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    A Sister and Brother Choose Repertoire by Feeling and Listening

    The young British phenoms Isata and Sheku Kanneh-Mason are performing a duo recital of cello sonatas, including by Shostakovich and Frank Bridge, at Carnegie Hall.Are Sheku and Isata Kanneh-Mason those rarest of things: young superstars who might actually live up to their hype?It certainly appears that way. The pair are two of seven British brothers and sisters, all musicians, who shot to fame when Sheku, a cellist, won the BBC Young Musician Award in 2016. Sheku’s exposure, in particular, has been extravagant since his star turn in the wedding of the Duke and Duchess of Sussex in 2018. But listen to more than the breathless reporting of their streaming numbers and you find musicians who, while still in the early stages of their careers, already have serious, distinctive things to say.Sheku, 23, made his New York Philharmonic debut in November, playing Dvorak’s Cello Concerto, a performance that revealed him to be a “charismatic protagonist and a generous collaborator,” as Joshua Barone put it in The New York Times. Isata, 25 and a pianist, has recorded two outstanding solo albums, one filled with works by Clara Schumann, the other cleverly moving between composers including Samuel Barber, Amy Beach, George Gershwin and Samuel Coleridge-Taylor.After an acclaimed appearance together at Weill Recital Hall in December 2019, they are returning for a duo recital at Carnegie Hall on Wednesday, part of a long, busy tour that continues in Boston and Atlanta before a European leg.Speaking from Kansas City, Mo., they talked about their program of cello sonatas by Frank Bridge, Britten, Shostakovich and either Khachaturian or Beethoven, depending on the stop. Here are edited excerpts from the conversation.You each have your own concerns as artists, so how do you go about compiling a program when you play together on a tour like this?SHEKU The main criteria is music that we’ve heard or want to discover, that we enjoy and maybe have something to say with, and we want to spend time working on and perform many, many times. Also it’s always interesting to pick repertoire that perhaps is new to some of the audiences we perform for. The Bridge Sonata is an example: It’s music that I really love and think is special, and has been new to a lot of audiences.ISATA Sometimes when we present pieces that aren’t so well known, you have to go through the difficulty of getting presenters to accept them and trust that the audiences will like them. We’ve found on this tour that the audiences like these pieces; they really respond to the music. That just shows that all good music can be communicated, whether it’s something popular or not.Sheku, what appeals to you about Frank Bridge’s sonata, which is a rarity compared even to the Britten and Shostakovich?SHEKU It’s an incredibly beautiful and at times heartbreaking piece of music. The sonata was split in terms of when it was composed, the first movement from before World War I and the second from toward the end of the war. Bridge was certainly affected by what happened, you can hear that. The first movement ends quite peacefully, and then the second starts in a completely different world. It’s like a lament, with some dark, harsh moments as well. It ends with the first movement’s theme, and when it does it’s quite like the Elgar Cello Concerto, it’s nostalgic, almost desperate. Although it ends on a nice major chord, it doesn’t feel resolved. It’s a really fascinating piece.Did you intend the works to speak to each other, to draw connections?SHEKU The program that we constructed with Khachaturian and Shostakovich, the Bridge and Britten, there are very clear connections between the pieces: Britten and Bridge having the student-teacher relationship, Britten and Shostakovich …ISATA Through Rostropovich.SHEKU Exactly. Those connections are very strong. When I discovered the Khachaturian Sonata, it was because I was listening to an album that has Rostropovich performing the Shostakovich with Shostakovich, and the second half of the album is Rostropovich playing the Khachaturian with Khachaturian.And the Beethoven is there because some presenters think he is easier to promote than Khachaturian?SHEKU It’s great music as well, I get it.ISATA It is great music, and we were playing it before anyway. But yeah, it was originally because it’s more accessible than the Khachaturian.Are these works that you have lived with for a long time?ISATA The Bridge and the Britten we first played about a year ago. The Shostakovich we played a couple of movements of during childhood — actually we played the whole thing when we were about 18. We put it away for a few years and then came back to it.The Shostakovich was written in 1934, after the premiere of “Lady Macbeth of Mtsensk” but before his political denunciation in 1936. How would you describe the sonata?SHEKU He wrote it during a period of separation from his wife, but I don’t think the piece is about that necessarily. It has quite Classical elements in terms of the form of the whole sonata, the style of each movement, how the phrases are constructed, but harmonically, rhythmically and the colors he chooses to use are very distinctive of Shostakovich. The third movement is where he pours all of his heart and sorrow and soul. The outer movements are quite playful and quirky. He had a good sense of humor.This is Isata Kanneh-Mason’s favorite page in the Shostakovich Cello Sonata, from the final movement.SikorskiDo you have a favorite page in the score?ISATA I actually could pick one! It would be in the fourth movement, about six pages before the end. The music dies down, there’s this moment of silence — and then the piano explodes with these semiquavers, with an E flat minor chord in the left hand. It’s just so Shostakovich to have such a dramatic mood change. When I was younger this passage always terrified me, because I was like, Oh, I’m going to mess up the semiquavers, but now, after many years of practicing, I’m usually just excited to shock the audience with this outburst.A favorite passage from Shostakovich’s Cello SonataMstislav Rostropovich, cello; Dmitri Shostakovich, piano (Warner)You’ve both shown an interest in expanding the diversity of the music your audiences hear, whether Clara Schumann or music rooted in spirituals, but that’s not been the case with your Carnegie dates together. Is there scope for doing more of that in your chamber music programs, or is it harder in some areas than in others?ISATA There is great repertoire in the chamber music world of female composers, of Black composers, but that will come to us naturally, the way any piece of music does — through listening and through feeling compelled to play them, rather than ticking boxes.SHEKU What is potentially a shame is that a lot of the pressure to perform repertoire by female composers is placed on women, and a lot of the pressure to perform music by Black composers is placed on Black musicians. You don’t often see a white performer performing music by Samuel Coleridge-Taylor, for example. So us just being Black performers is, I don’t know, enough of a difference. More

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    10 Classical Concerts to Stream in January

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main story10 Classical Concerts to Stream in JanuaryA Verdi opera from the Met and composers on the border of classical and pop are among the highlights.Luciano Pavarotti and Aprile Millo in Verdi’s “Un Ballo in Maschera,” which will be streamed by the Metropolitan Opera.Credit…Met Opera ArchivesDec. 31, 2020, 8:00 a.m. ETAs the live performing arts still reel from the coronavirus pandemic, here are 10 highlights from the flood of online music content coming in January. (Times listed are Eastern.)‘Lonely House’Available now until Jan. 22; operavision.eu and on YouTube.This winter, Katharine Merhling was scheduled to reprise her Eliza Doolittle in “My Fair Lady” at the Komische Oper in Berlin. The pandemic got in the way, but the company’s devoted audience need not spend the season without this singer’s gifts. This performance (first streamed live late in December) offers a fresh look at Kurt Weill, focusing on that composer’s years in Paris and New York. Devotees know many of these songs. But Ms. Mehrling’s energy — aided by Barrie Kosky, the Komische Oper’s artistic director, on piano — gives a saucy charge to a medley from the rarely staged “Lady in the Dark.” SETH COLTER WALLS‘Un Ballo in Maschera’Jan. 2 at 7:30 p.m.; metopera.org; available until Jan. 3 at 6:30 p.m.In case you missed it in August, this 1991 Metropolitan Opera performance of Verdi’s dark tale of love, betrayal, friendship and regicide returns to the company’s series of nightly streams from its archives. “Ballo” is part of a week centered on Luciano Pavarotti, Met star supreme, but is also a showcase for the passionate artistry of the soprano Aprile Millo, whose career burned bright in the 1980s and ’90s, a throwback to divas of yore. James Levine conducts a cast that also includes Leo Nucci, Florence Quivar and Harolyn Blackwell. ZACHARY WOOLFEThe soprano Julia Bullock’s recital will be streamed by Cal Perfomances.Credit…Jeenah Moon for The New York TimesJulia BullockJan. 14 at 10 p.m.; calperformances.org; available until April 14.Kurt Weill isn’t just coming from the Komische Oper. One of our most luminous singers has four Weill numbers of her own to offer in a recital for Cal Performances that swings, in characteristic Bullock style, from the classical canon to contemporary work by way of golden age musical theater. Pieces by William Grant Still and Margaret Bonds are at the core of a program that also includes songs by Wolf and Schumann (selections from “Dichterliebe”), a set from “The Sound of Music,” and material from John Adams’s recent opera “Girls of the Golden West,” composed with Ms. Bullock in mind. Laura Poe is the pianist. ZACHARY WOOLFEEve EgoyanJan. 16 at 5 p.m.; rcmusic.com; available until Jan. 23.This Canadian pianist, who specializes in contemporary music, will perform the premiere of her Seven Studies for Augmented Piano. This is a series of works she created for a Yamaha Disklavier — an acoustic piano with a computer interface, coupled with software that allows her “to augment and extend the sonic range of the piano,” as she writes in a program note. The program, part of the 21C Music Festival presented by the Royal Conservatory of Music in Toronto, includes a short video exploring Ms. Egoyan’s creative process. ANTHONY TOMMASINIWild UpJan. 17 at 9:58 a.m.; patreon.com/wildup; available indefinitely.Artists from the Wild Up collective, including its conductor and artistic director, Christopher Rountree, are familiar to Los Angeles audiences. But for the group’s coming monthlong project, “Darkness Sounding,” listeners around the world are invited. Some concerts will be available as livestreams, then archived, through Wild Up’s Patreon page. At five dollars for the month, you can access shows like this one on Jan. 17, “simple lines/quiet music/silent songs,” featuring the pianist Richard Valitutto. A daylong “house concert,” it’s organized around largely soft, contemplative works by the likes of Ann Southam and Alvin Curran. SETH COLTER WALLS‘Soldier Songs’Jan. 22 at 8 p.m.; operaphila.org; available until May 31.David T. Little’s “Soldier Songs,” for baritone and small ensemble, was born of the American invasion of Iraq. But, based on interviews with veterans of five wars, it speaks to conflict more generally and abstractly. And like the most satisfying politically minded art, it’s rife with complication — not just in the score’s uninhibited blending of genres, but also in the treatment of its subject, defying stereotypes and hagiographies. “Soldier Songs” puts you off as it draws you in, and it will haunt audiences anew in a virtual production presented by Opera Philadelphia, directed by and starring the baritone Johnathan McCullough. JOSHUA BARONEThe baritone Christian Gerhaher, standing, and the pianist Gerold Huber performing in September at Wigmore Hall, which will stream their recital on Jan. 27.Credit…Justin Tallis/Agence France-Presse — Getty ImagesChristian Gerhaher and Gerold HuberJan. 27 at 2:30 p.m.; wigmore-hall.org.uk; available until Feb. 26.As concerts have moved online during the pandemic, many have also gotten shorter. Thus “Schwanengesang,” the shattering collection of Schubert’s final songs, can more easily stand alone on a program — as it does in this Wigmore Hall stream from the baritone Christian Gerhaher and the pianist Gerold Huber, one of the great musical partnerships of our time. The duo also appear earlier in Wigmore’s richly scheduled January, presenting works by Schumann and Debussy (Jan. 25). Other hall highlights include the soprano Lise Davidsen, singing Grieg, Sibelius and more (Jan. 17), and the pianist Igor Levit, playing Hindemith, Schoenberg and Busoni (Jan. 29). JOSHUA BARONEBaltimore Symphony OrchestraJan. 27 at 8 p.m.; offstage.bsomusic.org; available until June 30.This ensemble has been offering a series of documentary-style, hourlong discussion and performance programs called BSO Sessions. “Twelve” looks at composers who have bridged contemporary classical music and pop. There will be performances of a suite by Jonny Greenwood, of Radiohead, from his score for the film “There Will Be Blood”; Bryce Dessner’s “Lachrimae”; and Caroline Shaw’s “Entr’acte.” Steve Hackman, a composer and arranger skilled at this crossover, discusses the music and the stylistic overlaps with musicians from the orchestra. Nicholas Hersh conducts. ANTHONY TOMMASINIThe pianist Isata Kanneh-Mason will appear with the Hallé Orchestra.Credit…Matt Crossick/PA Images, via Getty ImagesHallé OrchestraJan. 28 at 6 a.m.; halle.co.uk; available until April 28.This orchestra, which has been streaming performances filmed at its Bridgewater Hall in Manchester, England, has an intriguing program coming up featuring the pianist Isata Kanneh-Mason, the eldest of the seven young, gifted members of a British musical family that has been gaining international attention. She plays Beethoven’s Piano Concerto No. 3 on the program, conducted by Mark Elder, which opens with Richard Strauss’s Serenade for winds (written when its composer was 17) and ends with Sibelius’s Third Symphony. ANTHONY TOMMASINIPeter Evans EnsembleJan. 28 at 8 p.m.; roulette.org; available indefinitely.The trumpeter Peter Evans is a reliable source of thrilling virtuosity. That’s true when he’s working with the Wet Ink Ensemble or International Contemporary Ensemble, as well as when he’s leading his own groups. This quartet, with the electronics and percussion specialist Levy Lorenzo, the violinist and vocalist Mazz Swift and the pianist Ron Stabinsky, recently celebrated the release of a blazing album, “Horizons.” But this livestream won’t be a victory lap; it promises a fresh slate of compositions by Mr. Evans. SETH COLTER WALLSAdvertisementContinue reading the main story More