Celebrating Eliot Fisk
Evening Music | May 6, 2010
“When [Eliot] Fisk plays the classical guitar, it becomes an instrument of seemingly endless possibilities.” So said The Chicago Sun-Times, and so say we. Besides, it’s his birthday (1950) today.
For those of you who can’t (or who can) make it to Lincoln Center for the Mostly Mozart Festival to hear Pieter Wispelwey playing Bach live this week, we continue to showcase his extraordinary talent on Evening Music. Listen in to hear how good he is at playing not just Bach, but Tchaikovsky, Dvorak, and Arensky as well!
Then, light some candles, eat some cake of your favorite flavor, and enjoy Birthday Boy Eliot Fisk as he performs his own transcriptions of some Scarlatti sonatas and a Bach harpsichord concerto.
Mozart’s Symphony in G Minor, K 550, the next to last symphony he would write, is emblematic of the contrast between light and dark one finds in Wolfgang’s best work, illustrating the words of Harnoncourt: “Soft melodies with cutting answers.” Dennis Russell Davies and the Stuttgart Chamber Orchestra do the honors magnificently.
Gidon Kremer, he of the lightning bow, illuminates the Glass Violin Concerto, along with the Vienna Philharmonic under Christoph Von Dohnanyi. If those mighty masterpieces aren’t enough to satisfy, stay tuned till we reach our final offering: Shostakovich’s 24 Piano Preludes, Opus 34, played with panache by Elena Rozanova.
For those of you who can’t (or who can) make it to Lincoln Center for the Mostly Mozart Festival to hear Pieter Wispelwey playing Bach live this week, we continue to showcase his extraordinary talent on Evening Music. Listen in to hear how good he is at playing not just Bach, but Tchaikovsky, Dvorak, and Arensky as well!
Then, light some candles, eat some cake of your favorite flavor, and enjoy Birthday Boy Eliot Fisk as he performs his own transcriptions of some Scarlatti sonatas and a Bach harpsichord concerto.
Mozart’s Symphony in G Minor, K 550, the next to last symphony he would write, is emblematic of the contrast between light and dark one finds in Wolfgang’s best work, illustrating the words of Harnoncourt: “Soft melodies with cutting answers.” Dennis Russell Davies and the Stuttgart Chamber Orchestra do the honors magnificently.
Gidon Kremer, he of the lightning bow, illuminates the Glass Violin Concerto, along with the Vienna Philharmonic under Christoph Von Dohnanyi. If those mighty masterpieces aren’t enough to satisfy, stay tuned till we reach our final offering: Shostakovich’s 24 Piano Preludes, Opus 34, played with panache by Elena Rozanova.
