Posts Tagged “Carnegie Hall”
Wednesday, October 23, 2013 at 8:00 PM
Carnegie Hall, Stern Auditorium/Perelman Stage
OSL Principal Conductor Pablo Heras-Casado opens the Carnegie Hall Orchestra Series with Mendelssohn’s fanciful take on a Shakespeare classic. Britten’s Serenade, with tenor Ian Bostridge and OSL hornist Stewart Rose, captures the many moods of night, while Shostakovich’s Symphony No. 9 is bright and breezy.
Pablo Heras-Casado, conductor
Ian Bostridge, tenor
Stewart Rose, horn
MENDELSSOHN Overture to A Midsummer Night’s Dream, in E Major, Op. 21
BRITTEN Serenade for Tenor, Horn, and Strings, Op. 31
SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70
Pablo Heras-Casado conducts Orchestra of St. Luke’s at Carnegie Hall on October 23.
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Posted by s21concerts in Concert Announcement, tags: Ashley Wang, Carnegie Hall, classical, classical music, composition, contemporary music, Ear to Mind, Inhyun Kim, Jenny Q Chai, Marco Stroppa, new music, new york city, piano, world premiere, Zankel Hall
Performing works by Inhyun Kim, Ashley Fu-Tsun Wang, Marco Stroppa, Kurtag, Messaien, Ligeti, Debussy, and Schumann, pianist Jenny Q. Chai makes her Carnegie Hall debut at Zankel Hall on Thursday, April 19 at 7:30pm. Tickets are $30 ($15 for students) and are available at www.carnegiehall.org, at the Carnegie Hall Box office at 57th street and 7th avenue in New York City (which is also the location of the venue), or by calling 212 247 7800.
This concert, featuring two world premieres and one US premiere, is being presented by Ear to Mind (www.eartomind.com), a New York City based arts organization which strives to present innovative programs that allow the public to experience contemporary music in non-traditional contexts, as well as by producing publications that allow the public to gain intimate knowledge of the contemporary music field, simultaneously providing composers and performers with a platform for their work.
The Program includes:
- Inhyun Kim – Parallel Lines (World premiere)
- Ashley Fu-Tsun Wang – “Current”, a newly commissioned work from the Yvar Mikhashoff Trust’s 2011 Pianist/Composer Commissioning Project (World premiere)
- Marco Stroppa – “Innige Cavatina” from Miniature Estrose by (US premiere)
- Claude Debussy – Études No.3 ” pour les quartes” and No.6 “pour les huit doigts”
- György Ligeti – Études Book I No. 1 “Désordre” and No. 2 “Cordes à vide”
- Olivier Messiaen – Cantéyodjayâ
- György Kurtág – “Quiet talk with the Devil” and “Les Adieux” from Jatekok
- Robert Schumann – Kreisleriana
Hailed as a “brilliant and fearless young performer,” Jenny Q Chai is an active pianist specializing in contemporary music. Recipient of the Yvar Mikhashoff Trust’s 2011 Pianist/Composer Commissioning Project, first prize winner of the Keys to the Future Contemporary Solo Piano Festival, and recipient of the DAAD Arts and Performance award in 2010, Chai has premiered, most notably, Life Sketches by Nils Vigeland, Exercise in Deism by John Slover, Intimate Rejection by Ashley Fu-Tsun Wang, and Blue Inscription by Scott Wollschleger. Chai has also premiered “Marriage (Mile 58) Section F” from The Road by Frederick Rzewski in Ghent, Belgium, where she was given the Logos Award for the best performance of 2008. Recently, Chai had the privilege of introducing the concept of prepared piano to a Chinese audience, with the world premiere of Mallet Dance by John Slover, in Shanghai Concert Hall.
Chai has studied at the Shanghai Music Conservatory, Curtis Institute of Music, and has received two degrees from the Manhattan School of Music where she studied with Solomon Mikowsky, Nils Vigeland, and Anthony de Mare. In Germany, she studied with Pierre-Laurent Aimard, and performed in Ensemble 20/21, directed by David Smeyers, as well as the group Musikfabrik. In what is already an illustrious career, Chai’s performances have been covered in major media throughout the U.S., China, and Europe, including Time Out New York, Shanghai Culture, and Cologne Daily News, and her performances of contemporary music have been broadcast in Italy, Germany, China, and the U.S. Her talents have been showcased on recordings with Ensemble 20/21 on the Deutschlandfunk label (performing music by Hanns Eisler) and as solo pianist/vocalist on ArpaViva’s New York Love Songs.
For Chai, near-total immersion in the contemporary music world has only enhanced her appreciation of the classical repertoire. “I feel a sense of contentment programming creative concerts, mixing and matching old and new works, so as to highlight what is most special in each piece. After all, nothing comes from nothing, and new music is very much connected to that which came before.” Now splitting her time between the U.S. and China, Chai co-directs the New York City-based contemporary music organization Ear to Mind, and is founder of FaceArt Music Association in Shanghai. In an Ear to Mind performance in April 2011, Chai premiered three new works, including Five Pieces (for Jenny Q Chai) by Nils Vigeland.
Ashley Fu-Tsun Wang is a Taiwanese composer whose work seeks to capture the individual beauty of the fleeting moment, revealing complexity within simplicity. Her music has been performed throughout North America, Europe, and Asia. She has collaborated with Brooklyn Rider String Quartet, MIVOS Quartet, members of Eighth Blackbird, pianists Eric Huebner, Vicky Chow, Jenny Q. Chai, conductors David Gilbert, Brad Lubman, Paul Chiang, and visual artists Alice Grassi and Takeshi Moro. Her music has been broadcast on WNYC and Taukay Edizioni Musicali, and has been released on the ArpaViva label. Ms. Wang is the winner of the Yvar Mikhashoff Trust for New Music competition and the Look and Listen Festival Composition Prize, and the recipient of grants from the American Composers Forum, the American Music Center, and the ASCAP Foundation. Ms. Wang has been a fellow at the MusicX Festival, Bowdoin International Music Festival, June in Buffalo, Pacific Music Festival, Bang on a Can Music Festival, an associate artist at the Atlantic Center for the Arts, and has worked with Robert Beaser, Matthias Pintscher, David Felder, David Lang, Michael Gordon, Julia Wolfe, and Lera Auerbach. She has recently studied with Nils Vigeland, Reynold Tharp, and Stephen Taylor.
As a frequent collaborator with choreographers, visual artists, and filmmakers, composer Inhyun Kim challenges her audience think in new and unconventional ways about music as a performing art. Ms. Kim has been commissioned by organizations such as White Wave Dance Company, The Actor’s Theatre, Hudson Saxophone Quartet and Brooklyn Independent television, and her works have been performed at the DUMBO dance festival, Wave Rising series, the Joyce Soho theatre, What We Want!!!, The Tompkins Square gallery at the New York Public Library, Dance New Amsterdam, Ceres Gallery as part of 2008 Make Music NY, the Museum of Modern Arthur as part of the 12th annual Art Under the Bridge festival, Galapagos Art Space, and Symphony Space. A graduate of the Manhattan School of Music, where she received her Bachelor’s and Master’s Music degrees and studied with Julia Wolfe, Susan Botti and Reiko Fueting. Ms. Kim’s music can be heard on her CD “Music =”, released in 2010 by Carrier Records. Ms. Kim is a recipient of the Jordan Berk Memorial Prize in composition, Manhattan School of Music president’s award, and was recently awarded a mentorship with composer Vivian Fung, as part of NYFA’s Mentoring program for Immigrant Artists. Ms. Kim is co-director of the contemporary music nonprofit organization, Ear To Mind.
Composer, researcher and professor, Marco Stroppa was born in Verona, Italy, and has composed for both acoustical instruments and new media. His repertoire includes works for concerts, one music drama, two radio operas and various special projects. He often groups several works around large cycles exploring specific compositional projects, such as a series of concertos for instrument and a spatialized orchestra or ensemble inspired by poems of W.B. Yeats, a book of Miniature Estrose, seven pieces for solo piano, a cycle of works for solo instrument and chamber electronic music inspired by poems of e. e. cummings, and two string quartets. He has worked as a composer and researcher, teacher at IRCAM, and he founded the composition and computer music workshop at the International Bartók Festival in Szombathély, Hungary. He taught composition at the Conservatoire National Supérieur de Musique in Paris and Lyon and since 1999 he has been full professor of composition and computer music at the University of Music and Performing Arts in Stuttgart. He studied at the Conservatories of Verona, Milan and Venice and at the Massachusetts Institute of Technology as the recipient of a Fulbright Scholarship.
This concert is sponsored by The Gurrand Group and FaceArt Music Association.
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Carnegie Hall presents the Brentano String Quartet on Wednesday, November 3 at 7:30 p.m. in Zankel Hall. Their concert features the New York premiere of Stephen Hartke’s Night Songs for a Desert Flower, co-commissioned by Carnegie Hall. Also on the program are Haydn’s String Quartet in F Major and Beethoven’s String Quartet in C-sharp Minor.
Night Songs for a Desert Flower, commissioned for the Brentano String Quartet by Carnegie Hall and the Harvard Musical Association, is Stephen Hartke’s first work for string quartet. Described by the composer as “a book of madrigals for string quartet,” the work is a set of songs without words, in which the “drama” takes place on a purely musical rather than literary stage. The title evokes the centuries-old tradition of “night music,” music of a nocturnal and often phantasmagorical character. Hartke has explored this type of music before in a haunting movement from his piano quartet The King of the Sun titled “The flames of the sun make the desert flower hysterical.”
The Brentano String Quartet returns to Carnegie Hall later this season on March 2 for Making Music: James MacMillan in Zankel Hall, performing the United States premiere of MacMillan’s Horn Quintet.
About the Artists
Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. Within a few years of its formation, the quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of its Chamber Music Society Two program. The quartet had its first European tour in 1997, and was honored in the UK with the Royal Philharmonic Award for Most Outstanding Debut. That debut recital was at London’s Wigmore Hall, and the quartet has continued its relationship with Wigmore, appearing there regularly and serving as the hall’s quartet-in-residence in the 2000–01 season. In recent seasons the quartet has traveled widely, appearing all over the United States and Canada, as well as Europe, Japan, and Australia. They have performed in many of the world’s most prestigious concert venues, including Carnegie Hall, Alice Tully Hall, the Library of Congress, the Concertgebouw, Suntory Hall, and the Sydney Opera House. In addition to performing the entire two-century range of the standard quartet repertoire, the Brentano String Quartet has a strong interest in both very old and very new music. It has performed many works pre-dating the string quartet as a medium, among them Madrigals of Gesualdo, Fantasias of Purcell, and secular vocal works of Josquin. Also, the quartet has worked closely with prominent composers of our time, among them Elliott Carter, Charles Wuorinen, Chou Wen-chung, Steven Mackey, Bruce Adolphe, and György Kurtág. The quartet celebrated its tenth anniversary in 2002 by commissioning ten composers to write companion pieces for selections from Bach’s The Art of Fugue. The Brentano String Quartet became the first Resident String Quartet at Princeton University, and their duties there are wide-ranging, including performances, workshops with graduate composers, coaching undergraduates in chamber music, and assisting in other classes in the Music Department. The quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven’s “Immortal Beloved,” the intended recipient of his famous love confession.
Stephen Hartke grew up in New York City and studied at Yale University and the University of Pennsylvania and went on to teach at the University of Southern California. His eclectic and distinctively personal style is laced with West Coast multiculturalism, drawing on sources as diverse as modern blues, Tudor church music, and traditional folk idioms. Behind Hartke’s fondness for richly evocative programmatic titles is an abiding concern for the basic compositional elements of rhythm, structure, and motivic development. His voracious appetite for music history is illustrated by works like A Brandenburg Autumn, inspired by Bach’s First “Brandenburg” Concerto, which was premiered by the Orpheus Chamber Orchestra. Although best known for his instrumental and vocal chamber music, Hartke has written a number of large-scale works, including the Symphony No. 3 and the opera The Greater Good, commissioned by the New York Philharmonic and Glimmerglass Opera, respectively.
Wednesday, November 3 at 7:30 p.m.
BRENTANO STRING QUARTET
Mark Steinberg, Violin
Serena Canin, Violin
Misha Amory, Viola
Nina Lee, Cello
JOSEPH HAYDN String Quartet in F Major, Op. 77, No. 2
STEPHEN HARTKE Night Songs for a Desert Flower (NY Premiere, co-commissioned by Carnegie Hall)
LUDWIG VAN BEETHOVEN String Quartet in C-sharp Minor, Op. 131
This concert is made possible, in part, by an endowment fund for young artists established by Mr. and Mrs. Anthony B. Evnin and the A. E. Charitable Foundation.
Bank of America is the Proud Season Sponsor of Carnegie Hall.
Tickets, priced at $52 and $58, are available at the Carnegie Hall Box Office, 154 West 57th Street, or can be charged to major credit cards by calling CarnegieCharge at 212-247-7800 or by visiting the Carnegie Hall website, carnegiehall.org.
For more information discount ticket programs, including those for students, Notables members, and Bank of America customers, visit carnegiehall.orgdiscounts.
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