Vulture: It’s Time We All Heard the Music of Lili Boulanger

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“Boulanger matured early and worked feverishly, and in the time allotted her, produced a handful of masterworks that require no special pleading. They weren’t lost, hidden, or unplayable; they were just treated with a neglect that would be shocking if it weren’t so predictable. The New York Philharmonic hasn’t performed a note of hers in more than 40 years. The last concert of her works on Carnegie Hall’s main stage took place in 1962. Fortunately, this is just the sort of historical injustice that the conductor Leon Botstein loves to rectify, and on May 2, he leads The Orchestra Now in “De Profundis,” a Carnegie Hall concert of works based on Psalm 130. The program concludes with Boulanger’s massive, thrillingly dark setting of the text, which moves from despair (“Out of the depths have I cried unto thee, O Lord . . .”) to tremulous hope. Those were the two emotional poles of her life.” —Justin Davidson

THE ORCHESTRA NOW (TŌN) PRESENTS ABSTRACTION IN MUSIC & ART AT THE METROPOLITAN MUSEUM OF ART ON MAY 19, 2019

NEW YORK PREMIERE OF MORTON FELDMAN’S ORCHESTRA FEATURED

Concert Presented in Conjunction with
The Met Museum’s Exhibition Epic Abstraction: Pollock to Herrera

New York, NY, April 29, 2019 — The Orchestra Now (TŌN) will perform the final performance this season of its frequently sold-out Sight & Sound series at The Metropolitan Museum of Art on Sunday, May 19 at 2 pm. The concert features the New York premiere of one of Morton Feldman’s lesser-known early works, Orchestra, along with Anton Webern’s Six Pieces for Orchestra, in a program titled Abstraction in Music & Art.

Painters have often been inspired by music as the ultimate abstract art form. One of the early abstract painters, Kandinsky, was so moved by music that he attempted to compose himself. Musical abstraction started with the radical modernist Anton Webern, who freed the form from the conventions of late Romanticism. At the height of the movement’s popularity in America, experimental composer Morton Feldman mirrored Kandinsky and took his inspiration from abstract visual art. The May 19 program will be offered in conjunction with Epic Abstraction: Pollock to Herrera, an exhibition of Abstract Expressionistic artwork at The Met Fifth Avenue.

TŌN conductor and music historian Leon Botstein will explore the parallels between orchestral music and the visual arts in a discussion accompanied by on-screen artworks and musical excerpts performed by the Orchestra. A full performance and audience Q&A will follow.

SIGHT & SOUND SERIES AT THE METROPOLITAN MUSEUM OF ART
The Grace Rainey Rogers Auditorium
Abstraction in Music & Art
Sunday May 19, 2019 at 2 pm
Webern’s Six Pieces for Orchestra, Feldman’s Orchestra (NY Premiere), and the artwork of the Abstract Expressionists

Tickets start at $30, bring the kids for $1. Tickets are available online at metmuseum.org/sightandsound, by calling The Met at 212.570.3949, or in person at The Great Hall Box Office at The Metropolitan Museum of Art at 5th Ave and 82nd St.

The Orchestra Now
The Orchestra Now (TŌN) is a group of 60 vibrant young musicians from 13 different countries around the globe: the United States, Bulgaria, China, France, Hungary, Korea, Malaysia, Mongolia, Peru, Spain, Ukraine, the United Kingdom, and Venezuela. All share a mission to make orchestral music relevant to 21st-century audiences. Hand-picked from hundreds of applicants from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are not only rousing audiences with their critically acclaimed performances, but also enlightening curious minds by presenting on-stage introductions and demonstrations at concerts, offering program notes written from the musicians’ perspective, and connecting with patrons through one-on-one discussions during intermissions. To date, members of TŌN have earned positions with orchestras across the United States and in Europe. Some play regularly with the New York Philharmonic, Philadelphia Orchestra, and the Baltimore Symphony.

Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as a master’s degree program at Bard College, where he also serves as president. The Orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, offering multiple concerts there each season as well as participating in the annual Bard Music Festival. The Orchestra also performs numerous concert series at major venues in New York, including Carnegie Hall, Lincoln Center, and The Metropolitan Museum of Art, as well as a schedule of free performances across New York City boroughs. TŌN has collaborated with many distinguished conductors, including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta.

For upcoming activities and more detailed information about the musicians, visit theorchestranow.org.

Leon Botstein
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-director of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–2011 and is now conductor laureate. In 2018, he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly and has received many honors for his contributions to music. More info online at LeonBotstein.com.

Press Contacts
Pascal Nadon
Pascal Nadon Communications
Phone: 646.234.7088
Email: pascal@pascalnadon.com

Mark Primoff
Associate Vice President of Communications
Bard College
Phone: 845.758.7412
Email: primoff@bard.edu

# # #

OperaWire: An Immaculate Presentation of Verdi’s Requiem

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“Having heard the work a number of times (as well as having so many recordings in my head), this clearly was one of  the most memorable and moving Verdi Requiems I have heard.

Conductor Botstein consistently demonstrated an ability to bring the massive forces together, with a precision that had the array of forces cohere with great, controlled power. And, as usual for Botstein, he brought out details and shadings in the work that, well, seemed entirely new.

And with a graduate student orchestra, that youth and exuberance meant that – with all that detail and attention in place – the performance was, at many times, earthshakingly exciting. The “Tuba Mirum,” with trumpets placed in the upper balcony, produced a tidal wave of sound, and yet always remained musical, always controlled, as if that hurricane rattling outside your front door could be controlled.

As to “Requiem’s” quieter moments, the shading that Botstein elicited from the orchestra, the chorus and the soloists — in sections like the “Liber scriptus” or the “Ingemisco” — brought both a clear beauty of sound and a solemn peace amidst the Requiem’s stormy moments, always with fierce “judgement,” of course pending.

And when the audience – and I do not exaggerate here — shot to their feet as one, we perhaps all well knew there might not have been a better place to hear this great music, performed at this level of excellence, on this day just about anywhere.” —Matt Costello

Photo by Matt Dine

TŌN BEGINS SPRING SEASON AT JAZZ AT LINCOLN CENTER’S ROSE THEATER WITH CONDUCTOR FABIO LUISI MARCH 26, 2019

Performances Continue at Carnegie Hall and The Metropolitan Museum of Art Featuring the Premieres of Joachim Raff’s Psalm 130: De Profundis and Lera Auerbach’s De Profundis, and the NY Premiere of Morton Feldman’s Orchestra

Guests Include Violinist Vadim Repin, Soprano Elizabeth de Trejo, & Pianist Alessandro Taverna

Plus Concerts at The Fisher Center at Bard College and a Free Concert at Hudson Hall

New York, NY, March 7, 2019 — The Orchestra Now (TŌN) begins its spring season at Jazz at Lincoln Center’s Frederick P. Rose Hall on Tuesday, March 26 at 7:30 pm. The concert will present works by Brahms and Grieg with pianist Alessandro Taverna led by distinguished guest conductor Fabio Luisi, music director of the Zurich Opera and principal conductor of the Danish National Symphony Orchestra. The season continues through May 19, 2019.

Highlights include the second performance of the 2018-19 season at Carnegie Hall, marked by the New York City premieres of Joachim Raff’s Psalm 130: De Profundis and Lera Auerbach’s De Profundis—performed by world-renowned violinist Vadim Repin—in a program offering settings of Psalm 130 by four different composers, on May 2 (the U.S. premieres of these works will be performed in April at Bard College’s Fisher Center). And at the Metropolitan Museum of Art, TŌN will give the New York premiere of Morton Feldman’s lesser-known early orchestral work, Orchestra, on May 19.

Additional details for TŌN’s spring performances are included below.

ROSE THEATER SERIES
In addition to acclaimed guest conductor Fabio Luisi, the concluding concert in this season’s Rose Theater series features award-winning Italian pianist Alessandro Taverna, whose artistic life was the subject of a documentary shown on BBC-4 TV.

Fabio Luisi Conducts Brahms’ Second Symphony
Tuesday March 26, 2019 at 7:30 pm
Fabio Luisi, conductor
Alessandro Taverna, piano
Grieg: Piano Concerto
Brahms: Symphony No. 2

Tickets starting at $25 may be purchased online at jazz.org, by calling CenterCharge at 212.721.6500, or in person at the Jazz at Lincoln Center box office on the ground floor of the Time Warner Center, Broadway at 60th Street.

CARNEGIE HALL SERIES, Stern Auditorium / Perelman Stage
The final concert in TŌN’s Carnegie Hall season showcases the New York City premieres of Joachim Raff’s Psalm 130: De Profundis and Lera Auerbach’s De Profundis (Violin Concerto No. 3) with internationally acclaimed violinist Vadim Repin, as well as EMI recording artist, soprano Elizabeth de Trejo.

This exploration of Psalm 130—which reads “Out of the depths, Oh Lord, have I cried unto Thee”—features works by two women composers, Lera Auerbach and Lili Boulanger. Russian-born poet and composer Lera Auerbach’s version was originally commissioned by the Trans-Siberian Art Festival for founder and artistic director Vadim Repin, who performs its American premiere at this concert. Lili Boulanger’s rendering, performed with soprano Elizabeth de Trejo, reveals a sophisticated toolkit of compositional skills for such a young artist. Composed at the early age of 22, the piece is dedicated to the memory of Boulanger’s father. Her tragic life was cut short only a year later.

Also on the program are an a cappella choral interpretation of De Profundis by Pulitzer Prize-winning American composer Virgil Thomson, written in 1921 while he was still a student at Harvard, and Joachim Raff’s rarely-heard masterpiece, which was written for soprano, eight-part choir, and orchestra. Dedicated to Franz Liszt, it is often viewed as a reconciliation offering to the famous pianist/composer, with whom Raff had a sometimes-contentious relationship.

De Profundis: Out of the Depths
Thursday May 2, 2019 at 7 pm
Leon Botstein, conductor
Vadim Repin, violin
Elizabeth de Trejo, soprano
Bard Festival Chorale
James Bagwell, choral director
A co-presentation with the Trans-Siberian Art Festival
Virgil Thomson: De Profundis
Joachim Raff: Psalm 130: De Profundis (NYC Premiere*)
Lera Auerbach: De Profundis (Violin Concerto No. 3) (NYC Premiere*)
Lili Boulanger: Psalm 130: Du fond de l’abîme (De Profundis)

*U.S. Premieres will be performed on April 27 at Bard College’s Fisher Center.

Tickets, starting at $25, may be purchased online at carnegiehall.org, by calling CarnegieCharge at 212.247.7800, or in person at the Carnegie Hall box office at 57th and Seventh.

SIGHT & SOUND SERIES AT THE METROPOLITAN MUSEUM OF ART
The Grace Rainey Rogers Auditorium
The final performance this season of TŌN’s frequently sold-out Sight & Sound series at The Metropolitan Museum of Art features the New York premiere of Feldman’s Orchestra in a program titled Abstraction in Music & Art. TŌN, together with conductor and music historian Leon Botstein, will explore the parallels between orchestral music and the visual arts in a discussion accompanied by on-screen artworks and musical excerpts performed by the Orchestra. A full performance and audience Q&A follows.

Painters have often been inspired by music as the ultimate abstract art form. One of the early abstract painters, Kandinsky, was so moved by music that he attempted to compose himself. Musical abstraction started with the radical modernist Anton Webern, who freed the form from the conventions of late Romanticism. At the height of the movement’s popularity in America, experimental composer Morton Feldman mirrored Kandinsky and took his inspiration from abstract visual art. One of his lesser-known early orchestral works, Orchestra, receives its New York premiere at this performance.

The concert is presented in conjunction with the exhibition Epic Abstraction: Pollock to Herrera, on view at The Met Breuer.

Abstraction in Music & Art
Sunday May 19, 2019 at 2 pm
Webern’s Six Pieces for Orchestra, Feldman’s Orchestra (NY Premiere), and the artwork of the Abstract Expressionists

Tickets start at $30, bring the kids for $1. Tickets are available online at metmuseum.org/sightandsound, by calling The Met at 212.570.3949, or in person at The Great Hall Box Office at The Metropolitan Museum of Art at 5th Ave and 82nd St.

THE FISHER CENTER SERIES AT BARD COLLEGE, Sosnoff Theater
The Orchestra Now’s residency at Bard College’s Fisher Center completes the 2018-19 season with two programs led by music director Leon Botstein. The first concert offers a performance of Verdi’s much-loved Requiem with members of the Bard Conservatory Orchestra, the Bard College Chamber Singers, and the Bard Festival Chorale (April 6-7). The second program—De Profundis: Out of the Depths—is highlighted by the U.S. premieres of works by Joachim Raff and Lera Auerbach, with renowned violinist Vadim Repin and soprano Elizabeth de Trejo (April 27-28). See the Carnegie Hall May 2 listing for more information on this program.

Verdi’s Requiem
Saturday April 6, 2019 at 8 pm
Sunday April 7, 2019 at 2 pm
Leon Botstein, conductor
Margaret Tigue, soprano
Chloë Schaaf, mezzo-soprano
Wei Wu, bass
Verdi: Requiem
Members of the Bard Conservatory Orchestra, the Bard College Chamber Singers, and the Bard Festival Chorale
James Bagwell, choral director

De Profundis: Out of the Depths
Saturday April 27, 2019 at 8 pm
Sunday April 28, 2019 at 2 pm
Leon Botstein, conductor
Vadim Repin, violin
Elizabeth de Trejo, soprano
Bard Festival Chorale
James Bagwell, choral director
A co-presentation with the Trans-Siberian Art Festival
Virgil Thomson: De Profundis
Joachim Raff: Psalm 130: De Profundis (U.S. Premiere)
Lera Auerbach: De Profundis (Violin Concerto No. 3) (U.S. Premiere)
Lili Boulanger: Psalm 130: Du fond de l’abîme (De Profundis)

This concert will be repeated at Carnegie Hall on May 2.

Tickets from $25. Tickets may be purchased online at fishercenter.bard.edu, by calling the box office at 845.758.7900, or in person at the Fisher Center box office in the lobby of Sosnoff Theater.

FREE CONCERTS SERIES
The final performances this season in TŌN’s series of free concerts at multiple venues in New York City and the Hudson Valley will feature Schubert’s Fifth Symphony led by TŌN’s associate conductor, James Bagwell, and Beethoven’s Seventh Symphony led by TŌN’s resident conductor, Zachary Schwartzman. These popular concerts provide families with an opportunity to attend their first orchestral performance and expose a new generation to classical music.

Beethoven’s Seventh Symphony
Saturday April 13, 2019 at 2 pm at Olin Hall at Bard College
Zachary Schwartzman, conductor
Todd Crow, piano
Louis Spohr: Overture, Op. 12
Mozart: Piano Concerto No. 25
Beethoven: Symphony No. 7

Schubert’s Fifth Symphony
Sunday April 14, 2019 at 3 pm at Hudson Hall
James Bagwell, conductor
Mozart: The Abduction from the Seraglio Overture
Juan Crisóstomo de Arriaga: Symphony in D
Schubert: Symphony No. 5

Tickets: These concerts are FREE. For concerts at Hudson Hall, RSVPs can be made at hudsonhall.org, or by calling 518.822.1438. For concerts at Olin Hall, no RSVP or tickets are necessary.

The Orchestra Now
The Orchestra Now (TŌN) is a group of over 60 vibrant young musicians from 15 different countries around the globe: the United States, Bulgaria, China, France, Hungary, Korea, Malaysia, Mongolia, Peru, Poland, Spain, Taiwan, the United Kingdom, Ukraine, and Venezuela. All share a mission to make orchestral music relevant to 21st-century audiences. Hand-picked from hundreds of applicants from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are not only rousing audiences with their critically acclaimed performances, but also enlightening curious minds by presenting on-stage introductions and demonstrations at concerts, offering program notes written from the musicians’ perspective, and connecting with patrons through one-on-one discussions during intermissions. To date, members of TŌN have earned positions with orchestras across the United States and in Europe. Some play regularly with the New York Philharmonic, Philadelphia Orchestra, and the Baltimore Symphony.

Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as a master’s degree program at Bard College, where he also serves as president. The Orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, offering multiple concerts there each season as well as participating in the annual Bard Music Festival. The Orchestra also performs numerous concert series at major venues in New York, including Carnegie Hall, Lincoln Center, and The Metropolitan Museum of Art, as well as a schedule of free performances across New York City boroughs. TŌN has collaborated with many distinguished conductors, including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta.

For upcoming activities and more detailed information about the musicians, visit theorchestranow.org.

Leon Botstein
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-director of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–2011 and is now conductor laureate. In 2018, he assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly and has received many honors for his contributions to music. More info online at LeonBotstein.com.

Press Contacts
Pascal Nadon
Pascal Nadon Communications
Phone: 646.234.7088
Email: pascal@pascalnadon.com

Mark Primoff
Associate Vice President of Communications
Bard College
Phone: 845.758.7412
Email: primoff@bard.edu

# # #

The Millbrook Independent: TŌN at Bard Sizzles the Program

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“The Orchestra Now under the baton of Leon Botstein delivered a program music on The Romantic Hero last Saturday night at Bard’s Sosnoff Theater. All three works of the evening were introduced by students who had clear diction, knew how to use a microphone, and were adept at giving informal information with witty twist.

Kyle Anderson on cello was magnificent in the opening notes [of Tchaikovsky’s Francesca da Rimini] and throughout this symphonic poem. Flutes and strings conjured up heated winds that separated the longing lovers with Otherworldly intensity. The clarinets and bassoon worked overtime. And those delightful horns from hell!

The main course was Ein Heldenleben (A Hero’s Life, 1898), composed immediately after Don Quixote. Strauss’ wife is personified in first violin played by Concertmaster Sophia Bernitz, who gave an adept performance in the nearly six-minute solo that argued in enigmatic bird-like fashion with the orchestra to light comic effect, finally excelling in virtuosity with deep emotional lyricism at the pathos and resignation of the finale.

The blustery blare of the war passage is often condemned by critics as repetitious bombast, yet Botstein excavated a satirically edged twist that reminded me of Shostakovich. The concluding peace was so satisfying that I left with hardly a care in the world—some of the items rattling around in my head were healed and coalesced into solution, which is one of the healing acts of good music well-played. I’ve heard Ein Heldenleben a couple of times before at Sosnoff Theater but this performance by Botstein and TŌN was indelibly more memorable.” —Kevin T. McEneaney

Photo by David DeNee

Cadenza: The Orchestra Now Slays a Monster

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“‘Movie music without the movie’ is how Emmanuel Koh, a violist in The Orchestra Now (TŌN), described Reinhold Glière’s Symphony No. 3, ‘Ilya Muromets,’ Op. 42. This international ensemble of distinguished Master’s degree students in residence at Bard College tackled the giant symphony in a concert at Carnegie Hall Friday night entitled ‘Russian Evolution: From Rimsky-Korsakov to Glière,’ and emerged victorious.

Lasting well more than 70 minutes, and calling for enormous forces (three bassoons plus contrabassoon, eight horns, two harps, etc.), the piece provided a healthy opportunity for the young musicians of TŌN to dig their teeth into a work of Bruckner-like proportions, and they clearly enjoyed indulging in this musically extravagant undertaking.

The horns are called upon to do athletic things, and they, in particular, played with rhythmic verve in their many wide leaping outcries. . . . The tone painting also includes lots of nature-inspired effects in the high woodwinds, chirping birdsong, and TŌN’s woodwind section excelled. ” —Brian Taylor

Photo by David DeNee

THE ORCHESTRA NOW PERFORMS ITS FIRST 2018-19 SEASON CARNEGIE HALL CONCERT ON FRIDAY, DECEMBER 14, 2018

Leon Botstein Leads Orchestra in Russian Evolution: From Rimsky-Korsakov to Glière

New York, New York, November 26, 2018 — The Orchestra Now (TŌN) begins its fourth season at Carnegie Hall with a concert titled Russian Evolution: From Rimsky-Korsakov to Glière on Friday, December 14 at 7:30 pm.  The program focuses on the drama of Russian music and will also be performed at The Fisher Center for the Performing Arts at Bard College on Wednesday, December 12 at 7:00 pm.

Rimsky-Korsakov wrote much of his first symphony while serving in the Russian navy, and actually appeared onstage in uniform at the work’s 1865 premiere. Many Russian folk and oriental melodies can be heard in the piece, and nationalists dubbed it the “First Russian Symphony.” Reinhold Glière’s expansive Symphony No. 3, Ilya Muromets, is based on the life of one of Russia’s most famous mythical heroes. Highly respected for his values, he is the only such character to have been canonized by Russia’s Orthodox Church. Glière was a true believer in the pre-revolutionary national Russian school and hence, his embrace of traditional forms made him a favorite of Soviet authorities.

With this concert, Leon Botstein highlights the search for a true, nationalist style in Russian symphonic music, one with an aesthetic that incorporated folk or oriental themes or that was based on legends and folk heroes. The works performed at the evening’s concert by these two composers illustrate how Russian music evolved along those lines from the time of Rimsky’s first symphony (1865) to the time of Glière’s third (1911).

Russian Evolution: From Rimsky-Korsakov to Glière
Carnegie Hall Series, Stern Auditorium / Perelman Stage
Friday December 14, 2018 at 7:30 pm
Leon Botstein, conductor
Rimsky-Korsakov: Symphony No. 1
Reinhold Glière: Symphony No. 3, Ilya Muromets

TŌN will next appear at Carnegie Hall with Botstein conducting the U.S. premieres of Joachim Raff’s Psalm 130: De Profundis and Lera Auerbach’s De Profundis (Violin Concerto No. 3) with internationally acclaimed violinist Vadim Repin on May 2, 2019.  For details of upcoming 2018-19 season concerts, please click here.

Tickets start at $25, and may be purchased online at carnegiehall.org, by calling CarnegieCharge at 212.247.7800, or in person at the Carnegie Hall box office at 57th Street and Seventh Avenue.

The Orchestra Now
The Orchestra Now (TŌN) is a group of more than 60 vibrant young musicians from 14 different countries around the globe: the United States, Bulgaria, China, France, Hungary, Malaysia, Mongolia, Peru, Poland, Spain, Taiwan, the United Kingdom, Ukraine, and Venezuela. All share a mission to make orchestral music relevant to 21st-century audiences. Hand-picked from hundreds of applicants from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are not only rousing audiences with their critically acclaimed performances, but also enlightening curious minds by presenting on-stage introductions and demonstrations at concerts, offering program notes written from the musicians’ perspective, and connecting with patrons through one-on-one discussions during intermissions. To date, members of TŌN have earned positions with orchestras across the United States and in Europe. Some play regularly with the New York Philharmonic, Philadelphia Orchestra, and the Baltimore Symphony.

Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as a master’s degree program at Bard College, where he also serves as president. The Orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, offering multiple concerts there each season as well as participating in the annual Bard Music Festival. The Orchestra also performs numerous concert series at major venues in New York, including Carnegie Hall, Lincoln Center, and The Metropolitan Museum of Art, as well as a schedule of free performances across New York City boroughs. TŌN has collaborated with many distinguished conductors, including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta.

For upcoming activities and more detailed information about the musicians, visit theorchestranow.org.

Leon Botstein
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-director of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–2011 and is now conductor laureate. This year he has assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly and has received many honors for his contributions to music. More info online at LeonBotstein.com.

Press Contacts:
Pascal Nadon
Pascal Nadon Communications
Phone: 646.234.7088
Email: pascal@pascalnadon.com

Mark Primoff
Associate Vice President of Communications
Bard College
Phone: 845.758.7412
Email: primoff@bard.edu

Cadenza: Tan Dun Brings Nature’s Secrets to The Orchestra Now

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“The Orchestra Now gives hope. Founded in 2015 by Leon Botstein, TŌN is comprised of Master’s Degree students at Bard College, and can be found performing all over the city, including at Lincoln Center, Carnegie Hall, and Metropolitan Museum of Art — sometimes for free. Like the student orchestra at Tanglewood, and Miami’s New World Symphony, they’re capable of just about anything, and more than their professional counterparts, they really exude a personal love of music. And they rise to the occasion of encountering international stars like Tan Dun.

TŌN’s winds play with a dark, mellow timbre, rounded intonation, and a keen blend. The strings have a honey-like sheen and the violin section displays more rhythmic vitality than many orchestras. They sound terrific.

Underscoring the group’s educational underpinnings, it’s terrific how TŌN’s musicians are encouraged to contribute to the program notes, and to speak to the audience to introduce the repertoire. Their enthusiasm for the material, and their craft, is palpable. The concert concluded with an fervent reading of Ottorino Respighi’s early-twentieth-century four movement tone poem The Pines of Rome. As the first orchestral work to utilize an electronic recording (the third movement ends with a recording of the nightingale, as specified by the composer), it’s a fitting pairing with Dun’s Secret of Wind and Birds. The off-stage trumpet solo in the second movement was played with warm lyricism by Anita Tóth, and the third movement’s clarinet solo masterfully played by Viktor Tóth.” —Brian Taylor

The Epoch Times: Chopin and Delacroix: How Romanticism Grapples With Past and Present

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“Artist Eugène Delacroix, whose work is currently featured at The Metropolitan Museum of Art, was a leader in the French Romantic school. On Nov. 18, visitors are invited to explore his work in depth with the addition of Frédéric Chopin’s music and a lecture presented by conductor Leon Botstein and The Orchestra Now, in the museum’s ongoing “Sight and Sound” series.

‘The making of art was indispensably essential to their life. It was related to their politics, to their person, and they believed it was a powerful medium, whether painting or music, in the world they lived. Something we don’t believe today,’ Botstein said.” —Catherine Yang

Artwork: Eugène Delacroix, (French, 1798–1863). Collision of Arab Horsemen (detail), 1833/34. Oil on canvas. 31 11/16 × 39 9/16 in. (80.5 × 100.5 cm). Private collection

THE ORCHESTRA NOW (TŌN) OPENS 2018 ROSE THEATER SERIES AT LINCOLN CENTER SUNDAY NOVEMBER 11, 2018

TAN DUN WILL LEAD U.S. PREMIERE OF HIS INTERCOURSE OF FIRE AND WATER

TŌN Launched New WWFM Broadcast Series and Opens its Second Season of Radio Concerts with WMHT

New York, New York, October 19, 2018 — The Orchestra Now (TŌN) begins its third Rose Theater season at Jazz at Lincoln Center’s Frederick P. Rose Hall on Sunday, November 11, 2018 at 3pm.  Led by the renowned conductor, composer, visual artist, and UNESCO Goodwill Ambassador Tan Dun, the program will be highlighted by the U.S. premiere of his Cello Concerto: Intercourse of Fire and Water, performed by Chinese soloist Jing Zhao in her Lincoln Center debut. The concert also includes another Tan Dun work: Passacaglia: Secret of Wind and Birds, commissioned by Carnegie Hall in 2015 for the National Youth Orchestra of the United States. The music draws on forms from East and West, ancient and modern, and incorporates birdsong produced by smartphone.

Of special note in the Orchestra’s fall season, TŌN recently launched a new broadcast series on WWFM – The Classical Network station serving New Jersey, eastern Pennsylvania, and around the world at wwfm.org. The programs are part of WWFM’s exclusive “The Classical Network in Concert” series and will be hosted by Carl Hemmingsen and the next performance will air on Friday November 9 at 8 pm. More information is available at wwfm.org. TŌN’s second broadcast season with WMHT, serving Eastern New York and Western New England, will start on October 28 and details are available at wmht.org.

Tan Dun & Respighi’s Pines of Rome
Sunday November 11, 2018 at 3 pm
Tan Dun, conductor
Jing Zhao, cello
Smetana: Vltava (The Moldau) from Má Vlast (My Country)
Tan Dun: Cello Concerto: Intercourse of Fire and Water (U.S. Premiere)
Tan Dun: Passacaglia: Secret of Wind and Birds
Respighi: Pines of Rome

The next performance in the series will present guest conductor Fabio Luisi in works by Brahms and Grieg on March 26, 2019.

The Orchestra Now
The Orchestra Now (TŌN) is a group of more than 60 vibrant young musicians from 14 different countries around the globe: the United States, Bulgaria, China, France, Hungary, Malaysia, Mongolia, Peru, Poland, Spain, Taiwan, the United Kingdom, Ukraine, and Venezuela. All share a mission to make orchestral music relevant to 21st-century audiences. Hand-picked from hundreds of applicants from the world’s leading conservatories—including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory of Brussels, and the Curtis Institute of Music—the members of TŌN are not only rousing audiences with their critically acclaimed performances, but also enlightening curious minds by presenting on-stage introductions and demonstrations at concerts, offering program notes written from the musicians’ perspective, and connecting with patrons through one-on-one discussions during intermissions. To date, members of TŌN have earned positions with orchestras across the United States and in Europe. Some play regularly with the New York Philharmonic, Philadelphia Orchestra, and the Baltimore Symphony.

Conductor, educator, and music historian Leon Botstein founded TŌN in 2015 as a master’s degree program at Bard College, where he also serves as president. The Orchestra is in residence at Bard’s Richard B. Fisher Center for the Performing Arts, offering multiple concerts there each season as well as participating in the annual Bard Music Festival. The Orchestra also performs numerous concert series at major venues in New York, including Carnegie Hall, Lincoln Center, and The Metropolitan Museum of Art, as well as a schedule of free performances across New York City boroughs. TŌN has collaborated with many distinguished conductors, including Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta.

For upcoming activities and more detailed information about the musicians, visit theorchestranow.org.

Leon Botstein
Leon Botstein brings a renowned career as both a conductor and educator to his role as music director of The Orchestra Now. He has been music director of the American Symphony Orchestra since 1992, artistic co-director of Bard SummerScape and the Bard Music Festival since their creation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003–2011 and is now conductor laureate. This year he has assumed artistic directorship of Campus Grafenegg and Grafenegg Academy in Austria. Mr. Botstein is also a frequent guest conductor with orchestras around the globe, has made numerous recordings, and is a prolific author and music historian. He is the editor of the prestigious The Musical Quarterly and has received many honors for his contributions to music. More info online at LeonBotstein.com.

Press Contacts:
Pascal Nadon
Pascal Nadon Communications
Phone: 646.234.7088
Email: pascal@pascalnadon.com

Mark Primoff
Associate Vice President of Communications
Bard College
Phone: 845.758.7412
Email: primoff@bard.edu

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