Bank of America Chamber Music | Dock Street Theatre | Concert Music | Charleston City Paper
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Bank of America Chamber Music 

When: Fri., May 27, 1 p.m., Sat., May 28, 11 a.m. & 1 p.m., Sun., May 29, 11 a.m. & 1 p.m., Mon., May 30, 11 a.m. & 1 p.m., Tue., May 31, 11 a.m. & 1 p.m., Wed., June 1, 11 a.m. & 1 p.m., Thu., June 2, 11 a.m. & 1 p.m., Fri., June 3, 11 a.m. & 1 p.m., Sat., June 4, 11 a.m. & 1 p.m., Sun., June 5, 11 a.m. & 1 p.m., Mon., June 6, 11 a.m. & 1 p.m., Tue., June 7, 11 a.m. & 1 p.m., Wed., June 8, 11 a.m. & 1 p.m., Thu., June 9, 11 a.m. & 1 p.m., Fri., June 10, 11 a.m. & 1 p.m., Sat., June 11, 11 a.m. & 1 p.m. and Sun., June 12, 11 a.m. & 1 p.m. 2011
Phone: (843) 722-2764
Price: $25-$40
www.spoletousa.org

CHAMBER MUSIC AND CHUCKLES. The music at the Dock Street Theatre in this year's edition of the dynamite Bank of America Chamber series will come courtesy of the chamber musicians, some of the best, and the chuckles will be the result of witty Geoff Nuttall, now in his second year as series director and entertaining emcee.

BUT DON'T LET THAT FOOL YOU. Nuttall might be delightfully laid-back and LOL funny, but he knows his business, and nobody can top his unique insights and deep reverence where chamber music is concerned. And, as lead violin for the exuberant St. Lawrence String Quartet, he's a brilliant musician. You'll also get to experience his innovative bent. For the first time this year, there'll be "mini-festivals" of beloved music by Mozart and Schubert. The musical contents of all 11 of the series' programs (formerly kept secret until performance day) are already up on the festival website, so you can check out any day's music before buying your tickets.

NO ELEVATED PINKIES ALLOWED. Leave snooty attitudes up in the ivory tower, and you'll be in the right mindset for this series. But book early. Even though much of the modern music to be offered is by popular and accessible composer-gods like Osvaldo Golijov (the series' composer-in-residence this year, a real coup) and Kaija Saariaho (one of this year's opera composers), many will rush to snap up tix for the programs devoted to the more broadly revered music of dead white Europeans. After all, you can finally pick and choose this year.

— Lindsay Koob

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