For this special presentation, Entremont will be joined by Seattle Symphony members Maria Larionoff, Michael Miropolsky, Mara Gearman and Amos Yang.
Since Philippe Entremont made his debut in New York's Carnegie Hall at age 18, he has gone on to conduct and perform with the world's major orchestras. From 1981 to 1986, he was Director of the New Orleans Philharmonic Orchestra and presently serves as the Director of Music of the Denver Symphony. He also is the Founder, Artistic Director and Conductor of the Festival Orchestra of the biennial Santo Domingo Music Festival and Principal Guest Conductor of the Munich Symphony and the Orchestra de CadaquÃ©s. Having also served as Music Director and Chief Conductor of the Vienna Chamber Orchestra for nearly 30 years and as the Music Director for the Israel Chamber Orchestra, he is now Conductor Laureate for both ensembles.
Violinist Maria Larionoff has appeared as a soloist with the Los Angeles Philharmonic; the Seattle, Yakima and Port Angeles symphonies; the Orquestra Sinfonica Carlos Chavez; and the University of Washington and San Francisco Chamber orchestras. A Loomis Scholarship Award winner at The Juilliard School, Larionoff was a student of Dorothy DeLay and, upon graduating, was invited by Carlo Maria Giulini to join the violin section of the Los Angeles Philharmonic. She is currently Acting Concertmaster of Seattle Symphony. Both a violist and a violinist, Larionoff has performed at many chamber music festivals, including Chamber Music Northwest and the International Music, Marrowstone, Mostly Mozart and Round Top festivals. In May 2002, Larionoff and her husband, University of Washington double bassist Barry Lieberman, launched the immensely successful American String Project, a conductor-less string orchestra comprised of concertmasters, professors and distinguished soloists from around the world.
Since 1991, Michael Miropolsky has served as Assistant Principal Second Violin in the Seattle Symphony Orchestra. In addition to performing in more than 25 countries worldwide, he is also very active in the local music community. He is founder and conductor of the Jewish Community Center Chamber Orchestra and the Seattle Conservatory of Music's Young Virtuosi chamber orchestra. He is also founder and Music Director of the Seattle Violin Virtuosi and Seattle Chamber Orchestra. Additionally, he is the Music Director of the Cascade Symphony Orchestra. His new project is creating the Seattle Summer Pops Orchestra.
Prior to joining Seattle Symphony, violist Mara Gearman was a member of the Oregon Symphony and co-founder of the Four Violas ensemble in Portland. An advocate for innovative programming and music outreach, Gearman has taught at Central Washington University, the Marrowstone Music Festival and the Icicle Creek Music Center. She has collaborated with the American String Project, Seattle Chamber Players, Context Music Series and Icicle Creek Festival. A winner at both the Tertis International and Primrose Viola competitions, Gearman studied with Roberto Diaz and Karen Tuttle at the Curtis Institute of Music, as well as Nobuko Imai, Pinchas Zukerman and Susan Gulkis Assadi.
Seattle Symphony cellist Amos Yang has performed throughout the U.S., the Far East and Europe, including engagements at the Aspen Music Festival, American Academy in Rome, and Wigmore and Alice Tully halls. He served on the faculties of the Peabody Conservatory, University of Iowa, Grinnell College and the Interlochen Advanced String Quartet Institute. A graduate of The Julliard School, he has worked with the Ying Quartet, pianists Ann Schein and Melvin Chen, violinist Earl Carlyss and composer Bright Sheng. Awards include the Eastman School of Music's Performer's Certificate; first prizes in both the American String Teacher's Association and Grace Vamos competitions; finalist in the Pierre Fournier International Cello Competition; and the C.D. Jackson Prize at the Tanglewood Music Festival.
Johannes Brahms' Violin Sonata No. 1 bears the subtitle, "Regen"Â ("Rain"Â), a reference to the melody of one of his songs under the same name. Brahms was not clear whether his intent was to borrow the tune or to further expound on the meaning of the text. In any case, the music is essentially lyrical and reflective with moments of pointed drama, much like the inspiration for the piece itself.
Ludwig van Beethoven's "Ghost Trio"Â got its nickname from the eerie chromatic passages and "ghostly rumblings"Â in the piano part of the slow movement. He wrote it in 1808, an incredibly productive year for the composer that also gave birth to his famous Fifth and Sixth symphonies.
CÃ©sar Franck's Piano Quintet begins with a slow and restive introduction that foretells the drama and passion of the lengthy Allegro. The second melody in this movement, a tender theme suggestive of Romantic longing, recurs throughout the entire work in keeping with the composer's cyclic style. The primary tune, a bold and rhythmically exciting variant of the recurring "motto"Â theme, impels the music onward.
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Subscriptions are still available for Seattle Symphony performances. For group sales information, call (206) 215-4784. Student and senior rush discount tickets, subject to availability, go on sale in person at the Seattle Symphony Ticket Office at 6 p.m. prior to evening performances and two hours prior to afternoon performances. -- www.seattlesymphony.org