ASHBURNHAM — Historical Piano Concerts’ 39th fall season will open Sunday, Sept. 1, with works by Tchaikovsky and Rachmaninoff, played by pianist Misuzu Tanaka, in her sixth appearance on the series.

On June 15th 2024 at the Sarasota Music Festival, Charles Neidich performed Copland's Clarinet Concerto in its original 1948 version with the Sarasota symphony led by maestro Jeffrey Kahane, giving the Florida premiere of this iconic work of the clarinet repertoire.

May saw Trio Confero giving debut performances in France at the Festival Les Pianos Folies du Touquet and in Hungary at the opening of the International Cello Festival of Törökszentmiklós as well as in Nádor Hall in Budapest.

March-April 2024 marked a third visit to Japan by Maksim Shtrykov and Misuzu Tanaka. This time musicians gave six concerts, two piano recitals and four chamber music concerts in collaboration with The Erde String Quartet. Repertoire highlights included Brahms: Clarinet Quintet, Op.115, Schumann Piano Quintet Op.44, Prokofiev: Overture on Hebrew Themes, Brahms: Clarinet Trio, op.114 and Schumann: Violin Sonata No.2, Op.121 in Maksim's new arrangement for clarinet.

The Tenri Cultural Institute was packed this Friday as the WA Concert Series presented a “re-debut” program entitled “The World of the Expanded Clarinet” led by WA co-founders Charles Neidich and Ayako Oshima. It reminded us of how much we’ve been missing since March of 2020, when the onslaught of COVID-19 forced their hiatus (apart from some virtual offerings). I am happy to report that they are back and better than ever!

Ayako Oshima and Charles Neidich, are excited to announce that the WA Concert Series is re-starting with our re-debut concert March 1st at 8pm at the Tenri Cultural Institute under the auspices of our newly formed non-profit corporation,  Artena Foundation, Inc. Our March 1st concert is titled "The World of the Expanded Clarinet."

As part of the Daniel Saidenberg Faculty Recital Series, clarinetist Charles Neidich and pianist Robert Levin joined forces at Morse Recital Hall at The Juilliard School on January 31, 2024. The pairing of two such noted and scholarly musicians promised not only technically masterful performances, but deeply informed musical ones as well. In addition to some of the favorites of the clarinet repertoire, the program included two premieres: the world premiere of Mr. Neidich’s own composition, Lament for basset clarinet in A and piano, and a U.S. premiere of Landscape by the Light of the Moon by Russian composer Edison Denisov

Charles Neidich will be performing live with noted pianist Robert Levin at Morse Recital Hall at The Juilliard School on Wednesday evening, January 31, 2024, 7:30pm as part of theschool's Daniel Saidenberg Faculty Recital Series. Highlights of the program will include the world premiere of Mr. Neidich’s own composition Lament for basset clarinet in A and piano; and a U.S. premiere of Landscape by the Light of the Moon by Russian composer Edison Denisov.

Classics Today reviews Debut Album Epilogues by Shtrykov-Tanaka Duo
Jed Distler I Classics Today I December 24, 2023

The title “Epilogues” refers to the fact that Brahms, Saint-Saëns, and Poulenc wrote clarinet sonatas at the end of their composing careers. More importantly, clarinetist Maksim Shtrykov and pianist Misuzu Tanaka serve up world-class performances of these works that yield nothing to competing catalog versions.

MusicWeb International reviews album Epilogues

David McDade I MusicWeb International I July 6, 2023

It is a strange thing that three composers as different as Brahms, Saint-Saëns and Poulenc should each have turned to the clarinet late in their respective careers. It goes without saying almost that the sound of the clarinet provokes the idea of the autumnal shading into the wintry – or perhaps autumnal masterpieces such as the clarinet quintets of Mozart and Brahms have imprinted these associations in our minds? Either way, these ‘last thoughts’ are the theme of this lovely album. The title ‘Epilogues’ seems appropriate since all three works sit outside the main body of each composer’s work, reflecting on a life in a largely low key, somewhat nostalgic manner.