The PEACE CENTER’s CHAMBER CONCERT SERIES schedule is upon us!

The Peace Center teams with Miles Hoffman to bring user-friendly, great chamber music to you! Life-enhancing world-class music in the comfy and acoustically marvelous confines of the Gunter Theatre. What could be better? Check the schedule of events below!, then get ticket info by clicking HERE!

Dean Robert Blocker

2/23: An Evening with ROBERT BLOCKER
A native son returns! Join Miles Hoffman as he hosts an unforgettable recital with pianist Robert Blocker. Blocker is a South Carolina native, a Furman grad, the current Dean of the Yale School of Music and an internationally-renowned solo artist.

 
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5/11:
Jewels From The City Of Light
Celebrate one of the most romantic cities in the world with another intimate night of chamber music! Jewels from the City of Light brings The American Chamber Players together with virtuoso violinist and professor at the famed Paris Conservatory, Alexis Galpérine. The evening will feature gems by Francis Poulenc, Philippe Gaubert, Armand Merck and César Franck, four composers who helped make Paris one of the musical centers of the world.

 

And don’t forget the Peace Center’s Chamber Lecture series with MILES HOFFMAN!

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3/30: J.S. Bach Was Handsome Once: A New Look At The Man And His Music
When you think of J.S. Bach, who do you picture? Most likely, it’s a stern and entirely too serious old man who looks as if he’s saying, “You don’t have any idea how lucky you are to gaze upon my greatness.” That’s because the only authenticated portrait of Bach was painted towards the end of his life. This lecture, however, focuses on a different Bach. The real Bach. He had 20 children, drank, swore, and once even found himself in a sword fight. Because while his musical abilities were superhuman, he was not. Join Miles Hoffman as he takes a look at Bach’s actual life. Because Bach was handsome once, and the world needs to know.

4/20: It May Lead To Dancing: Music And Dance, Partners In Passion
From waltzes to boleros to saltarellos, composers have been creating music with dances in mind for centuries. Why? Because widely known dances come with instant associations audiences don’t have to struggle to make. Certain dances evoke certain emotions, while others give us a glimpse into exotic cultures. Either way, the relationship between music and dance is a harmonious one. Join Miles Hoffman for the last lecture in the Classical Insights series as he analyzes one of the most passionate relationships in existence. The relationship between music and dance.

 

 

 

  • NEW RELEASES 4/28: April is going out large as we get in new stuff from GORILLAZ, ROBERT CRAY, WILLIE NELSON, MARK LANEGAN, RON SEXSMITH, TROMBONE SHORTY & more!
    Robert Cray has been bridging the lines between blues, soul and R&B for the past four decades, with five Grammy wins and over 20 acclaimed albums. For his latest project, Robert Cray & Hi Rhythm, the Blues Hall of Famer traveled to Memphis with his friend, renowned Grammy Award winning producer Steve Jordan, to make a classic soul album with Hi Rhythm, the band that helped create that sound. Set inside an old theatre, the funky Royal Studios looks much as it did when Al Green was cutting those classics for Hi Records. Guitarist Teenie Hodges has passed away, but his brothers Rev. Charles Hodges (organ and piano) and Leroy "Flick" Hodges (bass), along with cousin Archie "Hubbie" Turner (keyboards), were still there.
  • NEW RELEASES, 4/14: YES, we do have the new KENDRICK LAMAR in-stock NOW, but that’s not all. We’ve got new STRING CHEESE INCIDENT, JOHN MAYER, and some jazz-classical love for Mr. Gene!
    Less obviously haunted by the influence of George Clinton than its predecessor, Damn still sounds rooted in early-70s soul. There are nods towards the luscious, harmony-laden mellowness of the Stylistics and the Chi-Lites (opener Blood even features a warped version of the kind of spoken-word monologue found on the latter’s single Have You Seen Her?), to the stentorian bellow that opens Curtis Mayfield’s If There’s a Hell Below We’re All Gonna Go and to the dense sound of psychedelic soul – by way of Outkast – on Pride. If it seems a more straightforward listen than To Pimp a Butterfly, there’s a cheering sense that this doesn’t equate to a lessening of musical ambition. There’s none of that album’s wilfully jarring quality – its sudden, anxious musical lurches and abrupt, short-circuiting leaps between genres – but the tracks on Damn still feel episodic and expansive: XXX alone goes from massed harmony vocals to a downbeat rap over glitching, stuttering samples, to a thrilling moment where it explodes in a mass of sirens, screeching tyres and heaving basslines, to a dramatic drop in tempo and an understated guest vocal from Bono in the space of four minutes. Rather than angsty disruptions, there’s a more subtle sense of disquiet here. The heavy-lidded drift of Yah would sound relaxed were it not for the presence of two grating bass notes that fit with the lyrics’ prickly unease, where images of contented family life rub up against “theories and suspicions”. Meanwhile, on the brilliant Pride, troubled lyrical shifts from modesty and confusion to self-belief – “I can’t fake humble because your ass is insecure” – are mirrored by a rap electronically treated so that its pitch gradually speeds up and slows down amid the woozy atmospherics and falsetto vocals. Elsewhere, there’s brilliant, dexterous storytelling on Duckworth – the saga of how Lamar’s father narrowly avoided being murdered by a criminal called Anthony, complete with an eye-popping, no-spoilers twist – and another demonstration of Lamar’s nonpareil ability to write songs about the pressures of wealth and success that somehow manage to elicit the listener’s sympathy rather than a roll of the eyes.