- $16 for one ticket for parquet seating (up to $32.25 value)
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Mimesis: Musical Representations
Art imitates life—and art imitates art—in this clever kickoff to the American Symphony Orchestra’s 2015–16 season. Leon Botstein conducts the orchestra, as well as guest soprano Sophia Burgos and electric violinist Tracy Silverman, as they transform words, thoughts, paintings, and even stars into music.
- Gunter Schuller—7 Studies on Themes of Paul Klee: The experimental, often surrealist and cubist works of Swiss-German painter Paul Klee deeply explored the tenets color theory. It’s fitting then that Gunter Schuller’s globe-trotting musical homage incorporates colors of its own, from blues harmonies to warm Arab melodies.
- Henri Dutilleux—Correspondences: In this orchestral song cycle, music inspired by the poetry of Rainer Maria Rilke and Prithwindra Mukheriee form a sonic rapport with a letter from Vincent van Gogh to his brother and a letter from Nobel Prize–winning author Alexander Solzhenitsyn, thanking the friends who sheltered him during his Gulag exile.
- Nico Mulhy—Seeing Is Believing: In this new orchestration co-commissioned by the ASO, a hypnotizing concerto for six-string electric violin turns listeners into astral cartographers. According to Mulhy, the piece “references the superstitious practice of observing and mapping the sky; while writing it, I wanted to mimic the process by which, through observation, a series of points becomes a line.”
- Richard Strauss—Also Sprach Zarathustra: This orchestral tone poem helped make Stanley Kubrick’s cinematic masterpiece 2001: A Space Odyssey as iconic as it is, and remains the catchiest musical interpretation of Nietzsche’s philosophy.
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.