Carnegie Hall believes in the value of art in all its forms.


    It can give us hope, inspire us to action, move us to tears, and bring us closer together. We provide arts lovers with the opportunity to make art, consume it, and appreciate it …
    because the arts matter.

    Ensemble Connect
    Ensemble Connect
    As a nonprofit organization, our mission is to share the transformative power of music with people both in our concert halls and beyond.
    Because the Arts Matter button

    Join with your gift of $25 or more by June 30 to receive a “Because the Arts Matter” button in the mail and have your name listed on a poster on the outside of Carnegie Hall this summer.

    Join with your gift of $25 or more by June 30 to receive a “Because the Arts Matter” button in the mail and have your name listed on a poster on the outside of Carnegie Hall this summer.

    Because the Arts Matter button
    We strive to harness the power of the arts to connect people to each other, create empathy, and strengthen communities through initiatives such as:


    Fueling the creativity of K–12 students through instrumental music programs, this national initiative provides funding and professional development for teachers in underserved communities across the country.

    The ’60s: The Years that Changed America

    In 2018, Carnegie Hall will explore the turbulent quest for civil rights, equal rights, and social justice during the ’60s. In collaboration with partner institutions throughout the city, this festival will use the arts to help understand where we were then and where we are now.

    Resnick Education Wing

    Why Making Music Matters

    Music can play a role in everyday interactions that support our next generation. To better understand this effect, Carnegie Hall commissioned a new research paper from Dr. Dennie Palmer Wolf, an expert in the field. Titled “Why Making Music Matters,” her research points to several key reasons why investing in children early and often is critical to healthy development and a successful future.

    Ensemble Connect

    Artists influence not only the spaces around them, but also the environments in which they work and live. Ensemble Connect is a two-year fellowship program for young musicians in the United States that prepares them for careers that combine musical excellence with teaching, community engagement, advocacy, entrepreneurship, and leadership.

    Sheet Music

    125 Commissions Project

    New works build the future on the shoulders of Carnegie Hall’s legacy. Between the 2015–2016 and 2019–2020 seasons, at least 125 new works will be commissioned from both established and emerging composers and premiered at Carnegie Hall.

    Lullaby Project

    Giving voice to pregnant women and new mothers, the Lullaby Project pairs them with professional artists to write lullabies and empower them to connect more deeply with their babies, envisioning new possibilities for themselves and their children.


    In Their Own Words

    “The first time I ever came to Carnegie Hall I was in high school. … I sat in the very last row of the very top. … And I just sat there with my mouth open the whole time thinking, “how is it possible that it sounds like this?” … And then to have the experience of being down on that stage looking up at those seats and feeling what it’s like to sing in that house—there’s no place like it on the planet.”
    —Stephanie Blythe, Mezzo-Soprano


    Tamilles Fernandes
    “Being a part of the Lullaby Project has been an experience I will never forget. It has brought so many positive things and people into my life. I now listen to music differently—I am able to connect to it at a different level. I focus more on the lyrics and the meaning behind them and how they can relate to my life. It also has made me appreciate artists even more for pouring their heart and soul into their own projects. I will pass on to my son the importance of expressing in words what you feel in your heart.”
    —Tamilles Fernandes, Lullaby Project participant


    “The performance was sold out and they put extra chairs on stage with the performers to accommodate us. I found myself sitting next to Joan Baez, looking out at the audience. After she got up and sang, she came back and quietly sat down. I will never ever forget the charge of applause directed so close to me—powerful, heady stuff and quite different when coming at you instead of from you.”
    —B. G. Scott, audience member who attended Joan Baez’s A Night in the ’60s in 1962
    Eric Owens
    “My first memory of Carnegie Hall was just walking by the place for the first time and being in awe, without having stepped inside its hallowed halls. You walk around and see the posters and see who’s performing there. You get all wide-eyed, and think to yourself, “Maybe someday.” That someday happened, by way of the Oratorio Society of New York. I did the Messiah there back in the ’90s. My whole family was there, and it was this big thing. I was so excited.”
    —Eric Owens, Bass-Baritone