- $16 for American Symphony Orchestra: American Variations, Perle at 100 (up to $32.25 value)
- When: Friday, May 29, at 8 p.m.
- Where: Carnegie Hall (Stern Auditorium/Perelman Stage)
- Seating: parquet
- Door time: 6:30 p.m.
- Full offer value includes ticketing fees
- Click here to view the seating chart
American Variations, Perle at 100
This month, Pulitzer Prize-winning American composer George Perle would have turned 100 years old. The American Symphony Orchestra celebrates his birthday not only through his own compositions, but the work of of his contemporaries.
- Copland—Orchestral Variations: These 20 variations, which unfold over a mere 12 minutes, were written for piano during the composer’s abstract period, then later expanded to involve the full orchestra. Regardless of the format, each variation revolves around the same seven-note motif.
- Perle—Transcendental Modulations: It’s said the title of this 1993 work stems from a mispronunciation of “transcendental meditations,” which makes sense given the composition’s transportive qualities. The subtle, jazz-tinted shifts in tone truly make the listener feel like they’re somewhere else, perhaps a noir film.
- Perle—Adagio: a superb example of restraint, this composition takes on a sonic tenderness thanks to its measured pace and lack of crescendos
- Foss—Baroque Variations: this intentionally disorienting piece was so central to its composer’s repertoire that The New York Times name-checked it in Foss’ obituary, saying, “His ‘Baroque Variations’ (1967) is a partly improvisatory, partly mischievous deconstruction of works by Handel, Scarlatti and Bach.”
- Schuman—New England Triptych: in these three movements, the Pulitzer-winning Schuman references the lyrics and melodies of composer William Billings, whose works, in Schuman’s words, “capture the sinewy ruggedness, deep religiosity, and patriotic fervor that we associate with the Revolutionary period in American history.”
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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