Performance Friday, May 15, 2015 | 7:30 PM

Ensemble ACJW

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
Stravinsky’s Histoire du Soldat is a Faustian story of a soldier who trades his fiddle with the Devil in exchange for a magic book. The work contains some of Stravinsky’s most colorful music and is a piece where tango, waltz, and ragtime rub elbows with Lutheran chorales. Ensemble ACJW—called “fun, fearless, and effing great,” by Time Out New York—performs this devilishly entertaining work in the finale to its Carnegie Hall series.

Part of Salon Encores.


  • Ensemble ACJW
    ·· Beomjae Kim, Flute
    ·· James Riggs, Oboe
    ·· Stanislav Chernyshev, Clarinet
    ·· Michael Zuber, Bassoon
    ·· Jenny Ney, Horn
    ·· Jean Laurenz, Trumpet
    ·· Stephen Dunn, Trombone
    ·· Garrett Arney, Percussion
    ·· Shir Semmel, Piano
    ·· Siwoo Kim, Violin
    ·· Brian Ellingsen, Double Bass
  • Michael Goldstrom, Narrator


  • LIGETI Six Bagatelles for Wind Quintet
  • POULENC Trio for Oboe, Bassoon, and Piano
  • STRAVINSKY Histoire du soldat

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


Stravinsky's Histoire du Soldat (Marche du Soldat)
Columbia Symphony | Igor Stravinsky, Conductor
Sony BMG

At a Glance

GYÖRGY LIGETI  Six Bagatelles for Wind Quintet

Insatiably curious and constitutionally incapable of falling into a rut, Hungarian composer György Ligeti continually reinvented his musical language over the course of his long life. Early in his career, Ligeti concentrated on distilling his musical language to its essence, as illustrated by these finely wrought miniatures, which cover a wide range of textures and expression despite using a purposefully limited number of pitches.

FRANCIS POULENC  Trio for Oboe, Bassoon, and Piano

This delightful and unusually scored chamber work acknowledges the prevailing neoclassicism of the time in its traditional three-part form, shapely melodies and phrases, and essentially triadic harmonies spiced with tangy dissonances. After a successful premiere in Paris, at which more than 200 people had to be turned away, the trio became one of Poulenc’s most popular works.

IGOR STRAVINSKY  Histoire du soldat

A miniature theater piece intended to be “read, played, and danced,” Histoire du soldat (The Soldier’s Tale)—with its jazzy inflections and short, self-contained musical numbers—pointed the way toward Stravinsky’s streamlined neoclassical style of the 1920s and ’30s. At the same time, C. F. Ramuz’s libretto—featuring a hapless soldier who sells his soul (in the form of his violin) to the devil—harks back to the Russian folk tales that inspired many of the composer’s earlier works.

This concert is made possible, in part, by the A. L. and Jennie L. Luria Foundation.
Major funding has been provided by The Diller–von Furstenberg Family Foundation, Susan and Edward C. Forst and Goldman Sachs Gives, the Max H. Gluck Foundation, The Irving Harris Foundation, The Kovner Foundation, Mr. and Mrs. Lester S. Morse Jr., Phyllis and Charles Rosenthal, The Morris and Alma Schapiro Fund, and Ernst & Young LLP.

Additional support has been provided by Mr. and Mrs. Nicola Bulgari, EGL Charitable Foundation, Leslie and Tom Maheras, Andrew and Margaret Paul, Park Hyatt hotels, UJA-Federation of New York, and The Wallace Foundation.

Public support is provided by the New York City Department of Education, the National Endowment for the Arts, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
ACJW 01.15
This performance is part of Ensemble ACJW.

Part of