Led by globetrotting maestro Eckart Preu, the Stamford Symphony satiates aural appetites with beautiful interpretations of classic and modern pieces. The program will kick off with Leroy Anderson's chart-topping 1951 melody "Blue Tango," which beguiles eardrums with midcentury charm and quarter notes bearing roses in their teeth. Next, the symphony treats audiences to "Last Round," written by contemporary Argentinean composer Osvaldo Golijov to commemorate the death of celebrated tango composer Astor Piazzolla. The soprano saxophone concerto of Pulitzer Prize–winning composer Jennifer Higdon allows the bluesy sax to moodily soar under the supporting harmonies of a full orchestra. Preu tops off the evening with Beethoven's celebrated Symphony no. 6, Pastoral, a five-act tone poem that conjures up images of a day in the country without the hassle of traveling or milking a cow in your living room.
Experience the exciting rhythms of the ancestral Taiko and the magical sounds of the bamboo flutes. Taikoza uses the powerful rhythms of the Taiko drums to create an electrifying energy that carries audiences in a new dimension of excitement. Taikoza draws from Japan's rich tradition of music and performance.
The American Classical Orchestra safeguards the repertoire of 17th- to 19th-century composers, escorting venerable works into the future upon the notes of original and reproduction period instruments. Under the direction of Maestro Thomas Crawford and his onstage airboat, the ensemble's production of Wind Power breezes across Bach's Brandenburg Concerto No. 4, Vivaldi's Concerto for Two Trumpets, and Telemann's Concerto in D, featuring dynamic and energetic Mexican recorder guru Horacio Franco. A pre-performance lecture at 7 p.m. offers to warm up ears with toasty educational tidbits. Mezzanine and balcony seating grants guests unobstructed views of the action inside the NYSEC Hall, which harbors more than 100 years of history within its storied walls.
Made by the famed Italian Guarneri family of luthiers in 1743, the Bonjour violin comes to life today in the hands of master violinist Vadim Repin. The Russian virtuoso coaxes heart-tugging tones from the gorgeous wooden body of the violin—whose acoustics have blossomed along with its value over the years—as well as the radio receiver inside the instrument. Praised for his "unshakable bravura" by the New York Times' Steve Smith, Repin drives the instrument with a muscular, energetic style.
International piano virtuoso Pierre-Laurent Aimard takes the stage in a two-night exhibition of his arrangement The Liszt Project, centered on the ethereal composer and subsequent works he inspired. The tone of each evening is delicate and ornate, like a gossamer-woven kitten sweater, opening with three selections of Liszt's Années de Pèlerinage, followed by Bartok's Nénie. The tremulous, cascading trills of Liszt's St François d'Assise: La Prédication aux Oiseaux comes next, and the evening concludes with the otherworldly, arrhythmic Le Traquet Stapazin by Messiaen, which incorporates bird song like the rest of his Catalogue d'Oiseaux.
Before the Lincoln Center for the Performing Arts was even built, the idea for its Chamber Music Society was born. American composer and Lincoln Center President William Schuman helped specially design a recital hall in which the chamber group could play more than three centuries worth of musical compositions. But the Chamber Music Society didn't stay contained within its venue. Throughout the following half century, its musicians collaborated with dance companies, jazz projects, and festivals, helping to spread awareness and appreciation of their craft throughout the city.