Classical Edge - Tue 10:30pm & Sun 4am

My Friends,Consider supporting KSER by phoning or online.  Thank you..Playlist for 27 March and 1 April 2012.  This week on Classical Edge:
 

Chris Wartes,  Host
Classical Edge    (20/21 century contemporary classical)
KSER   90.7  FM/HD1  Everett, WAListener Supported Community Radio
Streaming at:  www.kser.orgTuesday Evenings,  10:30PM to 12:30AM, Pacific Daylight Time  (Wednesdays at 0530Z/GMT/UTC)....Repeat Broadcast, Sunday morning 4AM to 6AM PST,  (11AM or 1100GMT)On-demand audio programming for the last two weeks.  http://www.kser.org/radio-replayer
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 March 30, 7:30 pm, FRI Dana Robinson and Paul Tegels, present anorgan duet recital on the historic 1871  G G Hook  Hastings organat St. Matthew's Episcopal Church, Auburn, WA.   Free admission; optional donation toward organ maintenance fund.  Co-sponsored by thePacific Northwest Chapter of the Organ Historical Society and St.Matthew Church.  Church is located at 123 L St.,NE, Auburn.
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 In March, SIRENE : A concert of brand-new choral works in Greek, German, Italian, and Quechua, based on the ancient call of the mythical sirens, featuring composers Mason Bates, Paul Crabtree, and Ted Hearne – also to be sung at the Regional ACDA here in Seattle.www.theesoterics.org
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   Sarah Marroquin at Gallery Concert 206-726-6088 sarah@sarahmarroquin.net GalleryConcerts.orgSchubert contra Beethoven
 Trio ParadiesCecilia Archuleta, violin, Page Smith, violoncelloTamara Friedman, 1795 Viennese fortepiano­
Imagine being the young Viennese Franz Schubert, trying to find your individual voice as a composer amidst the heaven-storming new music of Ludwig van Beethoven! It would be enough to cause a real identity crisis! The Seattle ensemble Trio Paradies will contrast the music of these two very different contemporary masters. Violinist Cecilia Archuleta and cellist Page Smith will perform with pianist Tamara Friedman and her magnificent 1820s Empire-style Viennese grand piano—the only one in the Pacific Northwest!  Beethoven could build huge architectural structures in tones that transcended everything before them, but struggled to craft beautiful melodies. Schubert, on the other hand, could not refrain from writing one gorgeous song after another, but worked hard to figure out how to unite his melodic Muse with larger musical forms. Therein lies the creative dissonance of each of these very different early Romantic masters. The distinctive syntheses that they achieved provided inspiration for the artistic creations of all of their 19th-century successors.

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Trio Paradies unites the talents of three of Seattle’s favorite musicians. Taking its name from the 18th-century pianist Maria Theresia von Paradies—a friend of Mozart in Vienna and the subject of Dr. Franz Messmer’s experiments to cure her blindness—the ensemble specializes in performing the music of the Viennese Classical and early Romantic composers on historical pianos and period strings.  Their program will include Ludwig van Beethoven’s Sonata in G Minor/Major for Violoncello and Piano, Op. 5 No. 2, and Franz Schubert’s Sonatina in D Major for Violin and Piano, Op. posth. 137 No. 1, D. 384, and Trio in B-flat major for violin, cello, and piano, Op. 99, D. 898.  The concerts will take place on Saturday and Sunday, April 14th (7:30 p.m.) and 15th (3 p.m.) in the intimate and acoustically rich Queen Anne Christian Church, 1316 3rd Avenue West, at West Lee Street atop Queen Anne Hill. Pre-Concert “Conversation” starts 45 minutes prior to the concert.Tickets are $28.00 general admission; $24.00 seniors; $12.00 students. Children ages 7–14 may attend for free, each accompanied by a ticket-holding adult. Discounted group tickets are available.For information on the performers and to order tickets, visit www.galleryconcerts.org or call 206-726-6088.  The Empire-Style Fortepiano  The fortepiano on this concert will be a replica of a six-octave Empire-period grand piano by Nannette Streicher (Vienna, 1820), built by Thomas and Barbara Wolf (Washington, DC, 2000). Its four pedals lift the dampers, moderate the sound by inserting a thin strip of leather between the strings and leather-covered hammers, move the keyboard to the right so that the hammers will strike two strings or one, and activate a bassoon stop in the bass register. Its keys are require only one-fifth of the finger weight needed to depress the keys on a modern Steinway, facilitating light and rapid playing. The clear attack of the leather-covered hammers, the high efficiency of its leather dampers, and the rapid decay of its sound make possible highly articulated playing, without diminishing the instrument’s lyrical capacity..