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Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

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Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
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Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 2014

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
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Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
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Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

  



























 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

  




























 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

 

 

 

 

 

 

 

 

 

 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

 

 

 

 

 

 

 

 

 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

 

 

 

 

 

 

 

 

 

 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

 

 

 

 

 

 

 

 

 

 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
concert schedule
top

 

 

 

 

 

 

 

 

 

 

 

Orchestra Underground
Oct. 25, 2013

Orchestra Underground
Feb. 20, 201
4

Orchestra Underground
April 4, 2014

Underwood New Music Readings
June 6-8, 2014

 

Subscription & Ticket Info

For Carnegie Hall performances
call CarnegieCharge 212-247-7800
or visit www.carnegiehall.org

 

home
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ACO's 2013-14
Season Highlights

ACO Playing It UNsafe

“the two ways to really get to an audience
are through its heart or its gut...
we’re increasing, hugely, the repertory
of works that will have an afterlife.”
– George Manahan in
The New York Times

Orchestra Underground:
Tenth Anniversary Season

During the 2013-14 season, ACO celebrates 10 years of Orchestra Underground, its exploration of the orchestra as an elastic ensemble that can respond to composers’ unhindered creativity. For a decade, Orchestra Underground has challenged notions about what an orchestra is, embracing new technology, eclectic instruments and influences, altered spatial orientation, new experiments in concert format, and multimedia and multi-disciplinary collaborations. Since the opening of Zankel Hall, Carnegie Hall’s subterranean state-of-the-art auditorium, Orchestra Underground has played to sold-out audiences, bringing to life nearly 100 world premieres and newly commissioned works.

Orchestra Underground
3 Concerts at Zankel Hall

Orchestra Underground LogoThis season’s Orchestra Underground concerts include five world premieres and four New York premieres by emerging and established composers including Marcos Balter, Derek Bermel, Lisa Coons, Peter Fahey, Gabriela Lena Frank, Ted Hearne, Amy Beth Kirsten, David Lang, and Fred Lerdahl. ACO will also showcase Julia Wolfe’s Fuel with film by Bill Morrison, Christopher Theofanidis’ Bassoon Concerto with master bassoonist Martin Kuuskmann, Steve Reich’s landmark work Eight Lines, Gunther Schuller’s jazz-classical fusion Contours, and rarely heard Mexican composer Silvestre Revueltas’ Alcancias.

Orchestra Underground:
Adding Fuel to the Fire

Friday, Oct. 25, 2013, at 7:30pm
Zankel Hall at Carnegie Hall

Our 37th season will begin with a concert featuring the world premiere of rising-star composer and ACO’s 2012 Underwood Commission winner Peter Fahey’s piece for orchestra and electronics. Fred Lerdahl's Spirals receives its New York premeire. Julia Wolfe’s virtuosic multimedia work Fuel with film by Bill Morrison, and Christopher Theofanidis’ Bassoon Concerto performed by Estonian virtuoso Martin Kuuksmann complete the program. This concert marks conductor Robert Spano’s first-ever appearance with ACO.

(c) Chris LeeRobert Spano , as Music Director of the Atlanta Symphony Orchestra, has enriched and expanded its repertoire and elevated the ensemble to new levels of international prominence. In 2012, Robert Spano became Music Director of the Aspen Music Festival and School and is also a Fellow of the Aspen Institute as part of the Harman-Eisner Artist in Residence Program.

Spano has appeared with Seattle Symphony, Minnesota Orchestra, City of Birmingham Symphony Orchestra, Hong Kong Philharmonic, Deutsches Symphonie-Orchester Berlin, West Australian Symphony Orchestra, Sydney Symphony and Orchestra of St. Luke's among many others. Respected as a collaborative pianist and composer, Spano joins bass-baritone Eric Owens for three recitals in Denver, CO, Davis, CA and Carnegie Hall's Zankel Hall in New York. Maestro Spano conducts the Juilliard Symphony Orchestra as well as the Curtis Symphony Orchestra in Philadelphia and at the Dresden Music Festival. Spring 2012 marks the third, and final, year of Spano's three-year residency at Emory University, a testament to Spano's communicative abilities and passion for education. In its 165-year history, Emory University has honored only seven other individuals with such expansive residencies, including the Dalai Lama, President Jimmy Carter and author Salman Rushdie.

With a discography of 16 critically-acclaimed recordings for Telarc and Deutsche Grammophon, Robert Spano has garnered six Grammy Awards. In February 2011, the Atlanta Symphony Orchestra and Naxos created ASO Media and the label's first recording was released in April 2011. Musical America's 2008 "Conductor of the Year," Mr. Spano is on the faculty of Oberlin Conservatory, and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University, and Oberlin. More info: www.robertspanomusic.com.

Peter Fahey:
A Mirror To Kathleen's Face

Peter FaheyPeter Fahey
is the winner of ACO’s 2012 Annual Underwood Commission, which he won for his work Impressions. Born and raised in Ireland, Fahey studied composition with Eric Sweeney at the Waterford Institute of Technology, with David Horne and Anthony Gilbert at the Royal Northern College of Music in Manchester, England, and, informally, at the Hochschule für Musik Franz Liszt Weimar, Germany. He has also attended the Darmstadt Festival; the TACTUS Young Composers' Forum, Belgium; the Weimarer Meisterkurse Kompositions-Workshop; and the Aspen Music Festival and School Advanced Masterclass Program. Fahey moved to the U.S. to study with Roberto Sierra and Steven Stucky at Cornell University in Ithaca, New York, and in spring 2012 was an exchange scholar at Columbia University. In addition to ACO, Fahey has worked with the Aspen Contemporary Ensemble, Continuum, Ensemble Musiques Nouvelle, iO Quartet, the Royal Northern College of Music Symphony Orchestra, and Talea Ensemble. Fahey is the winner of a number of other awards for composition, including the Stephen Kaske Fellowship at the 2012 Wellesley Composers Conference, the 2012 Robbins Family Prize in Composition from Cornell University, a MacDowell Colony Fellowship, a Susan and Ford Schumann Fellowship at the Aspen Music Festival and School, the Franz Liszt Stipendium from the Hochschule für Musik Franz Liszt Weimar, and a number of awards from the Arts Council of Ireland.

In his piece for ACO, titled A Mirror to Kathleen’s Face for orchestra and electronics, Fahey derives musical material from a recording of an account by a former resident of the Industrial School system in Ireland. He explains, “Structurally, I have created a large ‘mirror image’ to reflect the musical and the extra-musical material of the piece.” This is Fahey’s first commission from a professional orchestra. For more information, visit www.peterfahey.com. More info; www.peterfahey.com.


Christopher Theofanidis:
Bassoon Concerto

Christopher TheofanidisChristopher Theofanidis has had performances by many leading orchestras from around the world, including the London Symphony, New York Philharmonic, Philadelphia Orchestra, Moscow Soloists, the National, Atlanta, Baltimore, St. Louis, Detroit Symphonies, and many others. He also served as Composer of the Year for the Pittsburgh Symphony during their 2006-2007 Season, for which he wrote a violin concerto for Sarah Chang. Theofanidis holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been the recipient of the International Masterprize (hosted at the Barbican Centre in London), the Rome Prize, a Guggenheim Fellowship, six ASCAP Gould Prizes, a Fulbright Fellowship to France, a Tanglewood Fellowhship, and the American Academy of Arts and Letters' Charles Ives Fellowship. In 2007 he was nominated for a Grammy for best composition for his chorus and orchestra work, The Here and Now, based on the poetry of Rumi. His orchestral concert work, Rainbow Body, has been one of the most performed new orchestral works of the last ten years, having been performed by over 100 orchestras internationally. He currently teaches at Yale University. Of his Bassoon Concerto, Theofanidis says, “I wrote my bassoon concerto for my good friend Martin Kuuskmann, whom I had known since 1992 from my days as a student at Yale, commissioned for Absolute Ensemble.” The virtuosic piece incorporates a style of melodic ornamentation heard in the Greek Orthodox Church, which is also found throughout the Balkan region, and requires the soloist to make use of circular breathing techniques. For more info: www.theofanidismusic.com

Julia Wolfe: Fuel

photo by SerlingJulia Wolfe music brings a modern sensibility to each while simultaneously tearing down the walls between them. Her music is distinguished by an intense physicality and a relentless power that pushes performers to extremes and demands attention from the audience. In the words of the Wall Street Journal, Wolfe has “long inhabited a terrain of [her] own, a place where classical forms are recharged by the repetitive patterns of minimalism and the driving energy of rock.” Wolfe has written a major body of work for strings, from quartets to full orchestra. Her quartets, as described by the New Yorker magazine “combine the violent forward drive of rock music with an aura of minimalist serenity [using] the four instruments as a big guitar, whipping psychedelic states of mind into frenzied and ecstatic climaxes.” The influence of pop culture can be heard in many of Wolfe's works and she has collaborated with theater artist Anna Deveare Smith, architects DillerScofidio+Renfro, filmmaker Bill Morrison, Ridge Theater, director Francois Girard, Jim Findlay, and choreographer Susan Marshall among others. Her music has been heard at BAM, the Sydney Olympic Arts Festival, Settembre Musica (Italy), Theatre de la Ville (Paris), Lincoln Center and Carnegie Hall, and has been recorded on Cantaloupe, Teldec, Point/Universal, Sony Classical, and Argo/Decca. In 2009 Wolfe joined the NYU Steinhardt School composition faculty. She is co-founder of New York's music collective Bang on a Can.

Wolfe’s piece Fuel, a collaboration with filmmaker Bill Morrison, was premiered in April 2013 by Ensemble Resonanz in a former warehouse in Hamburg, Germany. Fuel weaves a tapestry of images and music with fierce and propelling energy and incorporates film shot in the US and in Hamburg. Like all ports, Hamburg relies on the standardized shipping container as its medium of commerce. Fuel presents these containers as a metaphor for world commerce, communication, and globalization of world markets. For more info: www.juliawolfemusic.com.

Fred Lerdahl: Spirals
(New York Premiere)

Fred LerdahlFred Lerdahl studied at Lawrence University, Princeton, and Tanglewood. He has taught at UC/Berkeley, Harvard, and Michigan, and since 1991 he has been Fritz Reiner Professor of Music at Columbia University. Commissions have come from the Fromm Foundation, the Koussevitzky Foundation, the Spoleto Festival, National Endowment for the Arts, the Chamber Music Society of Lincoln Center, the Library of Congress, Chamber Music America, and others. Among the organizations that have performed his works are the American Composers Orchestra who commissioned and premiered his Quiet Music in 1994, the New York Philharmonic, the Pittsburgh Symphony, the San Francisco Symphony, the Seattle Symphony, the Cincinnati Symphony, the Los Angeles Philharmonic, the Saint Paul Chamber Orchestra, Orpheus, the Boston Symphony Chamber Players, the Chamber Music Society of Lincoln Center, eighth blackbird, Speculum Musicae, Collage, Argento, Talea, the Peabody Trio, the Juilliard Quartet, the Pro Arte Quartet, the Daedalus Quartet, Ensemble XXI, Lontano, and the Venice Biennale.

Spirals (2006) is in two movements of equal length, the first fast and driven, the second slow and lyrical. The title refers to a formal technique of my invention, in which a short, simple idea elaborates into progressively complex and diverse patterns. Each cycle of elaboration enlarges the spiral. Shortly after the midpoint of each movement, the spiral reverses and contracts back to its point of origin while the musical ideas themselves continue to develop. This combination of symmetry and process culminates in points of great intensity. The constraints of the spiral technique allow freedom and flexibility while providing a coherence that is sometimes audible, other times only sensed. The piece was commissioned and premiered by The Saint Paul Chamber Orchestra. The first performance took place in March 2007, Cliff Colnot conducting. More info: http://www.fredlerdahl.com/

note: the world premiere of Ian Williams: Clear Image originally scheduled for this concert has been postponed.

 Guest Artists:

Martin KuuskmannEstonian bassoonist Martin Kuuskmann has premiered eight bassoon concertos written especially for him and has collaborated with composers Daniel Schnyder, Helena Tulve and jazz icon John Patitucci among others. He has appeared with orchestras such as Orchestre de la Suiss Romande, Estonian National Symphony Orchestra, the Järvi Festival Orchestra, Indianapolis Chamber Orchestra, 1B1 Ensemble New York Philharmonic series, as well as with the Macao Orchestra, Nordic Symphony Orchestra, Absolute Ensemble, Riga Sinfonietta, Grazioso Chamber Orchestra and the Symphony Orchestra of the Norrlandsoperan.

Kuuskmann has recorded reconstructed bassoon concertos by J.S. Bach with co-soloist, renowned violist Lars Anders Tomter and the 1B1 Ensemble, and has recorded Theofanidis’ bassoon concerto with the Boston Modern Orchestra Project under Gil Rose. His solo album Nonstop and other albums are available on the ERP, Erdenklang, CCn'C and Chesky record labels. A graduate of the Yale and the Manhattan Schools of Music, Kuuskmann teaches at the Manhattan School, Cornish College of Arts in Seattle, serves as the woodwind coach of the Baltic Youth Philharmonic, and teaches regularly at the Arosa Music Academy in Switzerland. For more info: www.martinkuuskmann.com. 

photo credit: Clayton J CubittOver the past twenty years Bill Morrison has built a filmography of more than thirty projects that have been presented in theaters, museums, galleries and concert halls worldwide. His work often makes use of rare archival footage in which forgotten film imagery is reframed as part of our collective mythology.

Morrison's films are in the collection of the Museum of Modern Art, The Nederlands Filmmuseum, and The Library of Congress. He is a Guggenheim fellow and has received the Alpert Award for the Arts, an NEA Creativity Grant, a Creative Capital grant, and a fellowship from the Foundation for Contemporary Arts. His work with Ridge Theater has been recognized with two Bessie awards and an Obie Award. For more info: www.billmorrisonfilm.com. 

Orchestra Underground:
Lines on a Point
Thursday, February 20, 2014 at 7:30pm
Zankel Hall at Carnegie Hall

ACO explores minimalist and post-minimalist territory in this concert led by Music Director George Manahan and anchored by Steve Reich’s landmark work Eight Lines with pianists Margaret Kampmeier and Stephen Gosling, as well as the New York premiere of statement to the court by David Lang, 2013–2014 holder of the Richard and Barbara Debs Composer's Chair at Carnegie Hall, performed by ACO with celebrated Philadelphia chamber choir The Crossing. The concert also includes two world premieres commissioned by ACO – Amy Beth Kirsten’s strange pilgrims for orchestra and choir with video by Mark DeChiazza, and Lisa Coons’ Shadow Studies featuring the ACO strings. The Crossing takes center stage for Ted Hearne’s Ripple for choir a cappella, conducted by Donald Nally.



Lisa Renee Coons:
Shadow Studies

Lisa Renee CoonsLisa Renee Coons is a composer and sound artist with a special affinity to noise composition, collaboration, and experimentation. She is dedicated to progressive art and focuses on partnerships with other artists and musicians as a means of developing innovative new works. Coons’ music was featured as part of ACO’s citywide SONiC festival in 2011, performed by electric guitar quartet Dither. Presently an assistant professor of music composition at Western Michigan University, Coons received her PhD in Composition from Princeton University, her Master’s from SUNY Stony Brook and studied at the University of Missouri-Kansas City during her undergraduate degree. Before joining WMU she was a Jackie McLean Fellow and visiting professor at the Hartt School in the University of Hartford. Her portfolio includes music for acoustic and electronic instruments, turntables, traditional ensembles, and her own welded percussion sculptures.

Coons’ new work Shadow Studies, commissioned by ACO, celebrates the visual spectacle of the string players in an orchestra. She explains, “Shadow Studies is a study in both the visceral aspects of sound production and aural phenomena particular to the string orchestra. The idiomatic strengths of string instruments to shift and blend timbrally is explored geographically – passing different colors and ideas spatially between players – as well as choreographically, by exploiting the balletic possibilities in the movement of the bows.”  
For more information visit www.lisarcoons.com



Ted Hearne:
Katrina Ballads

Ted HearneTed Hearne is a composer, conductor and singer with sensibilities in experimental, rock, and traditional classical music. His Katrina Ballads was awarded the 2009 Gaudeamus Prize, and named one of the best classical albums of 2010 by Time Out Chicago and The Washington Post. Hearne’s diverse projects have paired him with electronic artists Philip White and J.G. Thirlwell, jazz musician Rene Marie, filmmaker Bill Morrison, and the French synthpop band M83, among others. He is a founding member of the composer collective Sleeping Giant, the leader of his independent rock project Delusion Story, and one half of the explosive electronic/vocal duo R WE WHO R WE. Hearne has recently conducted the Wet Ink Ensemble, Ensemble Pamplemousse, International Contemporary Ensemble (ICE), and Red Light New Music. Recent and upcoming commissions include works for Los Angeles Philharmonic, eighth blackbird, A Far Cry, European Contemporary Orchestra, Pittsburgh New Music Ensemble, Albany Symphony, The Crossing and Ensemble Klang, and a new work for the Brooklyn Philharmonic and hiphop legend Erykah Badu.

Hearne’s piece that The Crossing will perform is entitled Ripple, and uses as its text a sentence from one of the 400,000 internal military cables known as the Iraq War Logs: “The marine from Post 7 was unable to determine the occupants of the vehicle due to the reflection of the sun coming off the windshield.” The occupants were a family of Iraqi civilians.  
For more information visit www.tedhearne.com

Amy Beth Kirsten:
strange pilgrims

Amy Beth KirstenAmy Beth Kirsten moved from the Midwest to the East Coast in 2004 to attend Peabody Conservatory. In the preceding ten years, she was a singer-songwriter in Chicago and played at many of the city’s nightclubs. Since then Kirsten has written music for orchestra, chamber ensemble, opera, and for solo instruments. Color, memory, voice, words, and breath are fascinations that are intrinsic to her musical language. Her work Strange Angel was part of ACO’s Underwood New Music Readings in 2007. She has received awards and grants from the Guggenheim Foundation, the Rockefeller Foundation, Fromm Foundation, The MAP Fund, ASCAP, and from the state of Connecticut. In addition to the world premiere of strange pilgrims, her piece for ACO, the 2013-14 season includes premieres by eighth blackbird, Calyx Piano Trio, cellist Jeffrey Zeigler, and a song cycle for the duo TwoSense. Kirsten lives and works in New Haven, CT. She teaches privately and at the HighSCORE Festival in Pavia, Italy.

Of strange pilgrims which incorporates video by Mark DeChiazza, she says, “strange pilgrims is a meditation on the process of discovery and its relationship to the spirit. The title of the piece comes from Gabriel García Márquez's collection of the same name, which explores themes of otherness and isolation. In the solitude of creating music, comes the knowledge that a composer's dream can only be realized with the dedication of the remarkable ‘others’ who give the vision life.”  
For more information visit www.amybethkirsten.com

David Lang:
statement to the court

David Lang (photo credit:  Peter Serling)
David Lang
is one of America's most performed composers. Many of his works resemble each other only in the fierce intelligence and clarity of vision that inform their structures. His catalogue is extensive, and his opera, orchestra, chamber and solo works are by turns ominous, ethereal, urgent, hypnotic, unsettling and very emotionally direct. Much of his work seeks to expand the definition of virtuosity in music — even the deceptively simple pieces can be fiendishly difficult to play and require incredible concentration by musicians and audiences alike. ACO has commissioned and premiered two works by Lang at Carnegie Hall: Bonehead in 1990 and how to pray in 2002. Lang’s the little match girl passion, commissioned by Carnegie Hall for Paul Hillier's vocal ensemble Theater of Voices, was awarded the 2008 Pulitzer Prize for music as well as a 2010 Grammy for the subsequent recording. “There is no name yet for this kind of music,” wrote Los Angeles Times music critic Mark Swed of Lang's work, “but audiences around the globe are hearing more and more of it.” Lang is co-founder and co-artistic director of New York's legendary music collective Bang on a Can.

ACO and The Crossing give the New York premiere of Lang’s work statement to the court, which sets a speech by Eugene Debs, the pioneering 19th century American Socialist and founder of the International Workers of the World, in which he addresses the court that has just found him guilty of sedition for speaking out against American participation in World War I. Lang explains, “What I love about this speech is that it is both critical of the political world the Debs lives in and at the same time optimistic about it. He sees the problems around him and yet is confident that through dedication things can be improved. I wanted to try to capture this duality of feeling in my setting of the text – the clear-eyed recognition that things are not what they should be, the hopefulness that, with hard work, things can be made a lot better.”

For more information about visit www.davidlangmusic.com

Steve Reich: Eight Lines

Steve Reich (photo credit:  Jeffrey Herman)

Steve Reich was recently called “our greatest living composer” by The New York Times and “the most original musical thinker of our time” by The New Yorker. From his early taped speech pieces It's Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot’s digital video opera Three Tales (2002), Reich's path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. “There's just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,” states The Guardian (London). In April 2009 he was awarded the Pulitzer Prize in Music for his composition Double Sextet. ACO performs Reich’s landmark work from 1983, Eight Lines, with pianists Margaret Kampmeier and Stephen Gosling. Reich has said that Eight Lines has its roots in his earlier work as well as in his studies in the 1970s of the cantillation (chanting) of the Hebrew Scriptures.

For more information, visit www.stevereich.com.
 

Guest Artists:

The CrossingWinner of the 2009 and 2011 ASCAP Awards for Adventurous Programming, The Crossing is a twenty-four-member professional chamber choir conducted by Donald Nally. Formed by a group of friends in 2006, the ensemble was the resident choir of the Spoleto Festival, Italy in 2007 and has since expanded such collaborations exponentially, appearing last September at Miller Theatre of Columbia University in the American premiere of James Dillon’s Nine Rivers with the International Contemporary Ensemble (ICE), at Bang on a Can’s first Philadelphia Marathon in 2010, and with Network for New Music during The Crossing’s annual Month of Moderns festival in 2012.

The Crossing frequently commissions works and has presented recent world premieres by William Brooks, Ēriks Ešenvalds, Paul Fowler, Kamran Ince, Gabriel Jackson, David Lang (Pulitzer 2008), Lansing McLoskey, David Shapiro, Kile Smith and Lewis Spratlan (Pulitzer 2000). Upcoming premieres include works of John Luther Adams, Gavin Bryars, Gene Coleman, Ted Hearne, Chris Jonas, Francis Pott, and Joby Talbot; upcoming collaborations include PRISM Saxophone Quartet, Ensemble N_JP, Sun Spits Cherries, the Association of Anglican Musicians, Arts at The Park (New York), Dolce Suono, and Toshimaru Nakamura.
For more information, visit www.crossingchoir.com. 

Orchestra Underground:
Border Vanguards
Friday, April 4, 2014 at 7:30pm
Zankel Hall at Carnegie Hall

ACO shifts its focus to Latin and jazz-influences in this April Orchestra Underground concert featuring Gunther Schuller’s groundbreaking first use of jazz in a classical setting in Contours and rarely heard Mexican composer Silvestre RevueltasAlcancias. Gabriela Lena Frank’s Manchay Tiempo, inspired by the composer’s recurring nightmare, has its New York premiere, as does Derek Bermel’s Mar de Setembro featuring Brazilian pop star singer Luciana Souza. The world premiere of Marcos Balter’s new ACO-commissioned piece Favela, inspired by life in his native Brazil, completes the concert.

Marcos Balter: Favela

Marcos BalterMarcos Balter has been featured at ACO’s SONiC Festival in 2011, Lincoln Center's Mostly Mozart Festival, Chicago Symphony Orchestra's MusicNOW, New World Symphony Center, Teatro Amazonas, Morgan Library, and the Museum of Contemporary Art of Chicago, among others. Past honors include commissions from Meet the Composer, Chamber Music America, The Fromm Foundation at Harvard University, The Holland/America Music Society, The MacArthur Foundation, and the Art Institute of Chicago, fellowships from the Tanglewood Music Center/Leonard Bernstein Foundation and the Civitella Ranieri Foundation (USA/Italy), as well as first prizes in several national and international composition competitions. Former composition teachers include Augusta Read Thomas, Amy Williams, and Jay Alan Yim. Having previously taught at the University of Pittsburgh, Northwestern University, and Lawrence University, Balter is currently the Director of the Music Composition program at Columbia College Chicago. 

His piece commissioned by ACO, Favela, takes its title and inspiration from the term used to describe “shantytowns” in Brazil, the composer’s native country. He explains, “The piece creates a big sonic shantytown, with ‘musical shacks’ that are at once independent from one another and connected by a sense of unity. Each ‘musical shack’ musically mimics the makeshift-like construction of actual shacks, with different kinds of material (instruments and performers) being as fully optimized as possible, some more modest, and some more developed than others.”   
For more information visit www.marcosbalter.com

Derek Bermel:  Mar de Setembro

Derek BermelDerek Bermel has received commissions from the Pittsburgh, National, Saint Louis, and Pacific Symphonies, Los Angeles Philharmonic, Chamber Music Society of Lincoln Center, WNYC, eighth blackbird, the Guarneri String Quartet, Music from Copland House and Music from China, De Ereprijs (Netherlands), Jazz Xchange (U.K.), violinist Midori, and electric guitarist Wiek Hijmans, among others. His many honors include the Alpert Award in the Arts, Rome Prize, Guggenheim and Fulbright Fellowships, American Music Center's Trailblazer Award, and Academy Award from the American Academy of Arts and Letters; commissions from the Koussevitzky and Fromm Foundations, Meet the Composer, and Cary Trust; and residencies at the Institute for Advanced Study, Yaddo, Tanglewood, Aspen, Banff, Bellagio, Copland House, Sacatar, and Civitella Ranieri. His discography features three critically acclaimed discs: an all-Bermel orchestral recording that includes his clarinet concerto Voices (BMOP/sound); Soul Garden (New World/CRI); and his most recent disc, Canzonas Americanas, with Alarm Will Sound (Cantaloupe). 

Bermel’s work Mar de Setembro sets the work of the great Portuguese poet Eugénio de Andrade, and will be performed by ACO with Brazilian songstress Luciana Souza. Bermel says of Andrade’s poetry, “I was struck by the direct lyricism of his language, his bold depictions of the natural world's sensuality.”.  
For more information visit www.derekbermel.com

Gabriela Lena Frank:  Manchay Tiempo

Gabriela Lena FrankBorn in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Gabriela Lena Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Bela Bartók and Alberto Ginastera, Frank is something of a musical anthropologist. She has traveled extensively throughout South America and her pieces reflect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own.

Frank’s piece, Manchay Tiempo, attempts to render a mysterious recurring dream Frank has had since childhood – one that she discovered has roots in a documentary film she viewed long ago, telling of the horrors of the Shining Path (Sendero Luminoso), a Maoist-inspired terrorist group in Peru.
For more information visit wwww.gschirmer.com

Silvestre Revueltas: Alcancias

Silvestre RevueltasSilvestre Revueltas was born in Santiago Papasquiaro, Durango, a small town in the north of Mexico, in 1899 and studied at the National Conservatory of Music in Mexico City and the Chicago College of Music. With Carlos Chávez he organized the first concerts of contemporary music in Mexico in 1924 and 1925, and in 1929 Chávez offered him the position of assistant conductor of the Orquesta Sinfónica de Mexico, which he held until 1936. Working together they were able to do much to promote Mexican music, offering a rich repertoire including works by the most outstanding and prominent names of the period. At the same time Revueltas began a very successful career as a prolific composer producing a series of works that constitute a vivid example of his extraordinary contribution to the form of the national Mexican symphonic poem, with compositions that show his originality and freshness of inspiration, together with his technical mastery.  

The title of Revueltas’ collage-like work Alcancias translates as “piggy banks,” or alternatively, as “brothel keepers.” Filled with motives from Mexican folk music, Alcancias displays Revueltas’ vital and radical approach to orchestral music.
For more information visit www.peermusicclassical.com

Gunther Schuller: Contours

Gunther SchullerGunther Schuller has developed a musical career that ranges from composing and conducting to his extensive work as an educator, jazz historian, administrator, music publisher, record producer and author. Schuller was principal French horn at the age of 17 with the Cincinnati Symphony, and rose to that position seven years later with the Metropolitan Opera. In 1959 he gave up performing to devote himself primarily to composition, and has since been rewarded with the Pulitzer Prize (1994), two Guggenheim fellowships, the Darius Milhaud Award, the Rodgers & Hammerstein Award, the William Schuman Award from Columbia University for lifetime achievement, a MacArthur Award, numerous Lifetime Achievement awards and is an original member of the American Classical Music Hall of Fame. As a conductor, Schuller travels throughout the world, leading major ensembles from New Zealand to Holland to St. Louis, including ACO on several occasions. Schuller has written dozens of essays and four books, including renowned jazz history studies and a volume on the art of conducting, entitled The Compleat Conductor. Schuller also founded and led the New England Ragtime Ensemble, and is largely responsible for the renaissance of Scott Joplin and other ragtime greats. He has led the Bach Festival, in Spokane, Washington as Artistic Director since 1993.

Schuller’s work Contours was composed from 1955 to 1958. Within the piece is a brief “jazz” variation in the movement titled Partita, which was the first time Schuller placed any type of jazz element in one of his "classical" compositions. The piece retains his style of expressive free atonalism throughout.
For more information visit www.schirmer.com

Guest Artists:

Luciana SouzaGrammy winner Luciana Souza is a leading jazz singer and interpreter. Born in São Paulo, Brazil, in the late sixties, she grew up in a family of Bossa Nova innovators – her father was a singer and songwriter and her mother was a poet and lyricist. Souza’s work as a performer transcends traditional boundaries around musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened approach to classical repertoire and new music. Souza has performed and recorded with greats including Herbie Hancock, Paul Simon, James Taylor, Bobby McFerrin, Maria Schneider, Danilo Perez and many others. Her longstanding duo work with Brazilian guitarist Romero Lubambo has earned her accolades across the globe, and her complete discography contains more than 50 records as a side singer. Entertainment Weekly writes, “Her voice traces a landscape of emotion that knows no boundaries.” Luciana Souza has been a prominent soloist in two important works by composer Osvaldo Golijov – La Pasion According to St. Mark and Oceana. She has performed with the Boston Symphony Orchestra, Brooklyn Philharmonic, New York Philharmonic, Atlanta Symphony, and Los Angeles Philharmonic.
For more information, visit www.lucianasouza.com

Underwood New Music Readings
Friday and Saturday, June 6 and 7, 2014. DiMenna Center (450 W 37th St., NYC).

Underwood ReadingsACO will hold its 23rd Annual Underwood New Music Readings for emerging composers on Friday and Saturday, June 6 and 7, at the DiMenna Center. In what has become a rite of passage for aspiring orchestral composers, up to eight composers from throughout the United States will be selected to receive a reading of a new work, and one composer will be selected to receive a $15,000 commission for a work to be performed by ACO during an upcoming season. Each participating composer receives rehearsal, reading, and a digital recording of his or her work. Review and feedback sessions with ACO principal players, mentor-composers, guest conductors, and industry representatives provide crucial artistic, technical, and conceptual assistance.

The proceedings are open to the public free of charge. The first day of Readings, a working rehearsal, will be presented from 10am to 12:30pm on Monday, April 8th; the second day of Readings will take place on Tuesday evening, April 9th, at 7:30pm, during which all selected pieces will be polished and performed in their entirety. ACO’s artistic director, Robert Beaser, directs the readings. The deadline for composers interested in applying to the Underwood New Music Readings is Monday, December 10, 2012. Application guidelines and other information will be available in September.

Ticket Info

Subscriptions for the Orchestra Underground concerts in Zankel Hall at Carnegie Hall are available for $111 or $141 and can be purchased at CarnegieCharge 212-247-7800, www.carnegiehall.org, or at the Carnegie Hall Box Office. Single tickets are priced at $40 or $50, and go on sale to the public September 10, 2013.

The Underwood New Music Readings and Jazz Composers Orchestra Institute Readings are open to the public, free of charge. Reservations required.

Major support of American Composers Orchestra is provided by The Achelis Foundation, Amphion Foundation, Arlington Associates, ASCAP, ASCAP Foundation, Mary Duke Biddle Foundation, BMI, BMI Foundation, Mary Flagler Cary Charitable Trust, Edward T. Cone Foundation, Aaron Copland Fund for Music, The Alice M. Ditson Fund of Columbia University, Fromm Music Foundation, GAP Foundation, Ann and Gordon Getty Foundation, Francis Goelet Charitable Lead Trusts, Horace W. Goldsmith Foundation, The Greenwall Foundation, The Irving Harris Foundation, Jephson Educational Trust, John and Evelyn Kossak Foundation, LVMH Moët Hennessy Louis Vuitton Inc, Meet The Composer, The Andrew W. Mellon Foundation, Fan Fox and Leslie R. Samuels Foundation, Virgil Thomson Foundation, Paul Underwood Charitable Trust, The Isak and Rose Weinman Foundation and The Helen F. Whitaker Fund. ACO programs are also made possible with public funds from the National Endowment for the Arts, New York State Council on the Arts, and New York City Department of Cultural Affairs.

ACO programs are also made possible with public funds from the National Endowment for the Arts, New York State Council on the Arts, and New York City Department of Cultural Affairs.

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