Oboist Andréa E. Banke performs this weekend in the first Wichita Symphony Orchestra Classics concert of the year, October 12 and 13, 2013.
The Program includes:
RAVEL Daphnis and Chloe: Suite No. 2
POULENC Concerto in D minor for Two Pianos
featuring Christina and Michelle Naughton
STRAVINSKY The Rite of Spring
Wednesday, September 25, 2013
Art Chatter is...
Wichita creative types - artists, musicians, designers - give short, illustrated talks about a range of subjects. Strap in for this thought cocktail on a Friday night. Due to the rave success, the program moves into a new space to accommodate the crowd. Featured presenters include ceramist Ted Adler, oboist Andréa E. Banke, jazz band director Lisa Hittle, lighting designer David Neville, art director Sandra Denneler, and curator Jodi Throckmorton. Presented with the WAM Contemporaries, with free admission and cash bar. Dinner available following the program at The Muse. Reservations are recommended at 316-268-4973.
For more details, see the WAM website.
Tuesday, March 12, 2013
Wichita Eagle reviewer David Baxter has praise for WSO and Andréa Banke in Mozart and Mahler:
"The first portion of the program featured WSO principal oboist Andrea Banke as soloist, performing Mozart’s Oboe Concerto in C Major. In her duties with the orchestra for the past eight years, Banke consistently has brought an inspirationally high level of musicianship. In her performance of this jovial concerto, Banke made the most of the playful lines and displayed exquisite technique."
Read the entire review...
Read more here: http://www.kansas.com/2013/03/10/2710028/review-wichita-symphonys-take.html##storylink=cpy
Monday, February 11, 2013
Andréa E. Banke
will perform Mozart’s Oboe Concerto in C Major, K.314.
Saturday, March 9th at 8 pm
Sunday, March 10th at 3 pm
Century II Concert Hall
Composed in 1777 for the oboist Giuseppe Ferlendis, the Concerto boasts some of the most operatic and beautiful writing in any oboe work. The outer movements are buoyant and, although technically difficult, always serve to showcase the joyful virtuosity of the oboe’s “voice.” In a letter to his father dated November 1777, Manheim, Mozart writes, “You know that I am no great lover of difficulties. (We) play difficult things, but hearers are not aware that they are difficult. That is real playing.”
The slow movement, in particular, is a lush, mature “aria” for the oboe. Each phrase is shaped melodically with color, but must fit into the logical structure of the strings’ harmony. One hears these two planes—melodic and harmonic—at once.
The final Rondo has a spinning dance theme with trills, punctuated with episodes of more lyrical playing. At times, Mozart even sounds like he is playing with a Turkish dance theme. Humor is evident throughout.
I will perform three of my own cadenzas written for the occasion.