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CARNEGIE HALL PRESENTS

Ensemble Connect

Tuesday, October 22, 2019 7:30 PM Weill Recital Hall
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Ensemble Connect by Fadi Kheir
The versatility of Ensemble Connect is showcased in music that spans Brahms’s rich Romanticism to innovative works by two contemporary composers. Tania León’s wind quintet De Memorias fascinates with its color and rhythmic daring, while Jennifer Higdon’s Zaka excites with its driving energy. There’s plenty of vitality in Brahms’s music, too—notably in his quartet’s boisterous finale—but the work also boasts soaring melodicism and a tender slow movement.

Part of: Ensemble Connect

Pick four concerts and save now.

View Seating Chart

Ensemble Connect is also performing December 3, February 17, and April 6.

Performers

Ensemble Connect
·· Leo Sussman, Flute
·· Tamara Winston, Oboe
·· Noémi Sallai, Clarinet
·· Yen-Chen Wu, Bassoon
·· Wilden Dannenberg, French Horn
·· Sae Hashimoto, Percussion
·· Mika Sasaki, Piano (Alum)
·· Gergana Haralampieva, Violin
·· Brian Hong, Violin
·· Meagan Turner, Viola
·· Ari Evan, Cello

Program

TANIA LEÓN De Memorias

JENNIFER HIGDON Zaka

BRAHMS Piano Quartet No. 2 in A Major, Op. 26

Event Duration

The printed program will last approximately 90 minutes, including one 20-minute intermission.

Salon Encores

Get together with people who love music after this Weill Recital Hall concert for a free drink and discussion with the evening's musicians.
Learn More

Ensemble Connect is a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education.

Lead funding has been provided by Marina Kellen French and the Anna-Maria and Stephen Kellen Foundation, Max H. Gluck Foundation, Horace W. Goldsmith Foundation, Irving Harris Foundation, Hearst Foundations, The Kovner Foundation, Phyllis and Charles Rosenthal, The Edmond de Rothschild Foundations, Beatrice Santo Domingo, and Hope and Robert F. Smith.

Global Ambassadors: Hope and Robert F. Smith, and Maggie and Richard Tsai.

Additional support has been provided by the Arnow Family Fund, The Gladys Krieble Delmas Foundation, E.H.A. Foundation, Barbara G. Fleischman, Leslie and Tom Maheras, Rockefeller Brothers Fund, Susan and Elihu Rose Foundation, Sarah Billinghurst Solomon and Howard Solomon, and Trust for Mutual Understanding.

NYC Department of Education and New York State of Opportunity Council on the Arts

Public support is provided by the New York City Department of Education and the New York State Council on the Arts with support of Governor Andrew M. Cuomo and the New York State Legislature.

Ensemble Connect is also supported, in part, by endowment grants from The Kovner Foundation.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

TANIA LEÓN  De Memorias

Like much of Tania León’s music, this colorful, highly rhythmic wind quintet is animated by the spirit of the dance. The Cuban-born composer launched her career in the 1960s with a string of works written for the Dance Theatre of Harlem. Although she hasn’t written a full-fledged ballet in almost four decades, the kinetic impulse is fundamental to recent works like Pa’lante, commissioned by Gustavo Dudamel and the Los Angeles Philharmonic.

 

JENNIFER HIGDON  Zaka

A strong sense of pulse and rhythm is equally central to the music of Jennifer Higdon. Written for the Chicago-based new music ensemble Eighth Blackbird, the freewheeling, nonsensically titled sextet Zaka is supercharged by a shifting “rock ‘n’ roll” beat that Higdon—a late bloomer who composed her first piece as a college student—picked up as a youngster listening to the Beatles, Rolling Stones, and other groups.

 

BRAHMS Piano Quartet No. 2 in A Major, Op. 26

Although the powerful Viennese critic Eduard Hanslick dismissed the A-Major Quartet as “a continual putting together and taking apart, preparation without objective, promise without fulfillment,” Clara Schumann considered it “more beautiful” and “finer altogether” than its companion in G minor.

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