Concerts give music lovers the chance to gather together to hear their favorite artist and share one giant, meaty party sub. Share a moment with this GrouponLive deal.
- Admission to Mainly Mozart’s Chamber Players concert series
- Where: Ruby G. Schulman Auditorium
- Seating: general admission
- Ticket values include all fees.<p>
$25 for two tickets to a choice of one concert (up to a $57 value)
- Sunday, June 2 at 2 p.m. Doors open at 1 p.m.
- Sunday, June 9 at 2 p.m. Doors open at 1 p.m.
- Sunday, June 16 at 2 p.m. Doors open at 1 p.m.<p>
$70 for a series subscription for two to attend all three concerts (up to a $150 value)<p>
Composed of members of the Mainly Mozart Festival Orchestra and its surrounding constellation of guest artists, the Chamber Players perform a range of works in a more intimate setting.<p>
Sunday, June 2
Musicians sink fingers and bow into Polish composer Witold Lutoslawski’s Partita for Violin and Piano, a complex and frenetic work requiring uncommon nimbleness. Beethoven’s Sonata for Violin and Piano No. 2 in C Minor—composed alongside the iconic Fifth Symphony—lets the pair weave similarly tormented, but more longing, melodies in the same stirring key as its famous counterpart.<p>
Sunday, June 9
A violinist, cellist, oboist, bassoonist, and pianist walk into a bar, decide to leave and walk into an auditorium instead, and dive into Beethoven’s self-transcribed Symphony No. 2. Described by the Kennedy Center as “…a prevailingly cheerful work illumined by a feeling of robust vitality and well-being,” the piece makes an appealing companion for Jean Françaix’s colorful, neoclassical Trio for Oboe, Bassoon, and Piano.<p>
Sunday, June 16
Pieces from French composers Gabriel Fauré and Francis Poulenc make up the program. Poulenc’s Sonata for Clarinet and Piano in B Flat veers from soothing to frenetic, characterized by a playful tone that suggests the clarinet is sticking its tongue out when the piano isn’t looking. Fauré’s Piano Quartet No. 1 in C Minor captures a mirroring sense of fun through its first two sections, but the third sees whimsy give way to a contemplative, wistful melody, grounded by the cello’s mournful tone.<p>