Mon, 2/20 — Jonathan Boen
Widely recognized as one of the most technically commanding performers of the horn, Jonathan Boen has served as Principal Horn for Lyric Opera of Chicago since 1979. In addition, he has held the position of Principal Horn of the Grant Park Orchestra since 1998.
Music
Preludes, Op. 11 by Alexander Scriabin
Tues, 2/21 — EStrella Piano Duo
The EStrella Piano Duo came onto the musical scene in 2011 with a series of concerts celebrating the great Russian masterpieces for piano duet. Their first performance evoked raves of “technical brilliance” and “infectious joy in music making.” Since then, they’ve performed to enthusiastic audiences and critical acclaim throughout the United States, Canada, and China.
Music
Six pièces romantiques, Op. 55 by Cécile Chaminade
Wed, 2/22— Dame Myra Hess Memorial Concert Series: Sara Davis Buechner and Kontras Quartet
Noted for her musical command, cosmopolitan artistry, and visionary independence, Sara Davis Buechner is one of the most original concert pianists of our time. Admired for their “superlative artistry” (CVNC Arts Journal), the Chicago-based Kontras Quartet has established an international following for their vibrant and nuanced performances.
Music of Joaquín Turina and Reynaldo Hahn
Thurs, 2/23 — 2023 Winter Chamber Music Festival: Calidore String Quartet and Xavier Foley
The Calidore String Quartet is recognized as one of the world’s foremost interpreters of a vast repertory; from the cycles of quartets by Beethoven and Mendelssohn to works of celebrated contemporary voices. Xavier Foley is known for communicating his virtuosity and passion for music on the double bass, which is rarely presented as a solo instrument.
Music
String Quintet in G Major, Op. 77 by Antonín Dvořák
Fri, 2/24 — Live from WFMT Encore: Black Tulip
Black Tulip is a multinational ensemble featuring Josefien Stoppelenburg, soprano; Mirja Lorenz, recorders; Phillip W. Serna, violas da gamba; and Joel Spears, lutes and theorbo. The ensemble returned to WFMT with a program of music they call “Court, Convent, and Stage: Redefining the Early Modern Woman.”
