Renowned for his interpretation of the French repertoire, Seattle Symphony Music Director Ludovic Morlot and the orchestra are joined by acclaimed tenor Kenneth Tarver, a voice of considerable beauty and freedom (Washington Post) in a masterful performance of Hector Berlioz s momentous Requiem. The first performance of Hector Berlioz s Grande messe des morts, or Requiem, took place in Paris in 1837. It was one of the high points of its author s career, but this triumph did not come easily. Still in his early 30s, Berlioz was widely considered the untamed radical among French composers, and the conservative bureaucrats who controlled the Paris Opera, the Conservatoire and other musical institutions saw fit to place obstacles in his path whenever they could. Kenneth Tarver is considered one of the outstanding Bel Canto tenors of his generation, acknowledged for his beauty of tone, virtuosic technique, extensive and even vocal range, coupled with an attractive and elegant stage presence.

Robert Schumann’s piano music defines Romanticism’s essence. Content, idea and mood dictate the form, rather than the other way around.Most of the major works draw inspiration from literature and aesthetic ideas, and often incorporate personal references. This especially holds true about DavidsbündlertänzeOp. 6. It may be the most daring, creative and unified of Schumann’s piano cycles. Certainly it is his most personal.

Brazilian-American composer, Miguel Kertsman, writes in numerous genres embracing classical music, jazz, progressive rock, electronica and film, bridging these diverse elements to craft a unique sound world. Concerto Brasileiro explores lyricism and modernity through solemn chorale-like writing and seductive dances laced with Brazilian folk rhythms. Uncommon sonorities, haunting themes and ethereal landscapes mark out the Concerto for Violin, Horn, Shofar and Orchestra, while traditionalism and experimentation define the Journey for Bassoon and Orchestra. Chamber Symphony No. 2 explores and celebrates New York’s rich cultural diversity.

Edward Simon is a pensive, rhythmically astute, versatile player aesthetically concerned with simplicity and economy. In 1989 Simon took over the piano chair in Bobby Watson’s group Horizon and has never looked back ! Simon has become increasingly interested in the folk music of his native land resulting in his “Venezuelan Suite” which crosses the barriers between jazz, chamber and folk music. All-star bands are usually a hit-and-miss prospect, however, this big three, exceed expectations! Scott Colley is one of the best bassists in the world (and the best from Eagle Rock High School). Brian Blade remains one of the most creative and dynamic jazz drummers alive and Edward Simon is at the top of his game. These extraordinary instrumentalists convert their shared histories into nimble, poetic, genre-leaping music.

Recorded as a duo with Gary Peacock, "53rd Street" reflects techniques developed over many years by Robert Kaddouch in his attempts to embrace, capture and convey musical worlds which are close to his heart and relate to meaningful events in his life. His interpretation is linked to the authenticity of this approach which mixes jazz, children's songs, Yiddish themes and his own compositions. Their encounter in July 2015 in New York’s Avatar Studios brought them on a common journey, alternating these traditional themes with standards arranged by Robert Kaddouch, as well as two of his recent compositions (“53rd Street” and “Agile”).

Some of the most talented young jazz cats around. The All-Stars wrap up the 2017–18 season with an exciting afternoon of music in the lovely Miner Auditorium. Each spring, SFJAZZ commissions an original big-band work by an alumnus of the High School All-Stars program. We are thrilled to share with friends, fans, and family the amazing music the All-Stars have been honing this season. Founded in 1983, SFJAZZ presents the greatest names in jazz, Latin and global music and nurtures the art of improvisation through its year-round concert, commissioning and education programs. The West Coast’s biggest jazz presenter serves over 200,000 fans and students every year and has several award-winning resident jazz ensembles, the world renowned SFJAZZ Collective and the SFJAZZ High School All-Stars.

In 1989, I was inspired by a theatrical job as an orchestral musician in the "Threepenny Opera" for a closer look at Kurt Weill's music. Why not cultivate the same free dealings (in terms of improvisation and arrangement) with Weill pieces, as our American colleagues did and do with their musical heritage, perhaps by Gershwin or Porter? A new band had to come! The ball star setting would have sounded too similar to a Weil orchestra. Kurt Weill's instrumental concept 1928 was that of a dance band, I should do so in 1989 too. An old companion, Manfred Rahier on drums, is allowed to "finally keep it clean", very fitting to the rhythmic intensity of the Lothar Galle-M. spread on the electric bass.

George King Sales George King is a stunningly versatile pianist whose talents span classical and jazz. His first classical CD on Odradek Records, Jubilees, featured his own Etudes, and was hailed as 'intelligently crafted and musically refined' (GRAMOPHONE). Yet even in his Etudes, George King's love of jazz is audible. Now, in collaboration with Carl Raven, George King presents his debut CD on Odradek Jazz, 'Scenes from a Life': a collection of eight pieces perhaps best described as songs without words. The harmonic and melodic language on this album is clear and unhurried.

For ten years, the hit string Quantett has developed from a spontaneous idea of ​​some musicians from Aachen and surrounding area to a fixed size of the regional, nationwide and even the international music scene. The hit string Quantett plays instrumental acoustic music in the area of ​​tension between gypsy swing, latin-pop, flamenco and rock music, consciously omitting the vocals. This inspiring, lively mix of music lets the fan base grow steadily and ensures, in addition to the musical recognition above all happy, good-humored listeners in countless concerts.