TŌN’s Musicians Preview Upcoming Performances

Find out what the musicians of The Orchestra Now think about their upcoming performances in our video series This Season With TŌN.

Watch for these enlightening videos before each of our concerts at Bard’s Fisher Center, Carnegie Hall, and Jazz at Lincoln Center’s Rose Theater.

Hear TŌN on “Performance Today”

The Orchestra Now will once again be featured on America’s most popular classical music radio program, Performance Today, this Wednesday, November 14, with our performance of Jennifer Higdon’s blue cathedral . Listen online starting at 9 AM Wednesday. Hudson Valley residents can also tune in to WMHT-FM 89.1 or WRHV-FM 88.7 at 8 PM Wednesday evening.

To keep up on all of TŌN’s radio appearances, visit the Watch & Listen page on this website and click on “Radio Schedule.”

>MORE INFO ON PERFORMANCE TODAY

TŌN Begins a New Season on WMHT Live!

The Orchestra Now is thrilled to once again have our concerts broadcast on WMHT Live! Tune in to WMHT-FM 89.1/88.7, serving Eastern New York and Western New England, to hear our concerts recorded live at the Fisher Center for the Performing Arts at Bard College.

For a full schedule of upcoming broadcasts, visit the Watch & Listen page on this website and click on “Radio Schedule.”

>MORE INFO ON WMHT LIVE

Meet the Musicians of TŌN

All season long we’ll be introducing you to our fabulous musicians in the video series Meet the Musicians of TŌN.

Get to know a little more about their journeys and what it’s like to pursue music as a career.

TŌN Debuts on WWFM

Starting September 28, 2018, TŌN debuts on WWFM – The Classical Network. Live stream online or listen in NJ and eastern PA on 89.1 FM or 91.1 FM.

To see the schedule of future TŌN appearances on WWFM, visit the Watch & Listen page on this website and click on “Radio Schedule.”

>MORE INFO ON WWFM

New Video Series: 60-Second Thumbnails

We are proud to debut our newest video series, 60-Second Thumbnails.

In each video, TŌN oboist Kelly Mozeik gives you a quick rundown of all the essential information you might want to know before hearing a piece performed in concert. Watch for new videos in this series before each TŌN concert at Bard’s Fisher Center, Carnegie Hall, and Jazz at Lincoln Center’s Rose Theater.

Announcing Season Four: 2018–19 Concerts

The Orchestra Now is thrilled to announce our fourth season of concerts, which includes five concert series: at Carnegie Hall, Rose Theater at Jazz at Lincoln Center’s Frederick P. Rose Hall, The Metropolitan Museum of Art, The Fisher Center at Bard College, and free concerts in New York City and Hudson, NY.

Guest artists include conductors Tan Dun and Fabio Luisi; violinist Vadim Repin; pianists Orion Weiss and Alessandro Taverna; soprano Elizabeth de Trejo; and baritone Michael Anthony McGee.

The season also features four U.S. premieres: Tan Dun’s Cello Concerto: Intercourse of Fire and Water, Stephen O’Malley’s Un Vide dans le Ciel, Lera Auerbach’s De Profundis (Violin Concerto No. 3), and Joachim Raff’s De Profundis; Plus the New York premiere of Morton Feldman’s work Orchestra.

Subscription packages are on sale now for the Fisher Center series, and tickets are on sale now for the Sight & Sound series at The Metropolitan Museum of Art. Tickets for most other concerts go on sale in early August.

>Browse the season
>Concerts at the Fisher Center at Bard College
>Concerts at Carnegie Hall
>Sight & Sound at The Metropolitan Museum of Art
>Concerts at Rose Theater
>Free concerts at Symphony Space and Hudson Hall

Photo by David DeNee

Season Four of Sight & Sound is now on sale!

Tickets are now available for the 2018–19 season of The Orchestra Now’s popular series Sight & Sound at The Metropolitan Museum of Art! At each event, conductor and music historian Leon Botstein explores the parallels between orchestral music and the visual arts. First, A discussion is accompanied by musical excerpts performed by The Orchestra Now and on-screen artworks. Then, a full performance and audience Q&A.

In season four, music by Mahler, Chopin, Berlioz, Webern, and a NY premiere by Feldman will be examined alongside artworks by Klimt, Picasso, Delacroix, Pollock, and others.

3-concert packages start at just $75. Single tickets from $30. All tickets include museum admission.

>EXPLORE THE SEASON

Photo by David DeNee

Subscriptions for Season 4 at the Fisher Center now on sale!

Leon Botstein will lead six concerts at Bard College’s Fisher Center in 2018–19 as part of The Orchestra Now’s fourth season. Just before the midterm elections we’ll play an all-American concert that includes Aaron Copland’s Lincoln Portrait. In February we’ll present works that illuminate the heroic, including selections from Wagner’s Götterdämmerung and StraussA Hero’s Life. In April we’ll hear how various composers have interpreted Psalm 130, “Out of the Depths,” and we’ll also give a special performance of Verdi’s immortal Requiem. In addition to all this, throughout the season we’ll be performing pieces by Brahms, Elgar, Tchaikovsky, and more.

>Click here to browse the concerts

Subscriptions are available now. Single tickets go on sale in early August.

5-concert Series

  • Choose 5 Sat nights or 5 Sun matinees
  • Seats are renewable from year to year
  • All locations $120 UP TO 35% OFF!
  • Family boxes from $190

Choose Your Own Series

  • Choose 3 or 4 concerts
  • You can mix and match days and seat locations
  • 25% off the full price

>Click here to subscribe
>Click here to renew your existing subscription

Photo by David DeNee

TŌN’s Elias Rodriguez on Weber’s Clarinet Concerto No. 1

Elias Rodriguez, winner of The Orchestra Now’s 2017 Concerto Competition, performed Weber’s Clarinet Concerto No. 1 with the orchestra on February 17 and 18, 2018. Below are his thoughts on this piece. 

There is no doubt that the clarinet was Carl Maria von Weber’s favorite wind instrument. Weber’s contributions to clarinet literature are significant and of comparable importance to that of Mozart and Brahms. It was only during the second half of the 18th century that the clarinet was sufficiently developed to become generally accepted as an orchestral and solo instrument. And between the years 1811 and 1816, Weber wrote no fewer than seven compositions featuring the clarinet. These include the Quintet Op. 34, a concertino, two concerti, and the Grand Duo Concertant, Op. 48, all of which (except the Duo) were written for the renowned clarinetist of the period, Heinrich Baermann (1784–1847). The First Concerto, composed in 1811, came about from a commission by Maximilian Joseph, King of Bavaria, after the success that the composer had with his Concertino Op. 26, written just before. The musicians of the orchestra begged Weber to write a concerto for their respective instrument, but to their dismay, he responded by writing a trio of pieces for solo clarinet.

I initially chose this concerto for the first movement theme introduced by the orchestra. From the onset, the music is full of drama. I fell in love with the decorative melodies contrasted by dramatic statements from the orchestra, and there is something captivating to me about the key of F minor, which though somber in sound, allows for a lot of expression—and it is no wonder. Non-clarinetists know Weber prominently for his opera overtures, most notably Der Freischütz, Oberon, and Euryanthe. And this concerto is essentially an opera in one act without words.

In my lessons of this piece, my teacher emphasized the importance of singing through my instrument, and I was encouraged to attend or listen to more opera, in order to better emulate the early German romantic style.

The second movement Adagio resembles largely and demonstrates the influence of the second movement Adagio from Mozart’s Clarinet Concerto in A major, K. 622, written just 20 years before. The melody is melancholic, and the long phrases test the soloist’s air control.

Characteristic of ending most concerti from the Classical and early Romantic period, the third and finale movement is a rondo. In a rondo, a principal theme (typically jovial and light in character) alternates with one or more contrasting themes.

Weber writes a number of expressive markings throughout the concerto, among them con duolo (with pain), morendo (dying), con anima (with soul), lusingando (flattering), scherzando (joking), con fuoco (with fire).

I try to live my life as peaceful as possible, but when it comes to music, bring all of the drama! I’ve known since I was a very young clarinetist that if I ever had the honor to stand in front of an orchestra, I would play Weber, without a second thought.

Photo by Jake Luttinger