Portland Youth Philharmonic Presents Camerata PYP Mozart, Mendelssohn, & Farrenc in Beaverton | Featuring Rising International Star Llewellyn Sanchez-Werner
From our sponsors:
Portland Youth Philharmonic Presents Camerata PYP Mozart, Mendelssohn, & Farrenc
May 11, 2022
7PM | $8.50-$23.50 | All Ages
More info: portlandyouthphil.org
Patricia Reser Center for the Arts
12625 SW Crescent St, Beaverton, OR 97005
The Portland Youth Philharmonic (PYP) chamber orchestra Camerata PYP and Portland Piano International Rising Star Llewellyn Sanchez-Werner bring you thrilling orchestral performances, plus a piano concerto in May! Join them on May 11 at the all-new Patricia Reser Center for the Arts at 7PM, or on May 12 at George Fox University’s Bauman Auditorium at 7PM for Camerata PYP: Mozart, Mendelssohn, & Farrenc; Llewellyn will also perform a solo recital on May 17 at Grace Memorial Episcopal Church at 7PM.
During the invigorating May 11 and 12 program, attendees will hear Felix Mendelssohn’s The Hebrides, Op. 26, the local premiere of 19th-century French composer Louise Farrenc’s Symphony No. 3, Op. 36, and Wolfgang Amadeus Mozart’s Piano Concerto in C minor, KV 491, featuring Llewellyn Sanchez-Werner, Portland Piano International Rising Star.
“Camerata PYP will be presenting a program of both well-loved and unknown works,” said PYP Musical Director David Hattner. “Mendelssohn’s Hebrides Overture is a work of such inspiration that Johannes Brahms, a later German composer, suggested he would trade 4 of his symphonies to have written it himself.
Louise Farrenc, a virtuoso pianist and formidable composer, wrote three Symphonies that fell unjustly into neglect. In the last ten years, they have been performed regularly, delighting audiences worldwide with their beauty, craft and creativity.
Mozart wrote only two piano concertos in minor keys, and [the Piano Concerto in C minor, KV 491] is one of his great masterpieces in the form. Llewellyn Sanchez-Werner, our soloist, will be writing and performing his own cadenzas for this performance.”
In a recent statement from Llewellyn, he detailed how Mozart didn’t have the time to write down his cadenzas and would often improvise them during performances. He explained how this threw the door wide open for pianists to choose what cadenzas they want to play.
“This C Minor is indeed one of those concerti without a cadenza in [Mozart’s] hand,” Llewellyn stated. “Improvising or writing your own cadenza is such a personal statement, and the truest to capturing the Mozartian spirit. I am excited to have written my own cadenzas for this concerto, and a compelling reason to hear these performances live is that you will hear something new!”