CARNEGIE HALL PRESENTS

Performance Tuesday, October 25, 2011 | 7:30 PM

Ensemble ACJW

Featuring musicians of The Academy—a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education

Weill Recital Hall
Join the “prodigiously talented” (The New York Times) young musicians of Ensemble ACJW as they come down with a case of the blues in this program of mournful masterpieces by three Russian Romantics. Cheer yourself up after the show with a free drink and a chance to meet the artists.

Performers

  • Ensemble ACJW

Program

  • GLINKA Trio pathétique in D Minor for piano, clarinet, and bassoon
  • ARENSKY String Quartet No.2 in A Minor
  • TCHAIKOVSKY Piano Trio in A Minor, Op. 50

Bios

  • Ensemble ACJW


    Ensemble ACJW is an inspirational collective of outstanding young professional musicians from The Academy that has earned accolades from critics and audiences alike for the quality of its performances, as well as its fresh and open-minded approach to performance and programming. In a variety of venues, they have played a wide range of music-from works written centuries ago to those completed days before-with verve and total commitment to their art.

    The group performs its own series at Carnegie Hall and regularly appears at Paul Hall at The Juilliard School. As part of a partnership with Skidmore College that began in 2007, Ensemble ACJW gives master classes to university students and performs for the Saratoga Springs community both in concert halls and in informal settings around town.

    All Ensemble ACJW members are alumni or current fellows of The Academy, a two-year fellowship program created in 2007 by Carnegie Hall's Executive and Artistic Director Clive Gillinson and The Juilliard School's President Joseph W. Polisi to support young professional musicians develop their careers as top-quality performers, innovative programmers, and dedicated teachers who are fully engaged with the communities in which they live and work.

    Fellows of the two-year Academy program-chosen for their musicianship, but also for their leadership qualities and commitment to music education-come from some of the best music schools in the country, including the Curtis Institute of Music, Eastman School of Music, The Juilliard School, Mannes College The New School for Music, New England Conservatory, and Yale School of Music.

    In addition to performance opportunities at the highest level, a robust program of professional development is an essential part of The Academy. Fellows partner with New York City public schools to share their artistry with-and become central resources for-music classrooms in the five boroughs. In their second year, the fellows will take part in community work through the Weill Music Institute's Musical Connections program, in which they will perform at multiple nontraditional music venues across New York City. In past years, they participated in community-based group projects including a collaboration with residents of a Bronx family apartment complex, a pen-pal program that paired young students with professional musicians, and a performance of George Crumb's Voice of the Whale in the American Museum of Natural History's Millstein Hall of Ocean Life.

    Exemplary performers, dedicated teachers, and advocates for music throughout the community, the fellows of The Academy that make up Ensemble ACJW are redefining what it means to be a musician in the 21st century. Visit acjw.org to learn more.

    More Info

Audio

Tchaikovsky Piano Trio in A minor, Op. 50 (Pezzo elegiaco: Moderato assai - Allegro giusto)
Borodin Trio
Chandos

Video

The Academy
An introduction to The Academy.

At a Glance

St. Petersburg—otherwise known as the “Venice of the North”—was founded by Peter the Great in 1703 in order to reinvent Russia as a modern Western nation. Envisioned as Russia’s “window upon Europe,” St. Petersburg was built by Italian and Dutch architects with the intent to replace Moscow as Russia’s capital. Among his many innovations, the czar introduced a new dress code modeled after the French court: He ordered the ruling class, the boyars, to shave their long beards and the noble women to wear corsets and more revealing clothing than they would have preferred. By the mid-19thcentury, St. Petersburg had become a bustling cultural center full of straight avenues, beautiful bridges, magnificent palaces, and grand cathedrals.

 

The innovations introduced by Peter the Great drastically changed the direction of Russia’s cultural development. The courts of Russian monarchs and nobility attracted a great number of outstanding foreign musicians; these musicians worked predominantly in the Italian traditions of opera and had a resounding influence on many generations of Russian composers. However, the desire for an authentic national culture—both general and musical—has never fully disappeared. The second half of the 19th century saw a true renaissance of Russian cultural identity.

 

This evening’s program embodies the transformations that the Russian classical music underwent in the 19th century, from the Italianate Glinka trio to the distinct, national styles of Arensky and Tchaikovsky.

Program Notes
Price Waterhouse Cooper smaller version
Tchaikovsky in St. Petersburg is sponsored by PwC
Goldman Sachs Gives 48x37
Lead Support of The Academy is provided by Goldman Sachs Gives.

Major funding for The Academy—a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education—has been provided by Susan and Edward C. Forst and Goldman Sachs Gives, The Diller–von Furstenberg Family Foundation, the Maxwell H. Gluck Foundation, The Irving Harris Foundation, The Kovner Foundation, Martha and Bob Lipp, Judith and Burton Resnick, and the Susan and Elihu Rose Foundation.

Additional support has been provided by The Arnow Family Fund, Mr. and Mrs. Nicola Bulgari, The Edwin Caplin Foundation, the Ella Fitzgerald Charitable Foundation, Mrs. Nancy A. Marks, Mr. and Mrs. Lester S. Morse Jr., the Edward John Noble Foundation, The Joe Plumeri Foundation, and Suki Sandler.

Additional funding provided by Breguet, in partnership with Henry and Elizabeth Segerstrom.

The Academy is made possible, in part, by public funds from the New York City Department of Education, the National Endowment for the Arts, and the Bureau of Educational and Cultural Affairs of the US Department of State.

Part of

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