The Wallis Annenberg Center for the Performing Arts continues Summer @ The Wallis on its outdoor stage with Salastina which celebrates the 100th birthday of Tango Master Ástor Piazzolla with his original arrangement of Four Seasons of Buenos Aires, a set of four tangos for piano, violin, bandoneón (a type of Spanish accordion), electric guitar and double bass, on August 7, 2021, 8 pm.
Other Piazzolla works on the tango-themed program include Le Grand Tango and Romance del Diablo. Salastina also performs Jalousie Tango Tzigane (Jealousy Gypsy Tango ) by Danish composer Gade; Rodriguez s quintessential tango La Cumparsita; the evocative Piano Sonata No. 1 by Argentinian composer Ginastera; and Boulanger s Trois Pièces for Cello and Piano. Salastina features Maia Jasper White and Kevin Kumar, violins; Meredith Crawford, viola; Yoshika Masuda, cello; HyeJin Kim, piano; Philip Graulty, electric guitar; Nathan Farrington, double bass; Seth Asarnow, bandoneón.
When the cellos play, the cows come home
The students of the Scandinavian Cello School perform for Mogens and Louise Haugaards cows in Lund, Denmark, April 23, 2021. A collaboration between a cattle farmer and a Danish music training program brings regular recitals to pampered livestock. Carsten Snejbjerg/The New York Times.
by Lisa Abend
(NYT NEWS SERVICE)
.- During a recent performance of Tchaikovskys Pezzo Capriccioso, a handful of audience members leaned forward attentively, their eyes bright, a few encouraging snuffles escaping from the otherwise hushed parterre. Though relative newcomers to classical music, they seemed closely attuned to the eight cellists onstage, raising their heads abruptly as the pieces languid strains gave way to rapid-fire bow strokes.
When the Cellos Play, the Cows Come Home
A collaboration between a cattle farmer and a Danish music training program brings regular recitals to pampered livestock.
The Students of the Scandinavian Cello School performing for Mogens and Louise Haugaard’s cows on April 23.Credit.Carsten Snejbjerg for The New York Times
By Lisa Abend
LUND, Denmark During a recent performance of Tchaikovsky’s “Pezzo Capriccioso,” a handful of audience members leaned forward attentively, their eyes bright, a few encouraging snuffles escaping from the otherwise hushed parterre. Though relative newcomers to classical music, they seemed closely attuned to the eight cellists onstage, raising their heads abruptly as the piece’s languid strains gave way to rapid-fire bow strokes.