CARNEGIE HALL PRESENTS

Performance Sunday, March 25, 2012 | 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

Zankel Hall
Sometimes it seems as if these intrepid musicians, all alumni or fellows of The Academy postgraduate program, can do anything. Performers, teachers, and advocates for their art form, they show their versatility on this program of music that ranges from Haydn and Wagner to John Adams and Ligeti. They’re joined by St. Louis Symphony Music Director David Robertson and a soloist from the ranks of the ensemble, clarinetist Moran Katz.

Performers

  • Ensemble ACJW
  • David Robertson, Conductor
  • Moran Katz, Clarinet

Program

  • WAGNER Siegfried Idyll
  • LIGETI Chamber Concerto for 13 Instruments
  • JOHN ADAMS Gnarly Buttons
  • HAYDN Symphony No. 8 in G Major, "Le soir"

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, the ensemble has 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 The Juilliard School's Paul Hall. 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 take part in community work through the Weill Music Institute's Musical Connections program, in which they 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

  • David Robertson


    A consummate musician, masterful programmer, and dynamic presence, David Robertson has established himself as one of today's most sought-after American conductors. A passionate and compelling communicator with an extensive knowledge of orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music making and stimulating ideas. In September 2012, Mr. Robertson will embark on his eighth season as music director of the 133-year-old St. Louis Symphony by taking the orchestra on a four-city European tour-its first European engagement since 1998. He continues as principal guest conductor of the BBC Symphony Orchestra, a post he has held since 2005.

    Highlights of Mr. Robertson's 2011-2012 season with the St. Louis Symphony include the world premiere of Steven Mackey's piano concerto Stumble to Grace, as well as the orchestra's eighth consecutive annual appearance at Carnegie Hall. In May 2012, Mr. Robertson returns to the Metropolitan Opera to conduct Britten's Billy Budd and also leads the MET Orchestra in a performance at Carnegie Hall. In addition to his current commitments with the St. Louis and BBC symphonies, Mr. Robertson is a frequent guest conductor with major orchestras and opera houses around the world. His guest engagements in the US include performances with The Cleveland Orchestra, New York Philharmonic, Chicago Symphony Orchestra, San Francisco Symphony, Seattle Symphony Orchestra, Orchestra of St. Luke's, and Ensemble ACJW. Internationally, Mr. Robertson appears with the Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, Berliner Philharmoniker, and the Sydney and Melbourne symphony orchestras. In addition to his fresh interpretations of traditional repertoire, Mr. Robertson conducts world premieres this season of works by Graham Fitkin, John Cage, Klaas de Vries, and Elliott Carter.

    With more than 45 operas in his repertoire, Mr. Robertson is also successful on the operatic scene and has appeared at many of the world's most prestigious opera houses, including Teatro alla Scala, Opéra de Lyon, Bavarian State Opera, Théâtre du Châtelet, Hamburg State Opera, Santa Fe Opera House, and San Francisco Opera.

    Born in Santa Monica, California, Mr. Robertson was educated at London's Royal Academy of Music, where he studied French horn and composition before turning to orchestral conducting. Mr. Robertson is the recipient of numerous awards and honors.

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  • Moran Katz


    First-prize winner of the 2009 Freiburg International Clarinet Competition in Germany, clarinetist Moran Katz performs extensively throughout the US, Europe, and Asia as a soloist, recitalist, and chamber musician. She has appeared as soloist with the Israel Philharmonic Orchestra, China Philharmonic Orchestra, SWR Sinfonieorchester Baden-Baden und Freiburg, Collegium Musicum Basel, Albany Symphony, and Brooklyn Philharmonic. She has performed internationally at the United Nations Hall (Switzerland), Palais des Beaux-Arts (Belgium); "Les Musicales" Festival in Colmar, Les Invalides in Paris, and Palais des Fêtes in Strasbourg (France); Roaring Hooves Festival (Mongolia); and Two Days and Two Nights of New Music / 2D2N festival (Ukraine). In the US, she's performed at the Jazz Bakery in Los Angeles, Alice Tully Hall, Merkin Concert Hall, Jazz at Lincoln Center, Joe's Pub, Miller Theatre, and Bargemusic. As a chamber musician, Ms. Katz has collaborated with the Ariel, Carmel, Contemporary, Tesla, Benaim, and Old City string quartets, as well as with artists such as Mitsuko Uchida, Richard Goode, Vera Beths, and Arnold Steinhardt.

    Following her third summer as a resident artist at the Marlboro Music Festival, Ms. Katz's 2011-2012 season includes a tour of the West Coast, performances in Israel, chamber music concerts with the Vogler Quartet in Ireland and Germany, recitals for the Detroit Institute of Arts and the Rhinebeck Chamber Music Society, a New York debut recital at Merkin Concert Hall, and a duo recital appearance at the Chamber Music Hall of the Berliner Philharmoniker.

    Active in the contemporary music scene, Ms. Katz often collaborates with the internationally acclaimed Continuum new music ensemble and with pianist Uri Caine's jazz ensemble. She is also a founding member of Shuffle Concert, a newly formed audience-interactive ensemble.

    Recipient of the Salon De Virtuosi Career Grant (2010) and America-Israel Cultural Foundation grants (1999-2008), Ms. Katz received her bachelor's degree (2006), master's degree (2008), and artist diploma (2010) from The Juilliard School, where she was admitted with presidential distinction and a full scholarship. She studied with Charles Neidich and Ayako Oshima. As a fellow of The Academy, she now teaches in PS 46 in Manhattan.

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Audio

John Adams Gnarly Buttons
London Sinfonietta; John Adams, Conductor; Michael Collins, Clarinet 
Audio Clips and Excerpts - Carnegie Hall's 2011-2012 Season

At a Glance

One of the great joys of attending a concert is hearing familiar works in fresh, unexpected combinations. Tonight’s performance juxtaposes the tender romanticism of Wagner’s Siegfried Idyll with the avant-garde virtuosity of Ligeti’s Chamber Concerto for 13 Instruments, and the jaunty minimalism of Adams’s Gnarly Buttons with the early Classicism of Haydn’s Symphony No. 8, “Le soir.”

Despite the differences in musical styles of these four works, which span nearly two-and-a-half centuries of compositional evolution, they all explore the relationship of ensemble and soloist. In Siegfried Idyll and the Chamber Concerto, the ensemble members take turns as the soloist; no one instrumental part is more important than another. In Gnarly Buttons, the soloist’s role is definitively separate from the small chamber ensemble, while in “Le soir,” a small group of soloists occasionally emerges from the fabric of the orchestra.
Program Notes

ACJW Collaborates with Emanuel Ax
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.
This performance is part of Chamber Sessions III.

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