- $16 for one ticket for parquet seating (up to $32.25 value)
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Giant in the Shadows
At the dawn of the 20th Century, Max Reger was in his prime, pumping out piece after piece that focused largely on the organ and piano. To pay the composer his due tribute—almost exactly 100 years after his death, no less—conductor Leon Botstein and pianist Peter Serkin dive into his works. Preceding the performance will be a Conductor’s Notes Q&A session that will provide context for the pieces.
- Busch—Three Études for Orchestra: The music of Adolf Busch and Max Reger often sounds remarkably similar—partly because they were close friends (and definitely not because they copied each other’s Music Theory homework). After listening to this piece, which Busch composed shortly after emigrating to the US, audiences will want to compare it to what follows:
- Reger—Piano Concerto: Reger described this work as “a pendant to Brahms’s D-minor piano concerto,” a fact that can be felt from the beginning timpani roll. After its composition, the piece was all but forgotten—that is, until pianist Rudolf Serkin began popularizing it in the 1950s. It’s fitting, then, that Rudolph’s son, Peter, will take the lead in this performance.
- Reger—Variations and Fugue on a Theme of J.A. Hiller: Despite the fact that these variations have risen to be among Reger’s most popular pieces, they were written during one of the most tumultuous periods in his life, during which he battled alcoholism shortly after leaving Munich. Listening to the 11 variations and the concluding fugue, it’s clear that, in his struggle, Reger found solace and inspiration in two of his most constant influences: Brahms and Bach.
American Symphony Orchestra
For more than half a century the American Symphony Orchestra has hewn to founder Leopold Stokowski's original vision: "to offer concerts of great music within the means of everyone." That means its shows aren't just financially affordable, they're also demystified by conductor lectures and never held inside biodomes. In recent years, the organization has added a new facet to its time-tested strategy: curated concerts built around a theme. Shows might explore a particular place and time, examine a literary motif, or delve into the interaction between music and visual art. This strategy has attracted a lot of attention, and not just from audiences: such greats as Yo-Yo Ma, Deborah Voigt, Sarah Chang, and Carnegie Hall's mask-wearing Phantoms of the Barbershop Quartet have all vied to play with the Orchestra.
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