- $19 for one ticket to see American Symphony Orchestra presents This England (up to $39 value)
- When: Friday, January 31, at 8 p.m.
- Where: Carnegie Hall – Stern Auditorium/Perelman Stage
- Seating: prime parquet
- Door time: 6:30 p.m.; a Q&A session with the conductor begins at 7 p.m.
- Ticket values include all fees.
- Click here to view the seating chart.
- Click here to view the program.
Three factors contributed to the musical revolution that took place in England at the dawn of the 20th century: the burgeoning modernist movement, a middling reputation about the originality of English composers, and the realization that everyone had been holding their violins upside-down for decades. Driven by redemption, English composers began writing some truly unique pieces that sounded simultaneously young and old. The American Symphony Orchestra celebrates this localized renaissance with a night of Britain's best, led by conductor Leon Botstein.
- Sir Arthur Bliss—Things to Come Suite: Written to soundtrack a 1936 film based on H.G. Wells's utopian novel The Shape of Things to Come, this sweeping composition melds sharp-cornered chord progressions with a softness from the lush instrumentation. Decades later, it has proven to be more memorable than the movie for which it was created.
- Frank Bridge—Phantasm: The piano guides listeners through a ravaged landscape under siege by the orchestra's wrathful ghosts in this late-period modernist piece. Bridge was largely inspired by his experience in World War I, which left him emotionally scarred, a lifelong pacifist, and a stunningly touching musician.
- Robert Simpson—Volcano: In an era of modernist atonality, this richly layered tone poem was a beautiful thumb stuck in the eye of its contemporaries. Although the rumblings in the brass section foreshadow the inevitable end, no forewarning can prepare for the massive scale of the climax's eruption.
- William Walton—Symphony No. 2: As modernism progressed, it reincorporated more traditional musical structures without losing its experimental spirit. So it goes in Walton's Symphony No. 2, a classically structured work with elements of atonality and jazz chords.