Harpist Yolanda Kondonassis: American Rapture

Yolanda Kondonassis is a harpist that may be described as “fearless”, as she enthusiastically takes on any idea that contemporary composers send her way. A while back, Ms. Kondonassis made a wonderful recording of the Ginastera concerto. Now, she shares what may become the first great harp concerto of the 21st century: a commissioned work by Jennifer Higdon.

The work is colorful, inventive, and just plain “cool” (a word that both Ms. Kondonassis and I agree with on this work). Conductor Ward Stare joins in the conversation about “American Rapture.”

American Rapture – Yolanda Kondonassis
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Lara Downes is making “Holes in the Sky”

A few years back, American pianist Lara Downes found a quote by Georgia O’Keefe that stuck in “my head and my heart”, which inspired the title for her new collaboration: “I want real things – live people to take hold of – to see- and talk to – music that makes holes in the sky – I want to love as hard as I can.”

“Holes in the Sky” is an artistic presentation unlike any other that I have seen in classical music: Not only a disc made up of works entirely and exclusively by women, but with all-women artists as well. She is joined by some of the genres’ most outstanding creatives, including violinist Rachel Barton Pine, Simone Dinnerstein, and Rhiannon Giddens. The iconic singer / songwriter Judy Collins not only provides one of her songs, but sings “Albatross” (from 1967) with the pianist. Collins goes further in the liner notes by sharing her wisdom about music, art and life with Lara and, indeed, all of us. Downes’ projects, which marry excellent performance, interpretation and care in repertoire are never conventional. This one, is exceptional. – John Pitman, Director of Music and Programming

Holes in the Sky – Lara Downes
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A Korean cellist in Paris (Hee-Young Lim plays French cello concertos)

This is the debut disc by Hee-Young Lim, a Korean-born cellist who started her path in music in her parents’ living room. A neighbor brought over a cello that wasn’t being used, and it remained unplayed until one of Hee-Young’s friends showed interest in it. Hee-Young determined that she would play that cello.

Her years living in Paris inspired her to make her debut of French concertos. Besides the expected Saint-Saens and Lalo, Lim surprises with the somewhat jazzy Concerto No. 1 by Darius Milhaud. This, coupled with her appointment as the first Korean professor at the Beijing Academy, make this an auspicious debut for this gifted cellist.

French Cello Concertos – Hee-Young Lim
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Katarzyna Musiał and her “Spanish Heart”

Polish-Canadian pianist Katarzyna Musiał loves to play Chopin. She also loves Gershwin. However, the music that truly stirs her heart? The music of Spain. With good reason, too. In her conversation with program director John Pitman, Musiał shares how Spanish music and culture became her passion: it was a part of her upbringing, thanks to her parents who took her there many times.

“My Spanish Heart” is Musiał’s second CD, and celebrates the diverse styles, rhythms, and cultures of the Iberian Peninsula, in music from the late 19th and early 20th centuries. The familiar (Sevillanas, Ritual Fire Dance), and refreshing (Danza de la rosa is exquisite) populate a CD program that is as colorful as Spain itself. Katarzyna Musiał performed in Portland when she was here to record the interview; here’s hoping that her “Spanish Heart” will lead her back so that Portland audiences can experience her passion for this music sometime again.

My Spanish Heart – Katarzyna Musiał
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Pianist Jan Lisiecki explores Mendelssohn’s piano concertos

Canadian pianist Jan Lisiecki continues his exploration of, an interest in the different facets of Romanticism, following his Chopin CD with this new one of Mendelssohn’s piano concertos. The concertos anchor the CD, but are not the only highlight: Lisiecki tells me (in our conversation), that from the beginning he wanted to incorporate the “Serious Variations”, and the “Rondo Capriccioso”, which capture your attention with their virtuosity and melodic content. Jan’s parents are Polish, and was able to record these works in his adopted country (he has dual citizenship), with New York’s Orpheus Chamber Orchestra. Lisiecki collaborates with the OCO in such as way that the concertos have the intimacy of chamber music, which lets their various facets shine.

Mendelssohn / Lisiecki, Orpheus Chamber Orchestra, Jan Lisiecki
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Ascent with violist Matthew Lipman

Matthew Lipman is a 2015 Avery Fisher Grant winner, has recorded with Rachel Barton Pine and Sir Neville Marriner. Since graduating from Juilliard Lipman is now on the viola faculty at Sony Brook University and concertizes around the world. His debut CD, Ascent, is in tribute in part to his mother (d. 2014), and commissioned “Metamorfose” from Clarice Assad in her memory. In his conversation with program director John Pitman, Lipman shares stories of how he transitioned from trumpet to viola in grade school; his somewhat awkward first session with his longtime piano partner Henry Kramer; and makes the case that there are enough quality works for his instrument to deflate the inevitable viola jokes. Lipman’s recording is a regular feature of All Classical Portland’s playlist.

Ascent, Mathew Lipman

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Songplay: Soprano Joyce DiDonato’s spin on Baroque arias

Soprano Joyce DiDonato’s recording projects are seldom conventional. Her last, “Hopes and Dreams: The Lullaby Project” featured original songs to texts by new mothers, some of whom were experiencing financial insecurity. Her newest, Songplay, goes back to her roots as a budding singer. She rediscovered the arias that all young singers are taught, and then set aside. What makes these new are the jazz greats who join her, including pianist and collaborator Craig Terry. Joining them are Charlie Porter (trumpet), Chuck Israels (bass), and Jimmy Madison (drums). The result proves that the music, and the lyrics, lend themselves well to other styles.

Songplay – Joyce DiDonato

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Where We Live: Bridging Voices

Tune in this Saturday at 5:15pm as we explore the local youth chorus, Bridging Voices, through the Where We Live series.

Bridging Voices is Portland’s first Queer/Straight Alliance Youth Chorus, now in its sixth season. Through singing with others, youth are able to build strong connections with each other, and with the community. Artistic director Erick Gullickson, and Isaac (a chorus member) share their stories about the positive effect that Bridging Voices has had on their lives.

Where We Live is a radio program that shines a spotlight on a variety of organizations in our community that are providing programs in art, theater or music that explore the intersection of art and social issues. Through this newly branded series of on-air spotlights, we seek to promote equity, foster inclusion and encourage emotional literacy.

Where We Live is part of All Classical Portland’s JOY (Joyous Outreach to You/th) program dedicated to equity and inclusivity.

The Temple of Glory: Conductor Nicholas McGegan realizes a dream

British-born Nicholas McGegan has been directing San Francisco’s Philharmonia Baroque Orchestra since the 1980s (about the time that this interviewer started in radio), and has had many sweet successes during that time in bringing great Baroque works to audiences around the world. One of the sweetest for McGegan happened just a few years ago, when he mounted a production of Jean-Philippe Rameau’s opera, Le Temple de la Gloire (The Temple of Glory). What made this production remarkable, besides the exquisite performance, is that the original manuscript had been in UC Berkeley’s archives during the time that McGegan was busy with the Philharmonia. The music is dazzling, and full of life, humor and emotion. Maestro McGegan shares the story with program director John Pitman.

Rameau: Le Temple de la Gloire / McGegan, Philharmonia Baroque Orchestra
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Beethoven Unbound: Complete sonatas featuring Llŷr Williams

Any time that a pianist undertakes to record a complete set of anything in classical music, it’s bound to be an endeavor taking considerable time and effort. Take on the 32 piano sonatas of Beethoven, plus all the other solo piano pieces by one of music’s giants, and I imagine that it must be daunting. Enter Llŷr Williams, who has been lauded for his interpretations of the great man’s music, who took a different approach than the many who have come before: rather than arrange them in published order, the Welsh-born pianist paired pieces together by their relative character, and how well they sound together. As a programmer of a radio station, this is something I can relate to (although for me, the work of performing has already been done!).

Williams shares his experiences recording late into the night with a live audience in London’s Wigmore Hall, and insight into the composer, who as his deafness increased, retreated into his own world. As a result, we received the gift of some of the most sublime music for piano ever written.

Beethoven Unbound – Live from Wigmore Hall / Llŷr Williams
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