Please note that reservations for events are possible as of 2-3 weeks prior to the date.
ACFNY RECOMMENDS | CONCERT
THE WAYFARER EN MASSE
THURSDAY, MAR 26 2015, 07:30 PM
The Argento Chamber Ensemble will give the third concert of its “Mahler in New York” series “The Wayfarer en Masse” on March 26, 2015 at 7:30pm at the Dimenna Center in New York City. This concert explores one of the hallmarks of modern music: structural forms that start with one sonic situation and travel to a completely different kind of music without any sense of return, recapitulation, or classical closure. No reservation is necessary to obtain tickets. Suggested donation is $15 for general admission and $10 for students or seniors.
Giacinto Scelsi – Kya
György Ligeti – Cello Concerto
Gustav Mahler arr. Michel Galante – Lieder eines fahrenden Gesellen (World Premiere)
Matthias Spahlinger – Furioso (NY Premiere)
Like Schubert’s Wintereise, Mahler’s Lieder eines fahrenden Gesellen illustrates the wanderings of an unrequited lover. However, Mahler departs from the Schubertian model and develops a new structural plan. Each Mahler song starts and ends in a different harmonic region, creating a cycle that is truly “wandering” not only between but even within its movements. Soprano Sharon Harms performs Michel Galante’s arrangement in its World Premiere.
György Ligeti’s Cello Concerto and Giacinto Scelsi’s Kya expand on the concert’s wayfarer theme with expressions of musical departures and deviations. Ligeti’s Cello Concerto begins with an extended orchestral meditation on a single note and ends with a frantic cadenza featuring soloist Saeunn Thorinsdottir in which the cellist plays as many notes as possible, as fast as possible. Giacinto Scelsi’s Kya, written for clarinet and ensemble, begins with static drone music and ends with moving textures of trills and glissandi. Carol McGonnell performs as soloist.
Matthias Spahlinger’s Furioso begins with several minutes of musical pointillism and evolves over time into seemingly endless sustained gestures. While Ligeti, Scelsi, and Mahler composed their works around a featured soloist, Matthias Spahlinger experiments with the concept of “soloist” in his staging: a soloist’s podium next to the conductor is sometimes inhabited by members of the ensemble, and sometimes is left empty.
THE DIMENNA CENTER FOR CLASSICAL MUSIC
450 West 37th Street
New York, NY 10018