- One ticket to an Atlanta Chamber Players concert
- Door time: one hour before showtime
- Ticket values include all fees.
Available Performances * $15 for general admission seating to “Quartet Triptych” at Spivey Hall on Sunday, March 2, at 3 p.m. (up to $33 value). Click here to view the seating chart. * $8 for balcony seating at “Bach to the Baroque” at The New American Shakespeare Tavern on Tuesday, May 13, at 7:30 p.m. (up to $16.20 value). Click here to view the seating chart. * $10 for box seating at “Bach to the Baroque” at The New American Shakespeare Tavern on Tuesday, May 13, at 7:30 p.m. (up to $21.60 value)
“Quartet Triptych” opens with Bohuslav Martinů’s Piano Quartet no. 1, with a sparkling first movement that evokes the light in a sun-filled room or a salsa competition held atop a stage filled with firecrackers. Next, Bliss Point—a world premiere by Piotr Szewczyk—shows why the composer has won acclaim as the Florida Chamber Music Project’s composer-in-residence. Finally, Brahms’ Piano Quartet no. 3 pulses with quiet anguish, revealing how the composer spent 20 years suppressing his passionate feelings for his best friend’s wife. As Brahms himself described the mood of the music: “Imagine a man for whom nothing is left, and who wishes to put an end to himself.”
“Bach to the Baroque”
An evening of Baroque gems begins with Johann Joachim Quantz’s Trio Sonata in D Major. A flute-maker and teacher to Frederick the Great, Quantz’s piece showcases the intricate trills and delicate formalism that won him the reputation of being the greatest flutist in Europe. The players then move onto the spare melodies of Crossroads, a collaboration between composer John Harbison and poet Louise Glück, both Pulitzer-winners. Bach’s comic Coffee Cantata closes the program, following the travails of a father desperately trying to get his caffeine-addicted daughter give up her coffeehouse habit and stop jumping on that trampoline.
Atlanta Chamber Players
Since 1976, the Atlanta Chamber Players have dedicated themselves to the preservation and performance of small-scale classical works. And they don’t limit themselves to Brahms and Beethoven—although they do play those masters’ pieces and advertising jingles from time to time—but vary their repertoire to include selections from contemporary composers and living American artists. The group fosters up-and-coming talents as well, founding the “Rapido!” 14-day composition contest that invites submissions of new works from across the country. But whatever programs the ACP applies their instruments to, they do it with a style hailed by the Gainesville Times as “elegant…real chamber music.”