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The Kaleidoscope Chamber Orchestra performs Sergei Prokofiev's Symphony No.1 in D major, Op.25 ("Classical"). The concert was recorded at Zipper Hall at the Colburn School in Los Angeles, California, United States, on October 4, 2015.

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Prokofiev's Symphony No.1 represents the composer's earliest mature effort in a genre he returned to time and again for the remainder of his career. Though the symphony received a warm reception in Russia and abroad – and remains one of the composer's most frequently programmed works – Prokofiev's attitude toward it remained ambiguous, vacillating between dismissive and defensive.

The First Symphony is especially intriguing in light of the view of Prokofiev as a leading figure of the Russian avant-garde in the early decades of the twentieth century. The work's anachronistic "Classical" moniker seems particularly apt in respect to a number of its features. The symphony is in a familiar four-movement form, the two fast outer movements (Allegro and Vivace, respectively) bracketing a slow movement (Larghetto) and one inspired by a stylized dance (Gavotto); its textures are economical, its scoring appropriate to an orchestra of the late eighteenth or early nineteenth century; and it is of a decidely lighthearted, even humorous character, much in the spirit of the symphonies of Haydn. Indeed, it should be noted that the "Classical" subtitle was Prokofiev's own; scholar R.D. Darell has suggested that the composer may have chosen it partly to describe the work's character, partly because he hoped that the work would one day become a classic, and partly out of pure mischief directed at critics. (In regard to the last, Prokofiev wrote that he meant to "tease the geese.")

Though the symphony is at times sharply dissonant, it maintains a steadfastly tonal basis. Certainly, the "Classical" model is stretched in the work's harmonic language, which is marked by Prokofiev's characteristic ambiguous cadences and sudden shifts between tonal centers. Still, the work retains many of the trappings of Viennese Classicism, from the sonata-allegro form of the first movement, to the Mozartean gavotte and trio of the third, to the exuberant, witty finale. Despite the suggestion of its title, the "Classical" Symphony is not really neo-Classical along the lines of contemporaneous works by Stravinsky, but rather a work of elegant simplicity that evokes the spirit of high Viennese Classicism filtered through the more adventurous sensibilities of Prokofiev's own musical language.

Source: Alexander Carpenter (allmusic.com)

Sergei Prokofiev (1891-1953)

♪ Symphony No.1 in D major, Op.25 "Classical Symphony" (1916-1917)

i. Allegro [00:00]*
ii. Intermezzo. Larghetto [04:22]
iii. Gavotte. Non troppo allegro [08:27]
iv. Finale. Molto vivace [09:55]

Kaleidoscope Chamber Orchestra

Zipper Hall at the Colburn School, Los Angeles, California, United States, October 4, 2015

(HD 1080p)

* Start time of each movement

Kaleidoscope Chamber Orchestra: About

Vision. We envision a world where our commitment to a collaborative artistic process results in profound orchestral performances that inspire people to pursue cooperation and artistry in their own creative, professional and personal lives.

Mission. Kaleidoscope is a conductorless chamber orchestra dedicated to enriching lives through exhilarating concert experiences, artistic excellence, musician leadership, and connecting with the diverse communities of Los Angeles.

Core Values
• We believe that our collective of musicians has ideas that are worthy of respect and consideration; that each member has a voice worth hearing; that every person, given the chance and tools, can help to create great art.
• We believe that pursuing a democratic process within the orchestra will improve the quality of the performance, fulfill the collective vision of the ensemble, and create a unique experience not found in traditional orchestras.
• We believe in developing an infrastructure that supports, empowers, and values its musicians.
• We believe in bringing our performances and artistic process to audiences who have little or no exposure to symphonic music with the belief that the experience will enrich the lives of both the audience and the performers.

Artistic Intent. We perform orchestral music that speaks profoundly to our community and is both representative of its time and timeless, whether written today or centuries ago. We stretch the boundaries for what is thought possible without a conductor, both by musicians and audiences, to allow us all to grow through the process. We regularly collaborate with living composers because their music represents our time. We design programs that explore less conventional concert experiences and allow audiences to feel more personally connected to music and the musicians who perform it.

Community Engagement and Education. Kaleidoscope is committed to music education for all ages and is happy to offer a "pay what you can" model to eliminate the barrier of a set ticket price. We want everyone in Los Angeles to have the opportunity to experience great classical music in person by a professional orchestra, think about what that experience means, and pay what makes them happy. We also perform many additional free concerts in schools, hospitals, shelters, and other underserved parts of our community.

We recently started a music education program at a title I elementary school in Culver City, providing music instruction to 200 students each week. With additional funding, we are planning to expand this program to other grades and other schools in the future. Not only do we want every child in Los Angeles to love listening to music, we want every child to have the opportunity to read, play, and write music, too.

Source: kco.la

Accompanied by the Kaleidoscope Chamber Orchestra, the American pianist Irene Kim performs Sergei Prokofiev's Piano Concerto No.3 in C major, Op.26. The concert was recorded at Musco Center for the Arts, Chapman University, Orange, California, on February 24, 2019.

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For his Third Concerto for piano and orchestra, Prokofiev looked to the past for inspiration: this concerto incorporates material derived from sketches made between 1911 and 1918. The first movement contains two themes that were written in 1916, plus a chordal passage first sketched in 1911; the second movement contains a theme and variations that was written in 1913, while the final movement uses thematic material from a discarded string quartet begun in 1918. When he began composing this concerto during a holiday in Brittany, Prokofiev wrote, "I already had all the thematic material I needed except for the third theme of the finale and the subordinate theme of the first movement".

The Third Piano Concerto is perhaps Prokofiev's best known essay in this genre, and approaches Tchaikovsky and Rachmaninov in popularity and frequency of performance. Its opus number places it just after the "Classical" First Symphony of 1917, and the concerto is, in its way, similar to the First Symphony is a number of ways: both works are lively, acerbic, with brilliant orchestration and a certain transparent texture. Both pieces are also clearly the work of a deft young composer of considerable technical skill; however, the two works differ greatly in regards to their reception. The "Classical" Symphony was reasonably well received in Russia, where it was performed only once before Prokofiev emigrated to the United States. Subsequent performances of the symphony in America were very successful. The Third Concerto, on the other hand, did not fare so well, and after a good premiere in Chicago (along with the opera Love for Three Oranges) in 1921, the work was roundly denounced in New York.

The Concerto displays much of the "harmonic liveliness", in Nancy Siff's words, of the mid-period symphonies, with its sudden shifts from key to key and chromatic harmony. The sophistication and bravura generally associated with Prokofiev's music is ever present, as is the humor found in many of his orchestral works. The Concerto is in a traditional three-movement concerto form (the only one of Prokofiev's five piano concertos to use the traditional form), beginning and ending with fast movements that flank a slow middle movement. Each movement is about the same length, and the thematic weight and interest is distributed evenly throughout the movements. The work begins with a vivacious opening movement, which includes a humorous march underlined by castanets, followed by the five variations of the second movement, and concludes with a grandiose display of colorful harmonies and virtuosic orchestration. The solo writing for the piano is also virtuosic, and at times quite percussive.

Source: Alexander Carpenter (allmusic.com)

Sergei Prokofiev (1891-1953)

♪ Piano Concerto No.3 in C major, Op.26 (1921)

i. Andante – Allegro
ii. Tema con variazioni
iii. Allegro, ma non troppo

Irene Kim, piano

Kaleidoscope Chamber Orchestra

Musco Center for the Arts, Chapman University, Orange, California, February 24, 2019

(HD 1080p)

American pianist Irene Kim has been praised for her "vitality and charm" and "authoritative inevitability" by the Peninsula Review and her "superior technique and delicate sensibility" by the Korea Times. Her performances have been heard across North America and Europe in recitals, chamber ensembles, and as a soloist with the Washington Youth Orchestra, Los Angeles Korean Chamber Orchestra, Rio Hondo Symphony, Southwestern Youth Music Festival Orchestra, and repeat performances with the Young Musicians Foundation Orchestra.

Having garnered the Franz Liszt First Prize in the Liszt-Garrison International Young Artist competition and top prizes in the Carmel Music Society, Korean Concert Society, Yale Gordon Concerto, and Russell C. Wonderlic competitions amongst others, she gave subsequent performances at venues such as the Kennedy Center, Wilshire Ebell Theatre, Dorothy Chandler Pavilion, Centro Cultural del Antiguo Instituto, Luckman Theatre, and the Library of Congress. Irene has also made appearances at the Banff Centre for the Arts Festival, Gijón International Piano Festival, Piano Festival Northwest, Seminars at the Colburn School, Columbia Chalice Concert Series, An die Musik Live, American Liszt Society Conferences, and also as a member of the Young Artists Guild.

As a musician of curiosity, Irene has collaborated extensively, most notably with vocalists, cellists, violinists, and percussionists. She tours frequently with violinist Benjamin Hoffman as brightfeather, appearing in recitals from the New England area to Florence, Italy to enthusiastic audiences. Continuously piqued by the music and art of her contemporary surroundings, she has recently taken on projects with living composers, premiering works, and collaborating with visual artists and dancers. Irene's other interests have led her to train as a conductor and also as a piano technician assistant at the Peabody Institute. She finished an internship with the Domingo-Cafritz Young Artist Program at the Washington National Opera and the Kennedy Center for the Performing Arts. Her love for cinematography has led to projects of setting mixed media to music. Taking after her architect father, Irene is thoroughly interested in the acoustical designs of theatres and music halls.

Irene was born and raised in Los Angeles and began musical studies at age three with her mother. By age five, she was accepted into the distinguished and influential studio of Ick-Choo and Hae-Young Moon, where her formative training was established. At age eight, she made her orchestral debut with the Young Musicians Foundation Orchestra.

Irene's professional training has been centered at the Peabody Conservatory, where she recently received her Doctorate in Musical Arts. She was awarded the Albert and Rosa Silverman Memorial Scholarship, the Lillian Gutman Memorial Piano Prize, and Clara Ascherfeld Award by the Conservatory for her musical endeavors during her studies there. Her mentors and teachers, Marian Hahn and Boris Slutsky, have been infinitely inspiring in the impartation of their passion for the art of musicianship.

In the course of her musical erudition, she also has had the honor to work with and receive precious insight from various distinguished musicians, including Leon Fleisher, Anton Kuerti, Robert McDonald, Ani Kavafian, Alexander Toradze, and Robert Van Sice amongst others.

Irene is an avid believer that the arts are a manifestation of humanity and its creativity and aspires to let music travel to where its resounding compassion is much needed.

Source: irenekimpianist.com

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