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
Die Plaasvervangers (A)

Production: Die Plaasvervangers (A)
Text: Pieter Fourie
Director: Stéphanie Brink

Venue: Wynand Mouton Theatre

Dates and times:
23 March 2010 19h30
24 March 2010 19h30
25 March 2010 19h30
26 March 2010 19h30


Bookings: Computicket (Mimosa Mall and Checkers)

Bookings for block bookings of 10 or more people can be done with Thys Heydenrych (072 235 3191) or Marijda Kamper (051 401 2160)

Die Plaasvervangers is a student production of the Department of Drama and Theatre Arts and is under the direction of Stephanie Brink. The production promises stylized theatre at its best! This piece was chosen in celebration of Pieter Fourie’s 70th birthday as well as the fact that it delivers an important message to our young and floundering democracy of today.

Fourie touches on sensitive political issues stretching from the Anglo/Boer War up to the late eighties and points specifically to the injustices and dangers of Apartheid. The production gives a satirical view on the happenings around the birthday celebrations of the main character namely the Kampmoeder (Camp Mother). This dramatic dark comedy uncovers the falsehood contained in the Afrikaner’s cultural roots. The idea of the big lie, in all its facets, comes to light over 4 generations. Fourie wanted to publicly expose his contempt for the lie that the Afrikaner indulges himself in: the complete uncovering of the hypocritical lie that is the super race, the Afrikaner. The fitting title emphasises the lie as replacement (in Afrikaans: plaasvervanger) for the truth on which the Afrikaner has built his identity in the present. The original rural tour of the production was banned in 1978 because some of Fourie’s insinuations in the play were too extreme for governing bodies, politicians as well as certain critics, who questioned the artistic value of the piece.

The dramatic action centres around the 100th birthday celebrations of the Kampmoeder. She represents the Afrikaner’s idealism and the consciousness of his calling at the beginning of this century. According to legend, the typical Mother of the nation, as is her duty as Afrikaner woman, gave birth to a Boer child in the concentration camp in order to insure the Afrikaner nation’s purity and future. The boy, who was born, becomes a senator and, according to tradition, inherits the family-farm and the duty to raise a new generation of Bonthuyse. The fact is that, unknown to the Kampmoeder, her descendants have left the farm and the brown servant-family has moved into the big farmhouse. But this is not the only secret!

The play opens with the characters in disarray as a result of the lie of what has happened to the farm. The Afrikaner traditions must be reinstated before the celebrations begin! The brown servant-family has four days to restore the house and plant new palms in the place of the lost symbolic ones to complete the fake facade.

Fourie exposes, in a comical way, the lie of each generation of Afrikaner until the Kampmoeder finally reveals the complex intrigue of the original lie – to the great consternation of the pillars of the pre-1994 governments. The play utilizes symbolic scenes and figures as signs of the gradual moral degradation of the Afrikaner nation over the decades.
 

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