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

Elias Rodriguez, winner of The Orchestra Now’s 2017 Concerto Competition, will perform 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

Watch the Sight & Sound livestream

Curious about our series Sight & Sound at The Metropolitan Museum of Art? Now you can watch a full concert online!

At Shostakovich, Michelangelo & The Artistic Conscience, conductor and music historian Leon Botstein explored the parallels between Shostakovich’s Suite on Verses of Michelangelo and the artwork of Michelangelo. On-screen artworks were discussed alongside musical excerpts, followed by a full performance with baritone Tyler Duncan, and an audience Q&A.

Check out the event in the video below, as it was streamed live on Facebook.

Get to know the TŌN musicians!

Get to know the outstanding musicians of TŌN on our YouTube channel!

Some of our finest oboe, viola, bassoon, and violin players share their personal stories to give audiences some insight into the musicians’ experience.

Watch the TŌN performance series on YouTube

Find out which pieces our musicians love to play in TŌN’s performance series on YouTube.

Enjoy performances of works by Beethoven, Holst, Bach, and others as performed by TŌN musicians on solo oboe, viola, bassoon, and violin.

The 2nd annual “Set the TŌN” Benefit

On Thursday, November 16, 2017, The Orchestra Now will be hosting the second annual Set the TŌN benefit event at City Winery in Manhattan.

Join us for a cocktail reception, concert, and dinner with performances by members of The Orchestra Now.

Click here for more information and to RSVP.

Photo by David DeNee

TŌN debuts on WMHT Live!

The Orchestra Now is pleased to announce our debut on WMHT Live! Tune in to WMHT-FM 89.1/88.7, serving Eastern New York and Western New England, on Sun, Oct 15 at 6 PM to hear Mussorgsky’s Night on Bald Mountain and Tchaikovsky’s Third Symphony, conducted by Leon Botstein.

Future broadcasts will take place on Nov 5, 2017; Jan 28, 2018; March 18, 2018; April 8, 2018; and May 20, 2018.


Photo by Matt Dine

TŌN welcomes its newest musicians!

The Orchestra Now is pleased to welcome our newest class of musicians to the program! These 21 graduate students hail from 5 countries and 10 U.S. states, as close as White Plains, NY and as far away as Caracas, Venezuela and Sichuan, China. Collectively, they’ve studied at 30 schools, including The Julliard School, Manhattan School of Music, New England Conservatory, Oberlin Conservatory, Yale School of Music, the Peabody Institute, and Eastman School of Music.

Take a look at their profiles and get to know these talented young musicians:

Hyunjae Bae
Yurie Mitsuhashi
Lila Vivas Blanco
Weiqiao Wu
Yuqian Zhang

Yuan Qi

Kyle Anderson
Danny Poceta

Joshua DePoint
Casey Karr
Luke Stence

Matthew Ross
Denis Savelyev

Regina Brady
James Jihyun Kim

Carl Gardner

Ethan Brozka
Anna Lenhart

William Kaufman
Miles Salerni

Emily Melendes

Tickets Now on Sale for Season 3 Concerts!

ACT NOW to get the best seats and hear works like Beethoven‘s Ninth Symphony, Debussy‘s Nocturnes, Gershwin‘s An American in Paris, Holst‘s The Planets, Stravinsky‘s The Rite of Spring, and much much more!

Guest conductors include Neeme Järvi, JoAnn Falletta, and Gerard Schwarz.


>TŌN at the Fisher Center
>TŌN at Carnegie Hall
>Sight & Sound at The Metropolitan Museum of Art
>TŌN at Rose Theater
>TŌN at Alice Tully Hall

Photo by Matt Dine.

TŌN Kicks Off the Bard Music Festival Aug 11

Note: This festival look place in August 2017.

The Orchestra Now is proud to once again open the annual Bard Music Festival. This year’s theme is Chopin and His World, and TŌN will perform works by the Romantic master in the opening night concert, The Genius of Chopin, taking place Friday, Aug 11 at 8 PM at Bard College’s Fisher Center.

TŌN will also be performing in two other BMF concerts: Vitruosity! on Aug 13; and the festival closer, Shared Passions, Different Paths, on Aug 20. Members of The Orchestra Now will also perform in smaller ensembles in concerts on Aug 12, 13, and 19. To see a full schedule for the 2017 Bard Music Festival, click here.

Season 3 of Sight & Sound now on sale!

The Orchestra Now’s popular series Sight & Sound continues at The Metropolitan Museum of Art in 2017–18, and tickets are now on sale! At each event, conductor and music historian Leon Botstein explores the parallels between orchestral music and the visual arts. First, on-screen artworks are discussed alongside musical excerpts performed by The Orchestra Now. Then, a full performance and audience Q&A.

Season 3 includes Schoenberg‘s Erwartung (“Expectation“) with the artwork of MunchShostakovich‘s Suite on Verses of Michelangelo with the artwork of Michelangelo, and Debussy‘s Nocturnes with the artwork of the French Impressionists. The 3-concert series starts at just $75 and single tickets start at $30.

>Click here to browse the concerts and purchase tickets

Photo by David DeNee

Adina Tsai: No guts, no glory

Violin player Adina Tsai is featured in the latest edition of our video series TŌN Close-Ups.

She talks about her earliest musical memories, her favorite parts of playing in The Orchestra Now, and the surprising way livestock have been involved in making violins.

Announcing Season 3

The Orchestra Now is proud to announce it’s third season of concerts, featuring five concert series with novel programs offering wide-ranging repertoire.

The Orchestra Now’s residency at Bard College’s Fisher Center resumes with another season of moving music, from Mussorgsky’s haunting Night on Bald Mountain to Beethoven’s joyous Ninth Symphony.

Showcasing underperformed repertoire, this year’s series shines a light on symphonies, with conductor Leon Botstein leading four symphonic works by Herrmann, Korngold, Lajtha, and Saygun, in addition to Bartók‘s imaginative and colorful Concerto for Two Pianos, Percussion, and Orchestra.

Sight & Sound, one of TŌN’s most popular series, returns to The Met Museum where the orchestra, with conductor and music historian Leon Botstein, explores the parallels between orchestral music and the visual arts. First, on-screen artworks are discussed alongside musical excerpts performed by The Orchestra Now, followed by a full performance and audience Q&A.

TŌN returns to Jazz at Lincoln Center’s Rose Theater for two concerts with music ranging from Rubinstein to Berlioz.

TŌN continues this series of free concerts at multiple venues in New York City and beyond, providing families with an opportunity to attend their first orchestral performance and expose a new generation to classical music.

JoAnn Falletta, music director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, returns to TŌN as a guest conductor for the third consecutive year, leading the orchestra in Holst‘s masterpiece The Planets.

>>Explore all Season 3 concerts

Photo by Jito Lee

Announcing Season 3 at the Fisher Center

The Orchestra Now’s residency at the Fisher Center at Bard College continues in 2017–18 with a third season of stirring music, from Mussorgsky’s haunting Night on Bald Mountain to Beethoven’s joyous Ninth Symphony and Stravinsky’s revolutionary Rite of Spring. Soloists include the winner of TŌN’s 2017 concerto competition, and winners of Bard College Conservatory’s 2016 concerto competition.

>Click here to browse the concerts

Full-season subscriptions are now on sale. Packages of 3 or 4 Fisher Center concerts go on sale in mid-May. Single tickets go on sale in early August.

Photo by Matt Dine

Zachary Silberschlag: I started buzzing and I never looked back

In the latest edition of our video series TŌN Close-Ups, trumpet player Zachary Silberschlag shares stories about his musical adventures as a child, talks about the perks of playing under Leon Botstein, and discusses different types of trumpets.

Omar Shelly: The viola as a question mark

Viola player Omar Shelly stars in the February edition of our video series TŌN Close-Ups.

He talks about the mystery of his instrument, the perks of having a varied taste in music, and what it takes to be part of The Orchestra Now.

Make Our Garden Grow

Note: These events occurred in February 2017.

The musicians of TŌN are proud to present two weekends of FREE chamber music concerts Feb 10-11 & 19 in Rhinebeck, Hudson, Kingston, Tivoli, and more, all inspired by Voltaire’s Candide. It all culminates in their performance of Leonard Bernstein’s Candide on Feb 25/26.

>Chamber Music Festival Details

Photo by David DeNee

Eleanor Lee: Let’s get physical

The January edition of our video series TŌN Close-Ups spotlights cello player Eleanor Lee.

She talks about the physicality of playing an instrument, the link between the cello and the human voice, and her hopes for the future of classical music.

Elias Rodriguez: It’s about who keeps going

Clarinet player Elias Rodriguez is featured in December’s edition of TŌN Close-Ups.

He talks about the versatility of his instrument, his love of the band Coldplay, and what it’s been like bonding with TŌN musicians from all over the world.

Cathryn Gaylord: Wary about classical music? Shake it off!

This month on TŌN Close-Ups, meet bassoon player Cathryn Gaylord.

She talks about the diverse talent among TŌN musicians, shows how she applies glitter glue to her reeds, and even plays a little Taylor Swift!

Milad Daniari: It started with “Jaws”

We are excited to debut our new video series TŌN Close-Ups, giving you behind-the-scenes access to some of our musicians.

This month we feature bass player Milad Daniari, who talks about the camaraderie among orchestra players, the connection with the audience, and how the movie Jaws helped him choose his instrument.

Season 2 Tickets Now On Sale!

Grab the best seats before they’re gone! Tickets are now on sale for TŌN’s Season 2 concerts at the following venues:

FISHER CENTER at Bard College
Highlights include Elgar‘s Enigma variationsBartók‘s Miraculous Mandarin, a semi-staged concert performance of Bernstein‘s Candide, and a special Memorial Day-weekend concert led by Fabio Luisi.

In December, music by Russian composers (including Prokofiev) whose works were denounced in the 1948 Zhdanov decree. And in March, two orchestral suites by Respighi and a one-act opera-in-concert, Susanna’s Secret.

Conductor and musical historian Leon Botstein and the orchestra explore the places where musical and visual expression meet, pairing orchestral works with masterpieces from The Met’s collection. Includes a discussion, performance, and Q&A.

ROSE THEATER at Jazz at Lincoln Center
In November, an all-American concert featuring works by Bernstein & Copland, including the latter’s Appalachian Spring Suite. In May, Oleg Caetani leads a program of works by Schoenberg, Schubert, and Shostakovich.

James Bagwell leads a concert that includes Bernard Herrmann‘s Prelude from North by Northwest and Philip Glass‘ Symphony No. 1, Low, based on David Bowie’s album of the same name.

We’ll see you at a concert soon!

Photo by Jito Lee

TŌN Kicks Off the Bard Music Festival Aug 5

Note: This festival took place in August 2016.

The Orchestra Now is proud to take part in the 27th annual Bard Music Festival: Puccini and His World. TŌN will perform works by Puccini, Verdi, Mascagni and others in the opening night concert, Opera, Politics, and the Italian, taking place Friday, Aug 5 at 8 PM at Bard College’s Fisher Center.

TŌN will also be performing in two other BMF concerts: Futurism, Popular Culture, and Technology on Aug 12; and Reinventing the Past on Aug 13. To see a full schedule for the 2016 Bard Music Festival, click here.

Announcing our 2nd season of concerts

The Orchestra Now will kick off our 2016–17 season on September 24. We have added 36 new faces in our second season for a total of 68 musicians from 10 countries: the U.S., Australia, Canada, China, Hungary, Japan, Korea, Mexico, Spain, and Venezuela.

Highlights include:

  • A new series at Jazz at Lincoln Center’s Frederick P. Rose Hall, including an all-American composers concert
  • An expanded series at Bard College, including two special events: a performance of Bernstein’s Candide, and a Memorial-Day-weekend concert led by Fabio Luisi
  • Three events in our Sight & Sound series linking music with the visual arts at The Met Fifth Avenue
  • Two more evenings at Carnegie Hall, including a concert performance of a rarely-heard one-act Italian opera
  • More free concerts in venues around the boroughs of New York City
  • and more!

Click here to see the full season.

Tickets are available for some performances now, and many more will be available in August and September. Check back for more info!

Photo by Matt Dine

Composing a Fighting Instinct: Tamzin Elliott on her “Daughters Concerto”

Note: This event occurred on April 23 & 24, 2016.

This weekend, The Orchestra Now will present world premieres by Bard College Conservatory of Music composers Daniel Zlatkin and Tamzin Elliott at our Fisher Center season finale (Saturday, April 23rd at 8 PM and Sunday, April 24th at 3 PM). Below, Tamzin Elliott shares her thoughts about her piece, Daughters Concerto, feminism, and the future of classical music.

TŌN: You’ve written for chamber ensembles, string quartets, orchestras, and more. What have been some of the most formative experiences in your development as a composer?

TAMZIN ELLIOTT: I spent many summers as a teenager doing the Yellow Barn Young Artists Program, writing chamber pieces in two weeks, rehearsing the work in progress every other day. The experience of writing for my peers, rehearsing unfinished pieces with said peers, and learning the art of coaching chamber music molded me into a composer who is not afraid to edit, to admit I do or don’t know how I want something to sound, and to grasp the gritty details of preparing for a performance. Those summers primed me for inquiry into what is truly important to me in live performance and music making, the lifestyle and the stage.

Can you talk about the inspiration for the piece? What topics were you seeking to address in composing this piece, and how did it affect your compositional process?

My statements in the piece are not written in notation, there aren’t clues to be found in my harmonic and structural material. My musical decisions in this piece were guided most strongly by my fears, anger, and sadness for the continuing dangers facing women and people assigned female at birth. Will my daughter in the future be blamed for being assaulted while traveling alone? Will she blame herself for the orgasm inequality with her partner, or will she assume that it’s just harder for girls? Will she still have to drive five hours to the nearest abortion clinic, only to be turned away? Will someone still hold the power over her to deem her worthy of sexual objectification? At the heart of this piece are my own various songs as a growing activist – the emotional contours of beginning to live the life of a woman who is in the position to speak out, to fight.

As far as my process goes, I had to begin to come to terms with the fact that the history of the western classical music world is a sexist one, and that fact of course has implications on the musical language I have inherited from that past. I had to ask myself, how do I write music that concerns my own body without objectifying it? It’s no accident that opera plots have a tendency to be about a woman getting destroyed in some way, or at least are put on a pedestal of evil (why do we think Salome was an interesting and revolutionary plot to choose for opera?). Bluebeard’s Castle, Lulu, Carmen, The Fiery Angel, Die Soldaten, the list rambles on and on. These pieces show us that there has been a long lineage of reveling in women burning at the stake (I’m talking to you, Fiery Angel), and it never matters if it was deserved or not. Pain of death, or pain of bodily or mental or moral disease is largely the impetus for musical material concerning women. I found myself having to fight the instinct to add a rotten core, to add a moral failing to the sensual music I wrote in this piece, and it disgusted me that I would have been primed to add bruises and disgust to my own body.

In addition to being a composer, you’re also a poet and a singer of Georgian folk music; how do your artistic activities inform each other?

All these things have significantly influenced how I think about performance and what I want to do moving forward. Poetry, classical music, singing, Georgian music—they all share a bedroom in my head. I like to think that my classical music training is the neatest kid in the room, but secretly is really behind on homework. And maybe Georgian music is hilarious but leaves its socks all over the place.

We’re so excited that you are the first woman whose work is being performed by TŌN. According to a survey of the 22 largest American orchestras, women composers accounted for only 1.8 percent of the total pieces performed in the 2014–15 concert season. It’s clear that women are underrepresented on the programs of American orchestras. Are there women whose compositional work has particularly inspired you? What pieces of music do you find particularly influential?

My friend Gabriella Smith has really shown me that I can do anything I want. She’s a rockstar in my book, and one of the strongest musical voices I know. I have loved everything of hers that I have heard.

I feel rough in saying that I don’t have another influential women composer to add to that list, but the pool is so small and the visibility so bad, what can I say?

Your work has been played by several ensembles including the Los Angeles Philharmonic and the New York ensemble Contemporaneous. What has been significant for you about working with The Orchestra Now on Daughters Concerto?

It’s really special to have this large work done by TŌN and pianist Blair McMillen because it feels like a culmination of five years of life and work here at Bard. Even though TŌN has only been around for a year, it still feels like getting to work with a home team (and at the home stadium).

What are your hopes for your career in music and the arts, and for women in orchestral music?

For myself, I hope to be a part of putting on performances that I would want to go to. What that means is mysterious to me, but at least I know what I have to figure out to go forward.

For women composers who want to write for orchestra, my hope is that they get commissioned. The more women get commissioned the more it even occurs to young girls that being a composer is an option, and the more girls become composers the bigger a pool organizations will have to commission women. Sexism and oppression are subtle, but thankfully the dearth in women’s music on orchestral programs is not hard to rectify (if the problem is recognized as a problem, it should be fairly obvious what to do about it).

It was a source of great pride for me when I realized that my own successes could lead to the future success of others; that my visibility as a minority in the composition field could open the door further so that in future I may not be a minority. That is the dream, and I sincerely hope I can play that part for someone.

The Orchestra Now will perform Tamzin Elliott’s Daughters Concerto at the Fisher Center for the Arts on Saturday, April 23 at 8 PM and Sunday, April 24 at 3 PM.

Interview by Angus Davidson. Photo by Dávid A. Nagy.

2016–17 Fisher Center season announced

We’re happy to announce our 2016–17 season of concerts at the Fisher Center at Bard College. In our subscription series, we’ll be performing five concerts filled with outstanding music from all over the world, from the U.S. to Europe to China. Highlights include a suite from Bartók’s once-banned ballet The Miraculous Mandarin, Elgar’s greatly-loved Enigma Variations, and a clarinet concerto by Aaron Copland.

TŌN will also be performing two special events next season. In February, James Bagwell will conduct the orchestra and soloists from Bard’s Graduate Vocal Arts Program in a concert performance of Leonard Bernstein’s Candide. Then in May, Grammy winner Fabio Luisi, principal conductor of the Metropolitan Opera, will come to the Fisher Center to lead a special Memorial Day-weekend concert.

Click here to see the full season.

New subscriptions and subscription renewals are available now. Single tickets go on sale August 8.

Check back soon for more information on the new season, including concerts at Carnegie Hall, The Met Fifth Avenue, and more!

Photo by Matt Dine

Tickets now available for free concert in Queens

Note: This event occurred on April 29, 2016.

Reserved-seat tickets are now available for TŌN’s free concert at the Queensborough Performing Arts Center on Friday, April 29, 2016. Conductor JoAnn Falletta will lead the orchestra and guest violinist Michael Ludwig in works by Mendelssohn, Prokofiev, and Dvořák for this final concert in TŌN’s Around Town series of complimentary concerts in venues all over New York City.

This concert are free, but reserved-seat tickets are required. Be sure to grab the best seats today!

Photo by Cheryl Gorski

New Concert Added with Pianist Peter Serkin

Note: This event occurred on April 1, 2016.

Pianist Peter Serkin will join the orchestra, conductor Leon Botstein, the Bard Festival Chorale, and the Bard College Chamber Singers for a special performance of Beethoven’s Choral Fantasy on Friday, April 1 at Bard College at Simon’s Rock in Great Barrington, MA. This grand work will be followed up by one of the most famous pieces in all of classical music: Beethoven’s Symphony No. 5.

Tickets to this concert are free, but are extremely limited. Reserved seats will be available in advance, beginning March 11 at 5 PM. Click here for more info.

Photo by Kathy Chapman

Musicians write about what it’s like playing in TŌN

TŌN musicians Zachary Boeding and Thomas J Wible have written an article for the blog Musicovation discussing their first four months playing in The Orchestra Now and describing the program from the musician’s point of view.

“If we keep to tradition, we’ll have nothing but that. If we keep to tradition, we’re only silencing ourselves in a way. TŌN aims to help create a musician who not only can play, but one who can lure and intrigue his own contemporaries. We are being shown after much intense musical training how to be whom we want within ourselves and within our art.”

Photo by David DeNee

New Concerts Added Feb 28 & Apr 9–10

Note: These concerts took place in February and April, 2016.

We’ve just added two new concerts to the Spring 2016 season! Gerard Schwarz will conduct the orchestra in a FREE concert at The Town Hall in midtown Manhattan on Sun, Feb 28 at 3 PM. Then on April 9 & 10, TŌN will be joined by soloists from Bard College’s Graduate Vocal Arts Program, Bard Festival Chorus, and Bard Chamber Chorus for a performance of Handel’s MessiahTickets for that performance are on sale now.

The Virgin and Child in Majesty and the Adoration of the Magi (detail), Attributed to the Master of Pedret (Spanish, Catalonia, 12th century)

Free Chamber Music Concerts Added Dec 11 & 13

Note: These concerts took place in December, 2015

Select TŌN musicians will perform in free chamber concerts at Bard College on Fri, Dec 11 at 7:30 PM and Sun, Dec 13 at 3:30 PM. Friday’s concert will take place at the Chapel of the Holy Innocents and will include works by Bartók, Poulenc, Penderecki, and others. Sunday’s concert is at Bard Hall and will include works by Shostakovich and others. These concerts are free, no tickets necessary.

Photo by Jito Lee

TŌN Bassoonist Writes Article About “Finding a Voice”

TŌN bassoonist Wade Coufal has written an article titled “Finding a Voice” for Overtones, the magazine of the Curtis Institute of Music. In it, he describes his year making music with young patients at St. Christopher’s Hospital for Children in Philadelphia. Click here to read the full article.

Photo by Jito Lee

Now Accepting Applications For 2016-17

Note: The application deadline for 2016-17 has passed. 

Interested in joining the orchestra? In TŌN, you will be part of a group of outstanding musicians who work together, share experiences and opportunities together, and learn from and collaborate with some of the finest orchestral performers in the world. Applications for 2016-17 are due December 15, 2015. For more information or to apply, visit

Photo by Jito Lee

TŌN to Premiere Two Pieces By Bard Conservatory Students

We’re excited to announce that we will be performing the world premieres of two works by students of the Bard Conservatory of Music. On April 23 & 24, 2016, we will play a piano concerto, Daughters Concerto, by Tamzin Elliott ‘16, and a piece from Daniel Zlatkin ’16, Climb, at the Richard B. Fisher Center for the Performing Arts at Bard College. Visit the concerts page for more information.

Photo by Jito Lee

Tickets Now On Sale

Tickets to all of our concerts in the 2015-16 season are now on sale! Visit the concerts page to purchase tickets for our performances at Carnegie Hall, The Richard B. Fisher Center at Bard College, and The Metropolitan Museum of Art, and to find information about our free concerts around New York City. We can’t wait to see you!

 Photo by Jito Lee