Years
2019 2018
Douglas Masek Saxophone Recital
2018-07-31

with Neal Stulberg (piano)

31 July 2018

Odeion

19:30

The Los Angeles-based duo, in the country for the SANNSS, is touring the major South African cities. Both Masek and Stulberg, leaders in their respective fields, are internationally acclaimed soloists. The duo performs rarely heard selections from the concert saxophone repertoire in major cities around the country. Their program includes music by well-known composers such as Astor Piazzolla, David Heath, and even the South African composer, Allan Stephenson.

Internationally renowned saxophonist DOUGLAS MASEK, whose performances emphasize his versatility in a wide range of musical styles, from classical and contemporary to jazz, has consistently garnered critical acclaim. : The Los Angeles Times writes, (Masek’s) “...playing is smooth, sinuous, stunning, stylish, dazzling, and glowing with the requisite rich color.” In South Africa, The Argus describes “Masek’s tone: beautiful and pure” and the Cape Times adds “dynamic and magical.” With extensive concert touring in the United States, Europe, Asia, South Africa, and South America, he has also performed as a soloist at numerous festivals. He has performed with notable conductors, including Esa-Pekka Salonen, Kent Nagano, Placido Domingo, John Mauceri, Andre Previn, Michael-Tilson Thomas, James Conlan, Gustavo Dudamel, Valery Gergiev, Giselle Ben-Dor, Rachael Worby, JoAnn Falletta, Arthur Rubinstein, Grant Gershon, Carlo Franci, Hubert Soudant, Paul Freeman, Allan Stephenson and Bernhard Gueller. He has also worked on motion picture sounds tracks for John Williams, Randy Newman, David Newman and others, for Sony, Warner, Paramount, Universal, Disney and 20th Century, along with television and radio broadcasts. Masek's discography includes seven solo CD collections; Distant Memories, Windwood, Recrudescence, Saxvoir Faire, Saxtronic Soundscape, Saxophone Alternative, and EclectSax. He has recorded for Centaur, Albany, Cambria, Atlantic, Navona, Koch International, Stereophile, Summit and Philips Classics recording companies. Masek completed his academic education with a D.M.A. from the University of Southern California. Currently Professor of Saxophone at UCLA, Douglas is also a Vandoren Elite Artist and Conn-Selmer Artist.

www.dougmasek.com

Although an acclaimed pianist in his own right, it is as an orchestral conductor that NEAL STULBERG has been heralded by the Los Angeles Times as "…a shining example of podium authority and musical enlightenment," Stulberg has garnered consistent international acclaim for performances of clarity, insight, and conviction. Since 2005, he has served as Director of Orchestral Studies at the UCLA Herb Alpert School of Music and currently serves as both Professor and Chair of the UCLA Department of Music. Stulberg has already led numerous North American orchestras, and international engagements have included the St. Petersburg Symphony Orchestra, Moscow Chamber Orchestra, Hong Kong Philharmonic, Taipei Symphony Orchestra, Seoul Philharmonic, Korea Philharmonic (KBS), Queensland, Adelaide and West Australian Symphonies, to name but a few. Behind the keyboard, Stulberg appears as recitalist, chamber musician and with major orchestras and at international festivals as pianist/conductor. His performances of Mozart concertos conducted from the keyboard are uniformly praised for their buoyant virtuosity and interpretive vigour. He has recorded for West German Radio, Donemus, Yarlung Records, Sono Luminus and the Composers Voice label. Stulberg is a graduate of Harvard College, the University of Michigan and the Juilliard School. He studied conducting with Franco Ferrara at the Accademia Nazionale di Santa Cecilia (Rome), piano with Leonard Shure, Theodore Lettvin, William Masselos and Mischa Kottler, and viola with Ara Zerounia.

PROGRAMME:

  • Melvin Solomon (b.1947): ‘a la Mozart’
  • Astor Piazzolla (1921-1992): Café 1930 (arr. Isoda/Sugawa)
  • Maria Grenfell (b.1969): Time Transfixed
  • Allan Stephenson (b.1949): Introduction and Allegro
  • Maria Newman (b.1962): Parens (Ancestors)
  • Bill Cunliffe (b.1956): Bechet
  • David Heath (b. 1956): Coltrane (solo saxophone)
  • Pedro Iturralde (b.1929): Suite Hellenique
  • John Boswell (b.1960): Waterfall
  • John Boswell: Kindred Spirits

ADMISSION

  • R140 (adults)
  • *R100 (pensioners)
  • *R80 (UFS staff)
  • *R60 (students, learners and block bookings of 10+)

Tickets available at Computicket or online at http://online.computicket.com/web/

*Please note that tickets for pensioners, students, learners and UFS staff can only be purchased at a Computicket outlet (Shoprite Checkers) or at the doors since a valid card or ID has to be presented to qualify for the above-mentioned discount.

ENQUIRIES

Ninette Pretorius (tel. 051 401 2504)


Back
Ek, Anna van Wyk (AFR)

Title of Production:  Ek, Anna van Wyk

Language:  Afrikaans

Genre:  Drama

Directed by:  Nico Luwes

Written byPieter Fourie

Featuring:  Final year drama students

Venue:  Wynand Mouton Theatre

Dates & times:

28 May at 19:30

29 May at 19:30

30 May at 19:30

Prices:  R 40.00 for adults / R 30.00 for students or scholars / R 25.00 for pensioners or for groups of 10 or more

Bookings:   Computicket (0861 915 8000)

Press Release

The play, "Ek, Anna van Wyk", by Hertzog prize-winner in 2003, Pieter Fourie, is performed by a multicultural third year cast of the UFS Drama Department students under the direction of Prof Nico Luwes in the Wynand Mouton Theatre from 28 to 30 May 2014.

“Anna” is an Afrikaans play about the disintegration of a marriage and a woman caught up in the patriarchal and Apartheid systems. In this haunting exploration of the Afrikaner psyche, the older members of the Terre’Blanche family are stuck in poisonous political dogma and traditions. In contrast, Anna and her husband, represent the young Afrikaner who shed the Apartheid dogma and desperately try to better the lives of their farm workers. The play deals with the rebellious Anna who challenges their misuse of power and the corruption of Christianity for own gain. Senior, the family patriarch, opposes his daughter- in-law, Anna, after it becomes obvious that she is an epileptic. Not fit as ‘breeding stock’ for the Terre’Blanche family she is replaced by a younger woman. In this heart-rending play she must sacrifice that and those who are dearest to her – her husband, her child, her status and herself. Fresh from a mental institution and rehabilitation from alcohol addiction, Anna struggles through the pains of rediscovering her lost identity and believes in what is right and what is wrong. In the final scene Anna apparently murders Senior, but the Voice in the auditorium assures the audience that he died of a heart attack earlier. But is this true? Depicting Anna as Senior’s victim and as a victim of the values embedded in the society he represents, raises the audience’s sympathy for her and diminishes the patriarch’s stature.

The plight of the farm workers plays an important part in the play. Taking into account the recent uprising of farm workers in the De Doorns district, it becomes clear that very little has changed since 1986 when the play was first performed and the country was on the brink of a civil war. Fourie has written a play that can be seen as a dramatic historical document of the 1980’s, but it’s relevance for the present political climate in the country cannot be denied.

Definitely a play that must be seen.

We use cookies to make interactions with our websites and services easy and meaningful, to better understand how they are used and to tailor advertising. You can read more and make your cookie choices here. By continuing to use this site you are giving us your consent to do this.

Accept