Association (IA), Old Town School of
Folk Music, WFMT Impromptu, Steppenwolf Theater, Rush Hour Concerts at
St. James, National Sawdust (NY), and the Miller Theatre (NY).
addition to the ensemble’s work on the concert stage, Fifth House
reaches 17,000 students annually through its arts-integrated programming
and trains emerging artists nationwide as a curriculum design partner
to higher education institutions and through its summer festival, fresh
For more information, visit www.fifth-house.com.
Ensemble is supported in part by grants from The MacArthur Foundation,
The MacArthur Funds for Arts and Culture at The Richard H. Driehaus
Foundation, The Gaylord and Dorothy Donnelley Foundation, the Alphawood
Foundation, The Arts Work Fund, The Ann and Gordon Getty Foundation, a
CityArts Grant from the City of Chicago Department of Cultural Affairs
& Special Events, and by a grant from the Illinois Arts Council
Enjoy a 25-minute presentation and mini-recital on the Italian Baroque organ by students at the Eastman School of Music. Included in museum admission.
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Eastman School of Music • 26 Gibbs St. • Rochester, NY 14604 • 585.274.1000© 1999-2018 University of Rochester • Questions and Comments