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2024-03-13
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2023-10-13 08:40:00
JW3 celebrates its 10th anniversary with its first classical concert series
Founded in 2013, JW3, the Jewish Community Centre London, is celebrating its 10th anniversary as the only such public venue for Jewish arts, culture, learning and community of its kind in the country. The Classical Series, the venue's first classical concerts season has just been announced, curated by David Waterman (former cellist with the Endellion String Quartet) and taking place in JW3's 220-seater Howard Hall.Things kick off on 15 November with the Jerusalem Quartet in Mozart, Mendelssohn and Beethoven, then tenor Mark Padmore and pianist Mishka Rushdie Momen perform Haydn, Mozart, Beethoven, Schubert, and Schumann's Dichterliebe including the extra four songs that Schumann removed from the cycle (12 December 2023).The first concert of the new year features the trio, Alasdair Beatson (piano), Sini Simonen (violin), and David Waterman (cello), in Beethoven, Bloch and Brahms. Other artists performing include cellist Steven Isserlis in Bach's Cello Suites, with readings from Janet Suzman, the Castalian Quartet with cellist […]
The Boston Musical Intelligencer
2023-10-10 18:08:19
The Jerusalem Quartet gave a beautifully thought-out concert spanning an enormous range, while maintaining unity; the Concord Chamber Music Series hosted the concert on Sunday. [] The post appeared first on The Boston Musical Intelligencer.
2023-05-31 15:29:00
Wigmore Hall Mozart: String Quartet no.21 in D major, KV 575 Prokofiev: String Quartet no.2 in F major, Op.92 Brahms: String Quartet no.1 in C minor, op.51 no.1 Alexander Pavolvsky, Sergei Bressler (violins)Ori Kam (viola)Kyril Zlotnikov (cello) A wonderful concert from beginning to end. The Jerusalem Quartet treated Mozart as he should be treated: the players’ tone rich and cultivated. Opening tone would not have been taken for the Amadeus Quartet, yet would surely have been recognised by them. Fineness of tone was certainly no end in itself, though; it enlivened and enabled Mozart’s structures from the first movement onward in coming to life as form. There was rhetoric, where required, but this again was properly integrated, not as far too often a substitute for formal communication. For above all, every phrase was imbued with a sense of life and was formally directed. The cliché of the Classical string […]