Tuesday, November 30, -1 3:00 PM
Music In Our Time: 2015 Center for Jewish History
Tuesday, November 30, -1 2:00 PM
American Images From The Piano: Neo-Classic to Nature 1946-2008 Yamaha Piano Salon 689 Fifth Avenue New York City
Laura performed a diverse and unique program of works, all of which presented a visual component, via title or suggestion. The concert included two World Premieres: Peter Schickele's PRESENTS II for Piano, composed between 1961-1972, and the multimedia work Found in Nature: Music Visualizing a Photographer's Compositions (2008)-music by Leo Kraft, images by photographer Barry Rosenthal, which were digitally animated by David Tennent. The program also included Eric Ewazen's A Suite From The Cloud Forest; Vincent Persichetti's Piano Sonatina No. 2; Roy Harris' American Ballads; and Norman Dello Joio's Piano Sonata No. 3, in honor of the composer's 95th birthday.
Tuesday, November 30, -1 12:15 PM
"Two Place: new York and Prague," Talk by Czech artist Anna Matouskova and a concert in honor of Leo Kraft Aaron Copland School of Music Queens College
Five years ago, Anna Matouskova, a Czech artist, and American composer and Queens College Professor Emeritus Leo Kraft met in Prague. Sharing their art and music, they discovered their artistic concerns and creative processes were aligned. Reflecting on Leo Kraft's compositions, Matouskova created a group of works--abstract paintings, drawings and glass sculpture--which she dedicated to the composer's 85th birthday. The lecture and concert addressed the possibilities of inspiration crossing between art and music.
Laura was invited to perform Found In Nature: Music Visualizing a Photographer's Compositions, music by Leo Kraft and Photo Botanicals by Barry Rosenthal, digitally animated by David Tennent, in honor of the composer and event, just one day after its world premiere at the Yamaha Piano Salon.
Laura was invited to perform Found In Nature: Music Visualizing a Photographer's Compositions, music by Leo Kraft and Photo Botanicals by Barry Rosenthal, digitally animated by David Tennent, in honor of the composer and event, just one day after its world premiere at the Yamaha Piano Salon.
Tuesday, November 30, -1 2:00 P.M.
Heifer International's Bee Day Celebration
Laura gave a concert in honor of Heifer International's Bee Day celebration, including the world premiere of The Secret Life of Bees-Suite for Piano by American film composer Mark Isham. This concert was in conjunction with Heifer International's "Pass On The Gift Month," which occurs each April. "Pass on the Gift," a basic concept of Heifer's work, means recipients of Heifer's livestock agree to share the offspring of gift animals with others in need, passing along their knowledge from community to community in the challenge to end world hunger. Heifer International provides honey bees hives and training in the latest beekeeping techniques to individuals and families around the world. By pollinating the crops on a family's farm, a healthy beehive can double fruit and vegetable yields. And income from the sale of honey, wax and pollen can be put toward food, clothing, medicine and education.
Tuesday, November 30, -1 3:00 PM
Serenades, Sonatas & Interludes: Music for Two Flutes and Piano Christ & St. Stephen's Church 120 West 69th St. NYC
Laura, with flutists Amy Ziegelbaum and Lauren Ausubel, performed a program that featured Peter Schickele's Trio Serenade for Two Flutes and Piano; Gary Schocker's French Toast for Two Flutes and Piano; C.P.E. Bach's Trio in B flat Major; Franz Doppler's Andante & Rondo, as well as Leo Kraft's Two Flutes; and piano solo works Matilda Variations by Steven Rosenhaus, Eric Ewazen's Poor Man's Umbrella from his A Suite from the Cloud Forest, and Martinu's The Fifth Day of the Fifth Moon.
Tuesday, November 30, -1 11:00 AM
Imagination and Catastrophe: Art and the Aftermath of Genocide Center for Jewish History
15 West 16th StreetNew York
Website: https://www.cjh.org
A symposium/performance exploring the artistic responses to genocide via film, literature and musical performance. Laura's performance of Hugo Weisgall's The Golden Peacock with soprano Emily Duncan-Brown was the featured musical response and presentation. The symposium, co-sponsored by the Center for Jewish History and the American Society for Jewish Music, had presentations and discussions with Academy Award nominee Atom Egoyan, poet Peter Balakian, novelist Marcie Hershman, writer R. Clifton Spargo, and Donna-Lee Frieze, distinguished scholar of genocide, philosophy and film studies from Melbourne's Deakin University.
The following is the text for the January 10, 2010 talk on Hugo Weisgall and "The Golden Peacock" prior to its performance:
Music is, and always has been, an extraordinarily potent and enduring art, in response to events in history. This is not only because of its innate power to direct and move the human psyche and soul. Music has the unique mechanism by which a sentiment, belief, or response can be evoked, documented, and then be encapsulated in time. It can be experienced as an individual, by simply singing a melody or song to oneself, or it can be experienced as a community, as we are doing here today.
And music can be encountered again and again. As human beings, we need and seek out repetition as a means of contact, context, and connection. Music has the mysterious and remarkable power to remind us and teach us, existing as an aural bookmark of time.
Before speaking about Hugo Weisgall and The Golden Peacock, which soprano Emily Duncan-Brown and I will have the privilege of performing shortly--and I would like to share that as the daughter of a survivor, my mother Masha Leon, participating today means a great deal to me--I would first like to talk a little about the folk tune. In a way, the folk tune can be looked at as a musical microcosm of a people and their lives. It's internal nature-its 'habitat,' so to speak, is that of a simple tune, repeated several times, each time with new words or text, along with a possible repeated phrase, or verse as chorus.
Not all folk tunes have serious emotional weight, but most reflect real life situations, of an every day existence. They are musical truths. The tunes' inherent simplicity and repetition never dissuaded many composers from incorporating them into their works. Beethoven, Mozart--and in our time, Copland and Bartok, to name but a few--had an affinity for setting them within their own vocabularies.
Bela Bartok, one of the most important contemporary composers, who lived from 1881 to 1945, immersed himself in the folk music of his country of birth, Hungary, and surrounding areas. But his goal was beyond simply including these folk tunes in his works, which he frequently did-some in an extroverted manner, and some subtly in his more complex compositions.
Bartok traveled to small town and remote villages, carrying a giant phonograph that looked like the one the RCA dog had its ear to. He had the people in these places sing their folk tunes into the phonograph, which Bartok then recorded, subsequently documenting them by copying them down. In doing so, and by incorporating them into his works, he preserved their history.
Hugo Weisgall approached The Golden Peacock as a way of documenting and preserving the heritage and the memory of his people through Yiddish folk tunes. But beyond documentation and preservation, his motivation for choosing this particular folk material was personal and one that touched on his sense of responsibility both as a Jew and as a Jewish composer. At the end of this talk, we will have the gift of hearing Hugo Weisgall's own voice and words, from a taped telephone conversation we had back on July 7, 1981, during which he spoke directly as to why he composed The Golden Peacock.
Hugo Weisgall is considered the preeminent American composer of opera in the 20th century. His last opera, Esther, based on the book of Esther, received its acclaimed premiere in 1993 at the New York City Opera, and just had its triumphant return there this past November, thanks to the vision of its General Manager and Artistic Director, George Steele.
Weisgall was also the Dean of the Cantors Institute at the Jewish Theological Seminary of America, and came from several generations of great cantors. In a conversation I also had back in 1981 with the late Albert Weisser, who was a Professor of Jewish Music at JTS, served as President of the american Society for Jewish Music, and wrote the translations for The Golden Peacock, which are in your programs he said: "He didn't think of himself as two separate composers. He's not alienated at all, as you find with other composers who work like a double-they put this hat on and that hat on. But with Hugo, it's not that way at all. It's just another aspect of him when he writes a specifically Jewish work..even the operas--you think they have very little to do with the Jewish experience, and then you look very closely and somehow they do."
During WWII, because of Weisgall's fluency in many languages, he handled sensitive diplomatic responsibilities. He was present at the liberation of the Terezin concentration camp. And, according to his son, Jonathan, "he fought with his own sense of responsibility for failing to save his European cousins from those concentration camps." And so, feeling compelled to make a personal statement in response to the Holocaust, he began composing the work in 1960, starting two of the seven songs. He completed them and the entire song cycle between July and November of 1976. The title, The Golden Peacock, Di Goldene Pave, is often found in Yiddish folklore, with one of its symbolisms representing freedom.
Unlike the rest of his compositions for voice and piano, here he utilized pre-existing melodies from traditional Yiddish folk tunes. Weisgall had said to me, that when he comes to The Golden Peacock, "that's another story, because setting folk materials is something I never did before." These seven Yiddish folk tunes, selected by Weisgall from four anthologies, tell the truth about the lives of the people who sang them. In a way, they are very short stories set to simple, endearing melodies, about the reality of their every day lives as Jews: work, love and happiness, the Rebbe, children, Shabbes, food and drink, worry about the future, God, despair, hope for a better life.
In contouring his musical statement, Weisgall made some adjustments to the folk tunes, in terms of meter or rhythm, and some note changes here and there, but nothing that would in any way distort them. You will find them immediately recognizable. He juxtaposed them with newly composed piano accompaniments, so that these songs could be heard and experienced anew. Within the realm of Weisgall's harmonies and counterpoint, you will hear dissonances and angularity, stunning lyricism and gripping sonorities, inventive and complex, yet clear accompaniments.
I cannot help feeling that these folk tunes, while anchoring the work and giving it is structural and artistic framework and voice, seem to be exposing an almost eerie foreboding of sorts, which becomes highly charged through the composer's settings. And through these settings, Weisgall's own emotions are exposed and profoundly palpable.
Beginning with 'Undzer Rebenyu,' he creates a mystical place from which the Rebe comes back, as if from another world. It's almost as if Weisgall is giving us the chance to meet him perhaps just one more time; an extroverted drinking song, 'Lomir Zich Bafrayen,' which is perhaps the most jovial and least emotionally charged of the songs, and the one that Weisgall said was influenced by Bartok; the painful 'Mayn Harts Veynt in Mir' the slightly off-balance coyness, tempered with a touch of bittersweetness in 'Baleboste Zisinke': brash humor in 'Der Rebe Elimeylekh,' with a klezmer band gone array and spinning out of control, which is telling in and of itself; the heartbreaking sensation of loss in the lullaby 'Shlof Mayn Kind,' with the rocking of a child coming to an end; and overwhelming finality, in 'Di Goldene Pave.'
Through these folk tunes, which already speak the truth of lives lived and lost, Hugo Weisgall was able to tell the truth about what happened and what he witnessed. The Golden Peacock is a heroic bookmark.
SOUNDCLIP OF HUGO WEISGALL: " There is no question of the fact that the reason I am being drawn more and more to Jewish materials is because I feel that I have not made the proper statement about the whole business of Hitler and the Holocaust. The main reason for "The Golden Peacock" is a kind of defiance--that it has to do with what I feel about my having to make a statement about the Holocaust. Who else is going to do Yiddish folk songs if composers like myself don't do them (Taped telephone conversation with Laura Leon on July 7, 1981).
.
The following is the text for the January 10, 2010 talk on Hugo Weisgall and "The Golden Peacock" prior to its performance:
Music is, and always has been, an extraordinarily potent and enduring art, in response to events in history. This is not only because of its innate power to direct and move the human psyche and soul. Music has the unique mechanism by which a sentiment, belief, or response can be evoked, documented, and then be encapsulated in time. It can be experienced as an individual, by simply singing a melody or song to oneself, or it can be experienced as a community, as we are doing here today.
And music can be encountered again and again. As human beings, we need and seek out repetition as a means of contact, context, and connection. Music has the mysterious and remarkable power to remind us and teach us, existing as an aural bookmark of time.
Before speaking about Hugo Weisgall and The Golden Peacock, which soprano Emily Duncan-Brown and I will have the privilege of performing shortly--and I would like to share that as the daughter of a survivor, my mother Masha Leon, participating today means a great deal to me--I would first like to talk a little about the folk tune. In a way, the folk tune can be looked at as a musical microcosm of a people and their lives. It's internal nature-its 'habitat,' so to speak, is that of a simple tune, repeated several times, each time with new words or text, along with a possible repeated phrase, or verse as chorus.
Not all folk tunes have serious emotional weight, but most reflect real life situations, of an every day existence. They are musical truths. The tunes' inherent simplicity and repetition never dissuaded many composers from incorporating them into their works. Beethoven, Mozart--and in our time, Copland and Bartok, to name but a few--had an affinity for setting them within their own vocabularies.
Bela Bartok, one of the most important contemporary composers, who lived from 1881 to 1945, immersed himself in the folk music of his country of birth, Hungary, and surrounding areas. But his goal was beyond simply including these folk tunes in his works, which he frequently did-some in an extroverted manner, and some subtly in his more complex compositions.
Bartok traveled to small town and remote villages, carrying a giant phonograph that looked like the one the RCA dog had its ear to. He had the people in these places sing their folk tunes into the phonograph, which Bartok then recorded, subsequently documenting them by copying them down. In doing so, and by incorporating them into his works, he preserved their history.
Hugo Weisgall approached The Golden Peacock as a way of documenting and preserving the heritage and the memory of his people through Yiddish folk tunes. But beyond documentation and preservation, his motivation for choosing this particular folk material was personal and one that touched on his sense of responsibility both as a Jew and as a Jewish composer. At the end of this talk, we will have the gift of hearing Hugo Weisgall's own voice and words, from a taped telephone conversation we had back on July 7, 1981, during which he spoke directly as to why he composed The Golden Peacock.
Hugo Weisgall is considered the preeminent American composer of opera in the 20th century. His last opera, Esther, based on the book of Esther, received its acclaimed premiere in 1993 at the New York City Opera, and just had its triumphant return there this past November, thanks to the vision of its General Manager and Artistic Director, George Steele.
Weisgall was also the Dean of the Cantors Institute at the Jewish Theological Seminary of America, and came from several generations of great cantors. In a conversation I also had back in 1981 with the late Albert Weisser, who was a Professor of Jewish Music at JTS, served as President of the american Society for Jewish Music, and wrote the translations for The Golden Peacock, which are in your programs he said: "He didn't think of himself as two separate composers. He's not alienated at all, as you find with other composers who work like a double-they put this hat on and that hat on. But with Hugo, it's not that way at all. It's just another aspect of him when he writes a specifically Jewish work..even the operas--you think they have very little to do with the Jewish experience, and then you look very closely and somehow they do."
During WWII, because of Weisgall's fluency in many languages, he handled sensitive diplomatic responsibilities. He was present at the liberation of the Terezin concentration camp. And, according to his son, Jonathan, "he fought with his own sense of responsibility for failing to save his European cousins from those concentration camps." And so, feeling compelled to make a personal statement in response to the Holocaust, he began composing the work in 1960, starting two of the seven songs. He completed them and the entire song cycle between July and November of 1976. The title, The Golden Peacock, Di Goldene Pave, is often found in Yiddish folklore, with one of its symbolisms representing freedom.
Unlike the rest of his compositions for voice and piano, here he utilized pre-existing melodies from traditional Yiddish folk tunes. Weisgall had said to me, that when he comes to The Golden Peacock, "that's another story, because setting folk materials is something I never did before." These seven Yiddish folk tunes, selected by Weisgall from four anthologies, tell the truth about the lives of the people who sang them. In a way, they are very short stories set to simple, endearing melodies, about the reality of their every day lives as Jews: work, love and happiness, the Rebbe, children, Shabbes, food and drink, worry about the future, God, despair, hope for a better life.
In contouring his musical statement, Weisgall made some adjustments to the folk tunes, in terms of meter or rhythm, and some note changes here and there, but nothing that would in any way distort them. You will find them immediately recognizable. He juxtaposed them with newly composed piano accompaniments, so that these songs could be heard and experienced anew. Within the realm of Weisgall's harmonies and counterpoint, you will hear dissonances and angularity, stunning lyricism and gripping sonorities, inventive and complex, yet clear accompaniments.
I cannot help feeling that these folk tunes, while anchoring the work and giving it is structural and artistic framework and voice, seem to be exposing an almost eerie foreboding of sorts, which becomes highly charged through the composer's settings. And through these settings, Weisgall's own emotions are exposed and profoundly palpable.
Beginning with 'Undzer Rebenyu,' he creates a mystical place from which the Rebe comes back, as if from another world. It's almost as if Weisgall is giving us the chance to meet him perhaps just one more time; an extroverted drinking song, 'Lomir Zich Bafrayen,' which is perhaps the most jovial and least emotionally charged of the songs, and the one that Weisgall said was influenced by Bartok; the painful 'Mayn Harts Veynt in Mir' the slightly off-balance coyness, tempered with a touch of bittersweetness in 'Baleboste Zisinke': brash humor in 'Der Rebe Elimeylekh,' with a klezmer band gone array and spinning out of control, which is telling in and of itself; the heartbreaking sensation of loss in the lullaby 'Shlof Mayn Kind,' with the rocking of a child coming to an end; and overwhelming finality, in 'Di Goldene Pave.'
Through these folk tunes, which already speak the truth of lives lived and lost, Hugo Weisgall was able to tell the truth about what happened and what he witnessed. The Golden Peacock is a heroic bookmark.
SOUNDCLIP OF HUGO WEISGALL: " There is no question of the fact that the reason I am being drawn more and more to Jewish materials is because I feel that I have not made the proper statement about the whole business of Hitler and the Holocaust. The main reason for "The Golden Peacock" is a kind of defiance--that it has to do with what I feel about my having to make a statement about the Holocaust. Who else is going to do Yiddish folk songs if composers like myself don't do them (Taped telephone conversation with Laura Leon on July 7, 1981).
.
Tuesday, November 30, -1
The Apian Way-A Suite for the Bees
A new solo piano work composed and titled by NYC composer Steven Rosenhaus, will have its New York premiere soon. The work was commissioned last year, in honor of the bees. The Apian Way's first movement, The Dreams of Bees, was completed last month. The second movement in a work in process. The premiere will be announced soon!
Tuesday, November 30, -1 7:00 PM
Peter Schickele 75th Birthday Concert Steinway Hall 109 West 57th Street, NYC
Peter Schickele's 75th Birthday Season will be celebrated in New York with a concert in his honor on March 29, 2011 at Steinway Hall.
Laura Leon will be joined by a dynamic roster of musicians for this special musical celebration, performing a wide-ranging program of the composer's solo piano and chamber works, and will include works by the one and only P.D.Q. Bach.
Joan Plana, violin
Michele Eaton, soprano
Martha Locker, piano
Alice Jones, flute
Kelli Kathman, flute
Steven Cohen, horn
Jill Bartels, horn
Caleb Hudson, trumpet
Chris Venditti, trumpet
Kevin Vergillio, trombone
and
Robert Sherman, of WQXR and WFUV, will introduce Peter Schickele
Peter Schickele will be in attendance, and though not performing, will be introducing all of the works on the Program.
The Concert is Free. First-Come Seating.
Doors open at 6:30pm
Steinway Hall (212) 246-1100
For more information: MusicalTapestries@gmail.com
Laura Leon will be joined by a dynamic roster of musicians for this special musical celebration, performing a wide-ranging program of the composer's solo piano and chamber works, and will include works by the one and only P.D.Q. Bach.
Joan Plana, violin
Michele Eaton, soprano
Martha Locker, piano
Alice Jones, flute
Kelli Kathman, flute
Steven Cohen, horn
Jill Bartels, horn
Caleb Hudson, trumpet
Chris Venditti, trumpet
Kevin Vergillio, trombone
and
Robert Sherman, of WQXR and WFUV, will introduce Peter Schickele
Peter Schickele will be in attendance, and though not performing, will be introducing all of the works on the Program.
The Concert is Free. First-Come Seating.
Doors open at 6:30pm
Steinway Hall (212) 246-1100
For more information: MusicalTapestries@gmail.com
Tuesday, November 30, -1 2:00 PM
Piano and Chamber Works of Steven Rosenhaus Flushing Town Hall
137-35 Northern Blvd.Flushing, NY 11355
Phone: (718) 463-7700 Ext. 222
Website: https://www.flushingtownhall.org
This special concert will present piano and chamber music by NY composer Steven Rosenhaus, who was a 2010 Flushing Town Hall Composer-in-Residence. A member of NYU's composition faculty, Rosenhaus has been equally influenced and inspired by classical, folk, popular and rock music--from J.S. Bach, George Gershwin and George Perle to Broadway, Billy Joel and The Beatles.
Pianist Laura Leon (born and raised in Flushing), has performed and recorded many of the composer's works, and will present some of Rosenhaus' most popular and celebrated compositions for the piano, several of which she commissioned and has performed for international audiences. Also performing will be the noted NY soprano Wendy Hill and trombonist Keith Johnston, Sacred Heart University's Director of Bands.
The program will include Rosenhaus' acclaimed Matilda Variations, based on Australia's beloved Waltzing Matilda, his piano score from the live multimedia work PRO.JECT, which featured the digitally projected works of NY award-winning photographers Barry Rosenthal and Eric Jacobson, and The Kiss, composed for the International Tango Collection and choreographed by the New York Dance Theatre Workshop, Menasherie, with texts by Ogden Nash and A Blue Iris, for Trombone and Piano (Organ).
Please join the composer and musicians for an exciting afternoon of music and conversation.
The Concert is Free, followed by a Reception.
This Residency was underwritten by the Con Edison Musicians Residence: Composition Program, administered by Exploring the Metropolis; with additional support from the George L Shields Foundation, AOH Foundation and individuals.
Pianist Laura Leon (born and raised in Flushing), has performed and recorded many of the composer's works, and will present some of Rosenhaus' most popular and celebrated compositions for the piano, several of which she commissioned and has performed for international audiences. Also performing will be the noted NY soprano Wendy Hill and trombonist Keith Johnston, Sacred Heart University's Director of Bands.
The program will include Rosenhaus' acclaimed Matilda Variations, based on Australia's beloved Waltzing Matilda, his piano score from the live multimedia work PRO.JECT, which featured the digitally projected works of NY award-winning photographers Barry Rosenthal and Eric Jacobson, and The Kiss, composed for the International Tango Collection and choreographed by the New York Dance Theatre Workshop, Menasherie, with texts by Ogden Nash and A Blue Iris, for Trombone and Piano (Organ).
Please join the composer and musicians for an exciting afternoon of music and conversation.
The Concert is Free, followed by a Reception.
This Residency was underwritten by the Con Edison Musicians Residence: Composition Program, administered by Exploring the Metropolis; with additional support from the George L Shields Foundation, AOH Foundation and individuals.
Tuesday, November 30, -1 3:00 p.m.
Music In Our Time Center for Jewish History
15 West 16th StreetNew York
Phone: (212) 868-4444
Purchase Tickets: click here
Website: https://www.cjh.org
The American Society for Jewish Music's annual contemporary concert by Jewish American composers will present works by Leonard Bernstein, Mark Zuckerman, Ben Yarmolinsky, Jody Rockmayer, and Hugo Weisgall--honoring the 100th anniversary of his birth this October.
Mark Zuckerman: Menagerie for Soprano, Flute and Piano
Ben Yarmolinsky: Menashe Songs (selections) for Baritone, Cello and Piano
Jody Rockmayer: Marsyes for Harp and Flute
Hugo Weisgall: The Golden Peacock-Seven Popular Songs from the Yiddish for Voice and Piano (selections)
Leonard Bernstein: Trio for Violin, Cello and Piano
The performers will include soprano Ena Freeman, pianist Laura Leon and Young Artists from Mannes College The New School of Music.
Tuesday, November 30, -1 1:00 P.M.
A Yiddish Concert Park Avenue Synagogue
50 East 87th StreetNew York
Phone: (212) 369-2600
The Sholem Aleichem Club and the Park Avenue Synagogue Sisterhood present A Yiddish Concert--a special afternoon concert program featuring Yiddish songs and solo piano works based on the Yiddish song repertoire, performed by Cantor Shiree Kidron and Laura Leon.
Admission is free.
Admission is free.
Tuesday, November 30, -1 7:30 P.M.
The Classical Recording Foundation 12th Annual Awards Ceremony Carnegie Hall's Weill Recital Hall
Weill Recital Hall at Carnegie HallNew York
Phone: (914) 738-8754
Website: https://www.classicalrecordingfoundation.org
Pianist Laura Leon will be performing music by Peter Schickele at the Classical Recording Foundation's 12th Annual Awards Ceremony at Weill Recital Hall at Carnegie Hall. She will performing solo piano works by Peter Schickele, in advance of her upcoming CD release of the composer's works for piano.
The evening will include performances by violist Hsin-Yun Huang & pianist Sarah Rothenberg, pianist Roman Rabinovich and cellist Sophie Shao.
Tickets begin at $75; $250 and above include the post-concert Artist's Reception at Klavierhaus, 211 West 58th Street, NYC.
Tuesday, November 30, -1 3:00 PM
Music In Our Time: 2014 Center for Jewish History
15 West 16th Street, NYC
Pianist Laura Leon will be collaborating with renowned Cantor and distinguished baritone Robert Abelson in the American Society for Jewish Music's Music In Our Time: 2014 concert, performing songs by the great 20th century Yiddish Art Song composer Lazar Weiner and a work by A.W. Binder. The ASJM's annual concert presents works by 20th and 21st century American Jewish composers.
The program will also present excerpts from John Zorn's Masada, honoring his 60th birthday-with the composer in attendance-as well as the world premiere of Stanislav Fridman's Toccata for String Quartet and Ross Bauer's Heartstrings for flute, violin, viola and cello. The performers will include Young Artists from Mannes College The New School for Music.
The program will also present excerpts from John Zorn's Masada, honoring his 60th birthday-with the composer in attendance-as well as the world premiere of Stanislav Fridman's Toccata for String Quartet and Ross Bauer's Heartstrings for flute, violin, viola and cello. The performers will include Young Artists from Mannes College The New School for Music.
Tuesday, November 30, -1 1:00 P.M.
Composer's Voice 4th Annual Children's Concert: Music with a Children's Theme Jan Hus Presbyterian Church
351 East 74th Street, NYC
Website: https://www.voxnovus.com
Composer’s Voice presents the 4th Annual Children’s Month Concert: This is not Kid’s Music: Music with a children’s theme-by Adults and Young Composers.
Pianist Laura Leon will perform Peter Schickele's "Small Serenade" for Piano and the world premiere of Leo Kraft's "Music For a Day: 8 Play-full Pieces for Piano."
This concert includes the World Premiere of Fifteen-Minutes-of-Fame: Video Game Music Kaya Katarzyna Bryla, violin & Hui-Chuan Chen, piano. Music and performances by JP Redmond, Roger Blanc, Douglas DaSilva, Eapen Leubner, Emiko Hayashi, David Morneau, Greg Bartholomew, Moaz Mneimneh, Michelle Ferrara, Benjamin Vokits Eapen Leubner, Emiko Hayashi, David Morneau, Robert Voisey, Greg Bartholomew, , Moaz Mneimneh, Michelle Ferrara. Benjamin Vokits , and Rodrigo Baggio, Erik Branch, Faye Chiao, Luke Deane, Abraham Devenport, Gregory J. Jackson, Gareth Rhys Jones, Shigeru Kan-no, Laszlo Kékszakállu, Michael Maiorana, Daniel Mihai, Eurydice V. Osterman, Jody John Ramey, Alexander Simon. Curator: Douglas DaSilva
The Composer's Voice series presents short chamber concerts held on the second and last Sundays of most months at Jan Hus Church. It has presented the works of hundreds of living composers from around the world, performed by dedicated musicians devoted to new music.
The Concert is Free.
Pianist Laura Leon will perform Peter Schickele's "Small Serenade" for Piano and the world premiere of Leo Kraft's "Music For a Day: 8 Play-full Pieces for Piano."
This concert includes the World Premiere of Fifteen-Minutes-of-Fame: Video Game Music Kaya Katarzyna Bryla, violin & Hui-Chuan Chen, piano. Music and performances by JP Redmond, Roger Blanc, Douglas DaSilva, Eapen Leubner, Emiko Hayashi, David Morneau, Greg Bartholomew, Moaz Mneimneh, Michelle Ferrara, Benjamin Vokits Eapen Leubner, Emiko Hayashi, David Morneau, Robert Voisey, Greg Bartholomew, , Moaz Mneimneh, Michelle Ferrara. Benjamin Vokits , and Rodrigo Baggio, Erik Branch, Faye Chiao, Luke Deane, Abraham Devenport, Gregory J. Jackson, Gareth Rhys Jones, Shigeru Kan-no, Laszlo Kékszakállu, Michael Maiorana, Daniel Mihai, Eurydice V. Osterman, Jody John Ramey, Alexander Simon. Curator: Douglas DaSilva
The Composer's Voice series presents short chamber concerts held on the second and last Sundays of most months at Jan Hus Church. It has presented the works of hundreds of living composers from around the world, performed by dedicated musicians devoted to new music.
The Concert is Free.
Tuesday, November 30, -1 1:00 PM to 2:00 PM
The Composer's Voice Jan Hus Presbyterian Church
351 East 74th Street, NYC
Website: https://www.voxnovus.com
Pianist Laura Leon will give the world premiere of Steven Rosenhaus' "The Apian Way" at The Composer's Voice October 12th Concert presented by Jan Hus Church, VOS NOVUS and the Remarkable Theatre Brigade. Laura Leon commissioned Steven to write a work for piano to honor the bees, which the composer titled "The Apian Way."
Composer's Voice will also feature the world premiere of Fifteen-Minutes-of-Fame: Joe Drew, double-bell trumpet; Subatomic particles, by David Wolfson; Deconstruction of a Folk Song by Kitty Brazelton; "Scordatura" keyboard by Robinson McClellan; a piece for flute and lawyer by Joshua Rosenblum; and the indescribable sonorism of Elizabeth Adams. Guest curator: David Wolfson
The Composer's Voice series presents short chamber concerts held on the second and last Sundays of most months at Jan Hus Church. It has presented the works of hundreds of living composers from around the world, performed by dedicated musicians devoted to new music.
The Concert is Free.
Composer's Voice will also feature the world premiere of Fifteen-Minutes-of-Fame: Joe Drew, double-bell trumpet; Subatomic particles, by David Wolfson; Deconstruction of a Folk Song by Kitty Brazelton; "Scordatura" keyboard by Robinson McClellan; a piece for flute and lawyer by Joshua Rosenblum; and the indescribable sonorism of Elizabeth Adams. Guest curator: David Wolfson
The Composer's Voice series presents short chamber concerts held on the second and last Sundays of most months at Jan Hus Church. It has presented the works of hundreds of living composers from around the world, performed by dedicated musicians devoted to new music.
The Concert is Free.
Tuesday, November 30, -1 3:00 pm
Music In Our Time: 2015 Center for Jewish History
15 West 16th Street New York City
Purchase Tickets: click here
Website: https://www.jewishmusic-asjm.org
Pianist Laura Leon will be performing Ladino songs by Richard Neumann with mezzo-soprano Donna Breitzer at the The American Society for Jewish Music's Music In Our Time: 2015, honoring the composer's 100th anniversary. Richard Neumann was renowned for his Ladino song settings, along with his vocal, chamber and choral compositions and arrangements.
Co-sponsored with American Jewish Historical Society, Music In Our Time: 2015 will feature extraordinary Jewish music by 20th and 21st century composers:
Osvaldo Golijov's acclaimed chamber work The Dreams and Prayers of Isaac the Blind; French double bassist and composer Remy Yulzari's Le Grand Mechant, and Il etait une Fois; Laura Kaminsky's Duo for Cello and Piano; selections from Gerald Cohen's compelling opera Steal Me a Pencil, based on a true story of survival, love and courage during the Holocaust; and Irving Fine's A Short Alleluia in honor of his 100th anniversary.
Performers include clarinetist Charles Neidich; bassist Remy Yulzari, soprano Ilana Davidson; guitarist Nadav Lev and Artists from Mannes College The New School of Music.
Tuesday, November 30, -1 3:00 PM
Music In Our Time 2018
Center for Jewish History, 15 West 16th Street, NYC (between 5th Avenue and 6th Avenue)
Phone: (212) 868-4444
Price: $18.00
Purchase Tickets: Smart Tix
Website: https://www.cjh.org
The American Society for Jewish Music and The American Jewish Historical Society present Music In Our Time 2018, the annual concert of contemporary Jewish music --this year honoring the memory of the musical visionary Hadassah Markson, with the music of her father, A.W. Binder.
Celebrating Leonard Bernstein's 100th birthday and Samuel Adler's 90th birthday, the concert will also feature new voices in contemporary Jewish music: Stanislav Fridman, Dina Pruzhansky and Samuel Dylan Rosner.
Performers will include pianists Stanislav Fridman, Laura Leon, Matthew Odell and Dina Pruzhansky; Cantor Robert Abelson, baritone; Nathaniel Bear, tenor; Larisa Martinez,soprano; and Artists from the Mannes School of Music/The New School.
Tuesday, November 30, -1
Private Home Chamber Music Concert
A private home afternoon chamber music concert. Program includes W.A. Mozart, Claude Debussy, Paul Sheftel and Peter Schickele.
Tuesday, November 30, -1
Private Home Chamber Music Concert
A private home chamber music concert, featuring works by Ernest Bloch, W.A. Mozart and Astor Piazzolla.