2018-19 …DREAM IN COLOR
THREE CALIFORNIA MILLENNIALS
“It started with the ruckus of crowd noises rising and falling in volume throughout the hall […] and ended with the bright, cheery, surprisingly inventive variations on a single minimalist vamp in Dylan Mattingly’s Gravity and Grace (a world premiere, courtesy of Jacaranda) ’round about midnight.”
San Francisco Classical Voice, 6/6/19
“Noon to Midnight culminated in a strong fashion inside Disney Hall when Jacaranda Music closed the evening […] Dylan Mattingly’s Gravity and Grace might have been the most gorgeous work of the day, and it was an exhilarating finale.”
LA Weekly, 6/5/19
“The night ended with Dylan Mattingly’s “Gravity and Grace,” a commission for Jacaranda Music, played by pianists Aron Kallay and Vicki Ray and organist Joanne Pearce Martin. (The latter two were back on the Disney stage 14 hours later for the Mahler.) This was a Minimalist chugging, chiming as brightly as Saint-Saëns — a kind of “Carnival of the Glassworks,” a sugar rush as enjoyable as the cake that followed.”
LA Times, 6/3/19
“The second movement like “a remembrance of things past” hints at Kagel’s influences, as diverse as Debussy and Schoenberg. There’s a goofy-footed dance, with the piano making plodding footfalls against drunken lurches from the violin and cello. It all leads to that hammer-of-fate crescendo/diminuendo. Then, like a wink at fate, Kagel adds a tiny goodbye note for punctuation. This was one of those ear-opening experiences, so expertly played that it left you wanting to go back to the beginning and hear it again.”
San Francisco Classical Voice, 5/28/19
STAY ON IT!
“Jacaranda’s overview [of the Center of the Creative and Performing Arts at SUNY Buffalo] culminated with a performance of Eastman’s Stay on It from 1973 — an energetic, idiosyncratic take on minimalism that overlaid traditional ideas of pulse and rhythmic repetition with an Afro/Cuban influence and a high-flying vocal part (originally sung by Eastman) which was given a wonderful rendition by Zanaida Robles.”
San Francisco Classical Voice, 4/16/19
“Jacaranda Artistic and Executive Director Patrick Scott cooked up a progression through the 20th century, giving the impression of black composers making their ways from Romantic echoes of European origin toward a music that increasingly absorbed indigenous influences from black America. The full story of black music isn’t as straight-forward as that, but it was a canny way of organizing such diverse material.”
San Francisco Classical Voice, 3/26/19
• “The Future of Classical Music Is Chinese,” by Inna Faliks (Washington Post, 3/22/19)
“I found the passion, drive and work ethic of Chinese music students staggering. And the dedication from the audiences was evident, as every seat — regardless of the city — was always taken. Reverence for Beethoven, Chopin, Tchaikovsky and Schumann seems to have no connection to any economic or political agenda. Living Chinese composers such as Gao Ping and Liu Sola combine the most current trends in new music with Chinese tradition.”
-Inna Faliks, appeared on “Premonition 2” 2/3/19
PREMONITION I & II
“Jacaranda Music in Santa Monica gave a rare opportunity for listeners to examine that perfection for itself Sunday night. Pianists Inna Faliks and Daniel Schlosberg presented Mahler’s Sixth Symphony in a piano four-hands arrangement prepared by his friend (and jilted ex-lover of his notoriously mercurial wife, Alma) Alexander von Zemlinsky. Augmented by the inclusion of some choice selections from the work’s percussion parts, it was a performance that stripped the music down to black and white, laying bare not only its formidable architectural unity, but also its teeth-clenching harmonies.”
Culture Spot LA, 2/6/19
“Jörg Widmann’s “Hunt Quartet,” a next-generation German composer, now 45, makes its intentions more clearly known. The quartet, from 2003, begins with a quote from the Schumann piano piece “Papillons.” What follows is a little something for everyone in this premonition circuit. Schumann gets jazzed up and beaten up (whip claps included). Mahlerian foreboding is ever present. The players scream as if in pain and shout as if in anger. It ends in violence, the cowering cellist attacked by three screaming players brandishing their bows in the air like sticks. Lyris made this downright unnerving.”
LA Times, 2/5/19
“Jacaranda, the Santa Monica new music series, opens its season at First Presbyterian Church with his two-hour piano extravaganza, “Achilles Dreams of Ebbets Field,” which evokes Achilles, Hector, Babe Ruth and Jackie Robinson, and will be played by Kathleen Supové.”
LA Times, 09/14/18
“Unusual, welcome, needed, and often enlightening.”
San Francisco Classical Voice, 05/22/2018
"Jacaranda is known for imaginative programs of challenging contemporary music."
LA Times, 03/22/2018
"Vanhauwaert revealed and reveled in all those facets, allowing his hands, which the composer had tasked to their utmost, to reveal the humanity and vulnerability at the heart of this score…[his] fingers setting the fuse for phosphorescent explosions that shimmered against a the backdrop of a tropical night. No less impressive was the performance…surprisingly primal and urgent. This near visceral quality was superbly realized by percussionist Jonathan Hepfer, whose performance had an elemental power that could very well have brought down the walls of the First Presbyterian Church of Santa Monica where the concert took place."
Crescenta Valley Weekly, 03/22/2018
"This is a great series of unusual music, unusual instrumentation, every one so far very worthwhile."
Santa Monica Daily Press, 03/15/2018
"The Barraqué Piano Sonata has been a challenge which few pianists have accepted. But this Saturday night pianist Steven Vanhauwaert will meet the score head-on, bringing it to life for the first time in Southern California in nearly 20 years.”
"...As soon as the familiar opening notes of the piece were played, it was apparent that this compact gang of polished musicians were creating a worthy rendition of 'Faun'. The 'string section' had only two violins along with a single viola, cello and bass. But combined with piano and harmonium...the sound ripened at moments into something powerful. Hilt’s finesse and control of his musicians, Jennifer Cullinan’s rich oboe, Donald Foster’s effective clarinet and the ensemble’s teamwork helped make this performance memorable.”
Times Quotidian, 03/14/2018
"To actually curate a concert is an art. It is one of the qualities that sets apart the Los Angeles music series Jacaranda. For more than 10 years, under the leadership of Artistic Director Patrick Scott and Music Director Mark Alan Hilt, Jacaranda’s concerts have been conceived as musical journeys of discovery..."
San Francisco Classical Voice, 02/27/18
"On January 20, new music series Jacaranda was the first of three area ensembles to present work by Eastman this year. Jacaranda combined The People United Will Never Be Defeated by Frederic Rzewski, and the LA premiere of Gay Guerilla by Eastman to observe Inauguration Day. [Eastman biographer, Renee] Levine-Packer was the featured speaker at a pre-concert event."
Arts Meme, 01/21/2018
"Some of the finest orchestral musicianship of the entire event was turned in by the players of Jacaranda Music. The two-part program began with the world premiere of Mark Grey’s Fantasmagoriana, a three-movement piece (conducted by Donald Crockett) that blends deep, classically oriented roots with a more post-minimalist style. It’s a piece that deserves more hearings."
San Francisco Classical Voice, 11/21/2017
"A snappy new chamber symphony premiered by Jacaranda proved playful and inventive, its twists and turns a pleasure."
LA Times, 11/20/2017
"In [Lou Harrison's] alluring Varied Quintet, for violin, harp, harpsichord and percussion, Harrison let bells ring the way bells like to ring in all their sonic complexity. Harp and harpsichord had Baroque-era tunings and provided extra perfume to his most delicious melodies, such as the one for violin sensuously played by Shalini Vijayan in a movement honoring Fragonard."
LA Times, 10/26/2017
AWAKE 2017-18 SEASON
"In launching AWAKE, Jacaranda’s 15th season, Patrick Scott is pushing back against the bad noise, and replacing it with the good stuff. Jacaranda performances highlight the quiet, the subtle, the sounds that tickle, not decimate, your ears. Music that stimulates, brings you awake. It’s an opportunity to tune in to something better."
Arts Meme, 10/11/2017
"Released in 2016, the Paris based Diotima Quartet, has recorded the definitive unabridged works for string quartet works of Arnold Schoenberg, Alban Berg and Anton Webern. [T]he audience experienced not just programming expertise..., but the perseverance of the Jacaranda duet [Patrick Scott & Mark Alan Hilt] to bring the just the right performers to proffer this extraordinary presentation.”
Times Quotidian, 03/20/2017
The first half...was devoted to the 150 years of American piano music that paved the way to Grand Pianola Music performed by the superbly skilled pianist Christopher Taylor. It all built up to the performance...with Taylor and Gloria Cheng seated at the twin keyboards, accentuated by members of the Jacaranda Chamber Orchestra and a trio of vocalists conducted by Jacaranda’s music director, Mark Alan Hilt. It felt like we had finally gotten to the feature film after a succession of previews of coming attractions. ... it stood out in all its grandeur."
Daily News, 01/18/2017
"If only all proponents of contemporary classical music could channel P.T. Barnum the way Patrick Scott did... at the Valley Performing Arts Center in Northridge. The LSD-triggered 1982 maximalist assault on good taste shows [John] Adams channeling his inner ringmaster. No elephants or tigers were on hand, but Adams' bold Grand Pianola Music, which concluded the concert in high vulgar style, did just fine. [T]he company's musicians sounded clear and full-bodied at VPAC venue. They should get out more often."
LA Times, 01/15/2017
BBC Music Magazine “North America Live” pick, 05/2016
"The voluminous program notes...can be so absorbing that you don’t want to pry your eyes away from the pages... plenty of context for an alert, adventuresome concertgoer. This time Scott wrote about the Margaret Thatcher era in Britain and the reaction to it from pop culture that was already bubbling away beforehand via the 1970s punk movement. To some degree, this rebelliousness had a counterpart in so-called classical music – at least in the selection played here.”
Classical Voice North America, 2/3/2016
"David Lang's darker, a slow and quiet piece for a dozen strings in which very little changes and during which the emotional temperature remains tepid, lasted an hour and seven minutes...The lights in the sanctuary gradually and effectively darkened throughout the performance... The point is to be expressive, but not too expressive, to find a middle way. But that middle way is oddly intense. The result, especially given an absorbing performance and sensitive amplification that produced a gleamingly energizing sound, can be one of well being. Jacaranda's music director, Mark Alan Hilt, conducted."
LA Times, 10/18/2015
2014-15 SEASON OF STORIES
BBC Music Magazine “North America Live” pick, 4/2015
"This inventive, intricately-laced program [had] an absorbing unity in mood — high seriousness…stretches of meditation, and often a willingness to experiment.”
Classical Voice North America, 04/29/2015
"The audience went wild. What else? This was riveting music that crept into every crevice of human perception — be it lulling waters or rugged mountains or a wildly macabre club scene.”
LA Observed, 02/15/2015
"Peter Maxwell Davies’ iconic multimedia fusion of imagery, dance and music, Vesalii Icones was stunning, simply overloading the senses with macabre dances, theatrical gestures and gruesome images, all portrayed with an iconoclastic irreverence from incongruous musical references."
Culture Spot LA, 02/09/2015
2013-14 SEASON OF JOURNEYS
"It’s hard to imagine the Southern California music scene without Jacaranda shaping and defining it."
Huffington Post, 06/06/2014
"After sailing serenely on… [Mad Rush by Philip Glass] erupts into a swirling vortex of sound full of drama and energy...hearing this piece performed live affirms the raw power of this music when heard in its intended venue.”
"The most surprising revelation of the evening was the spoken text, which I had never heard in English (the piece is meant to be performed in a venue's local language). The eroticism of these poems was a complete surprise... I had only heard the piece in German, and had no idea what the words meant.”
"This is the kind of accessibility that eludes most new music. The Cage and Messiaen were landmark pieces at their premieres, and are still considered avant-garde by the piano establishment, yet by no means do they alienate listeners. Instead their newness is evolutionary and inclusive, much to the musical world’s pleasure."
Stage and Cinema, 02/26/2014
"Call it an enclave of enthusiasts… And not for the first time at this outpost of modernism, was there a packed house (or should I say church?) even though no vestige of mainstream music showed up on the program.... No matter. It was the big names from the past [Debussy & Enesco]...who drew the hordes: oldsters with backpacks, elegant arty types, college students and even some unlikely middlebrow greyheads."
LA Observed, 02/06/2014
"The VOXNOVA Stimmung was unusual — stunningly beautiful, utterly serene, full of charm and doing everything it could to avoid embarrassment. There has been a lot of foolish talk in new music circles lately about the dryness of the '60s avant-garde. Jacaranda on Saturday night revived the era's wow factor.
LA Times, 01/27/2014
"Tendler revealed new corners of the piece by holding it up to a softer, more diffused light.”
"Stimmung has to be seen and heard in person to experience the full effect of Stockhausen’s extraordinarily beautiful writing. It certainly helps that the founder of VOXNOVA Italia, Nicholas Isherwood, worked with Stockhausen for the last seven years of the composer’s life.”
Times Quotidian, 02/04/2014
2012-2013 SEASON OF CONTRASTS
"Britten's most original inspiration proved making the Madwoman a mad tenor. Assuming you can find a tenor who can pull it off. Jacaranda found him. In a richly nuanced, boldly expressive, Steven Tharp, who has a broad operatic repertory, displayed the visionary quality of madness. The work has only once before been presented in Los Angeles (the Little Orchestra Society of New York brought it to Occidental College in 1968). The church was full with a devout new music audience, and a rare communal spirit was achieved. It was a moving, important occasion.”
LA Times, 04/29/2013
“Since 2003, the music series Jacaranda has provided the Los Angeles music scene with a much-needed boost of contemporary music programming, specializing in chamber music with an emphasis on West Coast composers. After centenary tributes to Messiaen and John Cage, they now have Benjamin Britten's centenary in 2013.”
"If you're in search of salon splendor...look no further than Jacaranda, the new-music enterprise in Santa Monica that incorporates the bold and the beautiful — with informed taste, imagination and a polish now brought to a peak of excellence… The source of all this wonderment is Patrick Scott... Together with conductor Mark Alan Hilt he sees to every detail of their small, smart operation here. It's located in one of the premier spots for acoustics and ambience...it's spare but warm and light, with a pleasing balance of scale and suggesting a kind of architectural humanity."
LA Observed, 03/13/2013
"Jacaranda’s lively program of the two Hungarian masters was…emotionally direct even when at its most melodically and harmonically abstract. This was music serving as hardcore workout for your brain: rigorous; requiring a serious investment in time, energy, and concentration; ...but ultimately, a positive and rewarding experience that makes you feel invigorated when it’s all said and done.”
All Is Yar, 01/18/2013
"Fierce Beauty, the Jacaranda concert in Santa Monica, was important. And it was important in several ways. The performances were powerful, and Eötvös was on hand to conduct the U.S. premiere of a recent work, for which Jacaranda was a co-commissioner. The evening was also an important model for collegiality [with the LA Phil] among arts institutions, something startlingly rare in other places. But most important of all, the concert mattered because it was serious. It dealt with adult issues. With this concert, Jacaranda grew up, moving beyond local to national significance.”
LA Times, 01/14/2013
"A sell-out throng of glitter, beauty and brains in all sorts and varieties responded warmly to the totally decadent musical menu... Jacaranda confounded everyone with George Enescu's Octet played by two stupendous young quartets, Calder and Lyris. [It was] full of energy and themes of unimaginable beauty and size, and yet constantly beset by waves of dark emotion. Classical music investment value: very high."
Huffington Post, 12/03/2012
"Mark Alan Hilt gave a different personality to each repetition, making a drama of the work. Vexations [for piano] has the capacity to create the sensation of well-being, the awareness of continuity of time as a physical flowing substance. The main event was... the first performance of Cage's The Ten Thousand Things. The performers — pianists Vicki Ray and Kallay, bassist Tom Peters, percussionist William Winant and reciter John Schneider were exquisite. Every sound sounded considered, alive, worthy of our wonder."
LA Times, 09/11/2012
2011-2012 SEASON OF DISCOVERY
“Season after season the twentieth century comes to life in Jacaranda’s programs.”
The New Yorker
2010-2011 SEASON OF POETRY
"[David] Lang's 2007 Grammy and Pulitzer Prize-winning [Little Match Girl Passion] was moving and splendidly done. Lang draws contrast in his music between the dark cold world of the little girl and the colorful light of her visions in the flame. The music can be halting and there are abundant silent pauses, but when the vocal harmonics burst into existence, they are marvelous, if still like the match flame, short-lived. The crowd sat in appreciative silence afterward before giving Lang, who was present for the performance, and the vocalists a standing ovation. And while those can be a dime a dozen here in L.A., this one was well deserved and it was another feather in Jacaranda's newer music cap."
Out West Arts, 01/31/2011
“Though not all winter themed, four diverse contemporary works (two American, two from Russia) were meant as a cross-country ski through an icy landscape. Lang’s job, then, was to warm a frostbitten night. In a 35-minute missive from heaven, four solo singers in transfixed harmony, accompanying themselves with gentle percussion, transcended worldly misery. [T]he audience sat transfixed in pews. The performance of this four-voice version – sung by soprano Elissa Johnston, alto Adrianna Manfredi, tenor Grant Gershon and bass Cedric Berry – was a stunner. Free-flowing voices floated as if unmoored by acoustics."
LA Times, 01/23/2011
"Americans may... still agree upon a common heritage of old hymns, popular songs and spirituals. American composers – populist or classical, conventional or avant-garde – have long used these natural musical resources… Charles Ives showed the way... Jacaranda turned to this first great American original in 12 short numbers, written between 1897 and 1934. Songs, solo piano pieces and strange ensemble works were given illuminating performances by soprano Elissa Johnston, pianist Scott Dunn and a chamber orchestra conducted by Jacaranda music director Mark Alan Hilt."
LA Times, 10/25/2010
2009-2010 SEASON OF ADVENTURES
“Jacaranda’s season finale was homage to Richard Wagner, its contribution to the two-month Ring Festival LA that explores the works and influence of the dominant European musical voice from the mid 19th Century until the end of World War I. Like a Cubist painting, each of the pieces in the program – by Schubert, Mahler, Hindemith, and Wagner himself – angled a different perspective on the composer, from antecedents to personal reflections, and finally to later developments. Conductor Hilt and his committed voices and strings gave it their all in riveting performances... that explored every tortured byway to its final, relieving cadence. ”
LA Opus, 05/27/2010
2008-2009 THE O. M. CENTURY, Part 2
“I cannot remember a better-imagined, better-played program supercharged with the pleasure of discovery…”
So I’ve Heard
2007-2008 THE O. M. CENTURY, Part 1
“There are times when you sit transfixed and pray that it never ends.”
“The right music in the right place at the right time.”