Music for All Seasons presents four daytime (2 pm) Sunday concerts in February, April, October, and December in the Historic Peterloon Estate, at 8605 Hopewell Road, in the Village of Indian Hill.
TICKETS: Single seats are $35. Student seats are $10. A $120 Flexpass may be used by one or more persons for 4 admissions to any of our four concerts during 2019.
Flexpass buyers receive an additional complimentary single ticket that may be used to bring a guest to any concert: 5 tickets at $24 each: a savings of more than 30% off single tickets.
To reserve your seat (s), please email us at email@example.com indicating the number of single tickets or Flexpasses you wish to purchase and then send us a check to Music for All Seasons in Cincinnati, PO Box 43172, Cincinnati, Ohio 45243.
Tickets & information: http://www.musicseasonsincincinnati.com
OUR NEXT CONCERT : OCTOBER 6, 2019, 2 pm
Louis Gottschalk The Union
Louis Gottschalk The Banjo
Samuel Barber Knoxville Summer of 1915
Aaron Copland Variations on a Shaker Melody from Appalachian Spring
Aaron Copland Night Waltz from Rodeo
Aaron Copland Hoe- Down from Rodeo
George Gershwin Summertime from Porgy and Bess
Carlysle Floyd Ain’t it a pretty night from Susannah
Leonard Bernstein Take care of this House from 1600 Pennsylvania Avenue
George Gershwin Three Preludes for piano
George Gershwin Variations on I’ve got rhythm
Amber R. Monroe recently sang the role of the Governess in Benjamin Britten’s The Turn of the Screw, about which Seen and Heard-International said: “The possessor of a crystalline lyric soprano and a superb singing actress, Amber R. Monroe turned the role of the Governess into the heart and soul of the opera.”
Amber has appeared with the Glimmerglass Festival in Cooperstown, New York, with Opera Western Reserve, and with Oberlin in Italy, singing, among others, the part of Clara in Gershwin’s Porgy and Bess, and the title role of Puccini’s Suor Angelica
Roman Rudnytsky’s performances have taken him to over one hundred countries, appearing as soloist with orchestras and in recital. Recent engagements during his 21st tour of Great Britain and Australia included thirty concerts throughout those two countries. Retired from his position as professor of piano and music at the Dana School of Music of Youngstown State University, Indiana University School of Music, the Universities of Melbourne and Wollongong in Australia, Queen’s University in Kingston, Ontario, and as Artist-in-Residence at the University of Cincinnati College-Conservatory of Music.
Today’s concert is titled Some Americans in an effort to convey to our audience that we can only include a handful of the many American composers whose musical compositions have enriched our lives.
Working against the ridiculous prejudice that no American composer could rise to the status of Serious Composer of Classical Music, pioneers in the 19th and 20th centuries fought that notion by sailing across the ocean to find instruction and recognition abroad.
Louis Moreau Gottschalk became an internationally-recognized concert pianist by playing concerts that were almost entirely comprised of his own compositions. During his short life, Gottschalk (1829 –1869) spent most of his career outside of the United States, developing a world-wide reputation as a virtuoso pianist who played his own compositions, two of which we will hear today.
During the first three decades of the 20th century Aaron Copland journeyed to Paris to study composition with the legendary Nadia Boulanger, who as she would do later with many other of her students, encouraged the young kid from across the pond to find inspiration in the music of his homeland. Copland did, and caused Igor Stravinsky, no less, to say that Copland was not a great American composer but simply a great composer.
Copland (1900-1990) wrote music for several ballets. Commissioned by Martha Graham, Appalachian Spring premiered in 1944 with Graham dancing the lead role, and immediately achieving acclaim thanks to Copland putting together an orchestral suite of its main episodes. Rodeo was commissioned by Agnes de Mille and the Ballets Russes, premiering at the Metropolitan Opera in 1942.
Things were a bit easier for Samuel Barber (1910-1981) born into a nice Jewish family in Philadelphia and trained at the Curtis Institute of Music. Early on Barber succeeded in securing commissions and performances of his many works for voice, piano, chamber ensembles and symphony orchestra. Barber’s Knoxville: Summer of 1915 sets to melancholy music a prose poem by James Agee. Barber gives the narrator’s voice to a child who at times seems to take on the thoughts of an adult in this single movement lyric rhapsody.
George Gershwin sought the mentoring advice of Maurice Ravel who in turn asked Gershwin how he could make the same kind of money as the dapper American piano player seeking advice from him. Much has been said about George Gershwin’s versatility. With his piano preludes and his set of variations on I’ve got rhythm, Gershwin (1898-1937) proved to be equally at home in the Broadway and Classical worlds, quite often blurring the dividing lines between the two with his jazz-inflected piano music.
Porgy and Bess (1935) and Susannah (1955) are among the most performed American operas although they belong to two remotely different dramatic and musical worlds. Gershwin sets his Porgy and Bess in a poor tenement community of blacks in Charleston, NC, while Carlysle Floyd (b. 1926) sets his opera Susannah in an all-white community in a small mountain town in Tennessee. Floyd (b. 1926) continues to compose in his nineties and his opera Susannah continues to be staged here and abroad.
Leonard Bernstein of the same generation as Barber’s rose up at warp speed to the top echelon of American conductor, even though it took him much longer to be taken seriously as a composer of “serious” music, even though he secured a spot in Broadway history with his musicals. Bernstein (1918-1990) created 1600 Pennsylvania Avenue, one might say, as a Broadway musical with operatic ambitions. From it comes Take care of this House, an aria of instructions to a servant, formerly a slave, to look after the White House as something more than just a building.
Rivaling the grandest country estates of America and Europe, with its 36 rooms, 19 fireplaces, 21 baths, and its surrounding gardens and buildings, set in the middle of hundreds of wooded acres, Peterloon was designed in a blend of Georgian and Queen Anne styles and built in 1928 by William Adams Delano, of Delano & Aldrich, the leading country-house architectural firm in the United States at the time.
In 1979, no longer occupying the premises, the family created the Peterloon Foundation, with a mission to maintain the house and gardens for the benefit, education and enjoyment of the greater Cincinnati com
THANK YOU FOR VISITING!