• Thursday, Mar 28, 2013

    Carnegie Hall Presents Kronos Quartet with Clarinetist David Krakauer on May 3 

    Premieres of New Music by Missy Mazzoli, Valentin Silvestrov, and Aleksandra Vrebalov, Plus an Arrangement of a Laurie Anderson Work
    Photo of Kronos Quartet © Michael Wilson
    On Friday, May 3 at 9:00 p.m., Carnegie Hall presents the groundbreaking Kronos Quartet in a program of new music in Zankel Hall. Special guest clarinetist David Krakauer joins Kronos for the New York premiere of Aleksandra Vrebalov’s Babylon, Our Own, on a program that also includes the world premiere of Missy Mazzoli’s You Know Me From Here, the New York premiere of Valentin Silvestrov’s String Quartet No. 3, and Laurie Anderson’s Flow (arranged by Jacob Garchik). A pre-concert talk starts at 8:00 p.m. with David Harrington of the Kronos Quartet and composers Missy Mazzoli and Aleksandra Vrebalov in conversation with Jeremy Geffen, Director of Artistic Planning at Carnegie Hall.

    Prior to this performance, starting at 8:00 p.m., ticketholders are invited to enjoy Late Nights at Zankel Hall, a laid-back pre-concert experience. The first 200 ticketholders to arrive will receive a complimentary drink courtesy of Carnegie Hall. For more information, please visit carnegiehall.org/latenights.

    About her three-movement work You Know Me From Here, Mazzoli writes, “You Know Me From Here was commissioned for Kronos by Carol Magnus Cole, in celebration of her husband Tim's 75th birthday. When she asked me to write this piece I immediately imagined a 20-minute musical journey homeward, a trek through chaos (I. Lift Your Fists) and loneliness (II. Everything That Rises Must Converge) to a place of security and companionship (III. You Know Me From Here). This is, at its core, music about loss, but in the most positive sense; it speaks of the loss of our old selves, the jumps into the unknown, the leaps of faith we all must make and the beautiful moments when we find solace in a person, in an idea, or in music itself. The music itself shifts constantly from earthy, gritty gestures to soaring, leaping melodies that rarely land where we expect.”

    Vrebalov’s Babylon, Our Own, was written for Kronos and Krakauer and inspired by these artists’ playing of diverse styles of music. She writes, “The result is a piece in which times, places, and cultures intersect to celebrate music as the language I feel most comfortable with, a language that has brought all of us together. I imagine the single-movement form of Babylon, Our Own unfolding like a ritual, carrying one through a vast range of memories and visions triggered by pre-recorded documentary audio materials. Filtered and manipulated to different levels of abstraction, pre-recorded sounds include snippets of friends’ voices speaking their names, New York City street noise, Kronos Quartet and David Krakauer rehearsing the piece, gatherings of groups in religious fervor, the prayers of the Pope, the Dalai Lama, and the Orthodox Patriarch, Morse code, as well as my grandmother reciting the poetry she had learned as a child in the 1930s.”

    As in many of Silvestrov’s works, unsettling atonal harmonies alternate with fragmentary melodies in his seven-movement String Quartet No. 3, premiered last year in London. The two sides of Silvestrov’s musical personality are evident throughout the quartet, from the opening Präludium, in which blocks of drifting, atonal chords are illuminated by twinkling, quicksilver arpeggios, to the closing Postlude, which is not a conclusion or a climax, but an echo of everything that preceded it. “Music should be born of silence,” Silvestrov states. “That’s the most important thing: the dimension of silence.”

    The original version of Laurie Anderson’s “Flow” is the final track on her 2010 Grammy Award-nominated album Homeland, her first studio recording in a decade. A collection of songs both personal and political, Homeland epitomizes the essential American nature of Anderson’s work, with topics ranging from US foreign policy, torture, economic collapse, the erosion of personal freedom, medical malpractice, religion, and cynicism.

    About the Artists
    For nearly 40 years, San Francisco’s Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Jeffrey Zeigler (cello)—has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts worldwide, releasing more than 50 recordings, collaborating with many of the world’s most intriguing and accomplished composers and performers, and commissioning more than 750 works and arrangements for string quartet. A Grammy Award winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize.

    Integral to Kronos’ work is a series of long-running, in-depth collaborations with many of the world’s foremost composers, including Americans Terry Riley, Philip Glass, and Steve Reich; Azerbaijan’s Franghiz Ali-Zadeh; Poland’s Henryk Górecki; and Argentina’s Osvaldo Golijov. Additional collaborators in concert and/or on disc have included Chinese pipa virtuoso Wu Man, performance artist Laurie Anderson, Azeri vocalist Alim Qasimov, legendary Bollywood “playback singer” Asha Bhosle, Inuit throat singer Tanya Tagaq, and rockers Tom Waits, Amon Tobin, and the Icelandic group Sigur Rós.

    The quartet spends five months each year on tour, appearing in the world’s most prestigious concert halls, clubs, and festivals. Kronos is equally prolific and wide-ranging on recordings, including the Nonesuch Records releases Pieces of Africa (1992), a showcase of African-born composers that simultaneously topped Billboard’s Classical and World Music lists; Nuevo (2002), a Grammy- and Latin Grammy Award–nominated celebration of Mexican culture; the 2004 Grammy Award-winner, Alban Berg’s Lyric Suite; and Music of Vladimir Martynov (2011). With a staff of ten, the non-profit Kronos Performing Arts Association (KPAA) manages all aspects of Kronos’ work, including the commissioning of new works, concert tours, and home-season performances, and education programs for emerging musicians.

    Clarinetist David Krakauer is both a master of Eastern European Jewish klezmer music and a major voice in classical music. He has appeared with the Tokyo, Kronos, and Emerson quartets, plus as soloist with the Dresden, Seattle, and Detroit symphony orchestras, among many others. With his band, Klezmer Madness!, he has redefined the klezmer genre with major appearances at Carnegie Hall and around the world. Consistently defying categorization, Krakauer has enjoyed major ongoing artistic collaborations with a tremendously diverse group of performers and composers including Dawn Upshaw, Itzak Perlman, John Zorn, Fred Wesley, Music from Marlboro, Abraham Inc, Osvaldo Golijov, the Klezmatics, John Cage, Danny Elfman, and Socalled. His discography contains some of the most important klezmer recordings of the past decade: notably Osvaldo Golijov’s The Dreams and Prayers of Isaac the Blind (Nonesuch). Mr. Krakauer is on the faculties of Mannes, the Manhattan School of Music, and the Bard Conservatory.

    Program Information
    Friday, May 3 at 9:00 p.m.
    Zankel Hall

    •• David Harrington, Violin
    •• John Sherba, Violin
    •• Hank Dutt, Viola
    •• Jeffrey Zeigler, Cello
    with special guest David Krakauer, Clarinet

    MISSY MAZZOLI You Know Me From Here (World Premiere)
    LAURIE ANDERSON Flow (arr. Jacob Garchik)
    VALENTIN SILVESTROV String Quartet No. 3 (NY Premiere)
    ALEKSANDRA VREBALOV Babylon, Our Own (NY Premiere)

    Pre-concert talk starts at 8:00 p.m. in Zankel Hall with David Harrington of the Kronos Quartet and composers Missy Mazzoli and Aleksandra Vrebalov in conversation with Jeremy Geffen, Director of Artistic Planning, Carnegie Hall.

    The Fast Forward series of concerts is sponsored by Ernst & Young LLP

    This tour of Kronos Quartet is made possible by a grant from Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

    Bank of America is the Proud Season Sponsor of Carnegie Hall.
    Ticket Information
    Tickets, priced $54 to $64, are available at the Carnegie Hall Box Office, 154 West 57th Street, or can be charged to major credit cards by calling CarnegieCharge at 212-247-7800 or by visiting the Carnegie Hall website, carnegiehall.org.

    For more information on discount ticket programs, including those for students, Notables members, and Bank of America customers, visit carnegiehall.org/discounts. Artists, programs, and prices are subject to change.


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