Eighteen years ago, I spent an afternoon at the Brandon home of Michael Ippolito, where he sat at the piano talking about his newly composed Rhapsodie Pathetique. He played a passage and looked at me, confidently. “I’m the piano,’’ he said, “and the orchestra is the world.’’
Expecting a bit of a letdown after our grand 50th anniversary celebration? Don’t. Music Director Michael Francis has put an enormous amount of thought into programming every concert in our most wide-ranging season yet, which starts in the fall. “It’s our first chance to show where we’re going as an orchestra in our new era,” he said.
Dorothy Hindman isn’t your typical classical composer. Her music is fearless, post-modern, tightly wound, sometimes digital, punctuated with punk, and always ear-opening. Music critics describe her compositions as visceral, profound, spectral. Some works cascade into a state of entropy, like a swirling black hole in deep space.
Classical music is thriving underground in St. Petersburg. On the second Monday of the month, local musicians get together to perform in Classical Revolution St. Pete, a night of straight-up, high-caliber chamber music in the Iberian Rooster’s basement lounge for whoever wants to listen. For free.