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Currently in its 69th season, the Atlanta Symphony Orchestra (ASO) is one of America's
leading orchestras. It performs great music, presents leading artists, educates, and
engages music lovers. The ASO serves as the cornerstone for artistic development and music
education in the Southeast. It performs more than 200 concerts each year for a combined
audience of more than half a million in a full schedule of performances. It also reaches
more than 67,000 students and underserved members of the community through its education
and community outreach programs.
The orchestra is known for the excellence of its live performances, presentations, and
renowned choruses, as well as its impressive list of Grammy Award-winning recordings. Since
September 2001, the orchestra and its audiences have explored a creative mix of programming
that has included the Atlanta School of Composers, which reflects Robert Spano and the
orchestra's commitment to nurturing and championing music through multi-year partnerships
that define a new generation of American composers. Since the beginning of his tenure, Mr.
Spano and the orchestra have performed more than 100 concerts that contain contemporary
works (composed since 1950). By the end of the 2013-2014 season, Mr. Spano and the
orchestra will have performed 17 ASO-commissioned world premieres and 17 additional world
During its 32-year history with Telarc, the orchestra and chorus have recorded more than
100 albums, winning 27 Grammy Awards in categories that include Best Classical Album, Best
Orchestral Performance, Best Choral Performance, and Best Opera Performance. The orchestra
continues to record regularly on its new in-house label, ASO Media, which demonstrates the
orchestra's commitment to celebrating classical masterworks while continuing to perform,
commission, premiere, and record works by today's leading composers.
With the opening of the 12,000-seat Verizon Wireless Amphitheatre at Encore Park
(vzwamp.com) in May 2008, the Atlanta Symphony Orchestra became the first US orchestra to
annually perform and present in its concert hall and in two amphitheaters. In summer 2013,
the orchestra celebrated 40 years at the legendary Chastain Park Amphitheater, the
award-winning 6,500 seat venue in Atlanta, during the annual Delta Classic Chastain concert
Recognized as one of the most imaginative conductors of his generation, Robert Spano is
currently in his 13th season as music director of the Atlanta Symphony Orchestra (ASO),
where he has created a sense of inclusion, warmth, and community unique among American
Under Mr. Spano's guidance, the ASO and its audiences explore a creative programming mix.
The Atlanta School of Composers reflects his commitment to American contemporary music,
thus defining a new generation of American composers. He has led ASO performances at
Carnegie Hall and Lincoln Center, and at the Ravinia, Ojai, and Savannah music
As music director of the Aspen Music Festival and School, Mr. Spano oversees the
programming of more than 300 events and educational programs for 630 students, including
Aspen's American Academy of Conducting. Guest engagements include performances with the New
York and Los Angeles philharmonics, San Francisco Symphony, the Boston and Chicago symphony
orchestras, and the Cleveland and Philadelphia orchestras, as well as Orchestra Filarmonica
della Scala, BBC Symphony Orchestra, and Amsterdam's Royal Concertgebouw Orchestra. He has
conducted at the Royal Opera, Covent Garden; Welsh National Opera; Lyric Opera of Chicago;
Houston Grand Opera; and Seattle Opera for the 2005 and 2009 Ring cycles.
With an extensive discography of 21 recordings for Telarc, Deutsche Grammophon, and ASO
Media, Mr. Spano has garnered six Grammy Awards. Dedicated to pedagogy and
multi-disciplinary studies, he has lectured on "Community" for TEDx and recently completed
a three-year residency at Emory University. He was inducted into the Georgia Music Hall of
Fame in 2012.
Mr. Spano is on the faculty of the Oberlin Conservatory of Music, and has received honorary
doctorates from Bowling Green State University, the Curtis Institute of Music, Emory
University, and Oberlin. Mr. Spano served as director of the Festival of Contemporary Music
at the Boston Symphony Orchestra's Tanglewood Music Center in 2003 and 2004, and from 1996
to 2004 he was music director of the Brooklyn Philharmonic. He headed the conducting
fellowship program at the Tanglewood Music Center from 1998 to 2002. In May 2009, Mr. Spano
was awarded Columbia University's Ditson Conductor's Award for the advancement of American
An artist of immensely promising talent, Russian-born soprano Evelina Dobračeva began
singing under the tutelage of Norma Sharp at the Hochschule für Musik Hanns Eisler in
Berlin. Now based in Berlin, Ms. Dobračeva maintains strong ties with the Cologne Opera,
where she has sung numerous roles, including Micaëla (Carmen), Vitellia (La clemenza di
Tito), Violetta (La traviata), and her recent debut as Odabella (Attila).
Ms. Dobračeva's concert engagements have included Brahms's Ein deutsches Requiem with the
Odense Symphony Orchestra, Rossini's Petite messe solennelle at the Berliner Dom, and
Beethoven's Symphony No. 9 and Lokshin's Margarita Songs with the Orchestra Sinfonica di
Milano Giuseppe Verdi conducted by Rudolf Barshai.
Concert appearances in the 2012-2013 season included performances of the Verdi Requiem with
the Deutsche Oper Berlin, Czech Philharmonic (under Fabio Luisi), and Orquestra Sinfonica
do Porto. In addition, Ms. Dobračeva performed Britten's War Requiem with the City of
Birmingham Symphony Orchestra and Edward Gardner at St. Paul's Cathedral.
Other recent highlights include Shostakovich's Symphony No. 14 and Mahler's Symphony No. 4.
Upcoming performances include her Wigmore Hall debut, and Tatiana in Eugene Onegin at the
Ms. Dobračeva has recorded Dargomyzhsky's Rusalka with the WDR Symphony Orchestra under the
baton of Mikhail Jurovsky, and she is also featured in a new Delphian recording of
Rachmaninoff songs accompanied by Iain Burnside.
Four-time Grammy Award-winning tenor Anthony Dean Griffey's engagements in the current
season include returns to the Houston Grand Opera as Alfred in Die Fledermaus, the St.
Louis Symphony for Peter Grimes (in St. Louis and at Carnegie Hall), and his debut at the
Orquestra Simfònica del Gran Teatre del Liceu in performances of Mahler's Symphony No.
Mr. Griffey appears regularly with many distinguished international orchestras, including
the New York Philharmonic; the Chicago, Boston, Pittsburgh, and London symphony orchestras;
The Philadelphia Orchestra; Orchestre de Paris; Munich Philharmonic Orchestra; and Berliner
Philharmoniker. He has also appeared in the world's most prominent festivals, including the
Aspen and Tanglewood Music festivals, among others.
A celebrated opera singer, Mr. Griffey has sung the title role of Britten's Peter Grimes
all over the world, recently in a new production at the Metropolitan Opera. Other career
highlights include his role debut as the Male Chorus in The Rape of Lucretia at the Houston
Grand Opera, the title role in Kurka's The Good Soldier Schweik with the Glimmerglass
Opera, and Lennie in Carlisle Floyd's Of Mice and Men with the Houston Grand Opera and
Mr. Griffey holds degrees from Wingate University, the Eastman School of Music, and The
Juilliard School. He was also a member of the Metropolitan Opera's Lindemann Young Artists
Program. He was awarded a Doctorate of Humane Letters from Wingate University in May 2012,
and was inducted into the North Carolina Music Hall of Fame in 2011.
Stephen Powell's engagements in the 2013-2014 season include Enrico in Lucia di Lammmermoor
with the Los Angeles Opera, Tonio in Pagliacci with the San Diego Opera, Bach's Christmas
Oratorio with the St. Louis Symphony, Brahms's Ein deutches Requiem with the Nashville
Symphony, Falstaff with the Virginia Opera, Germont in La traviata with the Michigan Opera
Theatre, and the title role of Rigoletto at the Caramoor Festival.
Engagements in the 2012-2013 season included Simon Boccanegra in Warsaw, Carmina Burana
with The Cleveland Orchestra, Peer Gynt with the Leipzig Radio Symphony Orchestra,
Rigoletto at the Lyric Opera Baltimore, Mozart's Requiem with the St. Louis Symphony,
Belshazzar's Feast with the Houston Symphony, Bach's Mass in B Minor with the Atlanta
Symphony Orchestra, Iago in Otello with the Jacksonville Symphony Orchestra, and Rodrigo in
Don Carlos at the Caramoor Festival.
Other recent highlights include Bach's Mass in B Minor with the St. Louis Symphony and
Music of the Baroque; Bach's St. Matthew Passion and Rachmaninoff's Spring Cantata with the
Atlanta Symphony Orchestra; Handel's Messiah with the Baltimore Symphony Orchestra and San
Francisco Symphony; Carmina Burana with The Philadelphia Orchestra, the Cincinnati and
Atlanta symphony orchestras, and at the Aspen Music Festival; Rigoletto with the Minnesota
Orchestra and at Cincinnati Opera; Mahler's Symphony No. 8 with the Tonhalle Orchester
Zurich and at the Aspen Music Festival; Schmidt's Notre Dame with the American Symphony
Orchestra; Fauré's Requiem with the Cincinnati Symphony Orchestra; Schoenberg's Gurrelieder
at the Montreux Festival; Walton's Belshazzar's Feast with the Singapore Symphony
Orchestra; Brahms's Ein deutsches Requiem with the St. Louis Symphony and the Baltimore
Symphony Orchestra; Szymanowski's Stabat Mater with the Orchestra dell'Accademia Nazionale
di Santa Cecilia; Scarpia in Tosca with the Minnesota Orchestra; Miller in Luisa Miller at
the Cincinnati May Festival; and Beethoven's Symphony No. 9 with The Philadelphia
Acclaimed for its beauty, precision, and expressive qualities, the Atlanta Symphony
Orchestra Chorus has been an important part of the orchestra's programming since its
founding in 1970 by Robert Shaw. It is composed entirely of volunteers who meet weekly for
rehearsals and perform with the Atlanta Symphony Orchestra (ASO) several times each season.
Both the symphonic-sized ASO Chorus and the smaller Chamber Chorus are featured on the
majority of the ASO's recordings, and have won 14 Grammy Awards (nine for Best Choral
Performance, four for Best Classical Recording, and one for Best Opera Recording).
The chorus made its Carnegie Hall debut in 1976, returning a number of times, most recently
with the ASO in 2012 for a performance of Walton's Belshazzar's Feast. The chorus performed
at the Kennedy Center for President-elect Jimmy Carter's Inaugural Concert in 1977, and in
1988, it accompanied the orchestra on its first European tour. It has appeared with the ASO
for several televised concerts, including the 1995 national broadcast of the orchestra's
50th anniversary and the Opening Ceremonies of the 1996 Olympic Games, broadcast worldwide.
The ASO Chorus also has participated for 30 years in the Martin Luther King Jr. Ecumenical
Service sponsored each January by the King Center in Atlanta.
The choruses have twice been a special guest at the Ravinia Festival in Chicago: In June
2003, the ASO Chorus opened the festival with Robert Spano and the ASO in a critically
acclaimed performance of John Adams's El Niño, and in 2006, the Chamber Chorus performed in
Osvaldo Golijov's opera Ainadamar. The chorus has traveled to Germany three times to
perform with the Berliner Philharmoniker at the Philharmonie: in December 2003 for
Britten's War Requiem, in May 2008 for Berlioz's Requiem, and in December 2009 for
performances of Brahms's Ein deutsches Requiem.
Norman Mackenzie's abilities as musical collaborator, conductor, and concert organist have
brought him international recognition. As director of choruses for the Atlanta Symphony
Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, he was chosen
to help carry forward the creative vision of legendary founding conductor Robert Shaw to a
new generation of music lovers. During his tenure, the chorus has made numerous tours and
won several Grammy Awards for Best Classical Album and Best Choral Performance. At the ASO,
he prepares the choruses for all concerts and recordings, works closely with Robert Spano
on the commissioning and realization of new choral-orchestral works, and conducts annual
holiday concerts. Mr. Mackenzie also serves as organist and director of music and fine arts
for Atlanta's Trinity Presbyterian Church, and pursues an active recital and guest
In his 14-year association with Robert Shaw, Mr. Mackenzie was keyboardist for the ASO,
principal accompanist for the ASO choruses, and ultimately assistant choral conductor. In
addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the
Robert Shaw Institute Summer Choral Festivals in France and the US, and Carnegie Hall's
famed Robert Shaw Choral Workshop program. He was choral clinician for the first three
workshops after Shaw's passing and partnered with Robert Spano for the 2011 workshop that
featured the Berlioz Requiem.
Now in its 22nd season, the Grammy Award-winning Brooklyn Youth Chorus (BYC) is one of
the country's leading children's choruses and is the ensemble of choice for internationally
renowned orchestras and artists. Under the direction of Founder and Artistic Director
Dianne Berkun-Menaker, BYC has an international reputation for programmatic and artistic
The BYC studies and performs a wide range of music-classical and non-classical-and has an
active commissioning program to develop new works across a variety of genres. It has
performed with renowned artists such as Elton John, Lou Reed, John Legend, and Grizzly
Bear, and has performed under the batons of Lorin Maazel, Marin Alsop, James Levine, Robert
Spano, Esa-Pekka Salonen, Leon Botstein, and many others. In 2002, BYC debuted with the New
York Philharmonic in John Adams's On the Transmigration of Souls, for which the BYC won a
The BYC receives its training from the Brooklyn Youth Chorus Academy, a performance-based
vocal music education program that serves nearly 300 students annually in five ensembles.
It draws students from all over the city and reflects the broad diversity of the
The story of Benjamin Britten's War Requiem. Courtesy of the Britten-Pears Foundation.
Wednesday, April 30, 2014 | 8 PM
Thursday, May 1, 2014 | 8 PM
Saturday, May 10, 2014 | 8 PM
Thursday, May 15, 2014 | 8 PM
Sunday, May 18, 2014 | 2 PM
Alarm Will Sound is committed to innovative performances and recordings of today's music.
The ensemble has established a reputation for performing demanding music with energetic
skill. Alarm Will Sound's versatility allows it to take on music from a wide variety of
styles. Its repertoire ranges from European to American works, from the arch-modernist to
the pop-influenced. Since its inception, Alarm Will Sound has been associated with
composers at the forefront of contemporary music. Through its work as the resident ensemble
at the Mizzou International Composers Festival, the ensemble also champions the work of the
next generation of composers. The group includes many composer-performers, allowing for an
unusual degree of insight into the creation and performance of new works.
Conductor Alan Pierson serves as artistic director of Alarm Will Sound and principal
conductor of the Dublin-based Crash Ensemble. He has appeared as a guest conductor with the
London Sinfonietta, Steve Reich Ensemble, Orchestra of St. Luke's, Ensemble ACJW,
Tanglewood Music Center Orchestra, New World Symphony, and Silk Road Project. He also
served as a visiting faculty conductor at the Indiana University Jacobs School of Music.
Mr. Pierson has collaborated with major composers and performers who include Yo-Yo Ma,
Steve Reich, Dawn Upshaw, Osvaldo Golijov, John Adams, Augusta Read Thomas, David Lang,
Michael Gordon, and La Monte Young, as well as with choreographers Christopher Wheeldon,
Akram Khan, and Eliot Feld. Mr. Pierson has recorded for Nonesuch Records, Cantaloupe
Music, Sony Classical, and Sweetspot DVD.
Iarla Ó Lionaird has enjoyed a long and unique musical career in Ireland. From his iconic
early recording of the vision song "Aisling Gheal" as a young boy to his groundbreaking
recording Grá agus Bás with Dublin's Crash Ensemble, he has shown a breadth of artistic
ambition that sets him apart in the Irish-music fraternity. A recipient of numerous awards
and honors-among them two Grammy nominations-Mr. Ó Lionaird has worked with a stellar cast
of international composers, including Nico Muhly, Gavin Bryars, and David Lang. He has also
performed and recorded with such luminaries as Peter Gabriel, Nick Cave, Robert Plant, and
Mr. Ó Lionaird's unique singing style has carried him to stages and concert halls all over
the world, from New York's Carnegie Hall to the Sydney Opera House and beyond. His voice
has also graced the silver screen, with film credits extending from Gangs of New York to
Hotel Rwanda and the upcoming Calvary, starring Brendan Gleeson. He is the vocalist with
the critically acclaimed Irish-American band The Gloaming. This year, Mr. Ó Lionaird is
Traditional Artist in Residence at the University College Cork, where he is teaching both
undergraduate and postgraduate courses on the aesthetics of sean-nós song. He holds a
master's degree in ethnomusicology from the University of Limerick, where he is currently
completing his Ph.D. in music.
Soprano Jennifer Zetlan is swiftly garnering recognition for her artistry and captivating
stage presence. She has debuted on the stages of the Metropolitan Opera, New York City
Opera, Seattle Opera, Santa Fe Opera, and Florida Grand Opera. On the concert stage, she
has performed with the New York Philharmonic, The Saint Paul Chamber Orchestra,
Indianapolis Symphony Orchestra, and Juilliard Orchestra.
Ms. Zetlan opened the 2013-2014 season at the Metropolitan Opera singing the role of
Rebecca in the US premiere of Nico Muhly's Two Boys. She sang the Mozart
Requiem with the Oratorio Society of New York and Handel's Messiah
with the Baltimore Symphony Orchestra, and returned to Seattle Opera as Gilda in
Rigoletto. This past February, she made her debut with the Chicago Symphony
Orchestra in performances of Stravinsky's Pulcinella. Ms. Zetlan closes the season
with The Lexington Philharmonic in a performance Osvaldo Golijov's Three Songs for Soprano
and Orchestra and Beethoven's Symphony No. 9.
In recent seasons, Ms. Zetlan made her debut as Musetta in La bohème at The
Princeton Festival and as Gretel in Hänsel und Gretel at the Aspen Music Festival.
She has been heard in the title role of The Cunning Little Vixen at Aspen, as
First Madrigal Singer in Manon Lescaut with Florida Grand Opera, as Tytania in
A Midsummer Night's Dream, and as Diana in La Calisto at The Juilliard
School. Performances with New York's Liederkranz Foundation include Marianne in Romberg's
The New Moon, Fifth Maid in Elektra, and Monica in The
Ms. Zetlan has appeared as a soloist and chamber musician at the Aspen Music Festival; New
York Festival of Song; Alexander Paley Music Festival in Richmond, Virginia; Foothills
Chamber Music Festival in Winston-Salem, North Carolina; and The Artist Series of Sarasota.
Committed to performing new works, she sang at the 2007 OPERA America New Works Showcase,
participated in New York City Opera's VOX showcase of American composers in 2008 and 2009,
and is frequently involved with the new works initiative co-sponsored by the Metropolitan
Opera and Lincoln Center Theater.
Brooklyn-based guitarist and composer Kaki King is a true iconoclast, an artist whose
singular body of work stands tall among the easily formatted. Over the past decade,
she has made six diverse and distinctive recordings, most recently 2012's Glow; performed
with Foo Fighters, Timbaland, and The Mountain Goats; contributed to a variety of film and
television soundtracks, including the Golden Globe-nominated score for Sean Penn's film
Into the Wild; and appeared as a guitar-playing hand double in the acclaimed 2007 drama
August Rush. She also performs on innumerable world tours for an increasingly fervent fan
David Lang introduces (post)folk
At the start, I have to say that I am something of a composer groupie. I love writing music and I love the other people who write music, no matter what kind of music they write or when they wrote it. I really believe that I belong to an international community of composers, stretching across all boundaries of time and place, regardless of style or category.
It's not the way we are normally taught to listen. Music and the people who make it can get separated from each other—by time, culture, genre, commerce. It makes it easy for us if all the different kinds of music stay separated. If everything sits neatly in a particular category, it gets much simpler to find the music you already know and to avoid the music you don't. But because I am a composer groupie, I always want to listen to music outside of these categories so I can pay attention to the things that different kinds of music and composers might have in common, and to consider their differences.collected stories looks at one of music's more universal functions, namely how often music gets called upon to help tell different kinds of stories. What I am particularly interested in is how the act of composing changes depending on what kind of story the composer is trying to tell.
I started thinking about this in the mid-1990s when I was finishing two commissions at the same time. One was a giant grand opera for Santa Fe, an extravaganza with a big cast and chorus and speaking roles and children and ballet dancers. The other was a loud, aggressively static piece for the English post-rock ensemble Icebreaker. As I went back and forth from one composition to the other, I could really feel my approach change. The opera required me to tell a story, to reveal things in such a way that the audience experienced surprise, shock, elation, and sadness. In the opera, everyone experienced those things pretty much at the same time. The static piece was more like an object, an odd thing that changed very slowly. It didn't tell the listeners much about what they should feel or when they should feel it. I began to notice how my job, my skills, my musicality, my aesthetic sense all changed, depending on the needs of the piece in front of me.collected stories divides the world not by genre or style, but by the various kinds of stories that a piece of music can tell in order to see how the story and the composer work together. The pieces I chose highlight some of the different ways a composer's job changes. But the truth is that everything on this series is music with which I have a long relationship and that I love. All of it. I hope you will too.
Sunday, April 27, 2014 | 6 PM
Benjamin Bagby is descended from a Germanic clan that emigrated from Jutland to northern
England circa 630, from where his branch of the family is known to have emigrated to the
colony of Virginia almost a millennium later. Following 321 years of subsequent family
wanderings, he was born on the shores of Lake Michigan, and 12 years later was captivated
Mr. Bagby has been an important figure in the field of medieval musical performance for
more than 30 years. After voice and German studies in the United States (Oberlin College
and Conservatory) and Switzerland (Schola Cantorum Basiliensis), he and the late Barbara
Thornton formed the legendary ensemble Sequentia in 1977 in Cologne, Germany, where the
ensemble was based until moving to Paris in 2002.
Sequentia is renowned for its more than 30 recordings, including the complete works of
Hildegard von Bingen, re-released by SONY as a box set (nine CDs) in 2014; and Canticles of
Ecstasy, which has sold more than one million copies worldwide and was nominated for a
More recently, Mr. Bagby and Sequentia have shifted focus to reflect a growing interest in
medieval oral poetry from the oldest known sources, leading to a series of programs grouped
under the banner The Lost Songs Project. The resulting recordings include Edda: Myths from
Medieval Iceland, The Rheingold Curse, Lost Songs of a Rhineland Harper, and Fragments for
the End of Time. All of these programs have been heard in New York, and The Rheingold Curse
was also staged by Ping Chong for the 2001 Lincoln Center Festival.
Apart from his research and ensemble work with Sequentia, Mr. Bagby devotes his time to
the solo performance of Anglo-Saxon and Germanic oral poetry. An acclaimed solo performance
of the Beowulf epic is an ongoing project, with performances given yearly worldwide; a DVD
production of his performance, filmed in Sweden by Stellan Olsson, was released in
In addition to his activities as singer, harpist, and director of Sequentia, Mr. Bagby
writes extensively about performance practice. He lectures and teaches throughout Europe
and North America. Since 2005, he teaches medieval music performance practice at the
Université Paris-Sorbonne. In 2011, Mr. Bagby was awarded the Howard Mayer Brown Award for
lifetime achievement by Early Music America. Visit sequentia.org and bagbybeowulf.com for
The Harry Partch Institute Ensemble performs using original the instruments invented and
built by American composer Harry Partch. The ensemble consists of many skilled performers
whose backgrounds span a wide range of musical traditions and genres. All have a passion
for integrating music with other media and engaging in what Partch termed corporeal
performance-using the human body in a musically meaningful way. The Harry Partch Institute
Ensemble and the Partch Institute currently reside at Montclair State University in New
David Lang introduces collected stories
Beowulf ("Battle")Benjamin Bagby
Tuesday, April 22, 2014 | 6 PM
In 2007, while on tour supporting his album None Shall Pass, indie
rapper-producer Aesop Rock wrote a fan e-mail to folk singer-songwriter Kimya Dawson. A few
years later, they reconnected during the creation of arts-and-oddities blog
900Bats, which in turn sparked the pair's collaborative musical efforts. After
appearing on each other's respective recent solo records-Rock's Skelethon
(Rhymesayers) and Dawson's Thunder Thighs (Great Crap Factory)-both found more
worth pursuing within the group dynamic, and The Uncluded was hatched.
The Uncluded's debut album, Hokey Fright, was recorded over the course of a year
using a variety of locations and devices, from voice-memo recorders to full-service
studios. Rock and Dawson wrote, performed, and recorded the whole album, with the exception
of drums on "Delicate Cycle," which were played by James McNew of Yo La Tengo.
Having both experienced loss in recent years, conversations about mortality served as a
starting point for what would eventually become an album as much about finding therapy
through writing and sharing as it is about being okay with admitting fear in the face of
adversity. There is a sense of self-exploration and discovery that happens during the
songs, as if the two are doing the problem-solving in front of you. While much of the album
maintains a serious tone, Dawson and Rock's oddball humor plays an integral part in
humanizing the obstacles that can initially seem too massive to process.
Kimya Dawson is a Grammy-winning, platinum-selling singer-songwriter who is most widely
known for her work on the Juno soundtrack and with her former band, The Moldy
Peaches. She has released seven solo albums, including Alphabutt for
Aesop Rock is a critically acclaimed hip-hop artist and producer, recognized for his dense
and abstract word play. He has released six solo albums, three EPs, and a 45-minute piece
of music designed for runners, commissioned by Nike. His lyrics have been published in
The New York Times bestseller Hip Hop Speaks to Children, as well as Yale
University's Anthology of Rap.
Ensemble Signal offers audiences access to a diverse range of contemporary works through
performance, commissioning, recording, and education. Since its debut in 2008, Signal has
performed more than 90 concerts-including premieres of over 20 works-and co-produced five
Signal was founded by Co-Artistic and Executive Director Lauren Radnofsky, and Co-Artistic
Director and Conductor Brad Lubman. The ensemble regularly performs with Mr. Lubman and
features a super-group of independent artists from the modern music scene. Signal is
flexible in size and instrumentation, enabling it to meet the ever changing demands on the
21st-century performing ensemble.
At home in concert halls, clubs, and international festivals alike, Signal has performed
at the Lincoln Center Festival, Ojai Music Festival, Carnegie Hall's Zankel Hall, Miller
Theatre, (Le) Poisson Rouge, Tanglewood Music Festival of Contemporary Music, Cleveland
Museum of Art, Wordless Music Series, and Bang on a Can Marathon.
Signal's fearless programming ranges from minimalism and pop-influences to the
iconoclastic European avant-garde. The ensemble has worked with artists and composers who
include Steve Reich, Helmut Lachenmann, Irvine Arditti, Michael Gordon, David Lang, Julia
Wolfe, Oliver Knussen, Hilda Paredes, and Charles Wuorinen. Educational activities have
included workshops with emerging composers at the June in Buffalo festival, where Signal is
a resident ensemble.
Signal's recordings are available on Philip Glass's Orange Mountain Music, New Amsterdam
Records, Mode Records, and Cantaloupe. Recent highlights included performing in the 2013
Lincoln Center Festival's production of Monkey: Journey to the West. Upcoming
highlights include the co-commission of a new work for large ensemble by Steve Reich.
Ensemble Signal's season is made possible, in part, by support from New Music USA's Cary
New Music Performance Fund and The Amphion Foundation.
Conductor and composer Brad Lubman has gained widespread recognition during the past two
decades for his versatility, commanding technique, and insightful interpretations.
Conducting a broad range of repertoire from classical to contemporary works, Mr. Lubman has
led major orchestras, including the Swedish Radio Symphony Orchestra, Netherlands Chamber
Orchestra, Orchestre Philharmonique de Radio France, Stuttgart Radio Symphony Orchestra,
American Composers Orchestra, New World Symphony, and The Saint Paul Chamber Orchestra. In
addition, he has worked with some of the most important European and American ensembles in
contemporary music, including Klangforum Wien and Asko | Schönberg, as well as the Los
Angeles Philharmonic New Music Group, Boston Symphony Chamber Players, and Steve Reich and
Mr. Lubman is an associate professor at the Eastman School of Music in Rochester, New
York, where he has directed the Musica Nova ensemble since joining the faculty in 1997. He
is also on the faculty of the Bang on a Can Summer Institute.
During the 2013-2014 season, Mr. Lubman returns to the Bavarian Radio Symphony Orchestra
in Munich and continues his collaboration with the Remix Ensemble Porto, followed by debuts
with the NDR Sinfonieorchester and the Residentie Orkest. He also continues his conducting
activities in the US, appearing with his Ensemble Signal at Carnegie Hall, and leading the
Los Angeles Philharmonic and the Orchestra of St. Luke's.
Iarla Ó Lionaird has enjoyed a long and unique musical career in Ireland. From his iconic
early recording of the vision song "Aisling Gheal" as a young boy to his groundbreaking
recording Grá agus Bás with Dublin's Crash Ensemble, he has shown a breadth of
artistic ambition that sets him apart in the Irish-music fraternity. A recipient of
numerous awards and honors-among them two Grammy nominations-Mr. Ó Lionaird has worked with
a stellar cast of international composers, including Nico Muhly, Gavin Bryars, and David
Lang. He has also performed and recorded with such luminaries as Peter Gabriel, Nick Cave,
Robert Plant, and Sinead O'Connor.
Mr. Ó Lionaird's unique singing style has carried him to stages and concert halls all over
the world, from New York's Carnegie Hall to the Sydney Opera House and beyond. His voice
has also graced the silver screen, with film credits extending from Gangs of New
York to Hotel Rwanda and the upcoming Calvary, starring Brendan
Gleeson. He is the vocalist with the critically acclaimed Irish-American band The Gloaming.
This year, Mr. Ó Lionaird is Traditional Artist in Residence at the University College
Cork, where he is teaching both undergraduate and postgraduate courses on the aesthetics of
sean-nós song. He holds a master's degree in ethnomusicology from the University
of Limerick, where he is currently completing his Ph.D. in music.
Born and raised in Brattleboro, Vermont, Sam Amidon released his fourth album of songs in
2013 on Nonesuch Records. Entitled Bright Sunny South, Mr. Amidon describes
it as "an interior, wandering journey through your own soul." On the album, he sings
and plays banjo, fiddle, acoustic guitar, and piano. Bright Sunny South follows
2010's I See the Sign and 2008's All Is Well, collections of
re-worked folk songs recorded with the Icelandic label/collective Bedroom Community
and featuring orchestral arrangements by Nico Muhly. In addition to his solo albums, Mr.
Amidon has frequently collaborated with Nico Muhly, Doveman, Beth Orton, and Bill Frisell.
He has also appeared as a guest on albums by Tune-Yards, Aoife O'Donovan, Glen Hansard, and
the Blind Boys of Alabama.
Violist Nadia Sirota is best known for her singular sound and expressive execution,
coaxing solo works from the likes of Nico Muhly, Daníel Bjarnason, Judd Greenstein, Marcos
Balter, and Missy Mazzoli. Her debut album, First Things First, was released
in 2009 on New Amsterdam Records and named one of The New York Times' records
of the year. Her sophomore album, Baroque, was released in March 2013 on
Bedroom Community and New Amsterdam. In addition to her work as a soloist, Ms.
Sirota is a member of yMusic, ACME (American Contemporary Music Ensemble), and Alarm Will
Sound, and has lent her sound to recording and concert projects by such artists and
songwriters as Grizzly Bear, Jónsi, and Arcade Fire. She also hosts a radio show on
WQXR's Q2 Music, for which she was awarded the 2010 ASCAP Deems Taylor Award in
Radio and Internet Broadcasting. Ms. Sirota is the recipient of Southern Methodist
University's 2013 Meadows Prize, awarded to pioneering artists and scholars with an
emerging international profile.
She received her undergraduate and master's degrees from The Juilliard School, where she
performed as co-founder of the AXIOM ensemble, initiated the
Castleman/Amory/Huang studio's New Music Project, and created the Juilliard Plays
Juilliard program for student composers and performers. As a chamber musician, Ms.
Sirota has collaborated with such artists as Joseph Kalichstein, Itzhak Perlman, and the
Silk Road Ensemble, as well as with members of the Kronos Quartet, Chiara String Quartet,
and Peabody Trio. In the fall of 2007, Ms. Sirota joined the faculty of the Manhattan
School of Music for its new master's program in contemporary performance.
Nico Muhly has composed a wide scope of work for ensembles, soloists, and organizations
that include the American Symphony Orchestra, Boston Pops, Carnegie Hall, Chicago Symphony
Orchestra, countertenor Iestyn Davies, violinist Hilary Hahn, choreographer Benjamin
Millepied, New York City Ballet, New York Philharmonic, Paris Opéra Ballet, soprano Jessica
Rivera, and designer-illustrator Maira Kalman.
Among Mr. Muhly's most frequent collaborators are his colleagues at Bedroom Community, an
artist-run label headed by Icelandic musician Valgeir Sigurðsson. Bedroom Community was
inaugurated in 2007 with the release of Mr. Muhly's first album, Speaks Volumes.
In spring 2012, Bedroom Community released Mr. Muhly's three-part Drones in
collaboration with pianist Bruce Brubaker, violinist Pekka Kuusisto, and violist Nadia
Born in Vermont in 1981 and raised in Providence, Rhode Island, Mr. Muhly graduated from
Columbia University with a degree in English literature. In 2004, he received his master's
from The Juilliard School, where he studied under Christopher Rouse and John Corigliano.
His writings and full schedule can be found at nicomuhly.com.
David Lang introduces love/loss
Thursday, April 24, 2014 | 6 PM
Paul Lazar founded Big Dance Theater in 1991 with Annie-B Parson. His work with the company
includes conceiving, directing, and performing in such works as Supernatural
Wife (BAM, 2012), Comme Toujours Here I Stand (The Kitchen, 2010),
PLAN B, Mac Wellman's Antigone, Another Telepathic Thing, Tristan Tzara's
The Gas Heart, Ödön von Horváth's Don Juan Comes Back from the
War, and Rainer Werner Fassbinder's Bremen Freedom. The next
Big Dance Theater production, Alan Smithee Directed This Play, premieres in Lyon,
France, in spring 2014 and will be performed at BAM in fall 2014. Beside his work with Big
Dance Theater, Mr. Lazar has directed Young Jean Lee's We're Gonna Die, which
garnered an Obie Award in 2011. He also directed Elephant Room at St. Ann's
Warehouse in 2012.
Mr. Lazar has appeared in The Wooster Group's productions of North Atlantic,
Brace Up!, The Emperor Jones,and The Hairy Ape. Other acting credits
include Three Sisters, directed by Austin Pendleton; María Irene Fornés's
Mud; Richard Maxwell's Cowboys and Indians; Young Jean Lee's
Lear; The False Servant; and Richard III, directed by Brian
Kulick. Mr. Lazar's film career includes roles inThe Silence of the
Lambs, Mickey Blue Eyes, Lorenzo's Oil, Philadelphia, and
The Host, as well as numerous other films and television shows. He is an
instructor at New York University's Tisch School of the Arts. He has taught acting,
directing, and theater history at Purchase College, Rutgers University, The William Esper
Studio, and the Michael Howard Studios. He received a Bessie Award in 2002.
Percussionist, conductor, and author Steven Schick was born in Iowa and raised in a farming
family. For 40 years, he has championed contemporary music by commissioning and premiering
more than 150 new works. He was the founding percussionist of the Bang on a Can All-Stars
(1992-2002) and served as artistic director of the Centre International de Percussion in
Geneva (2000-2005). Mr. Schick is founder and artistic director of the red fish blue fish
percussion group. He is also currently music director of the La Jolla Symphony and Chorus
and artistic director of the San Francisco Contemporary Music Players. In 2015, he will
serve as music director of the Ojai Music Festival.
In 2012, Mr. Schick became the first artist-in-residence with the International
Contemporary Ensemble. He is founder and artistic director of "Roots and Rhizomes," a
summer course on contemporary percussion music held at The Banff Centre. He maintains a
lively schedule of guest conducting, including appearances this season with the BBC
Scottish Symphony Orchestra, The Saint Paul Chamber Orchestra, and the Asko | Schönberg
ensemble. His many acclaimed publications include his book The Percussionist's Art:
Same Bed, Different Dreams; as well as numerous recordings of contemporary percussion
music, including a three-disc set of the complete percussion music of Iannis Xenakis (Mode
Records). Mr. Schick teaches at the University of California, San Diego.
Augustin Hadelich has confirmed his place in the top echelon of young violinists. He has
recently debuted with the Boston Symphony Orchestra, The Cleveland Orchestra, Los Angeles
Philharmonic at the Hollywood Bowl, The Philadelphia Orchestra, New York Philharmonic, and
The Saint Paul Chamber Orchestra. He has also performed with the symphony orchestras of
Baltimore, Dallas, Detroit, Indianapolis, New Jersey, Seattle, and Toronto, in addition to
the symphonies of San Francisco, Houston, and St. Louis. Abroad, he has debuted with the
BBC Philharmonic in Manchester and the Stuttgart Radio Symphony Orchestra, and toured China
with the San Diego Symphony.
A gifted recitalist, Mr. Hadelich has appeared at Carnegie Hall, The Frick Collection,
Kennedy Center, Philadelphia Chamber Music Society, Vancouver Recital Society, the Louvre
in Paris, and Kioi Hall in Tokyo.
In March 2014, Augustin Hadelich released his first major orchestral CD of the violin
concertos of Jean Sibelius and Thomas Adès with the Royal Liverpool Philharmonic Orchestra
conducted by Hannu Lintu for the Avie Records. This is only the second commercial recording
of Adès's Violin Concerto, "Concentric Paths." Mr. Hadelich has recorded three previous CDs
for Avie, as well as several discs for Naxos.
The 2006 gold medalist of the International Violin Competition of Indianapolis, Mr.
Hadelich is the recipient of Lincoln Center's Martin E. Segal Award (2012), an Avery Fisher
Career Grant (2009), and a Borletti-Buitoni Trust Fellowship (2011). Mr. Hadelich plays on
the 1723 "Ex-Kiesewetter" Stradivarius violin, on loan from Clement and Karen Arrison
through the generous efforts of the Stradivari Society.
Passionate and prolific, composer David Lang embodies the restless spirit of invention. He
is at the same time deeply versed in the classical tradition and committed to music that
resists categorization, constantly creating new forms. Musical America's 2013
Composer of the Year and holder of the 2013-2014 Richard and Barbara Debs Composer's Chair
at Carnegie Hall, Mr. Lang is one of America's most performed composers. Many of his works
resemble each other only in the fierce intelligence and clarity of vision that inform their
structures. His catalog is extensive, and his opera, orchestra, chamber, and solo works are
by turns ominous, ethereal, urgent, hypnotic, unsettling, and very emotionally
His work has been performed by the Santa Fe Opera, New York Philharmonic, Netherlands
Chamber Choir, Boston Symphony Orchestra, Munich Chamber Orchestra, and Kronos Quartet; in
theater productions in New York, San Francisco, and London; and alongside the choreography
of Twyla Tharp, La La La Human Steps, Nederlands Dans Theater, and the Paris Opera Ballet.
Mr. Lang is the recipient of the Rome Prize, as well as grants from the Guggenheim
Foundation, Foundation for Contemporary Performance Arts, National Endowment for the Arts,
New York Foundation for the Arts, and American Academy of Arts and Letters. His piece
the little match girl passion, commissioned by Carnegie Hall, was awarded the 2008
Pulitzer Prize for Music. Mr. Lang is the co-founder and co-artistic director of New York's
legendary music collective Bang on a Can.
Lighting designer Eric Southern's recent projects include Play/Pause with
choreographer Susan Marshall and David Lang (BAM Next Wave Festival, Center for the Art of
Performance at UCLA, the Kennedy Center); Paul's Case, a
world-premiere opera by Gregory Spears, directed by Kevin Newbury (UrbanArias, Prototype
Festival); The Secret Agent, a world-premiere opera by Michael Dellaira, directed
by Sam Helfrich (The Kaye Playhouse, Opéra Grand Avignon, Armel Opera Festival); and a
fully staged production of The Messiah by Sam Helfrich (Pittsburgh Symphony
Recent New York theater projects include the long-running off-Broadway production Buyer
& Cellar with Michael Urie (Barrow Street Theatre, Rattlestick Playwrights
Theater); several productions with 600 Highwaymen, including The Record, This
Great Country, Empire City, and Everyone Was Chanting Your
Name; Good Television and 10x25 with Atlantic Theater Company;
and The Correspondent and The Few at Rattlestick Playwrights
Theater. Other projects include work with the Magic Theatre, Portland Center
Stage, Kansas City Repertory Theatre, Arden Theatre Company, Oregon Shakespeare Festival,
Lesser America, Commonwealth Shakespeare Company, Virginia Opera, Opera Santa Barbara,
Franklin Stage Company, University of Rochester, Crossroads Theatre Company, Bard College,
and The Juilliard School. Mr. Southern received his bachelor's and master's degrees in fine
arts at New York University.
David Lang introduces memoir
John Cage's Indeterminacy Parts I and IIJohn Cage | David Tudor
Thursday, April 29, 2014 | 6 PM
A peculiar style of singing is found in the tiny Siberian country of Tuva. Called khoomei,
or throat singing, the songs are typically performed by soloists who each specialize in a
particular variant of khoomei. The amazing technique of Tuvan throat singing is still a
mystery to Western science, but listen closely and you will hear the singers produce up to
four notes at once, singing melody and accompaniment simultaneously.
In 1992, Kaigal-ool Khovalyg, Alexander Bapa, his brother Sayan Bapa, and Albert Kuzevin
founded the quartet as a means of concentrating on the presentation of traditional songs of
their homeland. While they devoted themselves to the preservation of these songs, their
concerts demonstrated the significance of combining tradition and innovation. The musicians
later decided to rename the ensemble as "Huun-Huur-Tu"-a name that means "Separation of
Light Rays on the Prairie."
Huun-Huur-Tu presents its style of throat singing in the context of wonderfully tuneful
songs, employing instruments reminiscent of the banjo and fiddle. The combination of
earth-rumbling growling and whistle-like harmonics, along with the ethereal jaw harp and
shaman's drum make these songs both lively and deeply spiritual.
Huun-Huur-Tu has toured extensively in the US, Canada, Europe, Japan, and Australia, and
has an international fan base. The group has also collaborated with Frank Zappa, Ry Cooder,
The Chieftains, Johnny "Guitar" Watson, the Kronos Quartet, L. Shankar, and the Bulgarian
As director of music and the arts at New York's historic Trinity Wall Street, Julian
Wachner oversees an annual season of more than 900 events, in addition to directing the
Trinity Baroque Orchestra, NOVUS NY, and the Choir of Trinity Wall Street. He was nominated
for a 2012 Grammy Award for Trinity's recording of Handel's complete Israel in Egypt. Mr.
Wachner is also music director of the Grammy Award-winning Washington Chorus, with whom he
won Chorus America / ASCAP's Alice Parker Award for adventurous programming in 2011.
Recent and upcoming engagements include those with the Lincoln Center Festival, BAM Next
Wave Festival, Hong Kong Philharmonic, TENET, Portland Baroque Orchestra, and Philharmonia
Baroque Orchestra. He has appeared as guest conductor with The Philadelphia Orchestra, the
Montreal and Pittsburgh symphony orchestras, Spoleto Festival USA, Handel and Haydn
Society, Glimmerglass Opera, and Hawaii Opera Theatre. In 2011, he founded the Twelfth
Night Festival of early music, presented in collaboration with Gotham Early Music Scene and
featuring many of New York's leading Baroque and Renaissance ensembles.
Nicholas Phan has appeared with many of the leading orchestras in North America and
Europe, including the St. Louis Symphony, The Philadelphia Orchestra, New York
Philharmonic, Chicago Symphony Orchestra, San Francisco Symphony, Los Angeles Philharmonic,
The Cleveland Orchestra, Lucerne Symphony Orchestra, BBC Symphony Orchestra, and English
Chamber Orchestra. He has toured extensively throughout Europe with Il Complesso Barocco
and appeared with the Edinburgh, Ravinia, Rheingau, Saint-Denis, and Marlboro music
festivals, and at the BBC Proms. In opera, Mr. Phan has appeared with the LA Opera, Houston
Grand Opera, Seattle Opera, Glyndebourne, Oper Frankfurt, and Maggio Musicale Fiorentino.
In recital, he has been presented by Carnegie Hall, The Metropolitan Museum of Art, and the
Philadelphia Chamber Music Society. He is the artistic director of Collaborative Arts
Institute of Chicago, an organization devoted to promoting the art song and vocal chamber
Mr. Phan's most recent solo album, Still Falls the Rain (Avie Records), was named one of
the best classical recordings of 2012 by The New York Times. His growing discography
includes the Grammy-nominated recording of Stravinsky's Pulcinella with Pierre Boulez and
the Chicago Symphony Orchestra (CSO Resound), his debut solo album Winter Words (Avie
Records), and the opera L'Olimpiade with the Venice Baroque Orchestra (Naïve).
Grammy Award-winning Dashon Burton recently brought home a second prize from the 2012 ARD
International Music Competition in Munich (no first prizes awarded), along with the First
Prize in Oratorio at the 49th International Vocal Competition in 's-Hertogenbosch, the
Netherlands. These awards follow his 2012 first place wins in both the 2012 Oratorio
Society of New York Competition and the Bach Choir of Bethlehem's Young American Singer
During the 2013-2014 season, Mr. Burton makes his debut with The Cleveland Orchestra in
Janáček's The Cunning Little Vixen, conducted by Franz Welser-Möst; performs in
the St. Matthew Passion with the Charlotte Symphony Orchestra and on tour in
the Netherlands; and debuts with Boston's Handel and Haydn Society in Handel's
Samson. He also performs in Handel's Messiah with the Oratorio
Society of New York at Carnegie Hall. In summer 2014, he sings Bach's St. Mark
Passion at the Oregon Bach Festival and the St. Matthew Passion at the
Carmel Bach Festival.
Renée Anne Louprette is the director of music and organist at the Church of Notre Dame in
New York City, having previously served as organist and associate director of music and the
arts at Trinity Wall Street and associate director of music at the Church of St. Ignatius
Loyola. She has performed extensively throughout Europe, North America, and Australia, and
has appeared with the Orchestre National du Capitole de Toulouse, Queensland Symphony
Orchestra, Mostly Mozart Festival Orchestra, American Symphony Orchestra, Clarion Music
Society, Voices of Ascension, The Dessoff Choirs, and Piffaro.
Ms. Louprette was appointed to the organ faculty of Mason Gross School of the Arts at
Rutgers University in September 2013. She has also served on the faculties of The Hartt
School of the University of Hartford and the John J. Cali School of Music at Montclair
State University. Ms. Louprette holds degrees from the Centre d'études supérieures de
musique et de danse de Toulouse, Conservatoire à rayonnement régional de Toulouse, and The
Hartt School. She has been a featured artist at national and regional conventions of the
American Guild of Organists and is in frequent demand as a master class teacher.
Oboist ToniMarie Marchioni is the assistant professor of oboe at the University of
Kentucky; a member of the IRIS Orchestra in Memphis, Tennessee; and an alumna of Ensemble
ACJW. She has also appeared with the National Symphony Orchestra, American Ballet Theatre,
Orpheus Chamber Orchestra, New Jersey Symphony Orchestra, Atlanta Symphony Orchestra,
Georgia Woodwind Quintet, and Continuum. In 2010, she performed the Martinů Oboe Concerto
with the Orquesta Filarmónica del Ecuador, and in 2008, she gave the US premiere of
Jonathan Harvey's Sprechgesang concerto for oboe and English horn. Ms. Marchioni
has worked as a teaching artist with Sinfonía por la Vida in
Ecuador, and has held faculty positions with the University of Georgia, Las Vegas Music
Festival, and the American Festival for the Arts in Houston, Texas. A native of
Mechanicsburg, Pennsylvania, Ms. Marchioni holds degrees from Harvard University and The
Shelley Monroe Huang has appeared as soloist with the Charlotte Symphony Orchestra,
Eastman Philharmonia, and New Music New Haven. As a concert bassoonist and
contrabassoonist, she has performed with the Orpheus Chamber Orchestra; American Composers
Orchestra; and the Charlotte, Albany, New Haven, and Princeton symphony orchestras. Before
completing her doctorate at Stony Brook University under the tutelage of Frank Morelli, she
earned degrees from the Eastman and Yale schools of music. In recent years, she has also
appeared as the bassoon fellow of Carnegie Hall's Ensemble ACJW and is currently visiting
professor of bassoon at Guangzhou Conservatory in China. Ms. Huang is a dedicated chamber
music player and an avid contemporary musician, recently performing Sofia Gubaidulina's
Concerto for Bassoon and Low Strings, and giving the world premieres of Huang Ruo's
Wind Blows and Book of the Forgotten.
Violinist Emily Popham Gillins has been blessed to perform internationally as a soloist
and chamber musician since her debut at age 11 with the Louisville Orchestra. As a member
of Ensemble ACJW from 2010 to 2012, she appeared in venues that range from Weill Recital
Hall to Rikers Island. She has been a featured artist at the Library of Congress as first
violinist of the Degas String Quartet, and toured North Carolina for residency work at
universities and elementary schools.
She has collaborated with artists such as Emanuel Ax and Rachel Barton Pine, and played
backup strings for Harry Connick Jr., Sting, and Peter Gabriel. Last season, she appeared
as soloist with the Henderson Symphony Orchestra, and frequently performs with Decoda, IRIS
Orchestra, and New York Chamber Soloists. She lives in New York City with her husband
Kevin, a wind and brass technician, and their daughter Beverly.
TENET celebrates its fifth anniversary as one of New York's preeminent vocal ensembles.
Its artistic director Jolle Greenleaf has won acclaim for the ensemble's innovative
programming, virtuosic singing, and command of repertoire that spans the Middle Ages to the
present with a focus on early music. TENET features distinguished soloists who shine in
one-voice-to-a-part singing and as joined voices in small ensembles.
They regularly present critically acclaimed performances throughout the US and abroad.
Highlights include collaborations with many ensembles, including Dark Horse Consort, the
Sebastians, and New York Polyphony; and performances at The Metropolitan Museum of Art,
Berkshire Bach Festival, Festival Casals de Puerto Rico, Yale University, Da Camera Society
of Los Angeles, and Costa Rica's International Music Festival. TENET sponsors the annual
Green Mountain Project performances of Claudio Monteverdi's Vespers of 1610.
Recordings of TENET and the Green Mountain Project are widely available. Visit TENETnyc.com
for more information.
David Lang introduces spirit
Wednesdau, April 23, 2014 | 6 PM