Proudly Presents
The Coming of Age of American Art Music
New England’s Classical Romanticists:
The Boston Six
Thursday, February 9, 2023
Peace United Church
900 High St. Santa Cruz, CA
Performance: 7:30 PM
Featuring
Pianist John Orlando
And friends
Kate Alm, piano and organ
&
Members of Symphony San Jose
Kiri Murakami-Loehmann, violin
Alex van Derveen, violin
Craig Bate, viola
Janet Witharm, cello
The Boston Six composers:
Edward MacDowell, Horatio Parker, Amy Beach,
George Chadwick, Arthur Foote and John K. Paine
About the Artists
John Orlando, pianist
John Orlando graduated summa cum laude with a Doctorate of Musical Arts
degree in performance from the University of Southern California. He has performed with the San Jose, Santa Cruz County and Fresno Symphonies, the Cabrillo Festival, and the Institute for the Development of Intercultural Relations for the Arts in Santa Cruz.
He is a founding member of the Johannes Trio and toured California with the Akademos Quartet from Warsaw, Poland in a performance of the Shostakovich Piano Quintet. Dr. Orlando has performed concertos by Mozart with the San Francisco Sinfonietta at Herbst Hall in San Francisco. Other engagements followed with the Cadenza Chamber Orchestra, directed by Maya Barsacq and the Espressivo Chamber Orchestra, directed by Michel Sanger.
Dr. Orlando has held teaching positions at the Universities of Southern California and Santa Clara. He is instructor emeritus at Cabrillo College where he was head of the piano department for over a generation. Dr. Orlando is the director of the Distinguished Artists Concert & Lecture Series, which he founded in 1985. He was one of the first recipients of the Gail Rich Award for community service in the Arts in Santa Cruz County and was chosen Best College Teacher and Best Performer in Santa Cruz County by the Good Times Weekly local newspaper.
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“An artist of obvious talent whose playing was marked by exceptional clarity, a good sense of style and sensitivity.”
“Orlando displayed a fine sense of the work’s (Beethoven Concerto No. 3) emotional as well as technical demands. From the thundering rolls of the minor keys to the single notes in the higher registers on which he seemed to hold his listeners breathlessly suspended on his fingertips, he played with rich theatricality, even going so far as to purposefully hesitate at times to eek the last bit of drama out of single notes.”
Generously Sponsored by
Teresa Green and
