Author Archive

Carolina Eyck + ACME
World Premiere of Fantasias for theremin & quartet
Friday, November 4, 2016 at 7:30pm

Baryshnikov Arts Center | 450 W. 37th St. | NYC
Tickets: $20 at or 866.811.4111


Baryshnikov Arts Center presents “one of the world’s leading theremin players” (BBC World Service) Carolina Eyck with “contemporary music dynamos” (NPR) American Contemporary Music Ensemble (ACME), in the world premiere of Eyck’s Fantasias for theremin and string quartet. Eyck’s five Fantasias, featuring an improvised theremin part over the string quartet, were recorded by Eyck and ACME for release on Butterscotch Records on October 14, 2016. NPR Music premiered the music video for “Leyohmi” from Fantasias and described the music as “otherwordly.” ACME will also perform Little Blue Something for string quartet by The National’s Bryce Dessner.

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Co-presented by Composers Now
Tuesday, November 1, 2016 at 7:30pm

Baryshnikov Arts Center | 450 W. 37th St. | NYC
Tickets: $20 at or 866.811.4111


Left to right: Margaret Brouwer, Esperanza Spalding, Du Yun

Baryshnikov Arts Center and Composers Now present BAC Salon: Dialogues, an intimate evening of performance and conversation featuring composer and bassist Esperanza Spalding in one of her own works, the world premiere of Margaret Brouwer‘s Fleeting Images, and the world premiere of Du Yun‘s A few stops on the 7 train. The concert is part of a series designed to showcase the diversity of living composers and create a forum for meaningful exchange among composers, performers, and audiences, moderated by Tania Leon. Composers Now has invited “Conversation Catalysts” to participate in the evening, contributing questions and ideas to the discussion.

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poster10-20-16 Cal Poly Pomona Music Department Presents

Shpachenko and Friends Chamber Music Festival

Featuring piano and toy piano works for 6 pianists:

Nadia Shpachenko & Genevieve Feiwen Lee

HOCKET: Sarah Gibson & Thomas Kotcheff

Ray-Kallay Duo: Vicki Ray & Aron Kallay

Cal Poly Pomona Recital Hall

3801 W. Temple Avenue, 24-191, Pomona, CA

Thursday, October 20 • 8 pm

Tickets: $15 ($10 Student)


This concert will feature two compositions for six pianists on 3 pianos and 2 toy pianos: Tom Flaherty’s “Igor to Please” (inspired by Stravinsky) and James Matheson’s “Bagatelle” (inspired by Beethoven), as well as solo and duo works by Beethoven, James Matheson, Mayke Nas, Alexander Elliott Miller, Michael Laurello and Andy Akiho.

Full program:

Ludwig van Beethoven: Piano Sonata No. 27 in E minor, Op. 90

Genevieve Feiwen Lee, piano

James Matheson: Alone, in Waters Shimmering and Dark for solo piano (2016) West Coast Premiere

Nadia Shpachenko, piano

James Matheson: Bagatelle for 6 pianists on 3 pianos, 12 hands (2012)

Nadia Shpachenko, Genevieve Feiwen Lee, Sarah Gibson, Thomas Kotcheff, Vicki Ray, Aron Kallay, pianos

Mayke Nas: DiGiT #2 for piano four hands (2003)

Alexander Elliott Miller: Clock Smasher for piano four hands (2016)

Michael Laurello: Touch for piano four hands (2016)

Andy Akiho: Karakurenai for piano and toy piano (2007)

HOCKET: Sarah Gibson & Thomas Kotcheff

Tom Flaherty: Igor to Please for 6 pianists on 2 pianos, 2 toy pianos, and electronics (2016)

Nadia Shpachenko & Genevieve Feiwen Lee, toy pianos

Vicki Ray, Aron Kallay, Sarah Gibson, & Thomas Kotcheff, pianos

Artist Websites:

Nadia Shpachenko

Genevieve Feiwen Lee

HOCKET Ensemble

Ray-Kallay Duo

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BMOP_Full_Orchestra_byJohnKramer_mdmWhen: Friday, November 18 at 8:00 p.m. (pre-concert talk 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 or by telephone 718.324.0396. Also available from the Jordan Hall box office in person or online at
Two of Boston’s leading musical ensembles—the Boston Modern Orchestra Project (BMOP) and Odyssey Opera—present the semi-staged opera The Picture of Dorian Gray (1995). Conductor Gil Rose leads the orchestral virtuosity of BMOP and Odyssey Opera’s cast of stellar vocal soloists in Lowell Liebermann’s take on the eponymous classic novel of philosophical horror by Oscar Wilde. Hailed as an “affable, open-throated Italian tenor (Opera News),” Watertown resident Jonathan Jurgens will perform the title role of Dorian Gray.

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dessoff_2015-0460_ccThe Dessoff Choirs in Concert: We Remember
Sarah Brailey soprano Melissa Attebury mezzo-soprano
Marc Andrew Day tenor Joe Damon Chappel bass
Malcolm J. Merriweather conductor
The Dessoff Choirs and Orchestra
When: Monday, November 7, 2016, at 7:30 p.m.
Where: Alice Tully Hall, Lincoln Center, 1941 Broadway at 65th Street, New York City, Train: 1 to 66th Street
Tickets: $45-75. To purchase, contact The Dessoff Choirs at or call Lincoln Center at 212.721.6500.
Hailed as “one of the great amateur choruses of our time (New York Today) for its “full-bodied sound and suppleness (The New York Times),” The Dessoff Choirs, with soloists and orchestra, opens its 92nd season at Alice Tully Hall. For one night only, Dessoff presents We Remember including Mozart’s Requiem and contemporary choral works reflecting on the lives of President John F. Kennedy and Dr. Martin Luther King, Jr., and paying tribute to composer Steven Stucky, a champion of new music.

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Friday, October 28, 2016 at 7:30pm
Carnegie Hall’s Zankel Hall | 57th & 7th Ave. | NYC
Tickets: $43 – $51 at, 212-247-7800, or the Carnegie Hall Box Office (154 West 57th Street, NYC)


Soprano Nancy Allen Lundy performs in David Del Tredici’s “gloriously giddy melodrama” (The New York Times) Dracula. Photo by Masataka Suemitsu.

American Composers Orchestra opens its 40th Anniversary Season during the Halloween weekend with Contempo-Scary Music, a concert led by ACO Music Director George Manahan featuring music inspired by all things sinister and suspenseful. Contempo-Scary Music includes the world premiere of Paul Moravec’s The Overlook Hotel Suite, drawn from The Shining, his Stephen King-based opera with librettist Mark Campbell which thrilled sold-out audiences at Minnesota Opera last spring; the world premiere of Judith Shatin’s Black Moon, which introduces conductor-controlled electronics; Bernard Herrmann’s Psycho Suite; and David Del Tredici’s Dracula, a “gloriously giddy melodrama” (New York Times) starring soprano Nancy Allen Lundy.

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Gals, ghouls, and divas in drag abound at our next SF Opera Lab Pop-Up at OASIS. Join San Francisco Opera artists on the eve of Halloween for some operatic debauchery with a touch of drag macabre. Grab a cocktail and brush up on your lip-syncing skills and your opera herstory as legendary drag superstar Heklina takes you on a wicked ride full of highs and lows—notes, that is!

Come in costume or take advantage of our in-house costume booth provided by the San Francisco Opera Costume Shop for a chance to win SF Opera Lab swag or tickets. Costume optional but don’t forget your dancing shoes for a live DJ following the performance!

Tickets $25 in advance.

21+ only with valid photo ID. Limited seating available on a first-come basis.

See more at:

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World renowned cellist Yo-Yo Ma, who has introduced new generations to the vitality and timelessness of classical music, joins Los Angeles Chamber Orchestra (LACO) on Haydn’s Cello Concerto in C, a tour de force showcasing the instrument’s full range of color, to celebrate Music Director Jeffrey Kahane’s final season with the Orchestra on Sunday, October 16, 2016, 7:30 pm, at USC’s Bovard Auditorium. Ma, a long-time colleague of Kahane with whom he toured internationally for nearly a decade, also performs Brahms lyrical Cello Sonata No. 2, for cello and piano, with Kahane on piano. The concert, a co-presentation of LACO and USC Thornton School of Music, includes two chamber works as well, Haydn’s “Gypsy” Trio featuring Kahane, LACO Concertmaster Margaret Batjer and Principal Cello Andrew Shulman, and Brahms’ Variations on a Theme of Haydn.

Ma, a “megastar” whose “name has become virtually synonymous with classical music,” (San Diego Union-Tribune), has produced more than 75 albums and won more than 15 Grammy Awards. Whether performing a new concerto, revisiting a familiar work from the cello repertoire, coming together with colleagues for chamber music or exploring cultures and musical forms outside of the Western classical tradition, the acclaimed musician strives to find connections that stimulate the imagination. In 2001, he was awarded the National Medal of Arts. In 2010, he was named a recipient of the Presidential Medal of Freedom. Currently serving as a UN Messenger of Peace, he was appointed Artistic Advisor At Large for the Kennedy Center for the Performing Arts for the 2016-17 season. He also served as artistic director of the Silk Road Project, an organization dedicated to promoting the various traditions along the ancient Silk Road trade route.

Kahane, equally at home at the keyboard or on the podium, has established an international reputation as a truly versatile artist, recognized around the world for his mastery of diverse repertoire ranging from Bach, Mozart and Beethoven to Gershwin, Golijov and John Adams. Now in his 20th season as LACO music director, he previously served as music director of the Colorado and Santa Rosa symphonies. He has garnered tremendous critical acclaim for his innovative programming and commitment to education and community involvement and received multiple ASCAP Awards for Adventurous Programming for his work in both Los Angeles and Denver. He is a Professor of Keyboard Studies at the University of Southern California Thornton School of Music.

Batjer, concertmaster of Los Angeles Chamber Orches­tra since 1998, made her first solo appearance at age 15 with the Chicago Symphony Orchestra. She has since soloed with leading orchestras from around the world including the Philadelphia, St. Louis and Dallas symphonies; the Prague, Halle and Berlin sympho­ny orchestras; and the Chamber Orchestra of Europe. An esteemed chamber musician, she appears regularly at the Marlboro Music Festival, as well as many other festivals in the US and Europe. Batjer has recorded extensively for Philips, EMI, Deutsche Grammophon and BMG. In 2008, Batjer developed LACO’s Westside Connections chamber music series. She serves on the faculty of the USC Thorn­ton School of Music and the Colburn Music Academy.

Shulman was appointed principal cello of LACO in 2008 and is a professor of violoncello at the University of Southern California. He was the first British winner of the Piatigorsky Artist Award and was bestowed with an Honorary RCM by The Queen Mother in 1986. Shulman was solo cello of the Royal Liverpool Philharmonic and the Academy of St. Martin in the Fields, first chair with London’s Philharmonia Orchestra and principal cello of the Los Angeles Philharmonic. He has given recitals in the Royal Palace in Stockholm; in London at Wigmore Hall, Buckingham Palace and Royal Festival Hall; and locally at the Hollywood Bowl.

Los Angeles Chamber Orchestra (LACO), proclaimed “America’s finest chamber orchestra” by Public Radio International, 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 with “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.
Steinway is the official piano of Los Angeles Chamber Orchestra.

Tickets, starting at $90, are on sale now and may be purchased online at or by calling LACO at 213 622 7001.



Thomas Dausgaard, principal conductor of the Swedish Chamber Orchestra, chief conductor designate of the BBC Scottish Symphony Orchestra and principal guest conductor of the Seattle Symphony, makes his Los Angeles Chamber Orchestra debut guest conducting the West Coast premiere of A Freak in Burbank, a romping homage to filmmaker Tim Burton by Swedish composer Albert Schnelzer, on Saturday, October 29, 8 pm, at the Alex Theatre in Glendale, and Sunday, October 30, 2016, 7 pm, at UCLA’s Royce Hall. Dausgaard also conducts Beethoven’s inventive and heroic Symphony No. 3, “Eroica,” and six of Sibelius’s Humoresques for violin and orchestra, featuring Norwegian violinist Henning Kraggerud, praised for his “utter brilliance” (The Strad).

Dausgaard, a conductor hailed for his “clarity, energy and momentum” (Classical Source) who “draws a spectrum of colors from the orchestra” (The New York Times), is renowned for his creativity and innovation in programming, the excitement of his live performances, and his extensive catalogue of critically-acclaimed recordings. Regularly appearing with many of the world’s leading orchestras, he began his North American career assisting Seiji Ozawa. In addition to his other orchestral positions, Dausgaard is honorary conductor of the Danish National Symphony Orchestra, having previously served as its principal conductor from 2004 to 2011.

Kraggerud, co-artistic director of the Risør Festival of Chamber Music, artistic director of the Arctic Philharmonic Chamber Orchestra and one of Scandinavia’s most versatile violinists, makes his first LACO appearance in 12 years. He is noted for performances that are “beautifully clean, superbly articulated…full of character and wit” (The Strad). Also an innovative improviser and composer, Henning’s recent recording, Last Spring, is a unique collaboration with Norwegian jazz pianist Bugge Wesseltoft exploring improvisations on Norwegian folk music with classical and jazz elements.

Concert Preludes, pre-concert talks held one hour before curtain and free for ticket holders, provide insights into the program’s music and artists.
Los Angeles Chamber Orchestra (LACO), proclaimed “America’s finest chamber orchestra” by Public Radio International, 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 with “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.

Steinway is the official piano of Los Angeles Chamber Orchestra.

Tickets, starting at $27, are on sale now and may be purchased online at or by calling LACO at 213 622 7001. Discounted tickets are also available by phone for seniors 65 years of age and older and groups of 12 or more. College students may purchase student rush tickets ($12), based on availability, 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 eight of LACO’s Orchestral concerts, five Baroque Conversations and three Westside Connections series concerts.


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Friday, October 21, 2016 at 7:30 PM

The Broad Stage
1310 11th St., Santa Monica, CA 90401
(213) 617-7707,

FREE Admission

Debut Orchestra
Yuga Cohler, conductor

Paul DUKAS | The Sorcerer’s Apprentice

Thomas ADÈS | Asyla

Hector BERLIOZ | Symphonie fantastique


Yuga Cohler conducts the Debut Orchestra in a program including Paul Dukas’ The Sorcerer’s Apprentice, perhaps one of the most well-known and overtly programmatic pieces performed today. Mr. Cohler has chosen to juxtapose this work with Thomas Adès’ Asyla, the Latin plural of “asylum,” a work that outlines distinctly darker programmatic territory, concluding with Hector Berlioz’ Symphonie fantastique, a romantic combination Dukas’ occult references and Adès’ modernist fever dream.

Founded in 1955, the YMF Debut Orchestra is one of the foremost pre-professional training orchestras in the U.S. André Previn, Lawrence Foster, Glenn Dicterow and Michael Tilson Thomas are among the Orchestra’s notable alumni.

Music Director and Conductor Yuga Cohler has programmed a season that reflects YMF’s 62-year old tradition of encouraging adventurous programming combined with the interpretation of significant classical repertoire. “My intention for this season,” explains Cohler, “is to explore the function of music in society. I believe strongly that music can serve as a platform for eliciting deeper thought and empathy from the people who listen to it. By presenting works that are seemingly disparate in terms of their origins, inspirations, and categorizations, I hope to provide a context for audiences to find the commonalties between these works.”

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