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Santa Monica, California – The Santa Monica Public Library and Los Angeles’s Cold Blue Music record label are proud to present an evening of piano music with works by contemporary composers Daniel Lentz, Michael Jon Fink, Peter Garland, Michael Byron and Jim Fox, on Wednesday, January 20, at 7:30 p.m. in the Martin Luther King Jr. Auditorium, 601 Santa Monica Blvd, Santa Monica, CA, 90401.

The composers presented at this concert have long been associated with Cold Blue, a new music label that has been described as presenting “a distinctive body of music—a virtual Cold Blue ‘school’—forged in the wake of American musical experimentalism” (International Record Review) and “a recognizable and distinctly American compositional outlook, sensual and approachable while also robustly individualistic and aesthetically self-determining” (The Wire magazine).

The event features Los Angeles’s celebrated, Grammy-nominated new music pianist Aron Kallay, whose playing has been praised by the Los Angeles Times as “exquisite” and “alive,” along with performances by composers Fink and Fox. Composer Lentz will also be on hand.

Among the pieces performed will be Lentz’s 51 Nocturnes, Fink’s Two Preludes for Piano and Five Pieces for Piano, and brief works by Garland, Byron, and Fox.

This concert is the first of a monthly series: Soundwaves, presenting innovative music on the third Wednesday night. Soundwaves is curated by Daniel Rothman and Jeff Schwartz and sponsored by the Friends of the Santa Monica Public Library.

This event is free and open to the public. Seating is limited and on a first-arrival basis. The Santa Monica Public Library is wheelchair accessible. For special disabled services, call Library Administration at (310) 458-8606 at least one week prior to event. For more information, visit smpl.org or contact the Santa Monica Public Library at (310) 458-8600.

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SwitchOpera-2.Mikhail, AmandaWHAT: World premiere of the contemporary opera Switch 
WHEN: February 12-14 + February 19-20 at 7:00 p.m. 
WHERE: Le Laboratoire, 650 East Kendall Street, Cambridge, MA, T: Red to Kendall Square
TICKETS: $40/$20 Students. To purchase, contact Le Laboratoire at 617.945.7515 or visit LeLaboratoireCambridge.com.

 

As the 2015-16 contemporary music ensemble-in-residence at Cambridge’s Le Laboratoire, the Ecce Ensemble premieres Switch, a contemporary opera written and composed by John Aylward, directed by Laine Rettmer (Loft Opera), and conducted by Jean-Philippe Wurtz (Ensemble Linea). Featuring two vocalists—Amanda DeBoer Bartlett (soprano) and Mikhail Smigelskii (bass-baritone)—backed by the Ecce Ensemble, Switch explores the relationship between an artist and his muse. In addition to two consecutive weekends of performances, Ecce hosts two free, complementary events open to the public at Le Lab: Re-Imagining Contemporary Opera, an artist talk with Aylward and Rettmer on February 3rd at 6:30 p.m.; and Composers’ Reading Session, a workshop/presentation of young local composers’ chamber works led by Wurtz on February 15th at 12:00 p.m.

 

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Soloist Morris Robinson

Soloist Morris Robinson

The Los Angeles Master Chorale, led by Artistic Director Grant Gershon, presents two performances of Verdi’s towering Requiem, a work National Public Radio calls a “thrilling opera in disguise,” with stellar guest soloists Amber Wagner, soprano, Michelle DeYoung, mezzo soprano, Issachah Savage, tenor, and Morris Robinson, bass, on Saturday, January 30, 2 pm, and Sunday, January 31, 2016, 7 pm, at Walt Disney Concert Hall.  A stunningly theatrical staple of the choral repertoire, Verdi’s work is a tumultuous, tortured, terrifying spectacle that has thrilled audiences since its debut in 1874.

 

Written in memory of Verdi’s close friend, author and cultural icon Alessandro Manzoni, the Requiem combines virtuosic and deeply personal vocal solos, transcendent chorus parts and exhilarating symphonic writing, covering every operatic emotional range conceivable, from brittle tenderness and profound terror to bleak uncertainty.  The great composer Johannes Brahms called the Verdi Requiem “a work of genius,” a sentiment that continues to hold true.
Gershon considers the Verdi Requiem to be one of the top three greatest choral works ever written and says, “There is nothing like hearing this extraordinary work in Disney Hall.”  He notes that the Chorale’s presentation includes surround-sound antiphonal trumpets and a custom-built double bass drum designed to literally shake the auditorium (and the audience) during the dramatic Dies Irae section reflecting Judgment Day.

 

Wagner, acclaimed by the Chicago Tribune for her “remarkable voice,” is a winner of the 2007 Metropolitan Opera National Council Auditions Grand Finals and was featured in the 2009 documentary film “The Audition.”  She was chosen by Opera News as one of 25 artists poised to break out and become a major force in classical music in the coming decade.  Featured engagements this season include her debut at Minnesota Opera in the title role of Strauss’ Ariadne auf Naxos conducted by Michael Christie, a role she will reprise later in the season for her company debut with Palm Beach Opera.  She also performs Verdi’s Requiem with the Orquesta Filarmónica de Jalisco in Guadalajara, Mexico, and the Milwaukee Symphony Orchestra under the baton of Asher Fisch.

 

Multi-Grammy winner DeYoung, considered one of the world’s most exciting mezzo sopranos, has been called by the London Times “the Jessye Norman of our day.”  She has appeared with such leading opera companies as the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Seattle Opera, Opera Philadelphia, Glimmerglass Opera, La Scala, Berliner Staatsoper, Hamburg State Opera, Opera National de Paris and the Tokyo Opera, and was named the 2015 Artist in Residence at Wolf Trap Opera.  Her recording of Kindertotenlieder and Mahler’s Symphony No. 3 with Michael Tilson Thomas and the San Francisco Symphony (SFS Media) was awarded the 2003 Grammy Award for Best Classical Album.  DeYoung received the 2001 Grammy Awards for Best Classical Album and Best Opera Recording for Les Troyens with Sir Colin Davis and the London Symphony Orchestra (LSO Live).

 

Savage, who has garnered tremendous critical praise for his voice, has been hailed by the San Francisco Chronicle for “a combination of power and finesse that is rare to observe.”  He is the winner of the 2014 Seattle International Wagner Competition earning the main prize, audience favorite prize, orchestra favorite prize, and a special honor by Speight Jenkins.  Savage made his Metropolitan Opera debut as Don Riccardo in Verdi’s Ernani under James Levine last season.  Other recent performances for the dramatic tenor include the world premiere of Wynton Marsalis’s All Rise with Kurt Masur and the New York Philharmonic, the world premiere of Leslie Savoy Burr’s Egypt’s Night with Philadelphia’s Opera North, with Marin Alsop and the Baltimore Symphony, and his role debut as Radames in Aida at North Carolina Opera.

 

Robinson, a former All-American offensive lineman, rounds out the quartet with what the New York Times describes as “a big, sonorous bass voice.”  He is a graduate of the Metropolitan Opera Lindemann Young Artist Development Program and made his debut at the Metropolitan Opera in a production of Fidelio.  He has since appeared there as Sarastro in Die Zauberflöte, Ferrando in Il Trovatore, the King in Aida, and in roles in Nabucco, Tannhäuser, and the new productions of Les Troyens and Salome.  He has also appeared at the San Francisco Opera, Lyric Opera of Chicago, Dallas Opera, Houston Grand Opera, Boston Lyric Opera, Pittsburgh Opera, Opera Philadelphia, Seattle Opera, Los Angeles Opera, Cincinnati Opera, Boston Lyric Opera, Vancouver Opera, Wolf Trap Opera, Opera Australia and the Aix-en-Provence Festival.
Tickets range from $29 – $129.  Group rates are available.  For tickets and information, please call (213) 972-7282, or visit www.lamc.org.  Tickets can also be purchased in person in advance at the Dorothy Chandler Pavilion Box Office (Mon-Sat, 10 am-6 pm) and at the Walt Disney Concert Hall Box Office on concert days starting 2 hours prior to the performance.  The Walt Disney Concert Hall is located at 111 South Grand Avenue at First Street in downtown Los Angeles.

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Soprano Teresa Wakim

Soprano Teresa Wakim

Los Angeles Chamber Orchestra (LACO) Music Director Jeffrey Kahane serves as musical “tour guide” for LACO’s annual “Discover” performance, a special one-night-only exploration of Bach’s popular Cantata No. 140 featuring soprano Teresa Wakim, tenor Colin Ainsworth, bass Andrew Craig Brown, USC-Thornton Chamber Singers and Los Angeles Children’s Chorus, on Saturday, January 23, 2016, 8 pm, at Pasadena’s Ambassador Auditorium.  This “Discover” program is designed to lead patrons to a greater understanding and appreciation of the historical and cultural significance of cantatas composed by Bach and to hear the piece with “new ears.”  One of Bach’s approximately 200 surviving sacred cantatas, it is noted for a remarkable range of expression and musical styles.  Kahane, who explores a different work each year at LACO’s “Discover” concert, is lauded for his “eloquence” (The New York Times).

 

Los Angeles Chamber Orchestra is considered one of the world’s premier chamber orchestras as well as a pacesetter in presenting wide-ranging repertoire and adventurous commissions.  Its 2015-16 season features a compelling mix of beloved masterpieces and genre-defying premieres from firmly established as well as notable up-and-coming composers programmed by Jeffrey Kahane, one of the world’s foremost conductors and pianists, who marks his 19th season as LACO’s music director.

 

Tickets (starting at $30) are on sale now and may be purchased online at laco.org, by calling LACO at 213 622 7001, or at the venue box office on the night of the concert, if tickets remain.  Student rush tickets ($12), based on availability, may be purchased at the box office the day of the concert. Also available for college students is the $30 “Campus to Concert Hall All Access Pass” – good for all seven of LACO’s Orchestral series concerts, Discover Bach’s Cantata “Sleepers Awake” and three Westside Connections concerts.

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Lacey Huszcza

Lacey Huszcza

Lacey Huszcza and Karin Burns, two long-time Los Angeles Chamber Orchestra (LACO) staff members, have been promoted to key senior positions, according to LACO Executive Director Scott Harrison.  Huszcza was named Senior Director of Advancement and Strategic Engagement, and Burns was promoted to Director of Finance and Administration.  Harrison also announced three administrative appointments: Sarah Singer as Director of Advancement and Leadership Giving, a newly created position; Monica Miklas as Annual Giving and Special Events Manager; and Marie-Françoise Theodore as Executive Assistant.

 

“With these promotions, we are proud to recognize Lacey and Karin for their considerable contributions to LACO and the future creativity and resourcefulness they will bring to the organization as we continue to increase our impact throughout Los Angeles,” says Harrison.  “They are both thoughtful leaders and in their new posts will continue to advance LACO’s artistic, community and financial success in myriad ways.  We are also pleased to welcome Sarah, Monica and Marie-Françoise to our hardworking and talented staff.”

 

Huszcza, in her newly expanded role as Senior Director of Advancement and Strategic Engagement, is responsible for oversight and direction of LACO’s combined sales and fundraising operations with responsibility for all revenue generation and patron relationship management.  Since joining LACO more than a decade ago, Huszcza has held a series of successively higher roles, each time exceeding expectations.  She most recently served as interim managing director during the executive director search that lead to the appointment of Harrison, who lauded her for “providing inspired and tireless leadership to the staff, delivering critical planning and organization for LACO’s fundraising campaigns, surpassing special event fundraising goals, and achieving a continued budget surplus for the institution.”

 

Burns, in the expanded position of Director of Finance and Administration, provides oversight of the financial, human, information and administrative resources of the organization.  With her keen understanding of the intersection of program and capacity, she also provides greater input into LACO’s business operations, strategic planning and staff development, while continuing to maximize the stewardship of financial assets.

 

Singer, proven for developing meaningful volunteer relationships and building thoughtful plans for fundraising growth, has rejoined LACO in her newly created post after a very successful stint in the UCLA Anderson School of Business development department.  She now oversees the operation of LACO’s annual fund, with a particular emphasis on growing support at the First Chair, Conductor’s Circle and Major Gift levels.

 

Miklas is part of Singer’s team, focusing on annual fund growth among LACO’s broad-based givers and running the organization’s highly successful special events, including this year’s La Vie en Rose Gala at the Millennium Biltmore on February 13, 2016.  A graduate of Stanford University, Miklas worked on the production side of the arts before earning an MBA and working on special events at the Autry Museum.

 

Theodore provides support for Harrison while also helping with general office needs.  She previously held administrative positions at Caltech and at a number of film production companies.

 

Los Angeles Chamber Orchestra, proclaimed “America’s finest chamber orchestra” by Public Radio International and “resplendent” by the Los Angeles Times, has established itself among the world’s top musical ensembles.  Since 1997, LACO has performed under the baton of acclaimed conductor and pianist Jeffrey Kahane, hailed by critics as “visionary” and “a conductor of uncommon intellect, insight and musical integrity” with “undeniable charisma,” “effortless musicality and extraordinary communicative gifts.”  Under Kahane’s leadership, the Orchestra maintains its status as a preeminent interpreter of historical masterworks and a champion of contemporary composers.  During its nearly 50-year history, the Orchestra has made 31 recordings, toured Europe, South America and Japan, performed across North America and garnered eight ASCAP Awards for Adventurous Programming.  Headquartered in downtown Los Angeles, LACO presents its Orchestral Series on Saturdays at Glendale’s Alex Theatre and on Sundays at UCLA’s Royce Hall; Baroque Conversations at downtown Los Angeles’ Zipper Concert Hall and USC’s Bovard Auditorium; Westside Connections chamber music series, designed to illustrate the relationship between music and other artistic disciplines, at the Moss Theater in Santa Monica; and an annual Discover concert, which features an in-depth examination that sheds new light on a single piece of music, at Pasadena’s Ambassador Auditorium.  LACO also presents a Concert Gala; LACO @ the Movies, featuring the Orchestra performing the score live; and several fundraising salons each year.  Additionally, LACO outreach programs, Meet the Music, Community Partners, Campus to Concert Hall and the LACO/USC Thornton Strings Mentorship Program, reach thousands of young people annually, nurturing future musicians and composers as well as inspiring a love of classical music.

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SwitchOpera-2.Mikhail, AmandaAs the 2015-16 contemporary music ensemble-in-residence at Cambridge’s Le Laboratoire, the Ecce Ensemble premieres Switch, a contemporary opera written and composed by John Aylward, directed by Laine Rettmer (Loft Opera), and conducted by Jean-Philippe Wurtz (Ensemble Linea). Featuring two vocalists—Amanda DeBoer Bartlett (soprano) and Mikhail Smigelskii (bass-baritone)—backed by the Ecce Ensemble, Switch explores the relationship between an artist and his muse.

WHEN: February 12-13 + February 19-20 at 7:00 p.m.
WHERE: Le Laboratoire, 650 East Kendall Street, Cambridge, MA, T: Red to Kendall Square
TICKETS: $20/$10 Students. To purchase, contact Le Laboratoire at 617.945.7515 or visit LeLaboratoireCambridge.com.

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Nunc at National Sawdust in Brooklyn


80 North 6th St


January 24, 2016 at 8:00pm
Tickets: $25
 
On January 24, 2016 at 8pm, music organization Nunc will perform a concert of new and recent works at the Brooklyn venue National Sawdust, where Nunc’s founding director, violinist/violist Miranda Cuckson, is a guest curator.
 
The program:
Jonathan Dawe:  “Roventi” (2015) for soprano and string trio  *premiere*
David Fulmer:  “Silence of the Sirens”  (2015) for string octet  *NY premiere*
Elliott Carter:  “Four Lauds” (1984-2001) for solo violin
Michael Jarrell: “Eco III” (1994) for soprano and harp
Diego Tedesco: “Divertimento II” (2015) for violin concertante, bass, oboe, bassoon, harp and mandolin  *premiere*
Iannis Xenakis: “Aroura” (1971) for 12 strings 
 
The program on January 24 features stringed instruments, both bowed and plucked, along with the distinctive sounds of the oboe, bassoon and the soprano voice. There will be two world premieres – a sextet by Argentine composer Diego Tedesco and a piece for voice and string trio by Jonathan Dawe, featuring soprano Mary Mackenzie – and the New York premiere of a string octet by David Fulmer. Also: Elliott Carter’s “Four Lauds” for violin, Michael Jarrell’s “Eco III” for soprano and harp, and Iannis Xenakis’ “Aroura” for 12 strings, involving remarkable NYC musicians and college students from Mannes and Juilliard.
 
The performers:
Mary Mackenzie, soprano
June Han, harp
Joseph Brent, mandolin
Arthur Sato, oboe
Brad Balliett, bassoon
Miranda Cuckson, violin and director
Christopher Otto, violin
Yuri Namkung, violin
Mengyi Cao, violin
Isabel Ong, violin
Clare Semes, violin
Jeremias Sergiani Velasquez, violin
John Pickford Richards, viola
Melissa Reardon, viola
Jacob Shack, viola
Julia Bruskin, cello
Chris Gross, cello
Christine Chen, cello
Doug Balliett, bass
David Fulmer, conductor
 
Nunc is a non-profit music organization directed by Miranda Cuckson and founded as “Transit Circle” in 2007. Since its successful inaugural concert in New York City, Nunc has presented several programs each season and given premiere performances by outstanding composers such as Stefano Gervasoni, Alexander Goehr, David Rakowski and Ralph Shapey. In addition to producing events at diverse venues in New York, Nunc has performed as invited guest ensemble at the Contempo series at the University of Chicago, the Institute for Advanced Study at Princeton University, University of Wisconsin in Madison, Vanderbilt University in Nashville, the Peabody Institute, and the Teatro Colón in Buenos Aires, Argentina. Nunc gave the highly acclaimed premiere of Michael Hersch’s opera “On the Threshold of Winter” in 2014 at the Brooklyn Academy of Music. Upcoming projects include a several-days residency at Williams College and recordings of music by Michael Hersch and Ileana Perez-Velasquez.
Ticket link: http://nationalsawdust.org/event/miranda-cuckson-presents-nunc
http://nuncmusic.org/january-24-concert-at-national-sawdust

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New Years Celebration

chamber orchestra works by composers from Italy and the USJan 10_2

Ken Perlman, banjo
Max Lifchitz, conductor
The North/South Chamber Orchestra

music by

Elizabeth Bell, Paolo Boggio, Max Lifchitz & Harold Schiffman

 

Sunday, January 10 at 3 PM

 

Christ & St Stephen’s Church
120 West 69th St (bet Bway & Columbus)
New York City

Free Admission (no tickets necessary)

http://www.northsouthmusic.org/calendar.asp


North/South Consonance, Inc. will open its 36th Winter/Spring season of free-admission concerts on Sunday afternoon January 10, 2016 when banjo virtuoso Ken Perlman will join conductor Max Lifchitz and the Grammy nominated North/South Chamber Orchestra for a performance of Harold Schiffman’s delightful Banjo Concerto. The multigenerational program will also feature works by Elizabeth Bell and Max Lifchitz as well as the first US performance of a recent work by the young Italian composer Paolo Boggio.

The concert will take place at the acoustically superior but intimate auditorium of Christ & St Stephen’s Church (120 West 69th St – bet Bway & Columbus) on Manhattan’s Upper West Side. It will start at 3 PM and end at 4:45 PM. No tickets necessary.

Hailed as “the Heifetz of the Banjo” Ken Perlman is an acknowledged master of the 5-string banjo. The Glasgow (UK) Herald noted: “Perlman can make his instrument do more or less anything he wants it to” as his pioneering claw-hammer style picking helps spotlight the power and expressiveness of the wide range of music he performs. Perlman has toured across North America, Great Britain, Ireland, Western Europe and Australia. An acclaimed teacher of folk-music instrumental skills, Perlman has authored widely respected banjo and guitar instruction books and has been on staff at prestigious teaching festivals around the world.

Since its inception in 1980, the North/South Chamber Orchestra has brought to the attention of the New York City public over 1,000 works by composers hailing from the Americas and elsewhere representing a wide spectrum of aesthetic views. Its activities are made possible in part, with public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs as well as grants from the Women’s Philharmonic Advocacy and the Music Performance Trust Funds. Contributions by numerous individual donors are also gratefully acknowledged.

ABOUT THE COMPOSERS AND THEIR MUSIC

Elizabeth Bell (b. 1928; Cincinnati, OH) attended Wellesley College and The Juilliard School where her mentors included Vittorio Giannini and Peter Mennin. Described by the American Record Guide as “one of our country’s leading composers” and by Fanfare Magazine as “a fine composer whose instrumental music is particularly striking,” her works for voice, solo instruments, chamber ensembles, and orchestra, have been performed throughout the US and abroad. Her Concertino for Chamber Orchestra is a three movement work employing an ensemble consisting of winds, piano and strings.

The compositions of Paolo Boggio (b. 1964; Verecelli, Italy) have garnered awards and prizes in several international competitions and are published by RAI Trade and Berben Editions. Educated at the St Cecilia Academy in Rome and the Birmingham Conservatory in England, Boggio now teaches at the Torino Conservatory. The press has described his style as “eclectic, combining deliberately outdated gestures with a sense of parody.” Written in 2013, his multi-movement work Shi-Kiai for winds and strings was inspired by Chinese Taoist philosophy — a holistic conception of nature.

Active as composer, pianist and conductor, Max Lifchitz (b. 1948; Mexico City) was awarded first prize in the 1976 International Gaudeamus Competition for Performers of Twentieth Century Music held in Holland. Robert Commanday, writing for The San Francisco Chronicle described him as “a composer of brilliant imagination and a stunning, ultra-sensitive pianist.” The New York Times music critic Allan Kozinn praised Mr. Lifchitz for his “clean, measured and sensitive performances” while Anthony Tommasini remarked that he “conducted a strong performance.” Payton MacDonald writing for the American Record Guide remarked: ”Mr. Lifchitz is as good on the podium as he is behind the piano.” His Yellow Ribbons No. 40 belongs to an ongoing series of compositions written as homage to the former American hostages in Iran. These compositions represent a personal way of celebrating the artistic and political freedom so often taken for granted in the West. The performance of the work will honor the tragic victims of the recent attacks in Paris, France and San Bernandino, California.

Harold Schiffman (b. 1928 in North Carolina) has been described by the international press as “a most distinguished composer whose well-crafted and communicative music repays repeated hearings.” He taught composition at Florida State University from 1959 until 1983 and also directed that institution’s New Music Festival. Especially written for Ken Perlman, Schiffman’s three-movement Banjo Concerto is cast in a traditional fast-slow-fast pattern. Inspired by Appalachian’s melodies, the work’s musical language recalls Baroque-era lute music while offering the soloist ample opportunity for technical display.


 

For the complete Winter/Spring concert series schedule please visit
http://www.northsouthmusic.org/calendar.asp

To stream, download and/or purchase the more than 60 compact discs released under the North/South Recordings label please go to
http://www.classicsonline.com/North_South_Recordings/

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Piano concert using cutting-edge music technology to highlight works by composers Jaroslaw Kapuscinski and Robert Schumann.

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On Sunday, January 10th, 2016 at 3:30pm, Shanghai/Paris-based pianist Jenny Q Chai (www.jennychai.com) will be performing Where is Chopin? at New York City’s Le Poisson Rouge, 158 Bleecker Street, New York, NY.

Seated tickets are $20 advance, $25 day of show. Standing tickets are $15 advance, $20 day of show, and are available for purchase at lpr.com or by calling 212.505.FISH.

jennychai_1

In her exploratory new program Where is Chopin?, the second in her Piano Steampunk series, Jenny Q Chai explores the relationship between piano and electronics. The program will create a vivid musical story, making use of storytelling techniques common to novels and films, along with cutting edge music technology, such as the artificial intelligence program Antescofo, which is used in Jaroslaw Kapuscinski’s music. Mr. Kapuscinski, who will be present at the performance, is known for his unique compositions, where visuals/audio are equally important, reacting almost note by note, transforming the piano into a new instrument that combines the auditory and the visual. The audience will be invited to join these notable musicians for a journey to redefine classical music by simultaneously looking to the past, as well as ahead towards the future of composition.

Works to be performed during the “Where is Chopin?” program include:

Jaroslaw Kapuscinski, Oli’s Dream
Jaroslaw Kapuscinski, Where is Chopin?
Robert Schumann, selections from Carnaval:
Eusebius
Valse Noble
Chiarina
Reconnaissance
Valse Allemande
Paganini
Robert Schumann, Chopin

“I believe we should talk about all classical music-especially the connection between new music and old music- and not keep it caged in an ivory tower anymore” – Jenny Q Chai

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About Jenny Q Chai

An artist of singular vision, pianist Jenny Q Chai is widely renowned for her ability to illuminate musical connections throughout the centuries. With razor-sharp intention, Chai integrates her prodigy’s training with personal fascinations in the latest in live electronics, artificial intelligence, and environmental research, creating layered multimedia programs and events which explore and unite elements of science, nature, and art. Also of note, Ms. Chai designs all her performance gowns and some jewelry, in order to present a more united performance aesthetic, akin to the idea of Wagnerian Gesamtkunstwerk. Ms. Chai has performed across the globe, headlining the most impressive venues from Carnegie Hall in New York City to the National Performing Arts Center in Beijing, China.

 “Jenny Q Chai, who has studied with Pierre-Laurent Aimard, is following the more eclectic path…” The New York Times.

Website: www.JennyChai.com

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_DSC6668 copyHaving just accepted the 2016 Musical America Ensemble of the Year award, the Boston Modern Orchestra Project (BMOP) continues its 20th anniversary season with a one-night-only concert celebrating Bach’s Brandenburg Concertos. BMOP will perform the “New Brandenburgs,” six works commissioned as companion pieces to Bach’s six original Brandenburg Concertos as a result of a four-year project by the Orpheus Chamber Orchestra. The program includes the Boston premieres of Brandenburg Gate (inspired by Brandenburg No. 2) by Paul Moravec, Muse (inspired by Brandenburg No. 3) by Christopher Theofanidis, Little Moonhead (inspired by Brandenburg No. 4) by Melinda Wagner, Sea Orpheus (inspired by Brandenburg No. 5) by Peter Maxwell Davies, and Concerto with Echoes (inspired by Brandenburg No. 6) by Aaron Jay Kernis, as well as a performance of A Brandenburg Autumn (inspired by Brandenburg No. 1) by Stephen Hartke.

When: Friday, January 22 at 8:00 p.m. (pre-concert talk at 7:00 p.m.) 
Where: Jordan Hall, 30 Gainsborough Street, Boston, MA, T: Green to Symphony
Tickets: General $20-$50/Students $10. To purchase, contact BMOP at BMOP.org or by telephone at 781.324.0396. Also available from the Jordan Hall box office in person or online at tix.com.

 

 

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