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J.M. Leclair Sonata No. 5 for two violins in E minor R. Schumann Sonata for violin and piano in A minor, Op. 105 C. Debussy Sonata for cello and piano in D minor J. Brahms Sonata No.2 for violin and piano in A Major, Op. 100 E. W. Korngold Suite for piano (left hand), 2 violins and cello
Program: J.M. Leclair Sonata No. 5 for two violins in E minor R. Schumann Sonata for violin and piano in A minor, Op. 105 C. Debussy Sonata for cello and piano in D minor J. Brahms Sonata No.2 for violin and piano in A Major, Op. 100 E. W. Korngold Suite for piano (left hand), 2 violins and cello
Hello Everybody! A new season has begun with new dreams and expectations. In my case I have a special reason to be very happy and I would like to share it with you. Last year, my violin students, ranging from the age of 4 to 17, and my colleagues helped me inaugurate two concert series I founded: Kids Kare and A Cocktail for Music. I am pleased to announce that on Saturday June 9th, 2012 the two concert series will come together and become one; Love Like Liam Concert. Over the years, being a part of the arts has become a two-fold purpose for me. The first is to engage in inspiring performances and the second is to utilize my musical knowledge in the teaching of children. To that end, my experiences in teaching children has become a large part of my career. The foundation of the future in music belongs to the children of our upcoming generations. It is the responsibility of those of us fortunate to have been given top notch training to pass it along to those who will follow us in years to come. It is essential for children to be given the proper tools so that they may grow in their musical careers. Not only should we educate children in the musical sense, but we must also teach them how knowledge in music can be linked to everything around them. My goal as an educator has been to both teach music and make the children aware of the world around them. The event “Kids Kare” and “A Cocktail for Music” was created to give my students the opportunity to use their talents towards a worthy cause. I believe teaching empathy is as important as teaching the child how to play the violin because it instills confidence and enthusiasm that comes from knowledge that one person can actually make a difference in this world. I used to regard children with the same affection as one has for muddy dogs in their house and after working with them, my eyes have opened. The optimism bordering on naivety, the insuppressible cheer, it is infectious in the best way possible. They remind me of the hope we all had, that feeling that anything is possible whether it be in music, school or love. I was introduced to Cookies for Kids’ Cancer by a very close family friend who’s husband works very closely with Larry Witt, the co-founder. After doing some research it was then that I realized to have a disease so final and deadly rob someone, anyone of the irreplaceable childish spirit is a great tragedy indeed. This is why I am determined to make what contributions I can, however small, to allowing ill-fated children live out their own dreams and win out against a disease so dangerous. Please join me on Saturday June 9th, 2012 for the "Love Like Liam" Concert. It's a musical marathon featuring two performances; the first one beginning at 3:00pm featuring students ranging in age from 4-16 and the second one beginning at 6:00pm featuring a joint recital by two young artists, David Gale and Nate Robinson. This extraordinary event will take place at The Dimenna Center located at 450 West 37th Street in New York City.
Sounds Like: Aaron Rosand, Henryk Szeryng, Jascha Heifetz, Hilary Hahn, David Oistrakh
Bio: David C. Gale: Violinist
David Gale was born in December 1986. He began studying the violin at the age of nine under the tutelage of Bonnie Aher. From 2001-2005 David was enrolled at the Prestigious Manhattan School of Music Preparatory Division, where he was a recipient of the Hansoree Scholars...See Full Bio
“... He played the "Habanera" Op. 26 No. 8, "Romanza Andaluza" Op. 22 No. 1, and "Jota Navarra" Op. 22 No. 4 with rhythmic verve, sure intonation and great panache. The start-stop bounciness, leaps between high and low registers, and singing, sighing tone of the "Jota" were especially memorable ...”