Classical music events both before and after Purim (on March 8) focus on dialogues redolent of Yiddishkeit, as New Yorkers and others will discover. On February 10 at Weill Recital Hall pianist Lia Jensen-Abbott will perform Fanny Mendelssohn’s “The Year,” a work inspired by the composer’s relationship with her brother Felix. The Hungarian Jewish composer György Ligeti described his 1951 “Sonata for solo cello” as: “[a] dialogue. Because it’s like two people, a man and a woman, conversing.” Ligeti’s sonata converses on February 10 at Bargemusic with cellist Nicholas Canellakis.
Then it’s back to Bargemusic on February 18 for another meeting of the minds, with some of the late keyboard dazzler Earl Wild’s “Seven Virtuoso Études on Popular Songs,” after George Gershwin. Played by Olga Vinokur, the “Études” will be complemented by Gershwin’s own “Rhapsody In Blue.”
Dialoguing across the centuries may be witnessed on February 22 at Alice Tully Hall when the UK’s premier Jewish composer/conductor Thomas Adès directs the Britten Sinfonia in his own “Three Studies After [17th century composer] Couperin” as well as his arrangement of the same Frenchman’s keyboard work “Les barricades mistérieuses,” and Adès’s “Violin Concerto (Concentric Paths)” with soloist Pekka Kuusisto.