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Orchestra of St. Luke's (OSL) is one of America's foremost and most versatile orchestras,
regularly collaborating with the world's greatest artists and performing approximately 70
concerts each year-including its Carnegie Hall orchestra series, chamber music series at
The Morgan Library & Museum and the Brooklyn Museum, and summer residency at Caramoor
Music Festival. OSL has commissioned more than 50 new works; given more than 150 world, US,
and New York premieres; and appears on more than 90 recordings, including four Grammy
Award-winning albums and seven releases on its own label, St. Luke's Collection. Pablo
Heras-Casado, who was named 2014 Conductor of the Year by Musical America, is
OSL's principal conductor.
OSL grew out of a chamber ensemble that began giving performances at the Church of St.
Luke in the Fields in Greenwich Village in 1974. Today, St. Luke's Chamber Ensemble
consists of 21 virtuoso artists who make up OSL's artistic core and are dedicated to a
diverse repertoire that spans Baroque to contemporary.
OSL owns and operates The DiMenna Center for Classical Music in Midtown Manhattan, where
it shares a building with the Baryshnikov Arts Center. The DiMenna Center is New York
City's premier venue for rehearsal, recording, and learning, having quickly gained a
reputation for its superb acoustics, state-of-the-art facilities, and affordability. Since
opening in 2011, The DiMenna Center has welcomed more than 50,000 visitors, including more
than 300 ensembles and artists such as Renée Fleming, Susan Graham, Emanuel Ax, Joshua
Bell, Valery Gergiev, and James Levine. OSL also hosts hundreds of neighbors, families, and
schoolchildren at its home each year for free community events.
Through its Community & Education programs, OSL has introduced audiences across New
York City to live classical music. OSL brings free chamber concerts to the five boroughs;
offers free, interactive events at The DiMenna Center; provides chamber music coaching for
adult amateurs; and reaches 10,000 public school students each year through free school
concerts and in-school instruction. In July 2013, OSL and the Police Athletic League (PAL)
launched Youth Orchestra of St. Luke's (YOSL), an after-school orchestra and instrumental
coaching program that emphasizes musical excellence and social development.
For more information, visit OSLmusic.org.
For 50 years, Sir Roger Norrington has been at the forefront of the movement for
historically informed orchestral playing. He seeks to put modern players in touch with the
historical style of the music they play, through orchestra size and seating, tempo,
phrasing, and articulation.
Sir Roger (he was knighted in 1997) studied at the Royal College of Music under Sir Adrian
Boult, and in 1962 he founded the first of several groups for the performance of early
music, the Heinrich Schütz Choir. This was followed 10 years later by the London Classical
Players, which achieved worldwide fame with dramatic recordings of the nine Beethoven
In 1966, Sir Roger was named music director of the new Kent Opera, where he introduced
innovative thinking about orchestra size, playing style, and tempos, particularly with
earlier repertoire. He conducted hundreds of performances for Kent, as well as at Covent
Garden, the English National Opera, La Scala, La Fenice, and the Vienna State Opera.
Sir Roger moved on to share his historical findings with more modern orchestras, choirs,
and opera companies. He is a frequent guest with the world's major orchestras, including
the Berliner Philharmoniker, Vienna Philharmonic Orchestra, Deutsches Symphonie-Orchester
Berlin, Leipzig Gewandhaus Orchestra, and Royal Concertgebouw Orchestra. In the US, he has
appeared with the symphony orchestras of San Francisco, Philadelphia, Los Angeles,
Cincinnati, Detroit, Boston, and Chicago.
From 1990 to 1994, Sir Roger Norrington served as Orchestra of St. Luke's first music
director. He has also held the title of chief conductor at the Bournemouth Sinfonietta,
Salzburg Camerata, and Stuttgart Radio Symphony Orchestra, and is currently principal
conductor of the Zurich Chamber Orchestra, chief guest conductor of the Orchestre de
Chambre de Paris, conductor emeritus of the Orchestra of the Age of Enlightenment, and a
regular guest with the Deutsches Symphonie-Orchester Berlin and the Deutsche
With Stuttgart, Sir Roger made a remarkable series of 60 recordings that span a large
slice of the core orchestral repertoire. They offer a vivid glimpse of how a modern
orchestra can connect with its historical roots, cherishing the gesture and sound each
composer might have expected in his lifetime.
Winner of the 1994 Kathleen Ferrier Award, Susan Gritton is one of the most accomplished
lyric sopranos of her generation, acclaimed for her versatility in roles that range from
Handel and Mozart to Britten, Janáček, and Strauss.
Highlights of the 2013-2014 season include her first Donna Elvira in Don
Giovanni with the Vlaamse Opera, Beethoven's Symphony No. 9 with the Vienna
Symphony Orchestra, Die Schöpfung with the Orchestra of the Age of
Enlightenment, Strauss lieder with the BBC Philharmonic Orchestra, and Strauss's Four
Last Songs with the Columbus Symphony Orchestra. Recent operatic highlights include
Ellen Orford in Peter Grimes at La Scala, Opera Australia, and Tokyo's New
National Theatre; Blanche in Dialogues des Carmélites at Bavarian State
Opera; Countess Madeleine in Capriccio and Tatyana in Eugene Onegin
at Grange Park Opera; Micaëla in Carmen and Liù in Turandot at
the Royal Opera, Covent Garden; Donna Anna in Don Giovanni at the Bolshoi
Theatre and Opéra de Montréal; Elettra in Idomeneo at Nederlandse Opera; and
Konstanze in Die Entführung aus dem Serail at the Berlin and Bavarian state
operas. She has performed the title roles in Theodora at the Glyndebourne
Festival, Rodelinda at Bavarian State Opera, The Bartered
Bride at Covent Garden, and The Cunning Little Vixen at English
Ms. Gritton is a prolific concert artist with a repertoire that spans many periods and
styles. Recent highlights include Handel's Messiah with the Orchestra of the
Royal Opera House, Covent Garden; Elgar's The Kingdom with the London
Symphony Orchestra; Shostakovich's Blok Romances with The Nash Ensemble of
London; Schumann's Das Paradies und die Peri with the Scottish Chamber
Orchestra and Vienna Philharmonic Orchestra; and Tatyana in concert performances of
Eugene Onegin with the Bamberger Symphoniker.
Ms. Gritton records extensively and is a Grammy nominee. Her recent recording of Britten's
Les illuminations with the BBC Scottish Symphony Orchestra-including the
world premiere of Britten's three additional Rimbaud settings-has been widely praised. She
appears on three other Britten recordings released to great critical acclaim in the
composer's centenary year: the War Requiem with the Gabrieli Consort, The
Rape of Lucretia with the Aldeburgh Festival Ensemble, and a DVD of Peter
Grimes with Orchestra Filarmonica della Scala.
Julie Boulianne has been acclaimed for the agility and expressive power of her dark-hued
mezzo-soprano in a range of repertoire. This season, she returns to the Metropolitan Opera,
singing the role of Kitchen-Boy in Rusalka alongside Renée Fleming. She will
appear as Rosina in a concert version of Il barbiere di Siviglia with the Orlando
Philharmonic Orchestra and will debut with The Cleveland Orchestra in The Cunning
Little Vixen. Other season highlights include Handel's
Messiah with the Minnesota Orchestra and Colorado Symphony, Mahler's Symphony
No. 2 with Orchestra Iowa, and Bach's St. Matthew Passion with Orchestre
Career highlights include appearances at the Metropolitan Opera as Diane in Iphigénie
en Tauride and as Stéphano in Roméo et Juliette; Lazuli in Chabrier's
L'étoile at New York City Opera; Cherubino in Le nozze di Figaro at
Vancouver Opera and Opéra de Montréal; the title role in Massenet's
Cendrillon at Opéra de Montréal and Opéra de Marseille; Rosina in Il
barbiere di Siviglia at Minnesota Opera; the title role in La
Cenerentola at Aspen Opera Theater, Florida Grand Opera, Glimmerglass Opera, and
Pacific Opera Victoria; and Fragoletto in Offenbach's Les brigands at both
Opéra de Toulon and Opéra Comique in Paris. Equally at home in symphonic repertoire, she
has sung Ravel's Shéhérazade with Emmanuel Villaume and the Utah Symphony,
Berlioz's Les nuits d'été with Yannick Nézet-Séguin and Orchestre
Métropolitain, Handel's Messiah and Bach's Mass in B Minor with the Atlanta
Symphony Orchestra, Mahler's Symphony No. 3 with the Calgary Philharmonic Orchestra, and
Mozart's "Coronation" Mass with the Cincinnati Symphony Orchestra.
In 2009, Naxos Records released a recording of Shéhérazade and L'enfant et
les sortilèges that featured Ms. Boulianne and the Nashville Symphony; it was
nominated for a Grammy Award in the Best Classical Album category.
A graduate of McGill University's Schulich School of Music, Ms. Boulianne won first prize
in the Canadian Music Competition and the Joy of Singing Competition in New York. She was
awarded the International Vocal Arts Institute's Silverman Prize and the Prix de la Chambre
des Directeurs for Most Promising Career at the Concours International de Chant de
Hailed as one of the world's leading tenors, Michael Schade performs on every major opera
stage and in the most prestigious concert halls of the world. He embraces a wide repertoire
in opera, recital, concert, and recording performances.
Mr. Schade continues his close collaboration with the Vienna State Opera in the 2013-2014
season, returning as the Prince in a new production of Rusalka. He
has been invited back to the Hamburg State Opera for Britten's Peter Grimes.
Additional highlights this season include Berg's Lulu at the Metropolitan
Opera, Mozart's Idomeneo with Nederlandse Opera, and the title role in
Schubert's Fierrabras with the Vienna Philharmonic Orchestra.
Mr. Schade has been one of the favorite artists of the Salzburg Festival for almost two
decades. In 2008, he initiated and was appointed creative director of the festival's Young
Singers Project, where his master classes are an audience favorite.
In addition to his opera career, Mr. Schade has earned a reputation as a stellar concert
and recital soloist. His immense repertoire ranges from Bach's cantatas and passions to
Mahler's Das Lied von Erde. His 2013-2014 season includes Berlioz's
La damnation de Faust with the Orchestre symphonique de
Montréal, Das Lied von der Erde with the Boston Symphony Orchestra, Mendelssohn's
Walpurgisnacht with the Munich Philharmonic Orchestra, and Bach's St.
Matthew Passion under Nikolaus Harnoncourt.
Mr. Schade's accomplishments and charm as a recitalist have inspired audiences at every
major venue. His schedule for the current season includes recitals at Wigmore Hall,
Salzburg's Mozartwoche, and Vienna's Konzerthaus. A prolific recording artist, he has
performed in Bach's St. Matthew Passion with Nikolaus Harnoncourt, which was
awarded a Grammy Award for Best Choral Work. His list of Juno Award-winning albums includes
Die schöne Müllerin, Soirée Française, and Mozart: Arie e
In 2007, the Republic of Austria appointed Mr. Schade to Kammersänger for his exceptional
cultural merits. He is artistic director of the Hapag Lloyd Stella Maris International
Vocal Competition and, together with Dee McKee, initiator of the Red Ribbon Celebration
Concert, a fundraiser for the Clinton Health Access Initiative. The Internationale
Barocktage Stift Melk has appointed Mr. Schade its artistic director through 2016.
Nathan Berg's career encompasses a vast range of styles and repertoire. He is currently in
demand by some of the world's most distinguished conductors, including Kurt Masur,
Esa-Pekka Salonen, William Christie, Sir Roger Norrington, Hans Graf, and Michael Tilson
In his early career, Mr. Berg made his name as an outstanding interpreter of the Baroque
and pre-Classical repertoire in both concert and opera performances in the world's leading
houses and venues. More recently, he added leading Mozart roles to his repertoire,
including the title roles in Don Giovanni and Le nozze di
Figaro in New York, London, Paris, and Vancouver.
Highlights in the 2012-2013 season included his critically acclaimed role debut as the
Doctor in Wozzeck with the Houston Symphony, the Speaker in Die
Zauberflöte at the Palau de les Arts Reina Sofia, Haydn's Die
Schöpfung with Orchestra of St. Luke's, and Rachmaninoff's The
Bells with Philharmonia Orchestra at the Three Choirs Festival.
This season, Mr. Berg makes his debut at the Bolshoi Theatre as the Dutchman in Wagner's
Der fliegende Holländer. He returns to the Philharmonia Orchestra for Prokofiev's
Ivan the Terrible, Charlotte Symphony Orchestra for Bach's St. Matthew
Passion, and Opéra National de Bordeaux as Huascar in Les Indes galantes. He
also joins the Royal Flemish Philharmonic to record Dvořák's Requiem and Netherlands Radio
Philharmonic Orchestra for Dvořák's Stabat Mater.
Mr. Berg is a Grammy-nominated and Juno Award-winning recording artist. Highlights include
collaborations with Les Arts Florissants, including Handel's Messiah and
Mozart's Requiem; lieder recordings including songs by Othmar Schoeck and the album
Lieder Recital with Julius Drake; and Dvořák's Stabat
Mater with the Atlanta Symphony Orchestra. Recent DVD releases include Lully's
Armide from the Théâtre des Champs-Élysées and Alidoro in the Glyndebourne
Festival's production of Rossini's La Cenerentola.
Born in Saskatchewan, Mr. Berg studied in Canada, the US, and Paris, as well as at the
Guildhall School of Music and Drama in London, where he won the Gold Medal for Singers. In
recital, he has appeared at Wigmore Hall, Lincoln Center, and many other prestigious venues
worldwide with such pianists as Graham Johnson, Julius Drake, Roger Vignoles, and Martin
Founded in 1873 by Leopold Damrosch, the Oratorio Society of New York is one of the city's
oldest musical organizations. From its earliest days, the society played an integral role
in the musical life of the city, presenting its own concerts and performing at musically
and historically significant events. It also created a fund to finance building a concert
hall. When Andrew Carnegie became the society's fifth president in 1888, he adopted the
cause, enlisting a fellow board member, architect William Burnet Tuthill, to design a
"Music Hall" that would provide a suitable artistic home for the society. In 1891, singing
under Tchaikovsky's baton, the society helped inaugurate the concert hall that came to be
known as Carnegie Hall. It has performed there ever since-and, in fact, gave the Carnegie
Hall premiere of the Missa solemnis in 1905.
On its 100th anniversary, the society was presented with the Handel Medallion, New York
City's highest cultural award, in recognition of these contributions. It made its European
debut in 1982 and has since performed in Europe, Asia, and Latin and South America. In
March 2003, it received the UNESCO Commemorative Medal and the Cocos Island World Natural
Heritage Site Award for its series of benefit concerts in Costa Rica. The society has also
recently released a new CD of Mozart's "Coronation" Mass and three a cappella motets by
In 1977, the society inaugurated a solo competition to encourage the art of oratorio
singing and to give young singers an opportunity to advance their careers. In 2006, it was
renamed the Lyndon Woodside Oratorio-Solo Competition in honor of Dr. Woodside's dedication
to the competition. International in scope, the competition attracts more than 100 singers
each year. The Solo Competition is, however, only one example of the society's commitment
to the next generation's involvement in choral music. The Choral Scholars program provides
financial support and coaching experience to young professionals who work with the chorus
on a weekly basis. The Education Program introduces teens to classical choral music through
classroom presentations and complimentary tickets to Oratorio Society performances. The
society also donates tickets to high school students through High 5 Tickets to the Arts.
Encouraging young artists, teachers, and audiences is an essential part of the society's
heritage and mission, and one of its proudest achievements.
One of the leading choral conductors in the United States, Kent Tritle has been music
director of the Oratorio Society of New York since 2005. He has led the society in both the
standard repertory and in such rarely performed works as the Mozart arrangement of
Messiah, as well as in the world premiere of Juraj Filas's Song of
Solomon and the New York premiere of Paul Moravec's Blizzard Voices.
Under his direction, members of the chorus have performed in concerts in Europe and South
America, and in concerts presented by the New York Philharmonic.
Mr. Tritle's weekly WQXR show, The Choral Mix with Kent Tritle, explores the
extraordinary riches of the choral repertory every Sunday at 7 AM. Mr. Tritle is also
director of cathedral music and organist at the Cathedral of St. John the Divine, and is
music director of Musica Sacra, New York's longest continuously performing professional
chorus. In 1989, he founded Sacred Music in a Sacred Space, the acclaimed concert series at
the Church of St. Ignatius Loyola, which he directed until 2011. From 1996 to 2004, he was
music director of the Emmy-nominated Dessoff Choirs, winners of the Chorus America / ASCAP
Award for adventurous programming of contemporary music.
An acclaimed organ virtuoso, Mr. Tritle is the organist of the New York Philharmonic and
the American Symphony Orchestra, and performs regularly in Europe and across the US.
Recital venues have included the Leipzig Gewandhaus, Tonhalle Zurich, Church of
Saint-Sulpice in Paris, Dresden's Cathedral, King's College at Cambridge, and Westminster
Mr. Tritle holds graduate and undergraduate degrees from The Juilliard School. He
currently serves on the faculty of The Juilliard School and the Manhattan School of Music,
where he established a doctoral program in choral conducting. He has been featured in
The New York Times and The Wall Street
Journal, and on ABC World News, National Public Radio, and Minnesota Public
Thursday, March 6, 2014 | 8 PM
Austrian guitarist, composer, and electronic musician Christian Fennesz is recognized as
the key figure and one of the most distinctive voices of electronic music today. His wide
international reputation has been consolidated through his substantial overall contribution
to new musical expression.
In the beginning of the 1990s, Fennesz became involved with Viennese techno scene. Though
formally educated in guitar and ethnomusicology from an early age, Fennesz decided to
pursue composing and developing his own sound world in the distinctive electronic idiom. By
plugging his guitar into his laptop and transforming and processing it, he managed to
create a specific sound that is difficult to mistake for another's. On his first
full-length solo release, Hotel Paral.lel (1997, Editions Mego), he
introduced a mix of raw textures and twisted guitar sounds. The album was awarded the Prix
Ars Electronica. Two years later, plus forty seven degrees 56' 37" minus sixteen
degrees 51' 08" was released by Touch.
His milestone third album EndlessSummer (2001, Editions
Mego) was acknowledged as one of the most important releases of the decade, helping to
change the perception of electronic music today. On it, he gave significant importance to
melody, appearing delicately beneath (or on the top) of his shimmering electronic
soundscape-often described as "symphonic" for its enormous range and complex
In 2004, Fennesz released Venice, in which he combined ambience-rich sound
textures with pop-song elements. Black Sea (2008) has proven to be a bold
step in experimentation with longer tracks that outline and construct sonic space without
necessarily filling it with musical narrative or a predefined concept. His new studio album
Bécs will be released in early May.
Within the last 10 years, Fennesz has collaborated with many musicians, filmmakers, and
dancers. These encounters of diverse art forms have resulted in numerous stage performances
and several exceptional studio releases. He has recorded and
performed with Ryuichi Sakamoto, David Sylvian, Keith Rowe, Mark Linkous of Sparklehorse,
Mike Patton, and many others. Fennesz has also worked alongside Peter Rehberg and Jim
O'Rourke as the improvisational trio Fenn O'Berg.
Animation, video, and media artist Lillevan is perhaps best known as the founding member
of visual-music group Rechenzentrum. He has performed around the globe at all the major
media festivals, and has collaborated with artists from a wide array of genres, from opera
to installation to minimal electronic experimentalism.
After studying politics and film, writing scripts, and being very active in the film and
animation scene in the late 1980s and early '90s, Lillevan grew disillusioned with the idea
of retelling the same stories and the lack of adventure in the film world. He took a break
from film and found himself running clubs in Berlin, excited by the influx of Eastern
European artists after the fall of the Berlin Wall. Soon, these new impulses-coupled with
new and affordable technologies-pushed him back to make the moving imagery he found missing
in the cinema, the art world, and popular culture.
Lillevan recontextualizes, combines, and politicizes existing film images and fragments.
The images are a communicative medium that interact with the music. The selection of the
images can either support the sound or work against it, the aim being to achieve a
dialogue. Some films don't need a soundtrack; the images produce the music, propelling the
viewer into a psycho-visual composition. For Lillevan, a working process takes place in a
Godard-like search for the relationship between images, intensities, and textures. He sees
his work as a multilayered process, giving each viewer the opportunity to focus on
different details and moments. Human perception remains the final interactive element of
live video composition, while returning images to their original ambiguity, escaping the
imperative nature of traditional montage, creating unsolvable tasks for new software, and
creating new and unexpected relationships between non-related imagery.
An Introduction to Vienna: City of Dreams
Gustav Mahler Lied
Christian Fennesz, Music | Lillevan, Video
Friday, March 7, 2014 | 10 PM
Estrella Morente was born in Granada. She is the eldest daughter of the legendary Enrique
Morente and dancer Aurora Carbonell. She grew up surrounded by flamenco and has since
become one of Spain's most sought-after performers.
Prestigious venues and events-both in Spain and overseas-have hosted Morente, including
Vienna's Konzerthaus, Amsterdam's Royal Theatre Carré, and Rome's Auditorium Parco della
Musica, as well as the Oslo International Festival, Les suds à Arles, and Voix de Femmes in
Brussels, among others. Recently, she recorded De Falla's El amor brujo with the
Spanish National Orchestra under the direction of Josep Pons.
Morente has won many awards, including a Premio Ondas. She was also nominated for a Grammy
Award in the Best Flamenco Album category. Her recordings have reached platinum status.
Five years after Mujeres (EMI), her new album, Autorretrato (EMI), was
released last October. The record includes collaborations with Michael Nyman, Pat Metheny,
Ketama, and Vicente Amigo, among others.
She is a fervent admirer of La Niña de los Peines, Camarón de la Isla, and of course her
father. Lola Flores, Maria Callas, and Montserrat Caballé have also influenced her approach
In spite of her youth, Morente has sown the seeds of her art and her musical gifts across
the globe. She is blessed with a pure, crystalline vocal timbre and moves easily between
warm, seductive tones and raw, expressive phrases.
Morente possesses a profound knowledge of her art as well as innate musical taste. She has
become a point of reference for aficionados and newcomers to flamenco singing, combining
the early influences of her native Granada with the latest trends in the flamenco of the
Estrella Morente has adhered to simple and untainted song forms; her singing is neither
pure nor orthodox, but contains an edge of personality that makes for a true revolution in
the best tradition of cante flamenco.
The first time I saw Estrella Morente live was in 1998. I was speechless. No other artist had ever impressed me as much on stage. Never. Not even my idol Georges Brassens, nor my beloved Leonard Cohen or Bruce Springsteen.
Estrella was something new, something different. The first thing that impressed me was her attitude. She had an innate elegance, a new sophistication, an apparent security—not the result of arrogance, but of courage and nobility. But then Estrella started singing and I entered a kind of twilight zone. It seemed impossible, someone so young with so much wisdom at the same time. Or was it intuition? Or was it in the genes? Who cares? For me, that day, a star was born.
Estrella, like it or not, belongs to the great, crazy, strange family of divas: Callas, Bernhardt, Duncan, Garbo … and that is something that is neither learned nor studied. It cannot be bought or sold. It is something that is innate.
In Estrella, I found heritage, tradition, and also innovation—the future. She is an improviser who never repeats herself because true feelings can never be duplicated or manufactured. They are conjured up at a given moment. She is archaic and futuristic at the same time. Estrella is a performer who uses her voice like any of the jazz greats, as the noblest, the most primitive, and most quintessential of instruments.
But Estrella is also an actress, although her roles and characters are not defined or mechanical. They represent an open score, upon which to open the heart of cante, like a ritual sacrifice in which art is always renewed, always alive.
From her father, she learned that art is never one thing, but carries all others within it: poetry, dance, painting, bullfighting, film, and theater.
Today, fate has forced Estrella to become the matriarch of a family quite unlike any other in the Spanish arts. She began recording her new album with her father, mentor, and teacher—as well as producer—the great Enrique Morente. He was unable to finish it, but it is now complete.Autorretrato (Self Portrait) is pure magic. It consists of seemingly disparate tracks, which passed through the filter of Estrella's voice become one in a kind of unique composition. It is like a confession, even a statement. It is the overwhelming intimacy of the music that makes it a self-portrait. The self-portrait of a great star: Estrella, as she is today.
—Fernando Trueba is a Spanish book editor, screenwriter, film director, and producer.
Saturday, March 8, 2014 | 7:30 PM
The Zawinul Legacy Band is the only official music representative that promotes and keeps
the vision of Joe Zawinul's musical legacy alive. But make no mistake; this is no ordinary
"tribute" band. These musicians not only appreciate and value the creative and original
music of Joe Zawinul-including Weather Report and the Zawinul Syndicate-but they lived it
right alongside him. The core of the Zawinul Legacy Band is made up of players who have
first-hand experience performing and recording with Joe, giving them an invaluable insight
and understanding of his music. In keeping with Joe's legacy for musical innovation and the
discovery of new talent, the Zawinul Legacy Band also welcomes new players who embody and
honor the spirit of his music.
Keyboardist Scott Kinsey has been one of Joe's most successful students from the "Zawinul
school of keyboards" and collaborated with the Zawinul Syndicate on several projects as
keyboard programmer. Kinsey went on to play with jazz-fusion band Tribal Tech and
contributed to motion picture soundtracks, most notably Ocean's Eleven and
Being the youngest member of the Zawinul Legacy Band does not stop Hadrien Feraud from
being widely known as a talented bass player throughout the world. At 29 years old, Feraud
has already played with many renowned musicians, including Chick Corea, John McLaughlin,
Jada Pinkett Smith, and Matthew Garrison.
Percussionist Bobby Thomas Jr. was a member of Weather Report and the Zawinul Syndicate.
After his time playing with Joe Zawinul, Bobby T. continued to perform with Stan Getz,
David Sanborn, and Carlos Santana.
After playing with Joe in the Zawinul Syndicate, drummer Mike Baker moved on to become the
music director and drummer for Whitney Houston. He's also worked with such other great
musicians as Elton John, Sting, Missy Elliott, Christina Aguilera, and Usher.
Saxophonist and flute player Katisse Buckingham has performed and/or recorded with the
Yellowjackets, Prince , Dr. Dre, Airto and Flora Purim, Billy Childs, Vanessa Paradis,
Herbie Hancock, Poncho Sanchez, Dave Douglas, Andy Summers, Pete Yorn, Colin Hay (Men at
Work), Lionel Richie, Amos Lee, Brian Auger, Lenny White, Roy Ayres, Simon Phillips, Ricky
Lawson, and other notable musicians. He has also played on numerous films, including the
"jazz flute" scene in the Will Ferrell film Anchorman.
For more information about the Zawinul Legacy Band, visit joezawinul.com.
Joe Zawinul's death in 2007 indisputably robbed the jazz world of one of its most innovative and distinctive keyboardists and composers. So monumental was his loss that upon Zawinul's passing, the president of Austria—where Zawinul was born in 1932—issued a statement calling him a "music ambassador who will remain unforgettable to us all."
That is the mission of the Zawinul Legacy Band: to ensure that Joe Zawinul's music thrives and grows even with its namesake gone. When the quintet makes its first Carnegie Hall appearance in Zankel Hall, it will draw from Zawinul's deep catalog and beyond—but one thing it won't do is imitate. The music that Zawinul created with Weather Report (the groundbreaking band he co-founded in 1970 and steered until the end more than a decade later), the Zawinul Syndicate, and under his own name provides a blueprint for the Zawinul Legacy Band—not something meant to be reconstructed piece by piece.
"We don't have to invent anything, per se, and it's not a copy band," says Tony Zawinul, Joe's son, who founded and produces the Zawinul Legacy Band. "We have great music in our repertoire. All we have to do is use what we bring in as virtuosos and play in our own style. We're playing the music of Joe and Weather Report, but we keep it fresh. That's how we pay tribute to my dad."
Formed in 2012, some of the Zawinul Legacy Band musicians played with Joe, others did not; each considers him a major influence. "This band had great chemistry right from the first rehearsal," says Tony. "They all know the music and have such great respect for Joe that they're willing to take a back seat to the music to make it work. We're doing this organically, just like Joe did when he started Weather Report and the Syndicate, letting the music speak for itself.
"Joe had such an impact on so many different levels that his music still deserves to be heard," Tony continues. "When I started this, I wasn't sure how it was going to sound in the context of today. But when I heard it, the music sounded as fresh as when it was new."
The Zawinul Legacy Band is, of course, excited about its debut at Carnegie Hall. "We're just going to go out there and play," says Tony. "It's been a long time since the Zawinul name has been present in New York City, so this should be a nice welcoming."
—Jeff Tamarkin is the associate editor of JazzTimes magazine.
Saturday, March 8, 2014 | 9:30 PM
From Paris to Vienna, Natalie Dessay has performed Mozart (The Queen of Night in Die
Zauberflöte, Konstanze in Die Entführung aus dem Serail) and Richard Strauss
(Zerbinetta in Ariadne auf Naxos, Sophie in Der Rosenkavalier, Aminta in
Die schweigsame Frau); but she made her debut with French repertoire, singing
Olympia in Offenbach's Les contes d'Hoffmann at the Opéra national de Paris and
the title role in Delibes's Lakmé at the Opéra Comique.
Ms. Dessay has sung the title role in Stravinsky's Le rossignol at the Théâtre du
Châtelet and in Berlin; Ophelia (Thomas's Hamlet) at the Grand Théâtre de Genève, Le
Capitole de Toulouse, Théâtre du Châtelet, Royal Opera House in Covent Garden, and Gran
Teatre del Liceu in Barcelona; and Zerbinetta (Ariadne auf Naxos) at the Metropolitan Opera
in New York and Opéra national de Paris.
Ms. Dessay also sings bel canto roles, such as Amina (Bellini's La sonnambula) at
the Opéra de Lausanne, Opéra de Paris, Opéra national de Bordeaux, La Scala in Milan, and
Santa Fe Opera; and the title role in both the French and Italian versions of Donizetti's
Lucia di Lammermoor at the Opéra de Lyon, Théâtre des Champs-Élysées, Lyric Opera
of Chicago, Metropolitan Opera, and in Moscow conducted by Valery Gergiev.
She has performed Massenet's Manon in San Francisco, Chicago, Paris, Geneva, Barcelona, and
Toulouse; Mélisande (Debussy's Pelléas et Mélisande) in Glasgow and at the Theater
an der Wien; Juliette (Gounod's Roméo et Juliette) at the Metropolitan Opera;
Pamina (Die Zauberflöte) in Santa Fe; Marie (Donizetti's La fille du
régiment) in London, Vienna, New York, and Paris; Musetta (Puccini's La
bohème) and Cleopatra (Handel's Giulio Cesare) at the Opéra de Paris and
Metropolitan Opera; Verdi's La traviata in Santa Fe, Japan, Aix-en-Provence,
Vienna, and New York; and Les contes d'Hoffmann in Barcelona and San
Ms. Dessay has been appointed as Kammersängerin by the Vienna State Opera.
Philippe Cassard has established an international reputation as concerto soloist,
recitalist, and chamber musician since giving a joint recital with Christa Ludwig in Paris
in 1985. The same year, he was finalist at the Concours Clara Haskil, and in 1988, he won
first prize at the Dublin International Piano Competition.
Mr. Cassard has performed as soloist with the London Philharmonic Orchestra, City of
Birmingham Symphony Orchestra, BBC Philharmonic, BBC National Orchestra of Wales, Orchestre
National de France, and many more. He has worked with many conductors, including Sir
Neville Marriner, Jeffrey Tate, Vladimir Fedoseyev, Yan Pascal Tortelier, Raymond Leppard,
Charles Dutoit, Armin Jordan, Marek Janowski, Emmanuel Krivine, and Thierry Fischer.
Mr. Cassard's performance of the complete piano works of Debussy (four recitals in a single
day)-presented in London (Wigmore Hall), Dublin, Paris, Lisbon, Sydney, Singapore, and
Tokyo-received extremely enthusiastic press and media coverage. Released by Decca, the
collected was awarded the Grand Prix du Disque in 1994.
As a chamber musician, Mr. Cassard has appeared with such artists as Wolfgang Holzmair,
Paul Meyer, David Grimal, Anne Gastinel, Matt Haimovitz, and Isabelle Faust; as well as
with the Ebène, Modigliani, Takács, Auryn, Vanbrugh, Danish, and Chilingirian string
His recording of Schumann's Humoreske, Op. 20, and Fantasiestücke, Op.
12, was named Editor's Choice by Gramophone. Mr. Cassard's other releases (Schubert's
Impromptus and Brahms's Klavierstücke, Op. 116-119) have been received very
warmly. In 2012, Mr. Cassard and Ms. Dessay recorded an album of Debussy songs on Virgin
Mr. Cassard served as artistic director of the Nuits Romantiques du Lac du Bourget festival
from 1999 to 2008, and since 2005, he has presented more than 300 live programs dedicated
to piano interpretation on France Musique Radio. He has written an essay on Schubert and a
book on cinema and music.
Natalie Dessay on Becoming a Singer
Natalie Dessay on the Art of Recital
Natalie Dessay on Working with Philippe Cassard
Wednesday, March 12, 2014 | 8 PM
During February and March 2014, Carnegie Hall salutes Vienna's extraordinary artistic legacy with "Vienna: City of Dreams."
Sunday, March 16, 2014 | 7 PM
Beethoven's Sonata No. 21, Op. 53
Leif Ove Andsnes, Piano
Wednesday, March 19, 2014 | 8 PM
Friday, March 21, 2014 | 7:30 PM
The mercilessly self-critical Brahms described his C-Minor Quartet as "mean and paltry," but posterity has rendered a different verdict on his masterpiece. The two Op. 51 quartets are dedicated to Theodor Billroth, Brahms's surgeon friend in Vienna and an accomplished amateur violist. Billroth knew better than to take the composer's judgment at face value. "These dedications will keep our names known longer than our best work," he remarked to a fellow dedicatee.
As a student in Paris in the late 1950s, Hungarian composer György Kurtág became so fascinated by the music of Anton Webern (whose works were unavailable in Communist Hungary) that he went to the library and copied out by hand virtually the entire output of the Austrian composer. Kurtág's debt to Webern is apparent in the spare, aphoristic style of this richly allusive work, which was first performed on April 22, 1989, in Witten, Germany, by the Auryn Quartet.
Beethoven considered Op. 131 the best of his 16 string quartets. Although much has been written about the work's unconventional seven-part structure and often abstruse tonal relationships, the robust lyricism and emotional intensity of the music have never failed to pull listeners into its unforgettable sound world. One of the C-sharp-Minor Quartet's greatest admirers was Franz Schubert, who is said to have requested a performance on his deathbed.
Sunday, March 23, 2014 | 7:30 PM
Friday, March 28, 2014 | 8 PM