Christopher Jesina 3/14/25 Christopher Jesina 3/14/25

OUT TODAY: Marcin and Hayato Sumino Unite On New Song I Wish – Out Today via Sony Music Masterworks

Polaroid photo of Hayato Sumino (left) and Marcin (right) holding a guitar. The polaroid is signed at the bottom by Hayato and Marcin — Single Artwork (Download)

Marcin and Hayato Sumino Unite On New Song

I Wish

Out Today via Sony Music Masterworks
Listen Here | Watch Here

The superstar guitarist and piano virtuoso deliver a new take on the Stevie Wonder classic

Guitar wunderkind Marcin and pianist-composer extraordinaire Hayato Sumino today release their new collaboration, a cover of Stevie Wonder’s 1976 Billboard No. 1 hit song, I Wish via Sony Music Masterworks – LISTEN HERE. Each a social media sensation with millions of followers tuning in to their captivating live performances, the two artists recorded the song live in-studio in Tokyo, their unique instrumental arrangement blending elements of jazz, funk, R&B, and soul in a showcase of their distinctive playing styles. Today’s track arrives alongside an accompanying music video for I Wish – WATCH HERE.

“Working with Hayato on I Wish was one of the most challenging and fun experiences,” notes Marcin. “We arranged the song in about two hours at Hayato’s studio in Tokyo, and two days later we were already recording it live in the studio! It was the first time I was tracking a true, live, jazz-style performance with another artist and Hayato is such a beast! I knew how crazy he was on the piano before, but actually seeing how he worked in the studio was so inspiring for me. Take 12 is the one that we used. It’s a fun and pure piece of music – just two friends from completely different continents jamming in a studio.

"I’m beyond excited to collaborate with my friend, the incredibly unique and charismatic guitarist, Marcin,” exclaims Hayato Sumino. “The blend of guitar and piano isn’t something you hear every day, which makes this project even more thrilling. The chemistry between us was absolutely electric!"

ABOUT HAYATO SUMINO

Hayato Sumino, known as ‘Cateen’, is an exceptional artistic phenomenon with nearly 1.5 million followers globally and over 200 million views on YouTube. His participation in the 2021 International Chopin Competition, where he reached the semifinals, caused a sensation, garnering over 8.5 million views on YouTube. In April 2024, Sumino made a spectacular debut at the Royal Albert Hall with his performance of Gershwin’s “Rhapsody in Blue,” capturing the spotlight both online and in the concert hall. His debut Sony Classical album, Human Universe, released in November 2024 to critical acclaim, showcases his multi-faceted talents with a diverse selection of works ranging from Bach, Handel, and Chopin to film composers like Hans Zimmer and Ryuichi Sakamoto, as well as Sumino’s own compositions and arrangements. A prodigious composer, Sumino effortlessly combines his diverse musical interests, spanning classical, jazz, film music, post-classical, and electronica. He is also in high demand for film and TV scores in Japan and is rapidly becoming a leading figure among the next generation of musicians for whom genre borders are no obstacle. This year, Sumino is set to make his performance debut at the Hollywood Bowl on July 22 and Carnegie Hall on November 18, further solidifying his rise on the global music scene.

CONNECT WITH HAYATO SUMINO:
Website | Instagram | TikTok | YouTube | X

HAYATO SUMINO 2025 TOUR DATES

JAPAN

TAIWAN

Sun, April 25 | Taipei, TW | National Theater & Concert Hall

NORTH AMERICA

EUROPE

ABOUT MARCIN

Named “one of the most talented guitarists of his generation” by Guitar World, Marcin is one of the pioneers of a new percussive style, rooted in flamenco and classical. With nods from Rolling Stone, Billboard, Guitar World, Premier Guitar and more, plus a performance on The Late Show with Stephen Colbert and his first-ever cover for Total Guitar, Marcin continues to captivate millions of fans and followers with his show-stopping guitar style across multiple platforms. In a few short yet explosive years, Marcin’s virtuosic technique has been championed by the likes of Tom Morello, Paul Stanley, Madonna, BTS’ Jungkook, Timbaland, Ty Dolla $ign and Wyclef Jean, to name a few. In 2022, Marcin launched a signature guitar with Ibanez Guitars as ambassador for the Japanese brand. The electrifying performances by this Polish-born musician extend far beyond the screen, with his first global headlining tour selling out across Asia and Europe in weeks. Marcin now gears up to take his debut album, Dragon in Harmony (Sony Masterworks), on the road with his first-ever North American headline tour kicking off in September – tickets on sale now.

CONNECT WITH MARCIN:
Website | Facebook | Instagram | TikTok | YouTube

MARCIN – SOLO DRAGON
2025 HEADLINE TOUR DATES

EUROPE

TURKEY

NORTH AMERICA

Christopher Jesina 3/14/25 Christopher Jesina 3/14/25

April 25: Composer Thomas Newman Records His First Ever Ballet Score Of Mice And Men – to be Released on Sony Classical

Composer Thomas Newman Records His First Ever Ballet Score Of Mice And Men
to be Released on Sony Classical

Album Release Date: April 25, 2025
Pre-Order Available Now

From Academy Award-nominated and GRAMMY Award-winning composer Thomas Newman (The Shawshank Redemption, American Beauty, Skyfall) comes the premiere recording of his debut ballet score, Of Mice and Men. Composed for The Joffrey Ballet’s critically acclaimed 2022 production and choreographed by Cathy Marston, Newman’s evocative music explores themes of loneliness and the aspiration for a new life in the face of hardship. The Sony Classical album will be released on April 25, 2025 and is available for pre-order now. Accompanying today's announcement is the release of the single Bucking Grain - listen here.

“One of the things that has always interested me about writing music for film is a sense of empathy towards characters and an ability to relate to story,” says Newman. “So, in some ways it's not much different working on a ballet based upon a classic novel, because I still have to put myself in the mindset of a place and time, and have the music express character, as much as that character is going to be expressed through bodily movement.”

Of the working relationship with Thomas Newman, choreographer Cathy Marston says, “we had a fabulous collaboration that extended over two years due to the pandemic, with almost weekly Zooms. I was struck by how he uses textures I’ve not discovered with other composers—it wasn’t just about rhythm, tempo, and melody, but about the music’s role in storytelling. There were no shortcuts with him. I was amazed by the intimate working relationship we could build, even over a screen.”

Newman’s score incorporates elements of folk music, designed to fit both the characters and the world they inhabit. “California still evokes a feeling of dust and weeds, but it’s not quite Texas or the South,” Newman explains. “At the same time, you accept these sounds—high string guitars, mandolins, and country fiddle—as part of the story. It’s about finding groove and rhythm that best express the movement and emotion of the piece." Newman himself conducts the recording which features full symphony orchestra and instrumental solos from collaborators Steve Tavaglione, George Doering, Luanne Homzy and Rick Cox.

Thomas Newman is an acclaimed composer best known for his scores for more than eighty film and television projects including The Shawshank Redemption, Angels in America, Little Women, American Beauty, Finding Nemo, Skyfall, 1917, Scent of a Woman, WALL-E, Bridge of Spies and Elemental. His work has earned him numerous nominations and awards, including fifteen Academy Award nominations and six Grammy Awards.

Of Mice and Men had its world premiere at The Joffrey Ballet in Chicago in 2022, choreographed by Cathy Marston. The ballet, inspired by John Steinbeck’s novel, explores the themes of friendship, loneliness, and the American Dream. The production received widespread acclaim. The score, nearly an hour of music in total, comprises 16 short movements.

Christopher Jesina 3/14/25 Christopher Jesina 3/14/25

May 30: Simone Dinnerstein Releases Complicité - Music of J.S. Bach - First Single Out Today

Simone Dinnerstein Releases Complicité
Music of J.S. Bach

Dinnerstein’s First Recording with her Ensemble, Baroklyn
Featuring Jennifer Johnson Cano, mezzo soprano
and Peggy Pearson, oboe d’amore

Plus a Bach Recomposition by Philip Lasser

Worldwide Digital Album Release Date: May 30, 2025

First Single – J.S. Bach’s Chorale Herr Gott – Released Today
Listen Here: https://lnkfi.re/DinnersteinBaroklynHerrGott

“Dinnerstein is an artist of strikingly original ideas and irrefutable integrity. These attributes, combined with elegance and grace, lend her music-making its captivating beauty.” – The Washington Post

Review downloads & CDs available upon request.

Simone Dinnerstein: www.simonedinnerstein.com

March 14, 2025 – On May 30 2025, pianist Simone Dinnerstein releases her new album, Complicité, on the Supertrain Records label. This is her first recording with the string ensemble she founded and directs, Baroklyn (the ensemble’s name is a portmanteau of Baroque and Brooklyn, Dinnerstein’s home borough), and features the music of J.S. Bach and Philip Lasser. The first single, Dinnerstein and Baroklyn’s arrangement of Bach’s chorale Herr Gott, nun schleuß den Himmel auf, BWV 617, is out today. Listen here.

Complicité also includes Bach’s Keyboard Concerto in E Major, BWV 1053 and his chorale Der Leib war in der Erden, BWV 161 (arranged by Dinnerstein and Baroklyn); Bach’s Cantata 170, Vergnügte Ruh, beliebte Seelenlust with continuo realization by Philip Lasser; and In the Air, Lasser’s recomposition of Bach’s Air on the G String. Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore, join Dinnerstein and Baroklyn on this deeply felt recording, which embodies Dinnerstein’s artistic vision that music should always be creative and new.

Of the album title, Dinnerstein says, “Complicité is a term that I first heard from my son, who studied the teachings of the French theatre practitioner, Jacques Lecoq. Three important ideas that Lecoq communicated to his students were le jeu (playfulness), complicité (togetherness), and disponsibilité (openness). I was so intrigued by these ideas, and the different exercises that my son learned in order to cultivate these skills within ensemble acting, that I decided to try a Lecoq approach with my own musical ensemble, Baroklyn.”

Dinnerstein’s recounting of the recording process for the second aria of Bach’s Cantata 170 reflects this. She writes in the album’s liner notes, “In order to communicate most fully, we arranged the ensemble so that as much as possible, everyone could see each other. The strings and oboe d’amore formed a semi-circle around the piano, facing me. Jennifer was nestled into the piano, just to my right. That was particularly important in the opening and closing parts of this aria, which consist of a long phrase performed only by the unison strings and myself. The strings stop for breath every couple of notes, almost like someone crying and catching themselves. I asked the strings if they could move around the semi-circle one at a time, each playing a few notes and passing it to the next person during the breath. It is remarkable to hear this musical line divided between eight players, each with their own particular sound and inflection. If you listen closely, you can hear the music move from the left speaker to the right.”

Philip Lasser’s recomposition of Air on the G String also illustrates Dinnerstein’s signature approach to the music of Bach. She writes, “I asked Philip Lasser if he might write a continuo realization for me of the Air on the G String, but as an independent piece of music, like a jazz improvisation, that would happen simultaneously with the performance of the original air by the strings. What Philip wrote is truly a striking composition on its own, and it acts as a lens through which we see Bach’s music in a new light. This composition feels like a new medium – one piece of music inside another.”

Read Simone Dinnerstein’s extensive liner notes for Complicité here.

American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale della RAI. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY Award.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera.

The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

Philip Lasser is a composer with both French and American cultural roots. His music creates a unique sound world that blends the colorful harmonies of French Impressionist sonorities with the dynamic rhythms and characteristics of American music. Recent commissions include works written for Anton Mejias, Simone Dinnerstein, Emmanuel Music, The American Brass Quintet, Natalie Dessay and Ensemble Connect, Juilliard415 and Cantori New York. His works have been performed worldwide by artists such as Susanna Phillips, Midori, Simone Dinnerstein, Jan Vogler, Chad Hoopes, Zuill Bailey, Natalie Dessay, Elizabeth Futral, Sasha Cooke, Lucy Shelton, Brian Zeger, Frank Almond, Margo Garrett, and Cho-Liang Lin and many others as well as by the Atlanta, Seattle, Boulder, Shreveport and Colorado Symphonies, and the MDR Leipzig and Berlin Radio Symphony Orchestras.

Track List:

Complicité
Release Date: May 30, 2025 | Supertrain Records
Music by J.S. Bach & Philip Lasser

Simone Dinnerstein, director and piano
Jennifer Johnson Cano, mezzo-soprano
Peggy Pearson, oboe d’amore

Baroklyn
Violin: Rebecca Fischer, concertmaster; Gabby Diaz, Miki-Sophia Cloud, Monica Davis, Heidi Braun-Hill, Colleen Jennings, Gabriel Boyers
Viola: Jessica Thompson, Celia Hatton
Cello: Alexis Gerlach, Julian Müller
Bass: Lizzie Burns

1. J.S. Bach: Herr Gott, nun schleuß den Himmel auf, BWV 617 (arr. Dinnerstein and Baroklyn)
2-4. J.S. Bach: Keyboard Concerto in E Major, BWV 1053
5. J.S. Bach: Der Leib war in der Erden, BWV 161 (arr. Dinnerstein and Baroklyn)
6-10. J.S. Bach: Cantata 170, Vergnügte Ruh, beliebte Seelenlust (with continuo realization by Philip Lasser)
11. J.S. Bach/P. Lasser: In the Air

Album Credits:

Produced by Silas Brown
Engineered by Silas Brown and Doron Schachter Mastered by Silas Brown
Recorded at Mechanics Hall in Worcester, MA on September 16-18, 2024
Steinway Piano
Barbara Renner, piano technician
Cover painting by Simon Dinnerstein Montecasino Daisies, 2002
oil on wood panel, plexiglass palette, 23 1⁄4 x 44 1⁄4
Photographs by Doron Schachter
Graphic design by Ana Garlock
Executive Producer for Supertrain Records: Richard Guérin
© + ℗ 2025 Supertrain Records

Christopher Jesina 3/14/25 Christopher Jesina 3/14/25

March 28: Deutsche Grammophon Releases The Art of Memory - First Solo Album from Pianist Anton Mejias - Music by J.S. Bach & Philip Lasser

Deutsche Grammophon Releases The Art of Memory - First Solo Album from Pianist Anton Mejias - Music by J.S. Bach & Philip Lasser

Deutsche Grammophon Releases The Art of Memory

First Solo Album from Finnish-Cuban Pianist Anton Mejias

Featuring J.S. Bach’s Well-Tempered Clavier, Book II

Interwoven with the World Premiere Recording of
Philip Lasser’s Twelve Preludes: The Art of Memory

Worldwide Digital Album Release Date: March 28, 2025
Stage+ Film Premiere: March 22, 2025 (Watch)

“Technique is not an issue for Mejias; he can do everything effortlessly … (and) plays astonishingly virtuosic and fast . . . It is no surprise Mejias is highly sought after as a pianist worldwide.” – Süddeutsche Zeitung

“The hypnotically iridescent colors in a new piece by composer Philip Lasser, that cast the strongest spell.” – The Washington Post

Review downloads available upon request

On March 28, 2025, Deutsche Grammophon releases Finnish-Cuban pianist Anton Mejias' first solo album, The Art of Memory, featuring the world premiere recording of Philip Lasser's Twelve Preludes: The Art of Memory, a companion piece to Book II of J.S. Bach’s Well-Tempered Clavier.

On this bold, live recording from the Dresdner Musikfestspiele, Mejias deftly interweaves Lasser and Bach, taking listeners on a journey that reveals both composers' music in a new light. In addition to the digital album release, Mejias’ filmed performance at the Dresdner Musikfestspiele will premiere on Stage+ on March 22, 2025, a production by Bernhard Fleisher Moving Images & Dorn Music for Deutsche Grammophon. Lasser’s Twelve Preludes: The Art of Memory was co-commissioned for Mejias by the Dresdner Musikfestspiele and Newport Classical.

J.S. Bach has fascinated Anton Mejias, who is considered one of the most exciting talents on the international classical scene, since his childhood. He says, “In performing Bach I strive to emphasize the incredibly rich emotional side and the heart of the music, without overlooking the intellectual side and the style of the music. The most beautiful thing is that these two sides belong together and it is not about one or the other, but about the fact that both can enrich the other enormously.”

Of his companion piece for Book II of Bach’s Well-Tempered Clavier, an exploration of memory in music, composer Philip Lasser writes, “I began my Twelve Preludes many years ago with the idea of creating a set of works wherein as we went from one to the next, each prelude would collect remembrances of the past preludes until, at last, we reach the twelfth, which would be entirely made up of memories. . . I began to realize that this was a metaphor for human memory. With each new day, we become richer with new events, emotions, apperceptions; and yet, we receive the new only through the filter of our own personal experience which is then nothing more than a sum of our past remembrances. . . I am deeply honored that Anton Mejias has taken the bold move to perform and record my Preludes inside Bach’s Well-Tempered Clavier and I hope that my work nests quietly in Bach’s great work and offers yet another rhythm to the mastery of his unfolding of time.”

Born in 2001, Anton Mejias made his recital debut at the age of eight, and by ten, he had already learned the entire Well-Tempered Clavier, Book I. Since then he has added the complete French and English Suites, all six partitas, and the Well-Tempered Clavier, Book II, to his repertoire. In August 2023, Anton Mejias made his US debut with the Los Angeles Philharmonic at the Hollywood Bowl under conductor Tarmo Peltokoski. He has played with the Helsinki Philharmonic Orchestra, Tampere Philharmonic Orchestra and the Hallé Orchestra Manchester. Mejias made his debut with The Deutsche Kammerphilharmonie Bremen at Musikfest Bremen in 2024 performing Beethoven with conductor Tarmo Peltokoski, where he was awarded the Musikpreis Bremen sponsored by Deutschlandfunk. He has performed Prokofiev Piano Concerto No. 3 with the Latvian National Symphony Orchestra and has toured extensively with baritone Matthias Goerne. For more information: www.dornmusic.com/portfolio/anton-mejias

Track List:
The Art of Memory: Anton Mejias, Piano
Release Date: March 28, 2025 | Deutsche Grammophon
J.S. Bach’s The Well-Tempered Clavier, Book II
Philip Lasser’s Twelve Preludes: The Art of Memory

1: J.S. Bach: Prelude No. 1 in C Major, BWV 870/1 [2:39]
2: J.S. Bach: Fugue No. 1 in C Major, BWV 870/2 [1:30]
3: J.S. Bach: Prelude No. 2 in C Minor, BWV 871/1 [1:16]
4: J.S. Bach: Fugue No. 2 in C Minor, BWV 871/2 [2:17]
5: Lasser: Prelude 1[1:12]
6: J.S. Bach: Prelude No. 3 in C-Sharp Major, BWV 872/1 [1:43]
7: J.S. Bach: Fugue No. 3 in C-Sharp Major, BWV 872/2 [1:55]
8: J.S. Bach: Prelude No. 4 in C-Sharp Minor, BWV 873/1 [3:57]
9: J.S. Bach: Fugue No. 4 in C-Sharp Minor, BWV 873/2 [2:07]
10: Lasser: Prelude 2 [0:45]
11: J.S. Bach: Prelude No. 5 in D Major, BWV 874/1 [2:28]
12: J.S. Bach: Fugue No. 5 in D Major, BWV 874/2 [2:56]
13: J.S. Bach: Prelude No. 6 in D Minor, BWV 875/1 [1:47]
14: J.S. Bach: Fugue No. 6 in D Minor, BWV 875/2 [1:56]
15: Lasser: Prelude 3 [1:13]
16: J.S. Bach: Prelude No. 7 in E-Flat Major, BWV 876/1 [2:33]
17: J.S. Bach: Fugue No. 7 in E-Flat Major, BWV 876/2 [1:26]
18: J.S. Bach: Prelude No. 8 in D-Sharp Minor, BWV 877/1 [1:55]
19: J.S. Bach: Fugue No. 8 in D-Sharp Minor, BWV 877/2 [3:21]
20: Lasser: Prelude 4 [1:13]
21: J.S. Bach: Prelude No. 9 in E Major, BWV 878/1 [2:07]
22: J.S. Bach: Fugue No. 9 in E Major, BWV 878/2 [2:57]
23: J.S. Bach: Prelude No. 10 in E Minor, BWV 879/1 [1:53]
24: J.S. Bach: Fugue No. 10 in E Minor, BWV 879/2 [2:42]
25: Lasser: Prelude 5 [1:59]
26: J.S. Bach: Prelude No. 11 in F Major, BWV 880/1 [2:55]
27: J.S. Bach: Fugue No. 11 in F Major, BWV 880/2 [1:48]
28: J.S. Bach: Prelude No. 12 in F Minor, BWV 881/1 [2:12]
29: J.S. Bach: Fugue No. 12 in F Minor, BWV 881/2 [1:37]
30: Lasser: Prelude 6 [1:38]
31: J.S. Bach: Prelude No. 13 in F-Sharp Major, BWV 882/1 [2:44]
32: J.S. Bach: Fugue No. 13 in F-Sharp Major, BWV 882/2 [2:18]
33: J.S. Bach: Prelude No. 14 in F-Sharp Minor, BWV 883/1 [3:05]
34: J.S. Bach: Fugue No. 14 in F-Sharp Minor, BWV 883/2 [4:24]
35: Lasser: Prelude 7 [1:38]
36: J.S. Bach: Prelude No. 15 in G Major, BWV 884/1 [1:10]
37: J.S. Bach: Fugue No. 15 in G Major, BWV 884/2 [1:25]
38: J.S. Bach: Prelude No. 16 in G Minor, BWV 885/1 [2:45]
39: J.S. Bach: Fugue No. 16 in G Minor, BWV 885/2 [2:23]
40: Lasser: Prelude 8 [1:24]
41: J.S. Bach: Prelude No. 17 in A-Flat Major, BWV 886/1 [3:26]
42: J.S. Bach: Fugue No. 17 in A-Flat Major, BWV 886/2 [2:06]
43: J.S. Bach: Prelude No. 18 in G-Sharp Minor, BWV 887/1 [1:40]
44: J.S. Bach: Fugue No. 18 in G-Sharp Minor, BWV 887/2 [4:22]
45: Lasser: Prelude 9 [1:43]
46: J.S. Bach: Prelude No. 19 in A Major, BWV 888/1[1:44]
47: J.S. Bach: Fugue No. 19 in A Major, BWV 888/2 [1:05]
48: J.S. Bach: Prelude No. 20 in A Minor, BWV 889/1 [1:49]
49: J.S. Bach: Fugue No. 20 in A Minor, BWV 889/2 [1:28]
50: Lasser: Prelude 10 [1:37]
51: J.S. Bach: Prelude No. 21 in B-Flat Major, BWV 890/1 [3:43]
52: J.S. Bach: Fugue No. 21 in B-Flat Major, BWV 890/2 [1:41]
53: J.S. Bach: Prelude No. 22 in B-Flat Minor, BWV 891/1 [2:07]
54: J.S. Bach: Fugue No. 22 in B-Flat Minor, BWV 891/2 [3:01]
55: Lasser: Prelude 11 [2:08]
56: J.S. Bach: Prelude No. 23 in B Major, BWV 892/1[1:45]
57: J.S. Bach: Fugue No. 23 in B Major, BWV 892/2 [3:09]
58: J.S. Bach: Prelude No. 24 in B Minor, BWV 893/1 [1:48]
59: J.S. Bach: Fugue No. 24 in B Minor, BWV 893/2 [1:34]
60: Lasser: Prelude 12 [2:34]

Total Running Time: 2:25:21

Album Credits:
Piano: Anton Mejias
Executive Producer: Tanja Dorn
Executive Producer: Bernhard Fleischer
Produced by Romualdas Urba
Recorded by Stefan Folprecht
Digital Editing Engineer: Romualdas Urba
Mixing Engineer: Romualdas Urba
Mastering Engineer: Romualdas Urba
A&R: Valerie Groß
PCM: Joe Davies
Creative: Lars Hoffmann
(C) 2025 Deutsche Grammophon GmbH, Berlin

Recorded live on May 18, 2024 at Palais im Großen Garten, Dresden, presented by the Dresdner Musikfestspiele. Philip Lasser’s Twelve Preludes: The Art of Memory was co-commissioned for Anton Mejias by the Dresdner Musikfestspiele and Newport Classical.

Christina Jensen 3/14/25 Christina Jensen 3/14/25

March-June: GatherNYC Presents Seven Mindful Musical Mornings at the Museum of Arts and Design in Columbus Circle - Sundays at 11AM

March-June: GatherNYC Presents Sevend Mindful Musical Mornings at the Museum of Arts and Design in Columbus Circle

GatherNYC Continues 2024-2025 Season in NYC
at Museum of Arts and Design (MAD) in Columbus Circle

Every Other Sunday Morning at 11AM
Mindful Musical Mornings Include Spoken Word and Brief Celebration of Silence

Coming Up This Spring

3/16 Daedalus Quartet
3/30 MATA
4/13 Deborah Buck + Orli Shaham
4/27 ETHEL + Layale Chaker
5/11 Solomiya Ivakhiv + Friends: Music from Ukraine
5/25 Rupert Boyd, guitar
6/8 Orpheus + Boyd Meets Girl

“thoughtful, intimate events curated with refreshing eclecticism by its founders, the cellist Laura Metcalf and the guitarist Rupert Boyd, complete with pastries and coffee”
– The New Yorker

“A sweet chamber music series”
– The New York Times

“Impressive Aussie/American led concert series proves music can be a religion.”
– Limelight Magazine

Museum of Arts and Design | The Theater at MAD | 2 Columbus Circle | NYC

Tickets & Information: www.gathernyc.org

New York, NY – GatherNYC, a revolutionary concert experience founded in 2018 by cellist Laura Metcalf and guitarist Rupert Boyd, continues its 2024-2025 season at the series’ home venue, Museum of Arts and Design (MAD) (2 Columbus Circle) with seven upcoming concerts -- Daedalus Quartet on March 16, MATA on March 30, Deborah Buck + Orli Shaham on April 13, ETHEL + Layale Chaker on April 27, Solomiya Ivakhiv + Friends: Music from Ukraine on May 11, guitarist Rupert Boyd on May 25, and Orpheus + Boyd Meets Girl on June 8. Concerts are held every other Sunday at 11am in The Theater at MAD. Coffee and pastries are served before each performance at 10:30am. Admission for children under 12 is free.

Guests at GatherNYC are served exquisite live classical music performed by New York’s immensely talented artists, artisanal coffee and pastries, a taste of the spoken word, and a brief celebration of silence. The entire experience lasts one hour and evokes the community and spiritual nourishment of a religious service – but the religion is music, and all are welcome.

Spoken word artists perform briefly at the midpoint of each concert, many of whom are winners of The Moth StorySLAM events. “It’s an interesting moment of something completely different from the music, and it often connects with the audience,” Metcalf told Strings magazine in a feature about the series last year. “Then we have a two-minute celebration of silence when we turn the lights down, centering ourselves in the center of the city. Then the lights come back on, and the music starts again out of the silence. We find that the listening and the feeling in the room changes after that.”

Metcalf and Boyd say, “We are thrilled to be returning to the beautiful Museum of Arts and Design, offering 17 concerts throughout our 2024-25 season, our largest lineup yet. We look forward to inviting audiences to join us for these mindful, musical mornings with world-class artists in an intimate, unique setting – complete with spoken word, silence, coffee and a communal, welcoming environment.”

Up Next, Sundays at 11AM:

Mar. 16: Daedalus Quartet
Winners of the highest honor in string quartet playing, the Banff International String Quartet Competition, the Daedalus Quartet will perform the visceral, folk-inspired sixth string quartet by Béla Bartók, alongside the atmospheric, pop-influenced Space Between by acclaimed composer and Guggenheim fellow Anna Weesner.

Mar. 30: MATA
Music at the Anthology (MATA), an incubator for adventurous emerging artists in the early stages of their careers, presents, supports, and commissions composers, regardless of their stylistic views or aesthetic inclinations. Founded by Philip Glass, Eleonor Sandresky, and Lisa Bielawa in 1996 as a way to address the lack of presentation opportunities for unaffiliated composers, MATA composers have since emanated to include future Rome, Alpert, Takemitsu, Siemens, and Pulitzer Prize-winners, Guggenheim Fellows, and MacArthur “Geniuses.” In 2010 MATA was awarded ASCAP’s prestigious Aaron Copland award in recognition of its work. For its first collaboration with GatherNYC, MATA will showcase highlights from previous festivals as well as selected works from its global Call for Submissions. The New Yorker has hailed MATA as, “the most exciting showcase for outstanding young composers from around the world.” The New York Times has called it “nondogmatic, even antidogmatic;” and The Wall Street Journal said that it “tells us a lot about how composers are thinking now.”

Apr. 13: Deborah Buck + Orli Shaham
Violinist Deborah Buck, praised by The Strad as having a “surpassing degree of imagination and vibrant sound,” and Orli Shaham, described as a “brilliant pianist” by The New York Times, present a program to celebrate Clara Schumann's legacy. In addition to works by Robert and Clara Schumann, the program features the couple's circle of friends, including the music of Amanda Maier.

Apr. 27: ETHEL + Layale Chaker
From their beginnings in 1998, the members of ETHEL have prized collaboration. In recent years, the quartet has struck up a particularly fruitful collaboration with the Lebanese-born, Brooklyn-based violinist and composer Layale Chaker. Their album Vigil offers a chance to document some of that collective work, with each member of ETHEL contributing a piece and Chaker contributing two works, one of which is the remarkable work that gives the project its name.

May 11: Solomiya Ivakhiv + Friends: Music from Ukraine
Acclaimed violinist Solomiya Ivakhiv is known for channeling her award-winning virtuosity as a means of championing worthy music by lesser or unknown composers from her native Ukraine. For her first appearance at GatherNYC, Solomiya is joined by violist William Frampton and cellist Laura Metcalf to present a forgotten masterwork by Fedir Yakymenko, a colorful and rhapsodic piece written around the turn of the 20th century. Ukrainian by birth and spending his life in Russia and France, Yakymenko deftly blends French and Ukrainian sounds and styles into this delightful piece, which deserves to be heard and remembered.

May 25: Rupert Boyd, guitar
GatherNYC artistic director and classical guitar virtuoso Rupert Boyd takes listeners on a journey across centuries and continents on the six strings of his guitar. From Malian kora music to atmospheric sounds from Japan to contemporary music from his home country of Australia to classic works for the Spanish guitar, Boyd’s riveting program has something for everyone.

June 8: Orpheus + Boyd Meets Girl
Building on a highly successful collaboration during the 2023-24 season, GatherNYC artistic directors Laura Metcalf and Rupert Boyd in their duo formation of Boyd Meets Girl once again team up with the Orpheus Chamber Orchestra for an expanded collaborative program featuring classical favorites and creative, virtuosic takes on popular tunes.

For tickets and information, visit www.gathernyc.org.

Press photos available here.

Christopher Jesina 3/14/25 Christopher Jesina 3/14/25

April 25: GRAMMY®-nominated Pianist Simone Dinnerstein Performs with Lincoln Symphony Orchestra Led by Music Director Edward Polochick

GRAMMY®-nominated Pianist Simone Dinnerstein Performs with Lincoln Symphony Orchestra Led by Music Director Edward Polochick

Photo by Tanya Braganti available in high resolution here

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs as Guest Soloist with Lincoln’s Symphony Orchestra

Featuring Brahms’ Piano Concerto No. 2 in B-Flat Major
Conducted by Music Director Edward Polochick

Friday, April 25, 2025 at 7:30pm
Lied Center for Performing Arts | 301 N 12th St | Lincoln, NE
Tickets & Information

“lean, knowing, and unpretentious elegance” – The New Yorker

Simone Dinnerstein: www.simonedinnerstein.com

Lincoln, NE – On Friday, April 25, 2025 at 7:30pm, GRAMMY®-nominated pianist Simone Dinnerstein, described by The New York Times as “colorful and idiosyncratic,” will be the featured guest soloist with Lincoln’s Symphony Orchestra (LSO) in a performance of Johannes Brahms’ Piano Concerto No. 2 in B-Flat Major. The concert will take place at the Lied Center for Performing Arts (301 N 12th St) and will be conducted by LSO Music Director Edward Polochick. Dinnerstein’s performance is part of a thrilling program that also includes Beethoven’s Egmont Overture performed side-by-side with the Lincoln Youth Symphony and the world premiere of Tightrope, a new work by LSO’s Composer-in-Residence Elena Ruehr.

The Washington Post has called Simone Dinnerstein “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

While Dinnerstein has come to be recognized and celebrated for her appreciation of music by J.S. Bach, she has also brought bold and expressive artistry to the work of Brahms in performances for over 10 years –– including the other of Brahms’ two piano concertos, No. 1 in D Minor, Op. 15. Brahms’ second piano concerto is a newer addition to her repertoire –– one which Dinnerstein has been excited to perform throughout this season.

“I have been eagerly anticipating collaborating with Ed Polochick and Lincoln’s Symphony Orchestra on this masterpiece,” says Dinnerstein. “This concerto is a mammoth work of chamber music, and Ed’s sensitive and masterful leadership will create the ideal partnership.”

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” is the featured soloist with Lincoln’s Symphony Orchestra, led by Music Director Edward Polochick. Dinnerstein will perform Johannes Brahms’ Piano Concerto No. 2. in B-flat Major. The concert will also include a performance of Beethoven’s Egmont Overture by the Lincoln Youth Symphony and the world premiere of Tightrope, a new work by LSO’s Composer-in-Residence Elena Ruehr.

Concert details:

Who: Pianist GRAMMY®-nominated Simone Dinnerstein
Conducted by Music Director Edward Polochick
Presented by Lincoln’s Symphony Orchestra
What: Music by Johannes Brahms, Ludwig van Beethoven, and LSO Composer-in-Residence Elena Ruehr
When: Friday, April 25, 2025 at 7:30pm
Where: Lied Center for Performing Arts 301 N 12th St. Lincoln, NE 68508
Tickets and information: www.lincolnsymphony.com/tightrope

Christopher Jesina 3/14/25 Christopher Jesina 3/14/25

May 30: Anna Lapwood Unveils Firedove New Album to be Released on Sony Classical – First Single Limina Luminis Out Today

Anna Lapwood Unveils Firedove New Album to be Released on Sony Classical

Anna Lapwood Unveils Firedove
New Album to be Released on Sony Classical

First Single Limina Luminis
Out Today - Listen

Album Release Date: May 30, 2025
Pre-Order Now

One of the most gifted and visionary artists of her generation, Anna Lapwood, releases her brand-new album, Firedove, May 30, 2025 on Sony Classical. Pre-order is available now. It is the follow-up to Lapwood's acclaimed album Luna.

The lead track is the captivating Limina Luminis, commissioned for and first performed at the 2023 BBC Proms, composed for Anna by Italian composer Olivia Belli. The single is out today – listen here.

“This piece was part of my first solo recital at the BBC Proms, and I’ve played it in nearly every concert since, because I love it so much.” Anna says.

Already renowned for introducing the organ to new generations of music fans through her extraordinary interpretations of both classical and contemporary works, Anna Lapwood has become known to millions through viral TikTok videos, high-profile collaborations an sold-out live concerts.

Anna recorded her new album Firedove through the night at Nidaros Cathedral, a spectacular Gothic masterpiece founded in the 11th century in Trondheim, Norway.

“I wanted to create an album where the listener doesn’t quite know where it’s going to go next,” Lapwood says. “There are lots of little easter eggs in there that you wouldn’t expect – even the first appearance of the choir – and a through-line of flight and spreading wings, because this does feel as though I’ve found what I want to say as an artist. I’m very proud of it.”

Firedove effortlessly demonstrates Anna’s open-minded approach to music, one where a Vierne scherzo can sit alongside a rendition of Robbie Williams’ Angels, and Maurice Duruflé’s Prelude and Fugue with Bob Dylan’s Make You Feel My Love.

The repertoire choices on her album clearly indicate that it is Anna’s most personal record to date. She is no stranger to blending classical music with pop having performed with RAYE, Florence & The Machine & Aurora, even finding time to give Tom Cruise an impromptu organ lesson during a late-night rehearsal at London’s Royal Albert Hall.

Anna was appointed Director of Music at Pembroke College, Cambridgeshire when she was 21, the youngest person ever to hold that position at either an Oxford or Cambridge University College. Now, nine years later, she is stepping down to pursue her live and recording career full time.

On Firedove Anna Lapwood brings a breath of fresh air into classical musical making. “Since I started focusing on the music I loved and stopped worrying about what others felt I ‘should’ be doing, I have fallen in love with the organ again in a completely new way” she says.

The results are staggering, and Anna’s intense musical passion is evident throughout Firedove. An intoxicating listen.

Firedove Track list

Christopher Jesina 3/7/25 Christopher Jesina 3/7/25

April 8: Telegraph Quartet Return to California for Performance at San Francisco Conservatory of Music

Telegraph Quartet walking on gravel road in a forest. — Available in high resolution at: www.jensenartists.com/artists-profiles/telegraph-quartet

Telegraph Quartet at the San Francisco Conservatory of Music

Performing the Music of
Ludwig van Beethoven, Kenji Bunch, and Joseph Suk

Tuesday, April 8, 2025 at 7:30pm
Barbro Osher Recital Hall
200 Van Ness Avenue | San Francisco, CA
Tickets and More Information

“soulfulness, tonal beauty and intelligent attention to detail ... an incredibly valuable addition to the cultural landscape.”
– San Francisco Chronicle

www.TelegraphQuartet.com

San Francisco, CA – On Tuesday, April 8, 2025 at 7:30pm, the Telegraph Quartet (Eric Chin and Joseph Maile, violins; Pei-Ling Lin, viola; Jeremiah Shaw, cello), a group described by The San Francisco Chronicle as having "tonal warmth and communicative urgency,” will be presented in concert by the San Francisco Conservatory of Music in Barbro Osher Recital Hall (200 Van Ness Avenue). The award-winning ensemble will give its first performance at SFCM since departing their post as Quartet-in-Residence at the end of the 2023-2024 season. For this special return concert, the Telegraph Quartet will collaborate in performance with some of SFCM’s current students. The program will feature Kenji Bunch’s String Quartet No. 2 “Concussion Theory,” with cellist Alex Kim; Ludwig van Beethoven’s Op. 74 “Harp” and Josef Suk’s Piano Quintet with SFCM students violinist Mathea Goh and pianist Jon Lee.

The Telegraph Quartet formed in 2013 with an equal passion for standard and contemporary chamber music repertoire. Described by the San Francisco Chronicle as “an incredibly valuable addition to the cultural landscape” and “powerfully adept… with a combination of brilliance and subtlety,” the Telegraph Quartet was awarded the prestigious 2016 Walter W. Naumburg Chamber Music Award and the Grand Prize at the 2014 Fischoff Chamber Music Competition.

Known for their technical aptitude and appreciation for the history behind music, the Telegraph Quartet bring their innate musical chemistry and acuity to a program of works that express a wide range of emotions in response to people and events that were deeply meaningful, impactful, or inspiring to each of the composers.

Beethoven composed his “Harp” quartet during a time of great external trauma for the world, during a French attack on Vienna, and internal trauma for himself: over an 11-year-long struggle with hearing loss, which inevitably kept him from fully experiencing the finished piece. In spite of these harrowing circumstances, the “Harp” Quartet is one of Beethoven’s most melodious compositions.

Much of Joseph Suk’s Piano Quintet exudes an energized and frenetic quality –– often calling for a balance of expressive performances and concentrated precision. Though fresh and invigorating, the music tends to reflect compositional qualities of Johannes Brahms, to whom the piece is dedicated, as well as echoing influence from his teacher, fellow Czech composer, (and eventual father-in-law!) Antonin Dvořák.

Kenji Bunch explains that his String Quartet No. 2, Concussion Theory, “explores many aspects of the historically unprecedented plight of the 1930s Dustbowl and the highly unorthodox experiments the nation tried in order to address it. The first movement, No Man's Land, presents a dire scene of the parched, barren earth of the Great Plains, with a scorching sun and only a rustling of tumbleweed to interrupt the desolate stillness. Black Sunday recalls a battered, downtrodden community church gathering in 1935 on the day of one of the worst dust storm of that era blacked out an area spanning five states. The third movement, Concussion Theory, depicts the blazing fireworks of explosives fired into the heavens above, followed by A Gentle Rain, a fantasy of cathartic rainfall; a bittersweet, would-be outcome of this experiment that, alas, in reality never actually occurred.”

The Telegraph Quartet’s latest album, 20th Century Vantage Points: Divergent Paths, was released in 2023 on Azica Records. The first in the Telegraph’s three-album series focused on string quartets of the first half of the 20th century, Divergent Paths explores the bewildering and unbridled creativity of the period through the music of Arnold Schoenberg and Maurice Ravel, whose music on this album weaves threads of great contrast and surprising similarity. The album has been met with critical acclaim, with The New York Times reporting, “In the Schoenberg, they achieve something truly special, meticulously guiding its often wayward progress. At times Schoenberg makes the four strings sound almost orchestral, but the Telegraph players can also make his contrapuntal tangles radiantly clear. Every minute of their account sounds gripping and purposeful, which is one of the highest compliments you can pay the piece.”

More about Telegraph Quartet: The Quartet has performed in concert halls, music festivals, and academic institutions across the United States and abroad, including New York City’s Carnegie Hall and Lincoln Center, San Francisco’s Herbst Theatre, the San Francisco Conservatory of Music’s Chamber Masters Series, and at festivals including the Chautauqua Institute, Kneisel Hall Chamber Music Festival, and the Emilia Romagna Festival. The Quartet is currently the Quartet-in-Residence at the University of Michigan.

Notable collaborations include projects with pianists Leon Fleisher and Simone Dinnerstein; cellists Norman Fischer and Bonnie Hampton; violinist Ian Swensen; and the St. Lawrence Quartet and Henschel Quartett. A fervent champion of 20th- and 21st-century repertoire, the Telegraph Quartet has premiered works by Osvaldo Golijov, John Harbison, Robert Sirota, and Richard Festinger.

In August 2023, the Telegraph Quartet released its latest album Divergent Paths, the first in a series of recordings titled 20th Century Vantage Points, on Azica Records. This first volume features two works that (to the best of the Quartet’s knowledge) have never been recorded on the same album before: Maurice Ravel’s String Quartet in F Major and Arnold Schoenberg’s String Quartet No. 1 in D minor, Op. 7. Through this series, the Telegraph Quartet intends to explore string quartets of the 20th century – an era of music that the group has felt especially called to perform since its formation. The New York Times praised the Telegraph’s performance as “…full of elegance and pinpoint control…” Divergent Paths follows Into The Light (Centaur, 2018), an album highlighting a gripping set of works by Leon Kirchner, Anton Webern, and Benjamin Britten.

Beyond the concert stage, the Telegraph Quartet seeks to spread its music through education and audience engagement. The Quartet has given master classes at the San Francisco Conservatory of Music Collegiate and Pre-College Divisions, through the Morrison Artist Series at San Francisco State University, and abroad at the Taipei National University of the Arts, National Taiwan Normal University, and in San Miguel de Allende, Mexico. Telegraph has also served as artists-in-residence at the Interlochen Adult Chamber Music Camp, SoCal Chamber Music Workshop, and Crowden Music Center Chamber Music Workshop. In November 2020, the Telegraph Quartet launched ChamberFEAST!, a chamber music workshop in Taiwan. In fall 2020, Telegraph launched an online video project called TeleLab, in which the ensemble collectively breaks down the components of a movement from various works for quartet. In the summers of 2022 and 2024, the Telegraph Quartet traveled to Vienna to work with Schoenberg expert Henk Guittart in conjunction with the Arnold Schoenberg Center, researching all of Schoenberg's string quartets.

For more information, visit www.telegraphquartet.com.

For Calendar Editors:

Concert details:

Who: Telegraph Quartet with SFCM students cellist Alex Kim, violinist Mathea Goh, and pianist Jon Lee.
Presented by the San Francisco Conservatory of Music
What: Music by Ludwig van Beethoven, Kenji Bunch, and Joseph Suk
When: Tuesday, April 8, 2025 at 7:30pm
Where: Barbro Osher Recital Hall, 200 Van Ness Avenue, San Francisco, CA 94102
Tickets and information: https://sfcm.edu/experience/performances/chamber-music-tuesday-6-telegraph-quartet/20250408

Description: The award-winning Telegraph Quartet, which the San Francisco Chronicle describes as having “soulfulness, tonal beauty and intelligent attention to detail” and being “an incredibly valuable addition to the cultural landscape,” is presented by the San Francisco Conservatory of Music. The concert will feature Ludwig van Beethoven’s String Quartet No. 10 in E-flat major, Op. 74 “Harp,” Kenji Bunch’s String Quartet No. 2 “Concussion Theory,” with SFCM cellist Alex Kim; and and Josef Suk’s Piano Quintet with SFCM violinist Mathea Goh and SFCM pianist Jon Lee. Through this performance, the Telegraph Quartet presents music that showcases a wide range of emotions in response to people and events that were deeply meaningful, impactful, or inspiring to each of the composers.

Christopher Jesina 3/7/25 Christopher Jesina 3/7/25

April 17: Telegraph Quartet Perform at Carnegie Hall as Part of Naumburg Looks Back – Presented by The Walter W. Naumburg Foundation

Telegraph Quartet pose with instruments dressed in black suits with white shirts. — Available in high resolution at: www.jensenartists.com/artists-profiles/telegraph-quartet

The Walter W. Naumburg Foundation
Presents Naumburg Looks Back
Featuring the Telegraph Quartet at Carnegie Hall

Performing the Music of
Ludwig van Beethoven, Kenji Bunch, and Mieczysław Weinberg

Thursday, April 17, 2025 at 7:30pm
Carnegie Hall | Weill Recital Hall | 57th St. and 7th Ave. | NYC
Tickets: www.carnegiehall.org, CarnegieCharge 212.247.7800, or the Carnegie Hall Box Office

“full of elegance and pinpoint control” – The New York Times

www.TelegraphQuartet.com

New York, NY – On Thursday, April 17, 2025 at 7:30pm, the Telegraph Quartet (Eric Chin and Joseph Maile, violins; Pei-Ling Lin, viola; Jeremiah Shaw, cello), a group described by The San Francisco Chronicle as having "tonal warmth and communicative urgency,” will be presented by The Walter Naumburg Foundation in the Foundation’s celebrated series Naumburg Looks Back, which brings back past winners in concert. The program takes place at Carnegie Hall in Weill Recital Hall (57th St. and 7th Ave.)

For this concert, the Telegraph Quartet will perform Ludwig van Beethoven’s String Quartet No. 10 in E-flat major, Op. 74 “Harp,” Kenji Bunch’s String Quartet No. 2 “Concussion Theory,” and Mieczysław Weinberg's String Quartet No. 6 in E minor, Op. 35. The Telegraph Quartet formed in 2013 with an equal passion for standard and contemporary chamber music repertoire. Described by the San Francisco Chronicle as “an incredibly valuable addition to the cultural landscape” and “powerfully adept… with a combination of brilliance and subtlety,” the Telegraph Quartet was awarded the prestigious 2016 Walter W. Naumburg Chamber Music Award and the Grand Prize at the 2014 Fischoff Chamber Music Competition.

Known for their technical skill and appreciation for the history behind music, the Telegraph Quartet brings innate musical chemistry and acuity to music that evokes a wide range of emotions in response to events – from highly individual, to national, and even global in scope – that were deeply meaningful, impactful, or inspiring to each of the composers, directly shaping the character of each piece.

Beethoven composed his “Harp” quartet during a time of great external trauma for the world, during a French attack on Vienna, and internal trauma for himself over an 11-year-long struggle with hearing loss, which inevitably kept him from fully experiencing the finished piece. In spite of these harrowing circumstances, the “Harp” Quartet is one of Beethoven’s most melodious compositions.

During World War II Mieczysław Weinberg fled his homeland of Poland and having failed to convince his family to come with him, almost all of them were murdered in the concentration camps. His String Quartet No. 6 contains an innocent mundanity that erupts throughout the work into desperation, sorrow, and tragic indignation as he dealt with the ramifications of his exile and learned to live warily in his newfound home of the Soviet Union. The work, which was banned in Stalin’s USSR and was never performed in Weinberg’s lifetime, is now being championed by the Telegraph Quartet.

The Telegraph Quartet’s latest album, 20th Century Vantage Points: Divergent Paths, was released in 2023 on Azica Records. The first in the Telegraph’s three-album series focused on string quartets of the first half of the 20th century, Divergent Paths explores the bewildering and unbridled creativity of the period through the music of Arnold Schoenberg and Maurice Ravel, whose music on this album weaves threads of great contrast and surprising similarity. The album has been met with critical acclaim, with The New York Times reporting, “[I]n the Schoenberg, they achieve something truly special, meticulously guiding its often wayward progress. At times Schoenberg makes the four strings sound almost orchestral, but the Telegraph players can also make his contrapuntal tangles radiantly clear. Every minute of their account sounds gripping and purposeful, which is one of the highest compliments you can pay the piece.”

About The Walter W, Naumburg Foundation

The Walter W. Naumburg Foundation, founded in 1926 by Walter W. Naumburg, next year embarks on its centenary year holding the distinction of being the world’s longest running classical music competition. Today it continues in the pursuit of ideals set out by Mr. Naumburg. His desire to assist gifted young musicians in America has made possible a long-standing program of competitions and awards in solo, chamber music performance and commissions. It was Mr. Naumburg’s firm belief that such competitions were not only for the benefit of new stars but would also be for those talented young musicians who would become the prime movers in the development of the highest standards of musical excellence in America, and throughout the world today. Visit www.naumburg.org

For more information, visit www.telegraphquartet.com.

For Calendar Editors:

Concert details:

Who: Telegraph Quartet
Presented by The Walter Naumburg Foundation
What: Music by Ludwig van Beethoven, Kenji Bunch, and Mieczysław Weinberg
When: Thursday, April 17, 2025 at 7:30pm
Where: Weill Recital Hall, 57th St. and 7th Ave., New York, NY 10019
Tickets and information: https://www.carnegiehall.org/Calendar/2025/04/17/The-Telegraph-Quartet-0730PM

Description: The award-winning Telegraph Quartet, which the San Francisco Chronicle describes as having “soulfulness, tonal beauty and intelligent attention to detail” and being “an incredibly valuable addition to the cultural landscape,” is presented by The Walter Naumburg Foundation in a special performance at Carnegie Hall as part of Naumburg Looks Back. The ensemble will perform Ludwig van Beethoven’s String Quartet No. 10 in E-flat major, Op. 74 “Harp,” Kenji Bunch’s String Quartet No. 2 “Concussion Theory,” and Mieczysław Weinberg's String Quartet No. 6 in E minor, Op. 35. Through this performance, the Telegraph Quartet presents music that showcases a wide range of emotions in response to events –– from highly individual, to national, and global in scope –– that were deeply meaningful, impactful, or inspiring to each of the composers.

Christopher Jesina 3/7/25 Christopher Jesina 3/7/25

Newport Classical Continues Free Community Concerts with Two Spring Performances in April and May

Ji Su Jung (left) and Rasa String Quartet (right). Photo of Rasa String Quartet by Titilayo Ayangade; photo of Ji Su Jung courtesy of the artist. Available in high resolution here.

Newport Classical Continues Community Concerts with Two Spring Performances
Free, Casual, and Welcoming to All

Presented by BankNewport

Ji Su Jung’s Percussion Playground
Sunday, April 27, 2025 at 2:30 PM
Great Friends Meeting House | 21 Farewell Street | Newport, RI

Rasa Quartet and Percussion
Sunday, May 18, 2025 at 2:30 PM
Newport Craft Brewing Lawn | 293 JT Connell Highway | Newport, RI

Information & Registration: www.newportclassical.org

Newport, RI – Newport Classical announces two spring concerts as part of the 2024-2025 Newport Classical Community Concerts Series featuring Ji Su Jung’s Percussion Playground on Sunday, April 27, 2025 at 2:30pm at Great Friends Meeting House (21 Farewell Street) and Rasa Quartet and Percussion on Sunday, May 18, 2025 at 2:30pm on the Newport Craft Brewing Lawn (293 JT Connell Highway). Audiences can look forward to enjoying these casual, engaging, and welcoming concerts right in their Newport neighborhoods. Newport Classical’s Community Concerts Series is free and open to the community; advanced registration is requested but not required for both performances.

On April 27, experience the mesmerizing artistry of percussionist Ji Su Jung at the historic Great Friends Meeting House. The first solo percussionist to receive the Avery Fisher Career Grant, Jung has captivated audiences nationwide, performing with top orchestras at renowned venues including the Kennedy Center and Lincoln Center. Known for her depth, lyricism, and dazzling virtuosity, Jung transforms the marimba into an instrument of extraordinary expression. With a blend of traditional and contemporary music, this concert showcases the boundless possibilities of percussion in classical music and beyond. Join Newport Classical for this free, family-friendly performance in an afternoon of music and community right in the heart of Newport.

On May 18, Newport Classical welcomes the Rasa String Quartet (Emma Powell and Maura Shawn Scanlin, violin; Kiyoshi Hayashi, viola; Mina Kim, cello) and percussionist Brian Shankar Adler to Newport Craft. Enjoy a joyful outdoor concert celebrating each artists’ musical roots spanning from evocative Indian ragas and mysterious Argentine tangos to spirited Celtic fiddle tunes. This collaboration evokes the feelings of home and comfort inherent in our earliest musical memories, while also exploring the rhythmic connection across a wide array of genres. The program culminates in a brand-new work for string quartet and percussion by Brian Shankar Adler, inspired by this unique collaboration. Don’t miss this free, family-friendly concert on the lawn of Newport Craft, overlooking the Pell Bridge, where music and storytelling come together for a delightful afternoon.

These concerts are generously presented as part of the BankNewport Community Concerts Series with additional support from the NewportFed Charitable Foundation. 

Up next, the Newport Classical Chamber Series continues with oboist James Austin Smith, hailed by The New York Times as “virtuosic,” and for his “dazzling” and “brilliant” performances, who joins forces with acclaimed pianist Michael Stephen Brown in music by William Grant Still, Clara Schumann, Camille Saint-Saëns, and more, on March 21. On April 25, Bulgarian-American violinist Bella Hristova, who has won international acclaim for her “expressive nuance and rich tone” (The New York Times) presents the music of Bach and Messiaen, alongside works by Grieg and Indian-American composer Reena Esmail, with pianist Anna Polonsky. Pianist Orion Weiss, known for his “powerful technique and exceptional insight” (The Washington Post), returns to Newport for a solo recital of Bach’s beloved Goldberg Variations on May 16. On June 13, the GRAMMY®-nominated Norwegian Trio Mediaeval, who captivate audiences with their crystalline voices, closes the 2024-2025 Newport Classical Chamber Series with an enchanting evening of Norwegian and Swedish traditional songs, hymns, fiddle tunes, and ballads.

The 2025 Newport Classical Music Festival will take place from July 4-22, 2025, with programming to be announced on March 25.

For Newport Classical’s complete concert calendar, visit www.newportclassical.org/concerts

About Newport Classical:
Newport Classical is a premier performing arts organization that welcomes people of every age, culture, and background to intimate, immersive musical experiences. The organization presents world-renowned and up-and-coming artistic talents at stunning, storied venues across Newport – an internationally sought-after cultural and recreational destination.

Originally founded in 1969 as Rhode Island Arts Foundation at Newport, Inc., Newport Classical has a rich legacy of musical curiosity having presented the American debuts of hundreds of international artists and is most well-known for hosting three weeks of concerts in the summer in the historic mansions throughout Newport and Aquidneck Island. In the 56 years since, Newport Classical has become the most active year-round presenter of music in Newport County, and an essential pillar of Rhode Island’s cultural landscape, welcoming thousands of patrons all year long.

Newport Classical invests in the future of classical music as a diverse, relevant, and ever-evolving art form through its four core programs – the one-of-a-kind Music Festival; the Chamber Series in the Newport Classical Recital Hall; the free, family-friendly Community Concerts Series; and the Music Education and Engagement Initiative that inspires students in local schools to become the arts advocates and music lovers of tomorrow. These programs illustrate the organization’s ongoing commitment to presenting “timeless music for today.”

In 2021, the organization launched a new commissioning initiative – each year, Newport Classical will commission a new work by a Black, Indigenous, person of color, or woman composer as a commitment to the future of classical music. To date, Newport Classical has commissioned and presented the world premiere of works by Stacy Garrop, Shawn Okpebholo, Curtis Stewart, and Clarice Assad.

Christopher Jesina 3/7/25 Christopher Jesina 3/7/25

May 9: Pentatonix Powerhouse Kevin Olusola Announces Debut Solo Album Dawn Of A Misfit on Sony Music Masterworks – Debut Single & Music Video Out Now

Pentatonix Powerhouse Kevin Olusola Announces Debut Solo Album Dawn Of A Misfit

Singer, Cellist, and Beatboxer Shares
Debut Single and Music Video for Dark Winter
Listen | Watch

Album Showcases Works by a Wide Range of Women Composers
Album Release Date: April 25, 2025
Pre-Order Available Now

Kevin Olusola, the dynamic singer, cellist, and beatboxer best known for his work with the 3x-GRAMMY® Award-winning a cappella group Pentatonix, will release his debut solo album, Dawn of a Misfit, on May 9, 2025 via Sony Music Masterworks. The record is available to pre-order and pre-save here.

The multi-faceted artist previews his new LP with the electrifying lead single Dark Winter, out now, which blends samples from Vivaldi's Four Seasons and symphonic strings with Olusola's potent beatbox percussion, 808s & elastic R&B hooks."

The song introduces a bit of edge for a musician often recognized for exuberant joy—and the music video for Dark Winter directed by Ron Jaramillo, follows in that spirit, following Olusola and his “Misfit Mafia” as they destroy objects from the classical tradition, including cellos, paintings, and statues. “My misfits and I are completely demolishing them,” Olusola says. “We don’t have to destroy the past, but we have to break the things that have been traditional or stereotyped in us to become exactly who we’re called to be. I want to shatter boundaries, only to bring all the pieces back together with a newfound harmony.” The official music video for Dark Winter is out now – watch here

Dawn of a Misfit follows two EPs: The Renegade, which explored classical music and celloboxing, and Don't Let Me Be Misunderstood, which delved more into pop influences. This new LP seamlessly blends elements from both projects while continuing to expand his already-vast musical canvas. Dawn of a Misfit draws on his classical virtuosity and the graceful soulfulness of his vocals, partly fueled by his Nigerian and Grenadian heritage. While recording the new album, he was influenced by a diverse range of artists, including Sting, multi-hyphenate artist Jon Batiste, Nigerian musician Fela Kuti, American singer and actor Harry Belafonte, country-rap artist Shaboozey, cellist Jacqueline du Pré, pianist Harvey Lavan "Van" Cliburn Jr., and Russian composer Sergei Rachmaninoff.

The wide-ranging album touches on spirituality, fatherhood, and being a first-generation person in a Western country, all while fusing classical, pop, R&B, and hip-hop. It even includes a nod to Pentatonix with “Kevin’s Fifth,” a fan-favorite expansion on Beethoven’s 5th that he often performs during their live shows. The beloved quintet—who broke out after winning NBC’s The Sing-Off in 2011—have released 12 albums in total, including 2022’s GRAMMY-nominated Holidays Around the World. More recently, they starred in the #1 Netflix rom-com Meet Me Next Christmas.

KEVIN OLUSOLA - DAWN OF A MISFIT

Tracklisting

1. Dark Winter
2. Hallelujah (I Don't Think About You)
3. I Feel Misunderstood
4. Crazy
5. Like Us
6. Smile
7. A Change Is Gonna Come
8. Have I Told You
9. Love, Leigh & Kaia
10. Kaia's Swan
11. Showdown
12. Hymn for Christian
13. Kevin's Fifth

PR Photo (Credit Xavier Sotomayer) Download

ABOUT KEVIN OLUSOLA
As one-fifth of multi-platinum-selling a cappella phenomenon Pentatonix, the multi-faceted artist, Kevin Olusola defies stereotypes by reimagining classical musicianship through a modern sonic and lyrical lens, all the while balancing his dynamic background of Nigerian and Grenadian heritage. With his debut solo album, Dawn of a Misfit, out May 9, 2025 via Sony Music Masterworks, Olusola uses his love of classical music as the backdrop to tell his story as a first-generation person growing up in a Western country. He hopes to unlock entry points for those unfamiliar with the classical genre and reach those in and outside the Black diaspora who may still be finding themselves through life’s hardships. “My purpose is to spread love far and wide with the unique frequency l've been given. I want to shatter boundaries, only to bring all the pieces back together with a newfound harmony,” Olusola says. “I hope my music makes you feel comfortable in who you are and the love you want to portray to the world.”

Follow Kevin Olusola
Website | Instagram | Facebook | Tiktok | YouTube

Sony Music Masterworks comprises Masterworks, Sony Classical, Milan Records, XXIM Records and Masterworks Broadway imprints. For email updates and information please visit www.sonymusicmasterworks.com.

Christopher Jesina 2/28/25 Christopher Jesina 2/28/25

Ariel Quartet Embarks on Monumental Beethoven String Quartet Cycle - Three Albums over Two Years - Volume One out April 4 on Orchid Classics

Ariel Quartet Embarks on Monumental Beethoven String Quartet Cycle Three Albums over Two Years

Ariel Quartet stand in front of grey brick wall holding their instruments

Ariel Quartet Embarks on Monumental Beethoven String Quartet Cycle Three Albums over Two Years

Culminating in 2027
Honoring Beethoven’s Legacy 200 Years After His Passing

Volume One to be Released Worldwide on April 4, 2025
On Orchid Classics

"A gripping and often very subtle reading, setting ear-melting tenderness against seething passion with a deft and precise touch" – The Washington Post

“the Ariel’s performance showed that when the minutiae of quartet playing are thoughtfully considered and perfectly executed, the sum of a quartet is indeed greater than its parts” – The Strad

Review CDs and downloads available upon request.

Pre-Save/Order: https://orchid-music.lnk.to/BeethovenQuartetsVol.1EM

Ariel Quartet: www.arielquartet.com/the-cycle

Upcoming Performances: www.arielquartet.com/schedule

The Ariel Quartet (Alexandra Kazovsky, violin; Gershon Gerchikov, violin; Jan Grüning, viola; and Amit Even-Tov, cello) – distinguished by its virtuosity, probing musical insight, and impassioned performances – will release the complete Beethoven String Quartets over two years, culminating in 2027, the 200th anniversary of Beethoven’s death. The Quartet will release the first volume of the series on April 4, 2025 on the Orchid Classics label, with subsequent volumes arriving in November 2025 and June 2026, and a special box set release in March 2027. Volume one of the cycle includes Beethoven’s Op. 18 string quartets over 2 CDs – on CD 1, String Quartet in F major, Op.18 No.1; String Quartet in D major, Op.18 No. 3; and String Quartet in B-flat major, Op.18 No. 6; and on CD 2, String Quartet in G major, Op.18 No. 2; String Quartet in C minor, Op.18 No. 4; and String Quartet in A major, Op.18 No. 5. The first single from the album, a selection from Op. 18 No. 5, will be released on March 7.

Formed when the members were just teenagers studying at the Jerusalem Academy Middle School of Music and Dance in Israel, the Ariel Quartet has a long history with the quartets of Beethoven. His String Quartet in C minor, Op.18 No.4 was the very first piece that the group tackled together as thirteen year olds, and the members credit the work for hooking them on the genre, for life.

Of Beethoven’s Op. 18 set, composed between 1798 and 1800, the Ariel writes, “Quartets were traditionally published in sets of six, and fittingly, Op.18 became the last great quartet set of the classical period: we hear a young Beethoven proving himself on the battleground of his teachers and peers, Haydn and Mozart, while signaling a bold move toward new musical horizons. . . Zooming in and familiarizing ourselves with Haydn’s and Mozart’s quartets of the time, we quickly understand that Beethoven’s set – while adhering to the same rules and principles – is distinctly ‘Beethovenian.’ While this impression can be broken down into factors such as motive-driven development, emotional contrasts, his characteristic expanded harmonic language, structural experimentation etc., the big achievement was his ability to unify these elements into a compositional language that expresses extraordinary emotional depth.”

In 2013 to mark its 15th anniversary, the Ariel Quartet performed its first complete Beethoven cycle – a milestone for the group, which has been performing Beethoven’s music since its inception. Since then, the Ariel has performed the complete cycle on six occasions throughout the United States and Europe. They view the complete quartets as part of their personal life-long journey reflected in Beethoven’s music – works that are interwoven with the evolution of the string quartet genre as well as the group’s own genesis story.

The Quartet writes:

“A happy accident kickstarted our group in 1998, when we were thirteen years old, at a school for music and dance. Amidst stretching ballerinas and improvising jazz pianists, we were simply assigned to play together. Our teacher spoon-fed us repertoire just beyond our ability, knowing we were about to discover the addictive magic of playing string quartets. We spent our teenage years rehearsing in the school attic, immersing ourselves in the rich string quartet repertoire while learning to navigate both the music and our evolving relationships.

Today, 27 years in and with three founding members still on board, our mission is to breathe life into the bread and butter of the string quartet repertoire while shining a spotlight on the compelling music of our time. This commitment led us to perform the complete Beethoven cycle before any of us turned 30.

Our unusual journey has been fundamental in shaping who we are. Beyond the demands of our shared professional path, we have walked together as friends who have truly become family. From late-night debates about tempo and sight-reading marathons to raising our children alongside one another while balancing an international concert career, we have shared every stage of life. This closeness has created a deep and unique bond that continues to shape our identity, both on stage and beyond.”

Ariel Quartet sit on red couch in white living room holding their instruments.

More about the Ariel Quartet: The Ariel Quartet was named a recipient of the prestigious Cleveland Quartet Award, granted by Chamber Music America in recognition of artistic achievement and career support. Recent highlights include the Quartet’s sold-out Carnegie Hall debut, a series of performances at Lincoln Center together with pianist Inon Barnatan and the Mark Morris Dance Group, as well as the release of a Brahms and Bartók album for Avie Records. In 2020, the Ariel gave the U.S. premiere of the Quintet for Piano and Strings by Daniil Trifonov, with the composer as pianist for the Linton Chamber Music Series in Cincinnati. The Quartet serves as the Faculty Quartet-in-Residence at the University of Cincinnati’s College-Conservatory of Music (CCM), where they direct the chamber music program and present a concert series in addition to maintaining a busy touring schedule in the United States and abroad.

The Ariel Quartet regularly collaborates with today’s eminent and rising young musicians and ensembles, including pianist Orion Weiss, cellist Paul Katz, and the American, Pacifica, and Jerusalem String Quartets. The Quartet has toured with cellist Alisa Weilerstein and performed frequently with pianists Jeremy Denk and Menahem Pressler. In addition, the Ariel served as Quartet-in-Residence for the Steans Music Institute at the Ravinia Festival, the Yellow Barn Music Festival, and the Perlman Music Program, as well as the Ernst Stiefel String Quartet-in-Residence at the Caramoor Festival.

Formerly the resident ensemble of the Professional String Quartet Training Program at the New England Conservatory, from which the players obtained their undergraduate and graduate degrees, the Ariel was mentored extensively by acclaimed string quartet giants Walter Levin and Paul Katz. It has won numerous international prizes in addition to the Cleveland Quartet Award: First Prize at the prestigious Franz Schubert and Modern Music Competition in Graz/Austria, Grand Prize at the 2006 Fischoff National Chamber Music Competition and the Székely Prize for the performance of Bartók’s String Quartet No. 4, and Third Prize at the Banff International String Quartet Competition. About its performances at the Banff competition, the American Record Guide described the group as “a consummate ensemble gifted with utter musicality and remarkable interpretive power” and noted, in particular, their playing of Beethoven’s monumental Quartet in A minor, Op. 132, as “the pinnacle of the competition.”

The Ariel Quartet has received significant support from the American-Israel Cultural Foundation, Dov and Rachel Gottesman, and the Legacy Heritage Fund. Most recently, they were awarded a grant from the A.N. and Pearl G. Barnett Family Foundation.

Follow the Ariel Quartet:
www.instagram.com/arielquartet
www.facebook.com/ArielQuartet

ALBUM TRACK LISTING:

Beethoven: The Complete String Quartets Vol. 1
Ariel Quartet
Orchid Classics | Release Date: April 4, 2025

DISC 1

Ludwig van Beethoven (1770-1827)

String Quartet in F major, Op.18 No.1
1. I Allegro con brio
2. II Adagio affettuoso ed appassionato
3. III Scherzo. Allegro molto
4. IV Allegro

String Quartet in D major, Op.18 No.3
5. I Allegro
6. II Andante con moto
7. III Allegro
8. IV Presto

String Quartet in B-flat major, Op.18 No.6
9. I Allegro con brio
10. II Adagio ma non troppo
11. III Scherzo. Allegro
12. IV La Malinconia: Adagio – Allegretto quasi Allegro

DISC 2

Ludwig van Beethoven (1770-1827)

String Quartet in G major, Op.18 No.2
1. I Allegro
2. II Adagio cantabile – Allegro – Tempo I
3. III Scherzo: Allegro
4. IV Allegro molto quasi presto

String Quartet in C minor, Op.18 No.4
5. I Allegro ma non tanto
6. II Andante scherzoso quasi allegretto
7. III Menuetto. Allegretto
8. IV Allegro

String Quartet in A major, Op.18 No.5
9. I Allegro
10. II Menuetto
11. III Andante cantabile
12. IV Allegro

Ariel Quartet:
Alexandra Kazovsky, violin
Gershon Gerchikov, violin
Jan Grüning, viola
Amit Even–Tov, cello

Recorded at Robert J. Werner Recital Hall, University of Cincinnati College- Conservatory of Music on 16-18 September 2022 (Nos.1-3) & 13-16 September 2023 (Nos.4-6)
Producer: Jesse Lewis
Recording Engineers: Shauna Barravecchio & Jesse Lewis
Editing Engineer: Shauna Barravecchio, Caroline Shaffer Robin & Frank Shaw Mix Engineer: Jesse Lewis
Immersive Producer: Jesse Lewis
Immersive Mixing and Mastering Engineer: Christopher Moretti
Mastering Engineer: Christopher Moretti
Cover & booklet photography: Neda Navaee

Christopher Jesina 2/27/25 Christopher Jesina 2/27/25

April 25: Violinist Esther Abrami to Release New Album Women on Sony Classical – Music Video for Valse Di Fantastica by Yoko Shimomura Out Now

Acclaimed Violinist Esther Abrami to Release Women
New Album on Sony Classical

Music Video for Valse Di Fantastica by Yoko Shimomura
Out Now - Watch Here

Out Today
Album Showcases Works by a Wide Range of Women Composers
Album Release Date: April 25, 2025
Pre-Order Available Now

Celebrated violinist and social media sensation Esther Abrami announces the release of her highly anticipated new album Women set for release on April 25, 2025 via Sony Classical and available for pre-order now.

A tribute to women composers across history and a range of genres, Women showcases the exceptional talent of 14 remarkable composers, spanning newly composed works and rediscovered masterpieces. The album features Oscar winners Rachel Portman and Anne Dudley, as well as new arrangements of compositions by historic composers such as Pauline Viardot, Chiquinha Gonzaga, Teresa Carreño or Ethel Smyth. Women also includes Transmission, an original composition by Esther Abrami, who has arranged several pieces on the album. At its heart is the world-premiere recording of Ina Boyle’s Violin Concerto, a breathtaking, late-Romantic composition. Esther Abrami carefully chose each piece on Women not only for its musical brilliance but also for the emotional connection it holds for her, highlighting the often-overlooked voices of women in classical music.

“For as far back as I can remember, the only classical music I ever came across was written by male composers. I studied classical music for over 15 years in some of the top music schools and conservatoires in the world. During those years I never played a single piece written by a woman. It wasn’t that I actively avoided them - I simply didn’t know they even existed! Nobody talked about them, nobody played their music, no one ever introduced me to their compositions. It took stepping out of my formal education to question this reality. ‘Did any women ever compose classical music?’ Turns out they did! Just when I thought I knew all about the main classical composers, I discovered a hidden treasure. I spent months researching, drawn into a whole new world of music and stories from women left in the shadows of history. This album is my tribute to them. Women is a journey through centuries of music, told through the voices of women who composed, fought, lived, and created despite the odds. The stories of these women inspired me to create; they showed me the importance of leaving your mark for future generations to discover. I hope Women can inspire a new generation of young girls to compose.”

Throughout her career, Esther Abrami has been dedicated to celebrating and amplifying the voices of women composers. From her popular podcast Women in Classical, where she interviews influential musicians, composers and women working in classical music to her EP Spotlight, dedicated to women composers, Abrami continues her mission to highlight and elevate women’s contributions to classical music. With her new album Women, she is taking another major step towards breaking down barriers and redefining the landscape of the genre.

Women brings together an extraordinary lineup of collaborators, including the Vienna Radio Symphony Orchestra under the baton of conductor Irene Delgado-Jiménez, pianist Kim Barbier, harpist Lavinia Meijer, and the Esther Abrami Quintet.

“I felt extremely lucky working with such an incredible orchestra and musicians on a project that is so personal. Hearing my own composition brought to life by a whole orchestra is a memory I will never forget.”

Esther Abrami - Women - Tracklist:

1) March of the Women* (Ethel Smyth / Esther Abrami)
2) Valse Di Fantastica* (Yoko Shimomura)
3) Flowers* (Miley Cyrus)
4) Hai Luli! (Pauline Viardot) with Lavinia Meijer and the Esther Abrami Quintet
5) Wiegala (Ilse Weber) with the Esther Abrami Quintet
6) Corta Jaca (Chiquinha Gonzaga) with the Esther Abrami Quintet
7) Medhel an Gwyns* (Anne Dudley)
8) O Virtus Sapientiae (Hildegard von Bingen) with the Esther Abrami Quintet
9) Apple Tree* (Rachel Portman)
10-12) Concerto for Violin and Orchestra (To the Memory of My Mother)* (Ina Boyle)
13) Mi Teresita ‘Little Waltz’* (Teresa Carreño)
14) Lua Branca (Chiquinha Gonzaga) with Kim Barbier
15) Solitude (Rita Strohl) with Kim Barbier
16) Transmission* (Esther Abrami)

* Vienna Radio Symphony Orchestra, Irene Delgado-Jiménez

FOLLOW ESTHER ABRAMI
Website | Instagram | Facebook | Tiktok | YouTube

Esther Abrami – WOMEN - Track by Track Stories

The stories of these women inspired Esther Abrami to create. They showed her the importance of leaving a mark for future generations to discover. She hopes Women can inspire a new generation of young girls to compose.

March of the Women – Ethel Smyth, recomposed by Esther Abrami

A voice appears in the introduction to Esther Abrami’s album saying, “You have to make more noise.” Not just any voice, but the voice of Emmeline Pankhurst, a leading figure in the suffragette movement fighting to obtain women’s right to vote. The sample is taken from an original recording of a speech given by Emmeline in Hyde Park, London in 1908 and Esther Abrami incorporated it into her arrangement of “March of the Women.”

For the music, Esther was inspired by composer Ethel Smyth (1858–1944), who was also a warrior for women’s rights and wrote “March of the Women,” which became the official anthem of the suffragettes. It is said that after being arrested and imprisoned for activism, Ethel met a group of women, also arrested for the same cause, who were singing her anthem. One can picture Ethel in a prison cell, standing in front of a small window, conducting a group of women during their daily prison walk using all she had with her… a toothbrush!

Valse Di Fantastica – Yoko Shimomura

For those who enjoy gaming, this composition might sound familiar. This incredible piece was written for the video game Final Fantasy XV! Like many teenagers, Esther Abrami played video games growing up, and Yoko Shimomura (*1967) was one of the first female composers she ever heard—though she didn’t realize it at the time.

Flowers – Miley Cyrus, arr. Esther Abrami

“Flowers” adds a pop touch to this classical album. Being independent, living life on one's own terms, and working towards realizing a dream career isn't easy. This song by Miley Cyrus (*1992) gave Esther motivation and energy, representing a modern statement of female empowerment.

“Hai Luli!“ – Pauline Viardot, arr. Jan-Peter Klöpfel

Pauline Viardot (1821–1910) was a remarkable figure of the 19th century, often regarded as an “influencer” of her time. She was immensely popular and well-connected with the most significant artists of her era. Viardot had the ability to significantly impact the careers of those around her. Her Parisian salon regularly hosted luminaries such as Chopin, Liszt, the Schumanns, and her close friend George Sand, who also introduced Pauline to her future husband. Unlike many, he supported and financed Pauline’s musical career.

Regarded as a piano prodigy, Pauline took lessons with Franz Liszt from an early age and it is known that her hands would tremble during these lessons—not out of nervousness, but because of her admiration for him, a sentiment shared by many girls of the time. Viardot grew into become a legendary opera singer and composed over 450 pieces (for comparison, Chopin composed only 300 pieces in his lifetime). Esther considers ‘Hai Luli!’ to be one of Viardot’s most beautiful songs.

Wiegala– Ilse Weber, arr. Esther Abrami

“Wiegala” is a haunting lullaby written by Jewish composer and poet Ilse Weber (1903–1944). In 1942, she was imprisoned in the Theresienstadt concentration camp where she worked as a nurse. Without medicine to ease the children’s suffering, she used music—singing and composing lullabies to comfort them. When the children were sent to Auschwitz, she voluntarily accompanied them, and it is said that they sang “Wiegala” as they entered the gas chambers. Her husband, who survived the Holocaust, buried her music in the ground and later recovered it, ensuring that her voice would not be lost to history. Ilse Weber sacrificed her life out of pure altruism, and her music serves as a poignant reminder of the resilience of the human spirit.

Corta Jaca – Chiquinha Gonzaga, arr. Jan-Peter Klöpfel

Chiquinha Gonzaga (1847–1935) was a trailblazer. Born in 19th-century Brazil, she faced a difficult choice imposed by her husband: music or marriage. She chose music, a scandalous decision at the time. Gonzaga became the first woman in Brazil to conduct an orchestra and composed over 2,000 pieces, including the music that became the official hymn for the Brazilian Carnival. As the daughter of a Black slave, she fought for the abolition of slavery and women’s rights, selling her music to support these causes. Gonzaga was also a pioneer in copyright law, founding the first company to protect and advocate for composers’ rights, long before it became standard practice. “Corta Jaca” is a Brazilian tango and one of her most famous works, known for causing quite a scandal due to its title, which apparently had a sexual innuendo.

Medhel an Gwyns – Anne Dudley

Anne Dudley (*1956) is one of the very few women to have won an Academy Award for Best Original Score. Esther Abrami had the incredible experience of working directly with her in arranging the music from the Netflix show Poldark for violin and orchestra. “Medhel an Gwyns” has a folk music influence, which Esther felt inspired to express through her violin.

O Virtus Sapientiae – Hildegard von Bingen, arr. Penelope Axtens

Hildegard von Bingen (1098–1179) is the earliest composer featured on this album, having lived during the Middle Ages. She is one of the first identifiable composers in the history of Western music. Hildegard was not only a composer but also a medieval nun, healer, writer, and visionary. She wrote music as well as one of the first known medical texts on women's health, openly discussing topics like menstruation and female pleasure in an era when such subjects were unspeakable. Hildegard was an extremely powerful figure, exchanging letters with Henry II, King of England, and Emperor Frederic I, both of whom held her in high regard. “O Virtus Sapientiae” offers a glimpse into her world, where spirituality and music were inseparable.

Apple Tree – Rachel Portman

Rachel Portman (*1960) is the first female composer to win an Oscar for Best Original Composition. “She is one of my biggest musical inspirations and I am honored to have collaborated with her on all my albums so far!,” says Esther. “Apple Tree” is a very sweet piece of music with a touch of nostalgia, personally reminding Esther of childhood moments in the countryside of southern France.

Concerto for Violin and Orchestra (To the Memory of My Mother) – Ina Boyle

“I think it is most courageous of you to keep going with such little recognition. All I can say is that it sometimes does finally come.” This quote comes from composer Ralph Vaughan Williams in a letter to his student Ina Boyle (1889–1967). Ina lived during a challenging time, between two world wars, and received countless rejections for her compositions, yet she never stopped writing. This is the first-ever professional recording of her violin concerto, a piece Ina dedicated to her mother, based on a poem and filled with deep emotions. It is astonishing to think that she spent her entire life in a small Irish village, composing symphonies that the world is only now beginning to discover. Esther hopes that today is the day when “it does finally come” for Ina Boyle.

Mi Teresita / Little Waltz – Teresa Carreño, arr. Esther Abrami

Teresa Carreño (1853–1917), known as “The Lioness of the piano,” was one of the greatest piano virtuoso of her time. She was humorously described as a musician with “a male head, male fingers, and a female heart.” Born in Venezuela, she was a true child prodigy, invited at the age of nine to perform for President Lincoln at the White House. Admired by Liszt, Brahms, and Rubinstein, Carreño led a whirlwind life, marrying four times and constantly touring due to her remarkable performing career. Despite her immense fame as a performer, her compositions were often overlooked and forgotten, likely due to the fact that she was a woman from South America. “Mi Teresita,” a waltz inspired by Venezuelan rhythms, was written for her daughter.

Lua Branca – Chiquinha Gonzaga, arr. Esther Abrami

Another piece by Chiquinha Gonzaga (1847–1935), “Lua Branca” translates to “White Moon.” It features a very seductive melody, and the first time Esther Abrami hummed it, she knew she had to arrange it for the violin. Listening to this piece, one might imagine traveling all the way to the streets of Brazil.

Solitude – Rita Strohl, arr. Esther Abrami

Rita Strohl (1865–1941) decided at one point in her life to completely isolate herself from the world, moving away from society to be left with only music and solitude. She spent her days composing tirelessly. This piece resonates deeply with Esther Abrami, reminding her of the beauty found in countless hours spent alone, completely alone, with only her violin and music for company.

Transmission – Esther Abrami

Esther Abrami's grandmother was a violinist who stopped her career when she got married. Esther knows her grandmother never imagined that her only granddaughter would one day take up the instrument she had left behind. This piece is Esther's way of continuing her grandmother's story while also telling her own. “Transmission” represents the passing of music through generations. This is the first time Esther has ever recorded one of her own compositions.

Christina Jensen 2/27/25 Christina Jensen 2/27/25

April 11-12: Emerald City Music Presents Canellakis-Brown Duo in Humor & Harmony: An Evening of Music, Film, and Comedy

Emerald City Music Season 09
Canellakis-Brown Duo
Humor and Harmony: An Evening of Music, Film, and Comedy

Friday, April 11, 2025 at 8:00pm
415 Westlake | 415 Westlake Avenue N | Seattle, WA
Tickets: bit.ly/EmeraldCanellakisBrown2025Seattle

Saturday, April 12, 2025 at 7:30pm
The Minnaert Center for the Arts | 2011 Mottman Rd SW | Olympia, WA
Tickets: bit.ly/EmeraldCanellakisBrown2025Olympia

“Emerald City Music [is] known for its innovative approaches to presenting classical music”– Cascade PBS

www.emeraldcitymusic.org

Seattle & Olympia WA – On Friday, April 11 and Saturday, April 12, 2025, Emerald City Music (ECM) and founding Artistic Director Kristin Lee continue ECM’s Season 09, welcoming cellist Nicholas Canellakis and pianist Michael Stephen Brown back to the Pacific Northwest for an evening of music, film, and comedy as the Canellakis-Brown Duo.

"A superb young soloist" (The New Yorker), Nicholas Canellakis is one of the most versatile cellists of his generation. From Carnegie Hall to internationally renowned festivals, his performances are hailed for their rich, alluring tone.

An award-winning composer and pianist, Michael Stephen Brown has been praised by The New York Times as “one of the leading figures in the current renaissance of performer-composers.” His performances and compositions consistently push the boundaries of classical music.

The Canellakis-Brown Duo invites ECM audiences to an unforgettable evening that seamlessly blends chamber music, comedy, and film. World-renowned musicians Nicholas Canellakis and Michael Stephen Brown bring their unmatched synergy to the stage, combining technical brilliance with humor and emotional depth. Hailed as “relaxed and unselfconscious” (New York Classical Review), their performances feel like a captivating conversation with friends.

The esteemed pair of musicians bring a unique program with a twist to ECM’s stages, featuring a film – Canellakis’s short comedy My New Cello (2023), a mesmerizing new multimedia work for film and live score – directed by Canellakis and composed by Brown. Alongside this screening will be more evocative and thrilling music by Brown, in addition to composers with strong ties to the world of film.

The truly unique, multi-medium event will include: Frédéric Chopin’s Introduction and Polonaise brillante (1829-30); Lied (Romance) In F Minor by Sergei Rachmaninoff (1890); Romance, Op 36 by Camille Saint-Saëns (1874); Lukas Foss’s Capriccio (1948); Breakup Etude for the Right Hand Alone by Michael Stephen Brown (2020); Spinning Song by Michael Stephen Brown (2024); “Moses” Variations on one string by Niccolò Paganini (1818-19); and Bulgarian Bulge by Don Ellis, (arranged by Nick Canellakis) (1971).

Audiences can join the Canellakis-Brown Duo on Friday, April 11, 2025 at 8pm in Seattle at 415 Westlake (415 Westlake Avenue N), and Saturday, April 12, 2025 at 7:30pm in Olympia at The Minnaert Center for the Arts (2011 Mottman Rd. SW). During the concert at 415 Westlake, listeners can enjoy ECM’s flagship “date-night experience,” which combines vibrant classical performance with an open bar, and a “wander-around” concert setting with no stage dividing the audience from the musicians.

“It’s an absolute delight to welcome back Nick Canellakis and Michael Stephen Brown to the Emerald City Music stage—this time as a duo that’s equally musical and hilarious!,” says ECM Artistic Director Kristin Lee. “Nick and Michael have been dear friends of mine for years, and it has been inspiring to witness their creativity and extraordinary talents flourish into such a unique and brilliant careers. This is a rare opportunity to experience the perfect fusion of humor and musical artistry in one unforgettable evening—truly, a night not to be missed!”

Emerald City Music (ECM) is the Pacific Northwest home for eclectic, intimate, and vibrant classical chamber music experiences. Deemed “a welcoming and more inclusive environment for intimate music-making” (The Seattle Times), ECM hosts world-renowned musicians in unique concert experiences. Founded in 2015, Emerald City Music produces and tours seven productions annually, with each tour visiting venues including Seattle’s South Lake Union (415 Westlake, a chic contemporary venue with an open bar), Olympia’s Minnaert Center (a 495 seat modern concert hall), a once annual concert at the Bellingham Music Festival, and an annual concert in New York City.

About the Artists: www.emeraldcitymusic.org/season-artists

About Kristin Lee, ECM Artistic Director: www.emeraldcitymusic.org/team/kristin-lee

About ECM: www.emeraldcitymusic.org/about

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Christopher Jesina 2/27/25 Christopher Jesina 2/27/25

March 21: Pianist Sarah Cahill Performing Music of Lou Harrison in Detroit

Sara Cahill in greenhouse. — ***Photo of Sarah Cahill by Kristen Wrzesniewski available in high-resolution at*** ***www.jensenartists.com/artists-profiles/sarah-cahill***

Pianist Sarah Cahill: Music of Lou Harrison
Presented by Detroit Institute of Arts Friday Night Live! Series

Friday, March 21, 2025 from 7:00-8:30pm
Detroit Institute of the Arts | Rivera Court | 5200 Woodward Ave. | Detroit, MI
More Information

“Pianist Sarah Cahill commands a near godlike status among fans of contemporary classical music.” – NPR Music

Watch Sarah Cahill’s NPR Tiny Desk Concer

Sarah Cahill: www.sarahcahill.com

Detroit, MI – On Friday, March 21, 2025 from 7:00-8:30pm, Sarah Cahill, described as “a sterling pianist and an intrepid illuminator of the classical avant-garde” by The New York Times, returns for her third performance at the Detroit Institute of the Arts as part of its Friday Night Live! series in DIA’s Rivera Court (5200 Woodward Ave.). The concert is free and open to the public. Cahill presents Lou Harrison: A Celebration, highlighting the pioneering American composer’s groundbreaking contributions to 20th-century music. Known for his exploration of alternative tunings, international influences, and innovative instruments, Harrison’s work comes to life in this performance featuring several of his solo piano works as well as his enchanting Varied Trio performed by Cahill with percussionist Douglas Perkins and violinist Yvonne Lam, and two movements, Stampede and Round, from his otherworldly, gamelan-infused Grand Duo performed with Lam.

Sarah Cahill worked closely with Lou Harrison (1917-2003) during his lifetime and has championed many of his works for piano. In 1997, she was chosen to premiere his Festival Dance for two pianos with Aki Takahashi at the Cooper Union and worked with Harrison in rehearsals. She was also chosen to perform his Dance for Lisa Karon, discovered only a few years ago and not heard since its premiere in 1938, and she performed his Varied Trio, both piano concertos, and a number of solo and chamber works on her 2017 Lou Harrison tour celebrating his centennial year, with concerts in San Francisco, Los Angeles, San Jose, Chicago, Philadelphia, Boston, New York, Orlando, Miami, Hawaii, Tokyo and Fukuoka in Japan, and more. In fall 2019, Cahill performed Lou Harrison's exuberant Concerto for Piano with Javanese Gamelan in two Berkeley performances and at the ICA Boston. She also performed and recorded the work with Gamelan Galak Tika at the Cleveland Museum of Art.

“It's always exciting to perform Lou Harrison's vibrant music, and this concert covers almost six decades of his extraordinary compositional life. He is a hero to me and so many others, not only for his kindness and radiant spirit, but also for his tireless activism for human rights, LGBTQ rights, and environmentalism. I was very fortunate to know him and work with him. Many of the scores on this concert are unpublished, gathered from him and his friends and colleagues, and from his biographer Bill Alves. I'm especially thrilled to perform with Doug Perkins and Yvonne Lam!

More about Sarah Cahill: Sarah Cahill, hailed as “a sterling pianist and an intrepid illuminator of the classical avant-garde” by The New York Times, has commissioned and premiered over seventy compositions for solo piano. Composers who have dedicated works to Cahill include John Adams, Terry Riley, Frederic Rzewski, Pauline Oliveros, Julia Wolfe, Roscoe Mitchell, Annea Lockwood, and Ingram Marshall. She was named a 2018 Champion of New Music, awarded by the American Composers Forum (ACF).

Cahill’s latest project is The Future is Female, an investigation and reframing of the piano literature featuring more than seventy compositions by women around the globe, from the Baroque to the present day, including new commissioned works. Recent and upcoming performances of The Future is Female include concerts at The Barbican, Metropolitan Museum, Carolina Performing Arts, National Gallery of Art, Carlsbad Music Festival, Detroit Institute of Arts, University of Iowa, Bowling Green New Music Festival, Berkeley Art Museum and Pacific Film Archive, North Dakota Museum of Art, Mayville State University, the EXTENSITY Concert Series’ Women Now Festival in New York, and the Newport Classical Music Festival. Cahill also performed music from The Future is Female for NPR Music’s Tiny Desk Concert series.

Sarah Cahill’s discography includes more than twenty albums on the New Albion, CRI, New World, Tzadik, Albany, Innova, Cold Blue, Other Minds, Irritable Hedgehog, and Pinna labels. Her three-album series, The Future is Female, was released on First Hand Records between March 2022 and April 2023. These albums encompass 30 compositions by women from around the globe, from the 17th century to the present day, and include many world premiere recordings.

Cahill’s radio show, Revolutions Per Minute, can be heard every Sunday evening from 6 to 8pm on KALW, 91.7 FM in San Francisco. She is on the faculty of the San Francisco Conservatory and is a regular pre-concert speaker with the San Francisco Symphony and the Los Angeles Philharmonic.

For more information, visit www.sarahcahill.com.

For Calendar Editors:

Description: Pianist Sarah Cahill, described as “a sterling pianist and an intrepid illuminator of the classical avant-garde” (The New York Times), returns for her third performance at the Detroit Institute of the Arts as part of its Friday Night Live! series in DIA’s Rivera Court (5200 Woodward Ave.). The concert is free and open to the public. Cahill presents a Lou Harrison: A Celebration, highlighting the pioneering American composer’s groundbreaking contributions to 20th-century music. Known for his exploration of alternative tunings, international influences, and innovative instruments, Harrison’s work comes to life in this performance featuring several of his solo piano works as well as his enchanting Varied Trio performed by Cahill with percussionist Douglas Perkins and violinist Yvonne Lam, and his otherworldly, gamelan-infused Grand Duo performed with Lam.

Concert details:

Who: Pianist Sarah Cahill with percussionist Douglas Perkins and violinist Yvonne Lam
Presented by Detroit Institute of Arts, Friday Night Live! Series
What: Music of Lou Harrison When: Friday, March 21, 2025 from 7:00-8:30pm
Where: Rivera Court, 5200 Woodward Ave., Detroit, MI 48202
Tickets and information: www.dia.org/events/friday-night-live-sarah-cahill-music-lou-harrison

Christopher Jesina 2/27/25 Christopher Jesina 2/27/25

April 8: The Jupiter Quartet Presented by the Buffalo Chamber Music Society

The Jupiter Quartet Presented by the Buffalo Chamber Music Society

Photo of the Jupiter Quartet by Todd Rosenberg available in high resolution at www.jensenartists.com/artists-profiles/jupiter-string

The Jupiter String Quartet
Presented by the Buffalo Chamber Music Society

Performing Music by
Franz Joseph Haydn, Caroline Shaw, and Johannes Brahms

Tuesday, April 8, 2025 at 7:30pm
Mary Seaton Room, Kleinhans Music Hall
3 Symphony Circle | Buffalo, NY
Tickets and Information

“technical finesse and rare expressive maturity” – The New Yorker

www.jupiterquartet.com

Buffalo, NY – On Tuesday, April 8, 2025 at 7:30pm, the Jupiter String Quartet – internationally acclaimed winners of the Banff International String Quartet Competition and the Fischoff National Chamber Music Competition, who are known for their “compelling” performances (BBC Music Magazine) – will be presented in concert by the Buffalo Chamber Music Society in the Mary Seaton Room of the Kleinhans Music Hall (3 Symphony Circle.). There will be a pre-concert talk at 6:45pm.

Based at the University of Illinois Urbana-Champaign, and performing all across the nation, the Jupiter String Quartet is a particularly intimate group, consisting of violinists Nelson Lee and Meg Freivogel, violist Liz Freivogel (Meg’s older sister), and cellist Daniel McDonough (Meg’s husband, Liz’s brother-in-law). Brought together by ties both familial and musical, the Jupiter Quartet has been performing together since 2001. Exuding an energy that is at once friendly, knowledgeable, and adventurous, the Quartet celebrates every opportunity to bring their close-knit and lively style to audiences. Their connections to each other and the length of time they’ve shared the stage always shine through in their intuitive performances.

The Jupiter Quartet brings its well-honed, gracefully intertwined musical chemistry to three works composed from the turn of the 19th century to the present day. Each work embraces the unique attributes of its respective compositional form to create clever juxtapositions between texture and emotion, heightening the intensity of the performance. The program includes String Quartet in F Major, Op. 77, No. 2, Hob.III: 82 by Franz Joseph Haydn; Entr’acte by Caroline Shaw; and String Quartet No. 1 in C minor, Op. 51 No. 1 by Johannes Brahms. The Jupiter Quartet’s lively and expressive playing style will showcase the dramatic tensions and strong emotions driving the music of this program.

“We are so pleased to return to play again for the Buffalo Chamber Music Society, one of our favorite venues.” says the Jupiter Quartet. “We have prepared a lively and engaging program that mixes a wonderful late Haydn quartet, full of clever interplay; a lovely contemporary work by the brilliant Caroline Shaw; and Brahms’s classically dramatic Quartet in C Minor. We hope the audience will enjoy the variety of moods and styles showcased in these three great works.”

Haydn’s String Quartet in F Major, Op. 77, No. 2 is the last of his many works in this genre. Considered by many to be the “grandfather of the string quartet,” Haydn developed the form over many years, experimenting with more dramatic structures and particularly with a more equal treatment of the four voices, instead of the first-violin dominated texture often heard earlier.

Caroline Shaw says of Entr’acte: “Entr’acte is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of [Haydn’s] Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”

Brahms’s first string quartet was composed in a painstaking process over the course of several years. The work’s four movements are presented in the form of two outer movements fueled by torment and anxiety, and two inner movements framed by a more delicate and calm musical aesthetic.

More About Jupiter String Quartet: The Jupiter Quartet has performed in some of the world’s finest halls, including New York City’s Carnegie Hall and Lincoln Center, London’s Wigmore Hall, Boston’s Jordan Hall, Mexico City's Palacio de Bellas Artes, Washington, D.C.’s Kennedy Center and Library of Congress, Austria’s Esterhazy Palace, and Seoul’s Sejong Chamber Hall. Their major music festival appearances include the Aspen Music Festival and School, Bowdoin International Music Festival, Cape Cod Chamber Music Festival, Rockport Music Festival, Caramoor International Music Festival, Music at Menlo, Tucson Winter Chamber Music Festival, the Banff Centre, the Seoul Spring Festival, and many others. In addition to their performing career, they have been artists-in-residence at the University of Illinois Urbana-Champaign since 2012, where they maintain private studios and direct the chamber music program. 

Their chamber music honors and awards include the grand prizes in the Banff International String Quartet Competition and the Fischoff National Chamber Music Competition; the Young Concert Artists International auditions in New York City; the Cleveland Quartet Award from Chamber Music America; an Avery Fisher Career Grant; and a grant from the Fromm Foundation. From 2007-2010, they were in residence at the Chamber Music Society of Lincoln Center’s Chamber Music Two. 

The Jupiter String Quartet feels a strong connection to the core string quartet repertoire; they have presented the complete Bartok and Beethoven string quartets on numerous occasions. Also deeply committed to new music, they have commissioned string quartets from Nathan Shields, Stephen Andrew Taylor, Michi Wiancko, Syd Hodkinson, Hannah Lash, Dan Visconti, and Kati Agócs; a quintet with baritone voice by Mark Adamo; and a piano quintet by Pierre Jalbert. 

The quartet's latest album is a collaboration with the Jasper String Quartet (Marquis Classics, 2021), produced by GRAMMY-winner Judith Sherman. This collaborative album features the world premiere recording of Dan Visconti’s Eternal Breath, Felix Mendelssohn’s Octet in E-flat, Op. 20, and Osvaldo Golijov’s Last Round. The Arts Fuse acclaimed, “This joint album from the Jupiter String Quartet and Jasper String Quartet is striking for its backstory but really memorable for its smart program and fine execution.” The quartet’s discography also includes numerous recordings on labels including Azica Records and Deutsche Grammophon. In fall 2024, the Jupiter Quartet will record their next album with Judith Sherman, featuring the world premiere recordings of Michi Wiancko’s To Unpathed Waters, Undreamed Shores, Stephen Taylor’s Chaconne/Labyrinth, and Kati Agócs's Imprimatur, which were all composed for the Jupiters.

The quartet chose its name because Jupiter was the most prominent planet in the night sky at the time of its formation and the astrological symbol for Jupiter resembles the number four.

For more information, visit www.jupiterquartet.com.

For Calendar Editors:

Description: The Jupiter Quartet, described by The New Yorker as an ensemble with “technical finesse and rare expressive maturity,” is presented in concert by the Buffalo Chamber Music Society. The ensemble will perform a concert program featuring music that embraces the unique attributes of its respective compositional form to create clever juxtapositions between texture and emotion, heightening the intensity of the performance. Featured works on the concert program will include: String Quartet in F Major, Op. 77, No. 2, Hob.III: 82 by Franz Joseph Haydn; Entr’acte by Caroline Shaw; and String Quartet No. 1 in C minor, Op. 51 No. 1 by Johannes Brahms. There will be a pre-concert talk at 6:45pm.

Concert details:

Who: Jupiter String Quartet
Presented by the Buffalo Chamber Music Society
What: Music by Franz Joseph Haydn, Caroline Shaw, and Johannes Brahms
When: Tuesday, April 8, 2025 at 7:30pm, Pre-concert talk at 6:45pm
Where: Mary Seaton Room, Kleinhans Music Hall, 3 Symphony Circle, Buffalo, NY 14201
Tickets and information: www.bflochambermusic.org/index.php/season#jupiter

Christopher Jesina 2/27/25 Christopher Jesina 2/27/25

April 11: Pianist Simone Dinnerstein Performs Reflections in Richmond

GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections, Presented by The Modlin Center for the Arts at University of Richmond

Simone Dinnerstein leans on open grand piano — Photo by Lisa Marie Mazzucco available in high resolution at: https://www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs Reflections

A Concert Shaped by Musical Interconnection

Presented by The Modlin Center for the Arts at University of Richmond

Friday, April 11, 2025 at 7:30pm
Camp Concert Hall | 453 Westhampton Way | Richmond, VA
Tickets and More information

“colorful and idiosyncratic” – The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

Richmond, VA – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” performs on Friday, April 11, 2025 at 7:30pm at Camp Concert Hall (453 Westhampton Way), presented by The Modlin Center for the Arts at University of Richmond.

Dinnerstein – who is celebrated for her Bach recordings – will perform the music of J. S. Bach and other Baroque era-inspired selections in a program titled Reflections, which includes Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

“I have titled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it,” Dinnerstein says. “To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Simone Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades – including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

Dinnerstein released her newest album, The Eye is the First Circle, on October 18, 2024 via Supertrain Records. The album features Charles Ives’ Concord Sonata and its release was timed to coincide with the American composer’s 150th birthday (October 20, 1874). The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, which she conceived and directed. The performance took place at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021. The Eye is the First Circle also marks Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse.

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will perform a program of Baroque-era inspired works in a concert presented by The Modlin Center for the Arts at University of Richmond. Her program, titled Reflections, will include J.S. Bach’s Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Presented by the Mobile Chamber Music Society
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Friday, April 11, 2025 at 7:30pm
Where: Camp Concert Hall, 453 Westhampton Way, Richmond, VA 23173
Tickets and information: www.modlin.richmond.edu/events/page.html?eventid=22755&informationid=casData

Christopher Jesina 2/21/25 Christopher Jesina 2/21/25

March 28: Lorin Maazel conducts the Cleveland Orchestra – The Complete CBS Masterworks Recordings

Lorin Maazel and Cleveland Orchestra Complete CBS Masterworks box set contents on white background.

Lorin Maazel conducts the Cleveland Orchestra – The Complete CBS Masterworks Recordings

This is the first release of Lorin Maazel’s complete commercially released Cleveland recordings in a single 15 CD edition

Includes the first release on CD of two special records once distributed through Columbia Special Products with recordings from Blossom Music Festival and Sydney Opera House, remastered from broadcasting tapes using 24 bit / 192 kHz technology

Original LP sleeves and labels, booklet with full discographical notes

Album Release Date: March 28, 2025
Reviewer Rate: $43.77
Pre-Order Available Now

When he was called to succeed George Szell as music director of the Cleveland Orchestra in 1972, the 42-year-old American conductor was hardly known in his home country. But over the next ten years, as the recordings collected for the first time in Sony Classical’s new 16-CD box set amply demonstrate, this enigmatic genius by the name of Lorin Maazel burnished the Cleveland image and maintained the exalted standards set by Szell, who had elevated his ensemble to pre-eminence among the US “Big Five” orchestras. This set will be released on March 28, 2025. Pre-order is available now.

Born in 1930 in Paris, Maazel moved with his family to Los Angeles in 1932 and began violin lessons, then conducting lessons with the associate conductor of the Los Angeles Philharmonic. He was not yet ten when he mounted the Pittsburgh Symphony’s podium and only eleven when he was invited by Toscanini to conduct the NBC Symphony in a concert broadcast nationally. In 1953, he made his European début; by 1960, he had conducted some 300 concerts with more than 20 European orchestras and become the youngest and the first American conductor to appear at the Bayreuth Festival.

When he arrived in Cleveland, By the time this brilliant young man reached the age of 15, he was determined to get a university education and withdrew from conducting engagements to study languages and philosophy at the University of Pittsburgh – meanwhile also giving violin recitals and playing in the Pittsburgh SO and the Fine Arts Quartet. After graduation, a Fulbright Scholarship took Maazel to Rome, and in 1953 he made his European debut, standing in for an indisposed conductor in Catania. A Rome Radio recording followed, and his career was now well underway. By 1960 he had conducted some 300 concerts with more than 20 European orchestras and, aged 30, became the youngest conductor, the first American and the first Jew since the fall of the Third Reich to appear at the Bayreuth Festival.

Maazel was already recording regularly for DG and Decca; immediately he joined the artist stable of Columbia/CBS, his new orchestra’s label. Their first album – works by Berlioz, Brahms and Barber– was released in 1973. The next one, also now being reissued for the first time in Sony’s new box, was a gripping performance of Brahms’s First Symphony taped in October 1973, when the Clevelanders became the first visiting orchestra to play in the concert hall of Sydney’s recently opened Opera House.

A decade earlier, Maazel had begun an association with the Vienna Philharmonic, recording, along with much else, works by Richard Strauss which he would revisit and record in Cleveland for Columbia/CBS. He seems to have had the Viennese sound in his ear in those interpretations of Don Juan, Till Eulenspiegel and Tod und Verklärung set down in Cleveland’s acoustically excellent Masonic Auditorium in May 1979. The Penguin Guide called the Don Juan “one of the most thrilling accounts on record.”

Also in Masonic Auditorium, in January 1977, Maazel set down an urgently paced, finely played Ein Heldenleben as well as the first of his three traversals of Berlioz’s Symphonie fantastique: “Rarely have the ‘March to the Scaffold’ and the ‘Witches Sabbath’ achieved fiercer bite and impact or sounded more terrifyingly demoniac” (High Fidelity). The last three Tchaikovsky symphonies collected here date from the early 1980s. Two decades earlier, he had undertaken the complete cycle in Vienna; comparing the versions in his review of this Cleveland remake, Gramophone’s reviewer enjoyed the newer recordings’ instances of more flexible phrasing, added breathing space and crisper ensemble.

A complete cycle of symphonies that Maazel committed to disc on only one occasion is Beethoven’s, and it naturally forms the centerpiece of this collection. The set, released complete in 1979, was acclaimed by the critics: “The music‐making is full-bodied, intense, hearty and impassioned,” wrote the New York Times. “The First, Second, Fourth, and Eighth symphonies are breathtaking, and the Fifth and Seventh are truly exciting, as well.” High Fidelity’s reviewer called the “Pastoral” a ravishing performance – “crystalline and beautifully graded in sound, patrician and well sprung in rhythm.” Gramophone found the First, Second, Fourth and Eighth Symphonies “played with the kind of inspiring directness we have come to expect from Cleveland … Led by outstandingly lucid readings of the Sixth and Seventh symphonies and distinctive readings of the three overtures, [Maazel’s cycle is] a bracing experience aesthetically and intellectually.”

Finally, the new set brings a curiosity, Lorin Maazel’s own “symphonic realizations” of chansons by the French pop star Serge Lama. After accompanying the singer-songwriter on the violin on a French TV show, he hatched the idea of “lending Lama’s poetry a new, larger dimension”. This is the 1980 album’s first international release, as well as its CD début.

SET CONTENTS

DISC 1:

Berlioz: Le carnaval romain, H 95: Overture
Brahms: Academic Festival Overture, Op. 80
Barber: The School For Scandal, Op. 5: Overture
Brahms: Symphony No. 1 in C Minor, Op. 68

DISC 2:

R. Strauss: Ein Heldenleben, Op. 40

DISC 3:

Beethoven: Symphony No. 1 in C Major, Op. 21
Beethoven: Symphony No. 2 in D Major, Op. 36

DISC 4:

Beethoven: Symphony No. 3 in E-Flat Major, Op. 55 "Eroica"

DISC 5:

Beethoven: Symphony No. 4 in B-Flat Major, Op. 60
Beethoven: Symphony No. 8 in F Major, Op. 93

DISC 6:

Beethoven: Symphony No. 5 in C Minor, Op. 67
Beethoven: Egmont Overture, Op. 84
Beethoven: Leonore Overture No. 3, Op. 72

DISC 7:

Beethoven: Symphony No. 6 in F Major, Op. 68 "Pastoral"

DISC 8:

Beethoven: Symphony No. 7 in A Major, Op. 92
Beethoven: Fidelio Overture, Op. 72

DISC 9:

Beethoven: Symphony No. 9 in D Minor, Op. 125 "Choral"

DISC 10:

Strauss: Don Juan, Op. 20
Strauss: Till Eulenspiegel's Merry Pranks, Op. 28
Strauss: Death and Transfiguration

DISC 11:

Berlioz: Symphonie Fantastique, Op. 14

DISC 12:

Lama: Les P'tites Femmes de Pigalle
Lama: Chez Moi
Lama: Je t'aime à la folie
Lama: Je suis malade
Lama: L'esclave
Lama: La Chanteuse a vingt ans
Lama: La Salle de Bains
Lama: Ah!
Lama: L'enfant au piano
Lama: Femmes, Femmes, Femmes
Lama: L'enfant d'un autre
Lama: An old-fashioned Waltz

DISC 13:

Tchaikovsky: Symphony No. 5 in E Minor, Op. 64

DISC 14:

Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 "Pathétique"

DISC 15:

Tchaikovsky: Symphony No. 4 in F Minor, Op. 36

Christopher Jesina 2/21/25 Christopher Jesina 2/21/25

March 21: Sony Classical Presents the Guarneri String Quartet – The Complete RCA Victor Collection

Sony Classical Guarneri String Quartet box set contents on white background

Sony Classical Presents the Guarneri String Quartet
The Complete RCA Victor Collection

9 recordings new to CD and 1 recording previously unreleased

Album Release Date: March 21, 2025
Reviewer Rate: $120.16
Pre-Order Available Now

In the early 1960s, four young musicians who had been playing chamber music at Rudolf Serkin’s Marlboro School and Festival in Vermont were encouraged to form a string quartet. In July 1964, the Guarneri Quartet gave its first concert and less than a year later made its first recordings under contract to RCA Victor. For the next 45 years, with only one change of personnel, the Guarneris performed all over the world and amassed a large, wide-ranging, prize-winning discography. Sony Classical now presents, for the first time in a single collection, all the recordings made by the Guarneri Quartet for RCA between 1965 and 2005. Pre-order is available now. The set will be released on March 21, 2025.

When the announcement came of its retirement at the end of the 2008–09 season, the eminent British critic Rob Cowan wrote a perceptive, affectionate tribute to the Guarneri Quartet in Gramophone, comparing it to the Juilliard Quartet, the other superb ensemble that had dominated the American quartet catalogue for so many years. Using their respective Bartók recordings as an example, he contrasted the “cut-glass precision” of the Juilliard’s early-60s set to the Guarneri’s “volatile, free-spirited, generously expressive and tonally rich” performing style in its RCA cycle from the mid-70s.

That characterization of the Guarneri Quartet’s playing runs through virtually all the reviews garnered in their long recording career, a story that began with the 1966 release of two of Mozart’s late “Prussian” Quartets and an album coupling Dvořák and Smetana. HiFi Stereo Review wrote that “not since the Juilliard String Quartet set the New York music world on its collective ear some 25 years ago has a new chamber group created such a furor as the Guarneri Quartet on the occasion of its New York début in February, 1965. This pair of discs demonstrates eloquently what all the shouting was about, for these players – Arnold Steinhardt, John Dalley, Michael Tree, and David Soyer – blend precision with flexibility of phrasing and rhythm in a way not often encountered in contemporary American string groups. Here, indeed, is the influence of the seed bed from which the quartet stems – the Marlboro of Rudolf Serkin, Alexander Schneider, and Pablo Casals … To the Smetana [‘From My Life’] the Guarneri Quartet brings blazing intensity and fierce rhythmic verve, while the wonderful slow movement of the Dvořák [Op. 105] comes forth from the stereo speakers with an almost orchestral lushness, yet with inner voices flawlessly balanced.”

Other critics concurred in their reviews of these two LPs: “The foursome produces an unfailingly luscious tone, plays with letter-perfect intonation, and displays all sorts of felicitous pinpoint balances and coloristic effects. And how these gentlemen stay together … even in the most wayward of tempo changes. In short, this is ensemble work of a transcendental variety … The Guarneri Quartet is the most gifted group of its kind I have heard in years” (High Fidelity). “This is distinguished Mozart playing indeed. Its technical excellence needs little comment: as with the Dvořák/Smetana record … last month, with this team you take technical mastery for granted as soon as you hear the first phrase, and straightaway it's the intensely musical quality of the playing which strikes you. Theirs is Mozart played with the classical virtues, above all with firm line, poise and sensibility. The surface of the music is polished, but how much the Guarneri Quartet find beneath” (Gramophone).

Arthur Rubinstein was the quartet’s longtime keyboard partner. In 1966, they recorded the Piano Quintets of Schumann and Brahms: “Rubinstein and the Guarneris search out to equally convincing effect the flowingly lyrical aspects of the music, and this yields special rewards in a ravishing slow movement [the Brahms]” (HiFi Stereo Review). Dvořák’s followed in 1971: “The performance is beautifully balanced between the gentleman at the keyboard and the gentlemen with strings, and the sense of give and take comes from the experience of many collaborations” (High Fidelity).

They also recorded the piano quartet literature, beginning in 1967 with “beautiful performances” (High Fidelity) of Brahms. Their reading of Fauré’s Op. 25 in C minor was judged (also by High Fidelity) to be “beautifully played and exquisitely well reproduced. The instrumental lines are wonderfully clear in this highly directional recording … Rubinstein displays his regal style.” And in a disc containing both of Mozart’s piano quartets, “the playing throughout both sides is extremely beautiful … and superbly integrated – at once expressive and elegant, making all of Mozart’s points with clarity, straightforwardness, and the exalted give-and-take that is the life’s breath of real chamber music. The recorded sound, too, is exceptional for its richness, balance, and clarity” (HiFi Stereo Review).

One of many other composers who feature prominently in Sony’s Guarneri collection is Haydn. About the ensemble’s 1977 recording of the two Op.77 quartets, HiFi Stereo Review wrote that “these spirited, attractive performances of Haydn's two greatest string quartets are marked by a sense of real involvement. Articulation is crisp, ensemble is impeccable, and there is an organic flow from the first phrase to the last in each work”, while Gramophone praised their “deeply thoughtful, powerfully paced” 1986 reading of Haydn’s Seven Last Words.

With reinforcement from the Budapest Quartet in 1965, the Guarneris produced an “absolutely stunning performance (HiFi Stereo Review) of Tchaikovsky’s Souvenir de Florence sextet. In 1966, they recorded quartets by Mendelssohn and Grieg (the latter receiving its CD première in this set): “The Guarneri ensemble does itself proud throughout this disc – most notably in the Mendelssohn, in which they display a tonal homogeneity and a warmth of phrasing that are truly striking. It is as though one instrument, not four, were producing the lovely sound that emerges from the speakers. Happily, the RCA recording staff has come up here with a string quartet sonority of the utmost intimacy, yet endowed with just enough room tone to enhance the naturally warm tone of the Guarneris” (HiFi Stereo Review).

But the heart of any string quartet’s repertoire is inevitably the Beethoven cycle, and it is with these works that the Guarneris were most closely associated. They made their complete recording for RCA between 1966 and 1969. Gramophone described the Early Quartets as “elegant and buoyant, with well-chosen tempos, subtle bowing, crisp articulation, telling contrasts between staccato and legato, and a consistent sense of style.” HiFi Stereo Review enumerated the virtues of their Middle Quartets: “(1) excellent intonation; (2) glowing tone; (3) ensemble that is balanced and accurate but always flexible and natural; (4) superb phrasing and line-building; (5) good feeling for a high Beethoven style. These are strong and expressive readings that often achieve great poetic insight and a powerful dynamic impulse.” The HiFi Stereo Review’s critic rhapsodized over their Late Quartets: “If I had to make the choice of a very few records to take with me to a desert island, I’d choose recordings of the last five Beethoven string quartets. Now, with the arrival of this new album (complete with the Grosse Fuge) by the Guarneri Quartet, I’ve got my island package. All I need is the island. The Guarneri is, without a doubt, one of the most extraordinary string quartets before the public these days: the group has an absolutely stunning sense of both soloistic and ensemble color. Indeed, I can’t think of another string quartet that can match them for sheer sensuous appeal.”

SET CONTENTS

DISC 1:

Smetana: String Quartet No. 1 in E Minor T.116 "From my life"
Dvorák: String Quartet No. 13 in A-Flat Major, Op. 105

DISC 2:

Mozart: String Quartet No. 22 in B-Flat Major, K. 589
Mozart: String Quartet No. 23 in F Major, K. 590

DISC 3:

Tchaikovsky : Souvenir de Florence, Op. 70

DISC 4:

Mendelssohn: Quartet in A Minor, Op. 13
Grieg: String Quartet in G Minor, Op. 27

DISC 5:

Brahms: Piano Quintet in F Minor, Op. 34

DISC 6:

Beethoven: String Quartet No. 7 in F Major, Op. 59, No. 1, "Razumovsky"

DISC 7:

Beethoven: String Quartet No. 8 in E Minor, Op. 59, No. 2
Beethoven: String Quartet No. 9 in C Major, Op. 59, No. 3

DISC 8:

Beethoven: String Quartet No. 10 in E-Flat Major, Op. 74, "Harp"
Beethoven: String Quartet No. 11 in F Minor, Op. 95 "Serioso"

DISC 9:

Brahms: Piano Quartet No. 1 in G Minor, Op. 25
Brahms: Piano Quartet No. 3 in C Minor, Op. 60

DISC 10:

Brahms: Piano Quartet No. 2 in A Major, Op. 26
Schumann: Piano Quintet in E-Flat Major, Op. 44

DISC 11:

Beethoven: String Quartet No. 13 in B-Flat Major, Op. 130
Beethoven: Große Fuge, Op. 133

DISC 12:

Beethoven: String Quartet No. 14 in C-Sharp Minor, Op. 131
Beethoven: String Quartet No. 12 in E-Flat Major, Op. 127

DISC 13:

Beethoven: String Quartet No. 15 in A Minor, Op. 132
Beethoven: String Quartet No. 16 in F Major, Op. 135

DISC 14:

Beethoven: String Quartet No. 1 in F Major, Op. 18 No. 1
Beethoven: String Quartet No. 2 in G Major, Op. 18 No. 2
Beethoven: String Quartet No. 3 in D Major, Op. 18, No. 3

DISC 15:

Beethoven: String Quartet No. 4, in C Minor, Op. 18, No. 4
Beethoven: String Quartet No. 5 in A Major, Op. 18, No. 5
Beethoven: String Quartet No. 6 in B-Flat Major, Op. 18, No. 6

DISC 16:

Dvorák: Piano Quintet No. 2 in A Major, Op. 81

DISC 17:

Schubert: String Quartet No. 13 in A Minor, D. 804
Schubert: String Quartet No. 12 in C Minor, D. 703 "Quartettsatz"

DISC 18:

Dvorák: Piano Quartet No. 2 in E-Flat Major, Op. 87

DISC 19:

Dvorák: String Quartet in No. 11 in C Major, Op. 61
Dvorák: Terzetto in C Major, Op. 74

DISC 20:

Debussy: Quartet in G Minor, Op. 10
Ravel: String Quartet in F Major, M. 35

DISC 21:

Mozart: String Quartet No. 14 in G Major, K. 387
Mozart: String Quartet No. 15 in D Minor, K. 421

DISC 22:

Mozart: String Quartet No. 16 in E-Flat Major, K. 428
Mozart: String Quartet No. 17 in B-Flat Major, K. 458 "Hunt"

DISC 23:

Fauré: Piano Quartet No. 1 in C Minor, Op. 15
Fauré: String Quartet in E Minor, Op. 121

DISC 24:

Mozart: String Quartet No. 18 in A Major, K. 464
Mozart: String Quartet No. 19 in C Major, K. 465 "Dissonant"

DISC 25:

Schubert: String Quintet in C Major, D. 956

DISC 26:

Dvorák: String Quartet in No. 6 in F Major, Op. 96 "American"
Dvorák: String Quintet No. 3 in E-Flat Major, Op. 97

DISC 27:

Schubert: Quartet No. 14 in D Minor, D.810 "Death and the Maiden"
Wolf: Italian Serenade

DISC 28:

Bartók: String Quartet No. 1, Sz. 40 (1909)
Bartók: String Quartet No. 2, Sz. 67 (1915-17)
Bartók: String Quartet No. 3, Sz. 85

DISC 29:

Bartók: String Quartet No. 4, Sz. 91 (1928)
Bartók: String Quartet No. 5, Sz. 102 (1934)
Bartók: String Quartet No. 6, Sz. 114 (1939)

DISC 30:

Mozart: Piano Quartet in G Minor, K. 478
Mozart: Piano Quartet in E-Flat Major, K. 493

DISC 31:

Haydn: String Quartet in G Major, Hob.III:81 "Lobkowitz"
Haydn: String Quartet in F Major, Hob.III:82

DISC 32:

Schubert: Quartet No. 15 in G Major, D.887

DISC 33:

Beethoven: String Quintet in C Major, Op. 29
Mendelssohn: Quintet in B-Flat Major, Op. 87

DISC 34:

Haydn: String Quartet in D Major, Hob.III:34
Haydn: String Quartet in G Minor, Hob.III:74

DISC 35:

Brahms: String Quartet No. 1 in C Minor, Op. 51 (1909)
Brahms: String Quartet No. 2 in A Minor, Op. 51

DISC 36:

Brahms: String Quartet No. 3 in B-Flat Major, Op. 67
Schumann: String Quartet No. 1, Op. 41 No. 1

DISC 37:

Schumann: String Quartet No. 2, Op. 41 No. 2
Schumann: String Quartet No. 3, Op. 41 No. 3

DISC 38:

Dvorák: String Quartet No. 14 in G Major, Op. 106

DISC 39:

Borodin: String Quartet No. 2 in D Major
Dohnányi: String Quartet No. 2 in D-Flat Major, Op. 15

DISC 40:

Mozart: String Quartet No. 20 in D Major, K. 499
Mozart: String Quartet No. 21 in D Major, K. 575

DISC 41:

Brahms: String Quintet No. 1 in F Major, Op. 88
Brahms: String Quintet No. 2 in G Major, Op. 111

DISC 42:

Schubert: Piano Quintet in A Major, D. 667 "Trout"
Mozart: Eine kleine Nachtmusik, K. 525

DISC 43:

Verdi: String Quartet in E Minor
Tchaikovsky: String Quartet No. 1 in D Major, Op. 11

DISC 44:

Haydn: The Seven Last Words of Christ Op. 51

DISC 45:

Mozart: String Quintet No. 1 in B-Flat Major, K. 174
Mozart: String Quintet No. 4 in G Minor, K. 516

DISC 46:

Mozart: String Quintet No. 2 in C Minor, K. 406
Mozart: String Quintet No. 5 in D Major, K. 593

DISC 47:

Mozart: String Quintet No. 3 in C Major, K. 515
Mozart: String Quintet No. 6 in E-Flat Major, K. 614

DISC 48:

Dohnányi: String Quartet No. 2 in D-Flat Major, Op. 15
Kodály: String Quartet No. 2, Op. 10
Dohnányi: String Quartet No. 3 in A Minor, Op. 33

DISC 49:

Mendelssohn: Octet for 4 Violins, 2 Violas and 2 Cellos in E-flat Major, Op. 20
Mendelssohn: String Quartet No. 3 in D Major, Op. 44 No. 1 (previously unreleased)

Christopher Jesina 2/21/25 Christopher Jesina 2/21/25

March 23 - Myra Foundation Presents: Concerts in the Galleries with GRAMMY®- Nominated Pianist Simone Dinnerstein and Violinist Rebecca Fischer

L-R Violinist Rebecca Fischer, Pianist Simone Dinnerstein

Myra Foundation Presents:
Concerts in the Galleries with GRAMMY®- Nominated Pianist Simone Dinnerstein and Violinist Rebecca Fischer

Sunday, March 23, 2025 at 2pm
North Dakota Museum of Art | 261 Centennial Drive | Grand Forks, ND
Tickets and More information

www.simonedinnerstein.com | www.rebeccafischerviolin.com

Grand Forks, ND – On Sunday, March 23, 2025 at 2pm GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” and violinist Rebecca Fisher, described by the Boston Music Intelligencer as having “beautiful tone and nuanced phrasing,” will perform in the Myra Foundation Presents: Concerts in the Galleries series at the North Dakota Museum of Art (261 Centennial Drive).

Dinnerstein and Fischer will collaborate on a program of stylistically diverse and intricate works by several different composers, including Dissolve, O My Heart (2010) by Missy Mazzoli; Sonata for Violin and Keyboard No, 4 in C Minor by J.S. Bach; Encore from Tokyo (1975; transcribed by Uwe Karcher) by Keith Jarrett; and Sonata for Violin and Piano No. 10 in G Major, Op. 96 by Ludwig van Beethoven.

Each a celebrated and prolific performer in their own right, Dinnerstein and Fischer have a well established connection through musical collaboration, which spans many years. Most notably, Fischer is the concert master of Baroklyn, a string ensemble Simone Dinnerstein founded and directs – often conducting from the piano – which specializes in the music of Bach. The two musicians will share the galleries of the North Dakota Museum of Art for a performance that features their unified musicianship in classic works by Bach and Beethoven, as well as polished displays of their solo artistry through the modern day works of Missy Mazzoli and Keith Jarrett. Strings Magazine has described Fischer’s performance of Mazzoli’s Dissolve, O My Heart as “quite beautiful.” Dinnerstein’s performances of Jarrett’s Encore from Tokyo – a work that was originally an improvisation – have earned her lively standing ovations, with Dinnerstein noting that she finds Jarrett’s music “fascinating” as she has reflected on “how to make this piece [her] own” over time.

As first violinist for the Chiara Quartet, Rebecca Fischer participated in a Chamber Music America Rural Residency at the North Dakota Museum of Art, just as her career was unfolding. Living, performing and teaching in Grand Forks for two years, she helped launch a revival of interest in chamber music and stringed instruments that has re-invigorated the music community in the Red River Valley.

About Rebecca Fischer: Violinist Rebecca Fischer is sought after as a highly expressive, intuitive performer of solo, chamber music and chamber orchestra repertoire. Garnering attention for her compelling programs of solo violin and singing violinist music, Fischer has premiered solo works by composers Lisa Bielawa, Missy Mazzoli, Nico Muhly, Paola Prestini, Mathew Fuerst, Augusta Read Thomas, Byron Au Yong, Pierre Jalbert and others. Recent solo recital engagements include Columbia University’s Miller Theater Pop-Up series, The Stone, and the University of Oregon. Fischer is also a member of The Afield, a multidisciplinary collaboration with visual artist/writer Anthony Hawley combining new and original compositions for violin, voice, and electronics with video and other media. The Afield has performed at the Harare International Festival of the Arts in Zimbabwe, Carnegie Hall, and the Atlanta Contemporary Museum, and has published work in Art Papers.

First-violinist of the Chiara String Quartet for eighteen years until the group’s final season in 2018, Fischer recorded and performed numerous works by heart, held residencies at the Metropolitan Museum of Art and Harvard University, and premiered many major new works by composers such as Gabriela Lena Frank and Philip Glass. Performance highlights include the complete Bartók Quartets by heart at Chicago’s Ravinia Festival, several complete Beethoven quartet cycles, and collaborations with such artists as the Juilliard and Saint Lawrence Quartets, Roger Tapping, Robert Levin, and the electronic duo Matmos.

Rebecca. Fischer has recorded for Azica Records (the complete string quartets of Brahms and Bartók) and New Amsterdam Records (the string quartets of Jefferson Friedman, a Grammy-nominated album). She is the Executive Director and Director of Senior Camp at Greenwood Music Camp, where she has been on the faculty since 2006. During the year she teaches violin and chamber music at the Mannes School of Music and serves as co-chair of the string department. She. holds degrees from Columbia University (B.A.) and The Juilliard School (M.M., A.D.). Her book of personal essays The Sound of Memory: Themes from a Violinist’s Life (Mad Creek Books, the Ohio University State Press) was released in April 2022. The “intimate and vulnerable” (Strings Magazine) collection has been featured on WNYC, and Fischer has given readings of her “personal, absorbing response to the author’s practical and creative journey” (Strad Magazine) at Rice University and the New School. For more information, visit www.rebeccafischerviolin.com.

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance” and violinist Rebecca Fischer, who is recognized for “beautiful tone and nuanced phrasing” (Boston Musical Intelligencer), are presented by the Myra Foundation as part of the Concerts in the Galleries Series at the North Dakota Museum of Art. The concert program will include Dissolve, O My Heart by Missy Mazzoli (2010); Sonata for Violin and Keyboard No, 4 in C Minor by J.S. Bach; Encore from Tokyo by Keith Jarrett, transcribed by Uwe Karcher (1975); and Sonata for Violin and Piano No. 10 in G Major, Op. 96 by Ludwig van Beethoven.

Concert details:

Who: Pianist Simone Dinnerstein and Violinist Rebecca Fischer
Presented by The Myra Foundation as part of the Concerts in the Galleries Series
What: Music by Missy Mazzoli, J.S. Bach, Keith Jarrett (arr. Uwe Karcher), and Ludwig van Beethoven
When: Sunday, March 23, 2025 at 2pm
Where: North Dakota Museum of Art, 261 Centennial Drive Grand Forks, ND 58202
Tickets: www.ndmoa.com/concerts-in-the-galleries
More information: Brian Lofthus, North Dakota Museum of Art, 701-777-4195