The Hausmann Quartet has established itself as an integral part of the cultural life of Southern California since its arrival in San Diego in 2010. As faculty Artists-in-Residence at San Diego State University they teach and organize the chamber music program, engage in interdisciplinary collaborations with other departments and visit local schools for concerts and clinics on behalf of the School of Music and Dance.
Founded in the summer of 2004 at Lyricafest, they have recently been hailed as “Excellent” by U-T San Diego which cited “Their outstanding virtue is a rare one: the ability to disappear into and behind whatever they are playing, leaving only the music in view.” They maintain an active performance schedule throughout North America and Asia. The members of the Hausmann Quartet are violinists Isaac Allen and Bram Goldstein, violist Angela Choong and cellist Alex Greenbaum.
Visit the Hausmann Quartet’s website
Valencia — Caroline Shaw (b. 1982)
Música de feria — Silvestre Revueltas (1899 – 1940)
My Desert, My Rose — Aleksandra Vrebalov (b. 1970)
String Quartet, Op. 54, No. 3 — Joseph Haydn (1732 – 1809)
Strum — Jessie Montgomery (b. 1981)
This afternoon’s concert is dedicated to the memories of three CCO family members we lost in the past year:
Christine Beatty, Stage Manager
Luanne Ferrer, Founder and Board Member
Al Vollbrecht, Founder and Board Member
Partners in Performance Recital
Violinist Midori will perform a recital for the California Chamber Orchestra during the 2017-18 concert season.
October 27, 2016 — The California Chamber Orchestra is proud to announce that we have been selected as the recipient of a Partners in Performance (PiP) recital for the 2017-18 season. PiP was founded by the world renowned violinist Midori in 2003 to stimulate local interest in chamber music in smaller communities that lack the financial resources of major urban centers.
As a recipient of a PiP recital, the California Chamber Orchestra will host a performance by an internationally known artist at a local venue as part of our 2017-2018 concert season. Past PiP recitals have featured Midori or pianist Jonathan Biss. In addition PiP will also sponsor a local performance by a musician from its Young Artist program during the 2018-2019 concert season.
We sometimes hear patrons say they are uncomfortable about the “rules” of when to applaud (or not) at a concert. The perception that there are rules for attending a concert makes people think classical music is stuffy and pretentious. We don’t want you to see our concerts that way.
The fact is, the “rules” have evolved over time, and they’re really not rules at all. For example Mozart and Brahms expected their audiences to applaud and express their emotions during concerts, and they were concerned when the audience stayed silent. Here’s an excerpt from a letter Mozart wrote to his father after a concert in 1778:
Right in the middle of the First Allegro came a Passage I knew would please, and the entire audience was sent into raptures — there was a big applaudißement; — and as I knew, when I wrote the passage, what good effect it would make, I brought it once more at the end of the movement — and sure enough there they were: the shouts of Da capo. The Andante was well received as well, but the final Allegro pleased especially — because I had heard that here the final Allegros begin like the first Allegros, namely with all instruments playing and mostly unisono; therefore, I began the movement with just 2 violins playing softly for 8 bars — then suddenly comes a forte — but the audience had, because of the quiet beginning, shushed each other, as I expected they would, and then came the forte — well, hearing it and clapping was one and the same. I was so delighted, I went right after the Sinfonie to the Palais Royale — bought myself an ice cream, prayed a rosary as I had pledged — and went home.
So, by all means, if the spirit moves you during one of our performances, let us know you’re enjoying the music! Like Mozart, we’ll be delighted.