Stanford Live, the music and performing arts arm of Stanford University, opens its new season with a tantalizing program titled “The Complete Piano Etudes by Philip Glass” (the term “etude” is French for a “study”) Thursday at Bing Concert Hall. Four pianists, in addition to Glass himself, will be performing the 20-piece work: Anton Batagov, Sarah Cahill, Aaron Diehl and Jenny Lin.
The New York Times has called the 20 etudes some of Glass’ “best, most harmonically inventive music.” They explore a variety of tempi, textures and techniques. Glass dedicated the first six of the etudes as a birthday gift for Dennis Russell Davies, the composer, pianist and a frequent collaborator, in 1994. The rest were completed in time for the celebration of Glass’ 75th birthday. Glass was born on Jan. 31, 1937 in Baltimore. Some of his first musical memories were listening to music in his father’s music store.
I first heard of Philip Glass was when I was in graduate school, taking a survey class dealing with 20th-century music. The avant-garde “classical” music of that time was being invaded by a daring cluster of musicians who were experimenting with breaking the rules established in the previous three centuries about musical tonality, compositional architecture and format. They were also introducing daring new sonorities and electronic instruments. Unexpected and irregular rhythms, accompanied by jolting sounds and cringing dissonances, often colored this challenging music.
These young “rebel” composers’ seemed to be preoccupied with something they called “minimalism.” This was achieved with legions of repetitive rhythmic patterns, often inserting themselves into dissonant, grating harmonic combinations. It seemed that musical lyricism and centuries-old concepts of beauty were being challenged — and possibly changed.
We young students who had been steeped in the sonata-allegro forms of Mozart, Beethoven, Brahms, as well as the structural symmetries of Bach, felt lost in this unfamiliar, confusing maze. Had the essence of what we loved in music been cast aside?
Not really. Several decades later my husband and I went to a movie titled “The Illusionist.” Besides its gripping story, the film was graced with some of the most poignant, beautiful, melodic music we had ever heard. We remained in our seats until the final credits revealed that this music was composed by Philip Glass. I was captivated, yet humbled — and determined to listen to much more.
Details: 7:30 p.m. Sept. 29; Bing Concert Hall, Stanford University; the concert is listed as sold out; call 650- 724-2464, or visit live.stanford.edu on the day of the performance for possible cancellations.
Enticing Pairings: The San Francisco Symphony, with Michael Tilson Thomas conducting, this week performs the Overture to “Dream of the Red Chamber,” by composer Bright Sheng. This is a world premiere commissioned for the S.F. Symphony, paired with San Francisco Opera’s world premiere production of the opera across the street at the War Memorial Opera House.
The second pairing on the program is critically-acclaimed Chinese pianist Yuja Wang and S.F. Symphony principal trumpeter Mark Inouye, as the soloists in Shostakovich’s Concerto No. 1 for piano, trumpet and string orchestra. Then come a pair of works from Igor Stravinsky. The first is “Le Chant du rossignol” (Song of the Nightingale), a symphonic poem for orchestra adapted by the composer from his 1914 opera, “The Nightingale.” The opera is based on a story of the same name by Hans Christian Andersen, and told from the point of view of a Chinese fisherman. The second Stravinsky offering is his “Suite” (the 1919 version) from his ballet, “The Firebird,” written for the Diaghilev Russian Ballet in Paris and premiered in 1910.
Details: 8 p.m. September 28 through Oct 1; Davies Symphony Hall, 201 Van Ness Ave., San Francisco; $39-$179; 415-864-6000, www.sfsymphony.org.
“Don Pasquale”: Gaetano Donizetti’s opera explores that timeless comic theme of an older man wedding a spirited young woman and finding out she is more than he can handle. This classic bel canto work returns to San Francisco Opera after an absence of 32 years, in a production staged by Laurent Pelly, with sets and costumes inspired by mid-20th-century Italian film comedies.
The cast includes local favorite soprano Heidi Stober as Norina/Sofronia (the wife), basso buffo Maurizio Muraro in the title role, lyric tenor Lawrence Brownlee making his company debut as Ernesto (Norina’s love interest), and baritones Lucas Meachem and Edward Nelson alternating as Dr. Malatesta, physician and matchmaker for the elderly Don Pasquale. Giuseppe Finzi conducts. This charming and tuneful opera is great fun, suitable for young, old, experienced and first-time operagoers. Having heard these singers Sept. 11 at the S.F. Opera in Golden Gate Park and in other roles in previous years, I can attest it should be splendidly sung.
Details: Through Oct. 2; War Memorial Opera House, 301 Van Ness Ave., San Francisco; $26-$397; 415-864-3330, www.sfopera.com.
