These pieces were played at the February 22 meeting in Warren:
Dear friends,
Ben Verdery will appear in concert on Friday, January 15, at 8:00 pm, in the Leonard Nimoy Thalia at Symphony Space. The concert is part of the 2015-16 concert series presented by the New York City Classical Guitar Society.
Venue: Leonard Nimoy Thalia at Symphony Space, 2537 Broadway in New York City, at the corner of 95th Street.
Subway: Take the 1, 2 , or 3 to the 96th St Station and walk one block on Broadway, or the B and C trains, which stop at 96th Street and Central Park West.
These pieces were played at the December 13 meeting in Wayne:
https://www.kickstarter.com/projects/1208412561/the-amsterdam-guitar-quartet-premiers-per-fernando
I am a New Jersey based guitarist and composer and have recently started a Kickstarter campaign to help fund the premier, studio recording, and video recording of my original six movement suite for guitar quartet entitled Per Fernando. The suite chronicles the life of the Spanish guitarist and composer Fernando Sor. One of the main objectives of the suite, is to expand the repertoire for guitar quartet, as most of the rep is comprised of arrangements.
Best wishes,
A.D. Silverstein
These pieces were played at the November 22 meeting in Warren:
Dame Emma Kirkby, soprano
Jakob Lindberg, lute
Taplin Auditorium, Princeton University
Sunday, October 4th, 7.30pm
Though admission is free, a ticket is required.
For tickets, call 1-609-258-9220
The Golden Age Revived
Every era has had its coterie of sensitive souls, nostalgic for earlier, purer and more beautiful times; some of them merely bemoaned what was lost, but others strove to revive and refashion previous cultures . Through the Renaissance a recurring fascination with Greek and Roman art, literature and philosophy informed the work of the finest artists, writers and composers. While often they turned out to be working on inaccurate information, still the results at times were wonderful – witness, for example, Monteverdi’s generation, in its search for the expressive power of Classical Greek tragedians, which resulted in the prototypes of opera in Europe – or, in a similar spirit, the search for Greek “pykna” (“points of colour”) in the chromatic madrigals of Gesualdo and his colleagues, themselves the spur for Stravinsky’s experiments four centuries later.
These pieces were performed at our October meeting in Hopewell.
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