Nash Naubert, Bansuri, will perform an Indian classical flute recital on Friday, July 5, 2019, 8pm at the Weill Recital Hall at Carnegie Hall, located at 57th Street and Seventh Avenue in Manhattan. Naubert, an American citizen who has been living in India for the last 20 years, will be joined on Tabla by Aditya Kalyanpur, and by dancer Gaysil Naubert.
Nash Naubert has pursued the art of Indian classical music to a high level of virtuosity which, along with his touring and volunteer work, speaks to his passion for Indian classical music. Nash will be accompanied on tabla byAditya Kalyanpur, a virtuoso of the younger generation of players worldwide. Together they will present traditional ragas that date back centuries. The concert will end with ‘Hamsa,’ a fusion piece originally composed by Nash Naubert. The piece reflects the sound of birds, and will be interpreted by Gaysil Naubert through an original Peacock dance (a ballet with Indian classical hand movements).
Program will include: Raga Bageshree Raga Kedar Hamsa
A raga or raag(literally means “coloring, tingeing, dyeing”) is a melodic framework for improvisation in Indian classical music. The raga is an old tradition, and every performer expresses the raga in their own way. All of the music in the performance is completely improvised and composed by Naubert Naubert.
In 2020, the world will celebrate Beethoven’s 250th birthday.
In anticipation of his sestercentennial, this coming June 26 & 28, 2019, singers Deborah Carmichael, Kinga Cserjési, Berry Jones, and Peter Ludwig, joined by instrumentalists Nikita Morozov (violin), Valeriya Sholokhova (cello), and Douglas Martin (piano), will perform some of Beethoven’s little-known vocal works, as well as familiar favorites.
Program will include various ensemble and solo works by Beethoven including: -concert aria Ah, perfido! –Mir ist so wunderbar from the operaFidelio -Piano Trio in E-flat major, Op.70, No.2: IV. Finale. Allegro -Selections from Scottish Songs, Welsh Songs, and other Lieder
The concert on June 28th, 5pm is the 2nd annual benefit concert for the Amagansett Life-Saving Station (160 Atlantic Ave. Amagansett, Long Island, NY 11930). Held in the boat room,tickets are $20 per person in advance (amagansettlss.org); $25 at the door. Seating is limited and all seats are general admission.
“The Amagansett Life-Saving Station has been a unique centerpiece of Long Island history since it was built in 1902. Over a period of 44 years, the dedicated men who worked at the Station saved hundreds of lives. In 1942, four Nazi saboteurs were found by Coast Guardsman John Cullen close to the Station during a nightly beach patrol. And in 1966, the building was rescued from demolition and purchased for a dollar by Joel Carmichael whose family lived there for the rest of the 20th century. After Carmichael’s death in 2006, the house was donated to East Hampton Town for historical preservation.”
(partially cited with fromOceanKeeperTheMovie.com)
On May 17, 2007, the East Hampton Town Board designated the Amagansett Life-Saving Station a historic landmark by resolution 2007-43. The board appointed an advisory committee of residents, which then became the nonprofit U.S. Amagansett Life-Saving and Coast Guard Station Society, overseeing the six-year restoration of the Station to its original 1902 design, an undertaking guided by the comprehensive Historic Structure Report commissioned from Historic Services Director Robert Hefner.
The four singers of “The Cozy Side of Beethoven” are students and teachers of the Libero Canto approach. Libero Canto is a way of teaching and learning singing that liberates the vocal and musical potential of singers who wish to develop singing as an art form, and makes the joy of singing accessible to anyone who seeks it. The name Libero Canto comes from the phrase, “la via al libero canto,” the path to free singing. This approach was first developed by Lajos Szamosi in Budapest before the Second World War. Libero Canto is a path, a process, and an attitude toward singing and music making. It is a humanistic, holistic approach that values authentic expression and the unfolding of individual potential, and trusts that if we imagine music clearly and allow our true, vital impulses to come through, the wisdom of the body will carry us toward increasing freedom in singing.
DEBORAH CARMICHAEL studied singing with Edvin Szamosi and piano at the Mannes College of Music Extension Division. She has sung in Europe and the United States, with Lea Bracher as the Duo Delizioso, and since 2013 with Kinga Cserjési as La Compagnia Amarilli. Deborah has taught singing in New York and Vienna since 1992, including workshops in Austria, Budapest and New York. In 2012, she initiated the Il Cuore Canta workshop series for young opera singers. She produced the documentary film, “Libero Canto, Voice is Breath,” by Andrea Simon.
KINGA CSERJÉSI has a master’s degree in choir conducting and in the Kodaly method from the Liszt Ferenc Academy of Music in Budapest, and a postgraduate degree in Early Vocal Music from the Fontys University in the Netherlands. She studied singing with Heent Prins and Edvin Szamosi. Kinga has sung internationally as a soloist and with various vocal ensembles and is a founding member of the Hungarian group, Bartok’s Roses. She has taught singing in Budapest and New York since 1994, and is currently living, teaching, and performing in New York City.
BERRY JONES attended the Eastman School School of Music and the Manhattan School of Music in Vocal Performance. He was a choir director and organist for nine years with various churches in the New York area, and a music educator for the Archdiocese of New York for fifteen years. He was also a teaching artist for the St. Luke’s Educational Outreach program and the Harlem School of the Arts. He has sung recitals and concerts in the U.S. as well as in Florence, Italy. Berry is currently studying singing with Sandy Goodman while transitioning from baritone to tenor.
PETER LUDWIG is a graduate of Juilliard and NYU. He has sung principal roles with Vineyard and Encompass Theaters, Pensacola Opera, Stonington Opera Arts, et al. He was a soloist at Carnegie and Weill Halls and other venues in the U.S. and Europe, and has been featured in ten world or U.S. premieres. Peter has taught singing at the 92nd Street Y and LaGuardia High School of the Arts, where he directed the Opera Workshop, as well as workshops and master classes for singers and actors in Greece. Peter now teaches singing privately in New York City.
On Wednesday May 29, 2019 at 8pm, Carnegie Hall will host both the University of Kentucky’s Symphony Orchestra and Wind Symphony in honor of the 100th anniversary of the School of Music at the University of Kentucky. The performance takes place at the Stern Auditorium / Perelman Stage, Carnegie Hall, 881 7th Ave, New York, NY. Tickets are $20, and are available at carnegiehall.org or by calling 212-247-7800.
130 players between the ages of 18-30 will appear onstage in this spectacular evening, which begins with the University of Kentucky’s Wind Symphony, performing an exciting array of contemporary and traditional concert band compositions. Among the selections are Sousa’s The Stars and Stripes Forever, all movements of Grainger’s Lincolnshire Posy, and the world premiere of Wildcat Run by composer James M. Stephenson, who will be in attendance. Designed to be ‘nothing but solid fun for 6 minutes’, Wildcat Run is a commission that highlights every section of the Symphony, with hints of Stephen Foster’s “My Old Kentucky Home” – a nod to the University’s 100 year run.
The University of Kentucky’s Symphony Orchestra follows with the Berlioz stand-alone overture Roman Carnival Overture, and Dvořák’s famous Symphony No.9: From the New World, which premiered at Carnegie Hall in 1893.
University of Kentucky Wind Symphony, under the baton of John Cody Birdwell: Aaron CoplandFanfare for the Common Man (1942) (Dana Biggs, Conductor) Julie Giroux Symphony No. V: ‘Elements’ (2018) — III. Wind in Eb Michael DaughertyReflections on the Mississippi (2015) (with Matt Hightower, Tuba) James M. StephensonWildcat Run (2019) — World Premiere Percy Aldridge GraingerLincolnshire Posy (1937) John Philip SousaThe Stars and Stripes Forever (1896)
University of Kentucky Symphony Orchestra, under the baton of John Nardolillo:
Antonín Dvořák Symphony No. 9 in E minor, ‘From the New World’ (1893) Hector BerliozLe carnaval romain (Roman Carnival Overture) (1844)
The School of Music in the University of Kentucky College of Fine Arts has garnered national recognition for high-caliber education in opera, choral and instrumental music performance, as well as music education, music therapy, composition, theory and music history.
Celebrating its 40th anniversary year of continuous activity, the extraordinary String Trio of New York ensemble will be closing out the 30th anniversary season of New York’s renowned Interpretations Series along with String Noise at Brooklyn’s Roulette on Thursday, June 6, 2019, at 8pm. Roulette, 509 Atlantic Ave, Brooklyn, NY, tickets are $20 for adults / $15 for students & seniors, and available on Roulette.org and Interpretations.info.
The ubiquitous violin duo String Noise(Conrad Harris and GRAMMY®-nominated Pauline Kim Harris) present four world premieres, including a premiere by George Lewis titled Introduction to Memory – the first in his new series of works for ensembles and computer sound processing. Opening the night is Pauline Kim Harris’ 100 Thimbles in a Box for Syrinx (acoustic synthesizer) and two violins (featuring Spencer Topel), sharing its title from a book on the spirit and beauty of Korean handicrafts. Much like a bojagi (Korean wrapping cloth), the piece weaves its instruments in a sonic tapestry using 100 techniques wrapped and stitched together. Rounding out the program are The Life of Information by Jessie Cox, focusing on identity and information; and April by Sam Yulsman, a multi-movement work about gestures and memories, envisioned specifically for String Noise.
For this very special performance, The String Trio of New York (S3NY) will feature James Emery (guitarist and founding member); Rob Thomas (violin); and Michael Formanek (bass, replacing an indisposed Tony Marino), who will perform vignettes of notable early works by S3NY co-founders, including Billy Bang’s Bang’sBounce and John Lindberg’s Twixt C & D, plus a new realization of a piece they commissioned from the legendary Muhal Richard Abrams, Strings and Things. Taking a World Music view of this stunning work, S3NY will be joined by percussionist Thurman Barker – a long-time collaborator with Abrams and Emery – playing balafon, drums, and marimba. The program will be rounded out by some of Emery’s most popular works for the ensemble, The Pursuit of Happiness, Cobalt Blue, and E Pedal.
On Thursday, May 2, 2019, at 8pm, the seventh concert of the 2018-2019 Interpretations series’ Thirtieth Anniversary Season features the acoustic-electronic hybrid composer Edmund Campion, and sound artist and composer Annie Gosfield, whom the New York Times calls “master of musical feedback.” The performance is held at Roulette, 509 Atlantic Ave, Brooklyn, NY, tickets are $20 for adults / $15 for students & seniors, and available on Roulette.org and Interpretations.info.
Annie Gosfield presents a world of things transformed, in a varied program of new work that generates and recycles musical materials, creating a common thread from intricately notated music to free improvisation. Commissioned by the Library of Congress, Gosfield presents the NYC premiere of A Mother’s Note and a Single Vote, written for the centenary of the passage of the 19th Amendment, which granted women the right to vote. Performed by Pauline Kim Harris on violin and pianist Vicky Chow, A Mother’s Note… is about making one’s voice heard in a noisy world. Harris then premieres Silken Splinters and Feather Stitches, which sets a partly improvised violin part against an electronic assemblage of sampled fragments from A Mother’s Note…. Lastly, the sounds are transformed into fully improvised form, by Gosfield playing sampler with Sylvie Courvoisier (piano) and Roger Kleier (electric guitar).
Edmund Campion will present Recumulations, a piece for metal triangles, electronics and video animations by Claudia Hart (with a post-analog media reconsideration of Primary Accumulation, the 1972 seminal dance film by Trisha Brown); Four Bells For Tom, with programming from Jeff Lubow; the NY premiere of Auditory Fiction II, for computer-driven percussionists Russel Greenberg and Bill Solomon controlling Hart’s virtual dancers in real-time; and the world premiere of Late Bloomer, a virtuosic 4-hand piano work with electronics, composed for NYC pianists Marilyn Nonken and Manuel Laufer, and a resonating piano device designed by Jeremy Wagner at the Center for New Music and Audio Technologies. Late Bloomer is dedicated to the memory of David Lester Wessel (1942-2014). (Campion is the Director of the Center for New Music and Audio Technologies at the University of California Berkeley.)
“When we started, this was a real need, especially for the more experimental new music,” says Founder and Artistic Director Thomas Buckner. “Now we are experiencing a blossoming of new music groups and solo performers, which makes the series necessary in a new way. There are so many exceptional composers and performers who need a great place to perform.”
The Interpretations series, now in its thirtieth season, is a New York-based concert series focusing on the relationship between contemporary composers and their interpreters. Sometimes the interpreters are the composers themselves; more often, the series features performers who specialize in the interpretation of new music.
For its 30th Anniversary, Interpretations has assembled an eclectic line-up of innovative composers and their interpreters, representing a wide variety of approaches to music making. The Interpretations Series is dedicated to nurturing the relationship of innovative composers with the growing community of new music virtuoso performers.