Unlike the last few weekends, when all the interesting classical concerts occurred on the same evening, the next few days hold one intriguing event each.
Gaubert Vivant! A film and lecture tonight at the Alliance Française in Midtown and a concert Sunday afternoon at Spivey Hall. Philippe Gaubert (1879-1941, at left) was among the greatest flutists of the past century, and a contributor (along with his teacher, Paul Taffanel, and his student, Marcel Moyse) to the modern French style of playing that inspired Debussy and Ravel and continues to dominate international orchestras.
Approaching the 70th anniversary of his death, Gaubert’s family wanted to raise awareness of his artistic legacy — as a performer, composer and teacher.
Now, French flutist Nicholas Duchamp, who’s related to an infamous Dada artist, is bringing Gaubert back to life. He plays Gaubert’s famous instrument, a solid-silver 1874 flute by Louis Lot (the Stradivari of flute making). Duchamp will show a film and play solo flute at the Alliance Française tonight.
On Sunday at Spivey, he’ll partner with pianist Barbara McKenzie, his longtime collaborator and the artistic director of Chamber Music Wilmington in North Carolina, for a performance of music by and related to Gaubert. I love this sort of deep-deep exploration of a historically worthy musical topic. It helps put what we hear today into rich perspective.
Scottish Chamber Orchestra with pianist Piotr Anderszewski. Friday at Emory’s Emerson Concert Hall. Anderszewski, a rare catch as a pianist, will perform a pair of popular Mozart piano concertos (Nos. 20 and 27). Following the composer’s lead, the Polish-Hungarian prize-winning pianist will conduct the band from the keyboard. Mendelssohn’s “Hebridies” Overture and scenes from Beethoven’s ballet “The Creatures of Prometheus” round out a very full program.
New Trinity Baroque, one of Atlanta’s early-music ensembles, continues its robust 12th season with an evening of Antonio Vivaldi’s instrumental music, Saturday night at St. Bartholomew’s Episcopal Church. Igor Stravinsky famously said that Vivaldi composed the same concerto 700 times — such irreverent wit! — but it took the period-instrument movement to reveal the astonishing energy and color and vitality in the Venetian master’s music. There’s operatic intensity and lyricism in even his most basic patterns. I never leave a New Trinity concert without having gained some new insight into music that I thought I knew everything about.