Concert pianist Andras Schiff said that he has been threatened with having his hands cut off if he returns to Hungary.
As summertime slowly approaches, concerts of music both minimal and maximal will enchant Manhattanites in search of aural Yiddishkeit. On April 29 at the Walter Reade Theater, flutist Claire Chase will perform Steve Reich’s “Vermont Counterpoint” in its version for flute and tape; the alternate version, for eleven flutes, would doubtless exceed even the gifted Chase’s capacities. She will be joined for other, less minimalist, works on the program by the pianist Jacob Greenberg. On May 1 at Carnegie Hall, Reich’s mini-fluting is exchanged for emotional maxing-out in the form of Gustav Mahler’s songs interpreted by baritone Matthias Goerne with the superstar pianist Leif Ove Andsnes.
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.
This autumn’s Manhattan concert calendar contains celebrations both of Jewish musical youth and age, as if offering alternating songs of innocence and experience. Experience comes first, from October 19 to 24, when Dizzy’s Club Coca-Cola presents an 85th birthday party for Newport Jazz Festival impresario George Wein. Among the celebrants will be Jazz Jews such as the trumpeter Randy Brecker and sax and flute player Lew Tabackin.
“Mendelssohn, the Nazis and Me,” a recent DVD release from Kultur International Films, reproduces a 2009 BBC TV film by UK-born writer Sheila Hayman about her eminent ancestor, the composer Felix Mendelssohn.