While developing a video to tell the Key Chorale story Artistic Director Joseph Caulkins was asked, “What makes the Chorale unique?” His goal was to express, in just a few minutes, the various ways the Chorale impacts our community, the singers, youth and the larger community of choral music.

As Joseph considered Key Chorale’s programming that honors the history of great choral music, presents world premieres, includes guest artists, collaborates with other performing arts organizations and provides opportunities to area high school students, he found the answer in four words: innovation, community, collaboration and creativity.

We invite you to view this wonderful video produced by the HuB and learn more about Key Chorale.


The Pops Orchestra of Bradenton and Sarasota

See the Pops in a music video!

Streetlights Part 1

"Streetlights" by Ryanito and Ocean Symphony aka Michael Mendez from #TheCosmicGuideLP released 4/22/2017.Produced and Recorded by Ryan "Ryanito" Larranaga and Moses Martinez of Loud and Strong Music.Mastered by 13 Grammy Award Winning Engineer Micheal Makowski "When they asked me if I was serious about my music, I told them I'm licensed in all inhabitable continents, if penguins would buy music I would be licensed in Antarctica too."Ryan Ryanito LarrañagaA Special Thank You to The Pops Orchestra of Bradenton and Sarasota Studio KRP Little Skull Photography Elusive View / Hyline Embroidery. Most of all the fans who continue to support the movement. We will be heard!The Cosmic Guide LP is #Worldwide. Click the link below to listen on your choice of platforms available today:iTunes: hyperurl.co/TCGCdbaby: http://smarturl.it/TCGcdbabyAmazon: http://smarturl.it/TCGamazonTidal: http://smarturl.it/TCGtidalGooglePlay: http://smarturl.it/TCGGooglePlayMicrosoft Groove: http://smarturl.it/TCGMicrosoftGrooveiHeart Radio: http://smarturl.it/TCGiheartradioSlacker Radio: http://smarturl.it/TCGslackerSpotify: http://smarturl.it/TCGspotifyYouTube: http://smarturl.it/TCGyoutubeSaavn: http://smarturl.it/TCGsaavnHearnow: http://smarturl.it/TCGhearnowBandcamp: http://smarturl.it//TCGbandcampSoundCloud: http://smarturl.it//TCGsoundcloudBandcamp: http://smarturl.it//TCGbandcampSoundCloud: http://smarturl.it//TCGsoundcloud

Posted by Ryanito on Sunday, October 29, 2017



Sarasota Orchestra Presents DVOŘÁK & MAHLER

November 10, 2017

Friday | 8:00 pm | Van Wezel

November 11, 2017

Saturday | 8:00 pm | Van Wezel

November 12, 2017

Sunday | 2:30 pm | Van Wezel

Tickets from $33

The first concert of the season launches with two works by the great masters: Dvořák and Mahler. Dvořák’s Cello Concerto is the pinnacle of expression for the instrument most like the human voice. Exploring some of the cello’s most expressive and beautiful qualities, Dvořák shows his compositional prowess in this piece performed by Spanish cellist Adolfo Gutierrez Arenas. On hearing Mahler’s Fifth Symphony, prepare to forget that time has passed. The symphony begins with a rhythmic motive reminiscent of Beethoven’s Fifth Symphony. It progresses from tragedy to triumph in the stirring fifth movement.


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Guest Conductors & Artists


The German-born of Spanish parents cellist, Adolfo Gutiérrez Arenas, started his piano studies in Munich, and at the age of 14 he started playing the cello. He also studied in Spain. He graduated from the Reina Sofia School of Music under Swedish cellist Frans Helmerson. He continued violoncello studies with Lluis Claret and participated in master courses with such eminent musicians as Janos Starker, Tsuyoshi Tsutsumi, David Geringas, and Ralph Kirshbaum. Among his teachers are also Elías Arizcuren, Gary Hoffman, who said “Adolfo is an outstanding young cellist” and Bernard Greenhouse (cellist of the famed Beaux Art Trio for over three decades), who said “Adolfo is a cellist of exceptional ability, both as an instrumentalist and as a superbly gifted musician. I expect that these qualities will bring him a career of great importance.” Adolfo was among selected soloists for the 1999 International Laureates Music Festival and performed solo with I PALPITI Chamber Orchestra in Los Angeles. In 2002 he was awarded with the Ravel prize as soloist and chamber musician.

Adolfo Gutiérrez Arenas has performed at major venues such as the Concertgebouw Amsterdam, Auditorio Nacional in Madrid, Ford Theater in Los Angeles, l’Auditorio and Palau de la Música in Barcelona, Bulgaria Hall in Sofia, Palacio Euskalduna in Bilbao, etc. He has collaborated with conductors such as Eduard Schmieder, José Ramón Encinar, Friedrich Haider, Enrique Batiz, Antoni Ros Marbà, Anu Tali, Pablo González, Michael Tilson Thomas, Roberto Minczuk and many others.

As a member of the Beethoven String Quartet and the Scarlatti Piano Quartet, sponsored by the Carlos de Amberes Foundation, Adolfo Gutiérrez Arenas performed throughout Spain. In chamber music, he performed in festivals in Germany, France, and Holland. He was also a member of the Arizcuren String Trio. He has been invited to perform at the most prestigious festivals and halls such as the Schleswig Holstein Festival in Germany, Ravinia Festival in Chicago, Thy Music Festival in Demark, Palos Verdes Festival in California, Holland Music Sessions, Taos Music Festival in New Mexico, etc. For five years the Young Artist International Organization has been inviting him to participate at the International Laureates Festival in Los Angeles, California. His recital tours in USA have led him to play in New York, Boston, Dallas, San Diego, Los Angeles, etc. He has appeared in numerous performances of L.v. Beethoven’s entire works for cello and piano and J.S. Bach’s Six Cello Suites (BWV 1007-1012).

Adolfo Gutiérrez Arenas is without doubt the most international Spanish cellist right now. In Spain he has recently performed with orchestras such as the Sinfónica de Galicia, Orquesta de la Comunidad de Madrid, Real Filharmonia de Galicia, Orquesta del Principado de Asturias, Oviedo Filarmonía, Orquesta Simfònica de Barcelona y Nacional de Catalunya, Orquesta de Extremadura, Orquesta Sinfónica de RTVE, etc. His future engagements include: Orquesta Filarmónica de Málaga, Orquesta Nacional de España or the Orquesta de Castilla y León, among others.

In 2010 Adolfo Gutiérrez Arenas made his debut with the London Symphony Orchestra at the prestigious concert series of Ibermusica playing the Concerto for violoncello and orchestra by Edward Elgar concerto, being reinvited to the cycle, where he performed a recital in 2012 with great success of audience and critics. His future engagements include, among others, his debut with the Royal Philharmonic Orchestra and his Chief Conductor, Charles Dutoit, the Gewandhausorchester Leipzig with Riccardo Chailly and Orquesta Nacional de España with Ton Koopman.

Among his recordings we can highlight a recital program with pieces by Samuel Barber, Sergei Rachmaninov and Piazzolla and the complete cycle of the Cello Suites (BWV 1007-1012) by J.S. Bach, both of them recorded for Verso label.


TREASURES Chamber Soirée 3

We bring you two giants of chamber music: Dvořák and Fauré. Dignified throughout, Dvořák’s lovely Wind Serenade is simply alluring. Brahms wrote of the Serenade: “It would be difficult to discover a finer, more refreshing impression of really abundant and charming creative talent.” Fauré’s Quartet is a work of awesome power. It is beauty personified and is at times playful, grieving and serene. At all times, it carries within it the emotional weight of a symphony, ranging from heartbreak to great jubilation.

October 22, 2017

Sunday | 4:00 pm | Holley Hall

Tickets from $35


Antonín Dvořák (1841-1904)

The eighteenth century witnessed the birth of many of the important genres in classical music, with the symphony, the string quartet, and the piano trio, among the most prestigious. The instrumental serenade was another, written in a light vein designed primarily for entertainment and even as background music for social gatherings and dinner parties. It developed as a hybrid of chamber and orchestral music, as well as the dance suite, with three to ten relatively short movements. The serenade often involved unusual instrumental combinations, as in Mozart’s Serenade for 13 Wind Instruments (the Gran Partita), which served Dvořák as a model for his Second Serenade. Wind ensembles (or, in German, Harmonie bands) were particularly suited to outdoor entertainment; Mozart composed a slew of them.

Dvořák’s second venture into the Serenade came in 1878. This one he scored for two each of oboes, clarinets and bassoons, one contrabassoon, three horns, cello, and double bass. The Serenade was premiered in Prague the same year and published less than a year later. Brahms again served as guardian angel, promoting Dvořák to his own publisher, Simrock, who offered him his first commission, the Opus 46 set of Slavonic Dances. Dvořák quickly became a sought-after composer, courted by publishers, performers and audiences.

The D-minor serenade is a skillful handling of contrasting moods, opening with a somewhat gloomy military march, followed by a minuet featuring a beautiful clarinet solo, framing a lively trio. The third movement Andante con moto, a dark pastoral idyll, is the longest and weightiest movement but blows the clouds away with a lightweight coda. The work concludes with an energetic Finale, with a second section recalling the Slavonic Dances.


Gabriel Urbain Fauré (1845-1924)

The bulk of Gabriel Fauré’s music – whether piano, chamber, vocal or orchestral – conveys the impression of a personal and private statement, an intimate conversation between the composer and his muse. Throughout his long life, Fauré’s ideal was, as he put it, to create musique de chambre; the larger forms – opera, symphonies or concertos – were not for him. His music is admirably suited for performance in private homes or small halls. The elegance and “ease” of much of his music belies the painstaking effort that went into the composition.

It took Fauré a long time to achieve recognition as a major composer. He was a gentle, modest man, who rarely had a harsh word for anybody. Despite his early success as composer of songs and chamber works, he was only appreciated by a small circle of friends. He was 60 when he finally became Director of the Paris Conservatoire in 1905, the most progressive Director the institute ever had. He held the post until 1920.

The C-minor Piano Quartet, graceful, warm and lyrical, is Fauré’s second chamber work (after the Violin Sonata, Op. 13). It premiered in 1880 and was subsequently extensively modified before publication in 1884.

The Quartet opens with a vigorous statement on the strings in unison, which is immediately transformed into a gentler melody. The second theme is introduced by the viola, then taken up by the other instruments.

Fauré solves the difficult problem of integrating the piano with the strings by often treating the keyboard instrument in the manner of a harp. This is particularly effective in the scherzo, where glissandolike runs create a stunning gossamer effect.

The grave and melancholy Adagio is deeply intense, perhaps a reflection of Fauré’s distress at the breakup of his engagement to Marianne Viardot, the daughter of a famed opera singer. The movement is essentially through-composed (without repeats). The Finale returns to the powerful drive of the opening movement, surging to an exultant finish.

Program notes are written by
Joseph and Elizabeth Kahn.

By Special Arrangement

Great Escapes 1

Much of the music we love was composed for small ensembles or even a solo piano. This concert explores how arranging music for a full orchestra can enhance sonic colors and impact. This diverse program features popular selections from classical composers, the Beatles, and the Broadway smash Hamilton.


Wednesday & Friday Programs include ONLY the   starred pieces

 Slavonic Dance No. 1

 Hungarian Dance No. 3

Menuet from Le tombeau de Couperin

 Toccata in D Minor

 Variations on America

 Overture from South Pacific

 More, Theme from Mondo Cane

When I Fall in Love from Small Wonder

Dear Theodosia from Hamilton

 Love Is All You Need


TANGO TIME Chamber Soirée 1

Tango Time in Sarasota

Explore some thrilling new music, combined with one of the classic violin sonatas. The concert starts with Brahms’ Violin Sonata No. 1 featuring Daniel Jordan, concertmaster. The intensity builds with Piazzolla’s Four for Tango. This string quartet is aggressive, sensual and mesmerizing. Maslanka describes the first movement of his Quintet No. 2 as fierce, the second movement as elusive, and the third as sweet.  Maslanka recently passed away in August at age 73, leaving a legacy of nearly 130 published works.

September 28, 2017

Thursday | 5:30 pm | Holley Hall


Johannes Brahms (1833-1897)

It is common for composers to write music for friends. Mozart, for example, wrote many of his concertos for people he knew, and Johannes Brahms likewise wrote his three violin sonatas for his friend Joseph Joachim (1831-1907), one of the greatest musicians of his time. After meeting Brahms in 1853, Joachim became a major supporter, introducing him to other important figures in the music world including Robert and Clara Schumann. While Robert died in 1856, Brahms’s friendship with Clara, an extremely gifted pianist, continued for decades, and she offered input on and performed many of his compositions. Her connection to the Violin Sonata No. 1 is particularly personal—Brahms completed the work in 1879, right around the death of Clara’s youngest son Felix. In a letter that she wrote to Brahms that same year, she compared Felix’s tragedy to the plight of her eldest son Ludwig, who had been committed to an insane asylum nearly ten years prior. “Such a poor, miserable man lives on now,” Clara said, “and the other, the intellectually gifted, to whom life stood open with all its attractions, dies. Why?” Almost in response to her complex question, Brahms mailed Clara the Violin Sonata No. 1 in G Major.

Written in three movements, the sonata vacillates between joy and sorrow. Its mercurial nature is sometimes compared to Clara’s state of mind following her son’s death: ardent attempts at optimism, but with depression and sorrow frequently breaking through. The opening Vivace ma non troppo is expansively lyrical and generally sunny, with occasional intense eruptions of angular phrases in the minor mode. The ensuing Adagio is impassioned, full of double and triple stops in the violin (two or three notes played at the same time). At the opening of the concluding  Allegro molto moderato, Brahms quotes his own “Regenlied,” a song about lost days of youth, beginning in the minor mode but eventually closing in the major. The final movement spoke to Clara Schumann the most—as she wrote to Brahms, “I don’t believe that one person perceives that melody as blissfully and melancholically as I.”

Program Note written by Jennifer Glagov. 



Astor Piazzolla (1921-1992)

Astor Piazzolla’s name has been inseparably associated with the tango. During the Depression, Piazzolla’s family moved to New York, where he studied piano and the bandoneón, a type of concertina with a 38-button keyboard that had become the central instrument in the tango ensembles of his native Argentina. After a stint in Paris, studying composition with no less an eminence that Nadia Boulanger, Piazzolla returned to Argentina to form his first Tango Octet and later his renowned Tango Quintet, made up of the bandoneón, violin, piano, electric guitar and bass.

Influenced by his studies in Paris and classical forms, Piazzolla aimed his compositions a cut above the traditional tangos. No longer dance music, they became concert music, although for the nightclub rather than the concert hall. Nevertheless, the psychological intensity and sophistication of his music so infuriated the traditionalists that Piazzolla was repeatedly physically assaulted and even threatened with a gun to his head during a radio broadcast.

Piazzolla, in turn, has inspired such jazz artists as Jerry Mulligan and Chick Corea. His tangos have been arranged for classical violinist Gidon Kramer and for the renowned and eclectic Kronos String Quartet, for whom he composed Four, for Tango in 1988.

Most of Piazzola’s tangos have a clear melodic element, but Four, for Tango adapts to contemporary sound of the Kronos Quartet, and the series of melodic fragments are sometimes obscured.

Program Note written by Joseph & Elizabeth Kahn.



David Maslanka (1943-2017)

One of the qualities of the wind quintet in comparison to its analog, the string quartet, is the diversity of the sound of the instruments and the kind of writing that makes them shine. While they can merge into a seamless blend, they also can produce an acerbic staccato that, frankly, makes some string quartet aficionados cringe. Maslanka exploits both these qualities in the Wind Quintet. There’s a lot going on in this piece – a little romance and a lot of humor.

Maslanka composed the three-movement Wind Quintet No. 2 in 1986 for the Manhattan Wind Quintet. The mood of the work goes from technically challenging and assertive in the first movement, to introspective and even ethereal in the third, which is a chaconne.

The first movement is characterized by an ostinato rhythm that pulses in the slower sections, as in the introduction, and drives nervously into the main idea in the Allegro. The movement vacillates between slightly tuneful and cacophonous.

The second movement alternates two disparate melodies: one a romantic cantilena, the other a jazzy response. It’s somewhat like a dialogue between two people, one who wants to stay home and make love, the other who wants to go clubbing.

They probably stayed home, because the last movement is a chaconne beginning with an achingly romantic – and completely characteristic – oboe melody that puts the second movement to shame. The Quintet ends quietly with a cross between a chorale and a barbershop quintet.

Maslanka’s works for winds and percussion have become especially well known. They include among others, A Child’s Garden of Dreams for Symphonic Wind Ensemble, Concerto for Piano, Winds and Percussion, the Second, Third, and Fourth symphonies, Mass for soloists, chorus, boys chorus, wind orchestra and organ, four Wind Quintets and numerous others. In addition, he has written a wide variety of chamber, orchestral, and choral pieces. His music is Romantic and tonal.

Program Note written by Joseph & Elizabeth Kahn.

Upward Notes

941Magazine looking forward to doing an interview with Natalie Helm from Upward Notes in the near future. Until then here is a brief look at what to expect from this amazing group of classical musicians.

Upward Notes is an ensemble based in Sarasota, FL that takes music out of the concert hall and into rarely served parts of the community. We focus on inspiring and bringing attention to organizations who may not have access to classical music. This includes, but is not limited to, the homeless, Parkinson’s and Dementia patients, addiction centers, underserved youth, veterans, and even shelter animals.

This all began last year with a few informal events that turned into huge successes. Upward Notes was featured on Fox News, PEOPLE magazine, the Herald-Tribune, and many online news blogs after performing for a local animal shelter.

During this coming season, we will be providing one free concert each month to non-profits in the Sarasota/Bradenton area. We have already planned events with children, Dementia patients, Parkinson’s patients, animal shelters, and addiction centers.

In the past, this has been a 100% volunteer based organization. However, we want to expand our community reach which means more venues, more concerts, more planning, and much more time. Our goal for the 17-18 season is at least 8 concerts. Each concert costs around $250 for us to provide. Your donation will go towards supplying 1-4 musicians per concert, new and creative musical arrangements for various instruments at each program, and promotional materials to help get our name into the community!

If you would like to donate for a specific concert or specific cause, we would be more than happy to make that happen! Upward Notes

Check Your Ticketmaster Account Because You May Have Some Free Tickets

Who doesn’t enjoy a nice surprise every now and again? Well, if you’ve used the event ticketing service Ticketmaster at some point in the last ten years, you could be in for a huge surprise today. The company settled a $400 million class action lawsuit over its exorbitant fees after a protracted legal spat just last month. Rather than pay out affected customers in the form of cold hard cash however, Ticketmaster has elected to compensate them in the form of discount codes and vouchers.

What that means is if you log into your Ticketmaster account today and click on the “Active Vouchers” tab, you might just find a whole series of codes granting you free passes or discounts to upcoming events. I’ve personally used Ticketmaster quite frequently over the years and found seven offer codes to free shows in the future. They’re only free in the sense that I don’t have to pay for them, and Ticketmaster already got my money when I sprung for those KanyeWest tickets a couple years back. But I’m not about to shake my fist at the opportunity to catch some shows without having to go out-of-pocket again in the future.

The settled lawsuit is purported to affect about 50 million people that purchased tickets on Ticketmaster between the span of October 21, 1999 and February 27, 2013. The list of eligible shows that are open for you to redeem your promo codes is currently dead, but will hopefully be up and running soon. Keep checking back, and let us know who you intend on catching live when it does.

Foo Fighters’ Dave Grohl Keeps Playing After Breaking His Leg During Show

“I think I really broke my leg”

The Foo Fighters’ June 12 show in Sweden didn’t go quite as planned: Dave Grohl broke his leg after falling during a song and had to leave, according to a fan-shot video from the show.

In the video, Grohl’s spirits seem to be up despite his injury: “I think Ireally broke my leg,” he tells the audience before promising to come back after first making a stop at the hospital. And apparently he made good on his promise: Some Reddit users posted photos of Grohl sitting on a chair with his leg bandaged up, strumming on his guitar.

The Foo Fighters’ next show is scheduled for Sunday in the Netherlands, and haven’t announced any plans to reschedule.