{June 4th, 2023} Andrew McIntosh & Ian Pritchard
$15.00
Current members receive discounted tickets to Museum events.
If you are not currently a member, we invite you to join or renew your membership online.
If you are not currently a member, we invite you to join or renew your membership online.
The Society for the Diffusion of Useful Information is very pleased to present an evening of pairing baroque sonatas on period instruments with unaccompanied modern works on violin and viola performed by Andrew McIntosh and Ian Pritchard.
Sunday, June 4th 2023
Museum members receive early access to concert tickets. To learn more about this and other benefits, please visit our Membership page.
The Museum of Jurassic Technology
9341 Venice Blvd, Culver City, CA 90232
$18 General Admission
$15 Museum members, students, seniors
"Ai limiti della notte"
A program pairing baroque sonatas on period instruments with unaccompanied modern works on violin and viola, from the lush harmony of Jean-Féry Rebel and the crystal clear formal structures of Isabella Leonarda and Arcangelo Corelli to the dreamy sound worlds of Salvatore Sciarrino and Linda Catlin Smith and the visceral virtuosity of Iannis Xenakis.
Jean-Féry Rebel: Sonata VII
Linda Catlin Smith: Galanthus (snowdrop)
Isabella Leonarda: Sonata Duodecima
Iannis Xenakis: Embellie
Arcangelo Corelli: Sonata, Op. 5, No. 3
Andrew McIntosh is a violinist, violist, composer, and baroque violinist who teaches at the California Institute of the Arts, with a wide swath of musical interests ranging from historical performance practice of the Baroque era to improvisation, microtonal tuning systems, and the 20th-century avant-garde.
As a baroque performer McIntosh is a member of Tesserae, Bach Collegium San Diego, and Musica Angelica, has served as guest concertmaster for baroque operas with LA Opera and Opera UCLA, was recently both music director and concertmaster of Long Beach Opera's all-Handel pastiche production "The Feast", and has performed with the Washington National Cathedral Baroque Orchestra, Musica Pacifica, and the American Bach Soloists. He is also a frequent recitalist, performing with historical keyboardist Ian Pritchard and fortepianist Steven Vanhauwaert, and also appeared at the San Francisco Symphony's SoundBox series in 2016 performing solo Bach on baroque violin.
As a solo artist he has performed at Miller Theatre in New York, REDCAT, and festivals and concert series across Europe and the US. As a chamber musician he is a member of the Formalist Quartet, Wild Up, and Wadada Leo Smith’s Red Koral Quartet, and has worked personally with a wide range of composers including Christian Wolff, Sofia Gubaidulina, Sir Peter Maxwell Davies, Helmut Lachenmann, Tom Johnson, and Jürg Frey. As a composer he often works with forms and ideas found in nature or in other artistic disciplines, and was described by Alex Ross in the New Yorker as “a composer preternaturally attuned to the landscapes and soundscapes of the West". His compositions have been featured at venues including Walt Disney Concert Hall, Ojai Festival, Big Ears Festival, the Gaudeamus Festival, Time:Spans Festival, Hamburger Klangwerktage, Moments Musicaux Aarau, Bludenzer Tage Zeitgemasse Muzik, Miller Theatre, National Sawdust, Issue Project Room, Monday Evening Concerts, and Tectonics Festival Glasgow.
Ian Pritchard, harpsichordist, organist, and musicologist, is a specialist in early music and historical keyboard practices. As a continuo player he has performed with the Academy of Ancient Music, the Orchestra of the Age of Enlightenment, the Los Angeles Philharmonic, and Florilegium, with which he has toured in Europe and in South America. As a chamber musician, Ian has collaborated with Monica Huggett, Elizabeth Blumenstock, Elizabeth Wallfisch and Rachel Podger, and has performed under Christopher Hogwood, Christophe Rousset, Emanuelle Haïm, Nicholas McGeegan, and Laurence Cummings. He has won prizes in the Broadwood Harpsichord Competition, London (first prize), the P. Bernardi Competition in Bologna, and in the Bruges Competition. Ian began playing the harpsichord at the age of 13, beginning studies in his native Los Angeles with Susanne Shapiro. Earning his Bachelor’s in Music from the Oberlin Conservatory, Ohio in 1999 (where he studied with Lisa Goode Crawford), he moved to Europe in 2000. From 2000-2002 he studied at the Royal Academy of Music, London (where he studied with John Toll, Laurence Cummings, and James Johnstone), earning the prestigious DipRam award. In 2003-2004 Ian was awarded a Fulbright Scholarship to Italy, where he studied with Liuwe Tamminga and Andrea Marcon, and conducted research on early Italian keyboard music. In 2018, Ian earned his PhD in musicology from the University of Southern California. As a musicologist, Ian’s interests include keyboard music of the late Renaissance and early Baroque, improvisation, notation, compositional process, and performance practice. Ian is currently a full-time faculty member at the Colburn School Conservatory of Music, and in 2015 was elected an Associate of the Royal Academy of Music.
Face masks are recommended but not required.
As a solo artist he has performed at Miller Theatre in New York, REDCAT, and festivals and concert series across Europe and the US. As a chamber musician he is a member of the Formalist Quartet, Wild Up, and Wadada Leo Smith’s Red Koral Quartet, and has worked personally with a wide range of composers including Christian Wolff, Sofia Gubaidulina, Sir Peter Maxwell Davies, Helmut Lachenmann, Tom Johnson, and Jürg Frey. As a composer he often works with forms and ideas found in nature or in other artistic disciplines, and was described by Alex Ross in the New Yorker as “a composer preternaturally attuned to the landscapes and soundscapes of the West". His compositions have been featured at venues including Walt Disney Concert Hall, Ojai Festival, Big Ears Festival, the Gaudeamus Festival, Time:Spans Festival, Hamburger Klangwerktage, Moments Musicaux Aarau, Bludenzer Tage Zeitgemasse Muzik, Miller Theatre, National Sawdust, Issue Project Room, Monday Evening Concerts, and Tectonics Festival Glasgow.
Ian Pritchard, harpsichordist, organist, and musicologist, is a specialist in early music and historical keyboard practices. As a continuo player he has performed with the Academy of Ancient Music, the Orchestra of the Age of Enlightenment, the Los Angeles Philharmonic, and Florilegium, with which he has toured in Europe and in South America. As a chamber musician, Ian has collaborated with Monica Huggett, Elizabeth Blumenstock, Elizabeth Wallfisch and Rachel Podger, and has performed under Christopher Hogwood, Christophe Rousset, Emanuelle Haïm, Nicholas McGeegan, and Laurence Cummings. He has won prizes in the Broadwood Harpsichord Competition, London (first prize), the P. Bernardi Competition in Bologna, and in the Bruges Competition. Ian began playing the harpsichord at the age of 13, beginning studies in his native Los Angeles with Susanne Shapiro. Earning his Bachelor’s in Music from the Oberlin Conservatory, Ohio in 1999 (where he studied with Lisa Goode Crawford), he moved to Europe in 2000. From 2000-2002 he studied at the Royal Academy of Music, London (where he studied with John Toll, Laurence Cummings, and James Johnstone), earning the prestigious DipRam award. In 2003-2004 Ian was awarded a Fulbright Scholarship to Italy, where he studied with Liuwe Tamminga and Andrea Marcon, and conducted research on early Italian keyboard music. In 2018, Ian earned his PhD in musicology from the University of Southern California. As a musicologist, Ian’s interests include keyboard music of the late Renaissance and early Baroque, improvisation, notation, compositional process, and performance practice. Ian is currently a full-time faculty member at the Colburn School Conservatory of Music, and in 2015 was elected an Associate of the Royal Academy of Music.
ALL RESERVATIONS ARE WILL-CALL.
No tickets will be mailed to you.
Cancellations must be made 48 hours in advance of the performance to qualify for a refund.
Please address queries to events@mjt.org.
This concert is made possible in part by grants from the City of Los Angeles, Department of Cultural Affairs and the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.
