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NEW YORK - The Orchestra Now Performs Mendelssohn and SibeliusThis evening, listeners enjoyed a marvelous concert featuring the Bard College symphony orchestra, aka The Orchestra Now or TŌN, in the Peter J. Sharp Theater at Manhattan's Peter Norton Symphony Space.Melodies, Virtuosity, and DramaNew Yorkers love an excellent symphony orchestra concert, and today's musical experience delivered! Audience members left with hearts echoing with melodies, virtuosity, drama, and perhaps a profound sense of gratitude and wonder. For in tonight's moments of musical transcendence, they experienced the sublime and now carry the memory of this magical night.Hearts Aflutter with ExcitementA large audience lined up on 96th Street as anticipation hummed like a vibrant melody. Music lovers, hearts aflutter with excitement, were caught in a whirlwind of emotions as they waited for the doors to open. Musicians assembled on stage as the air crackled with energy, charged with the collective anticipation of fellow music enthusiasts who had gathered eagerly for the auditory feast to come.As lights dimmed and Maestro Zachary Schwartzman walked to the podium and raised his baton, a hush fell over the audience, deafening in intensity in but a prelude to tonight's sonic journey. Zachary Schwartzman, Conductor. Courtesy Bard.eduHearts raced in anticipation as the first strains of Mendelssohn's Ruy Blas Overture resonated through the hall in a symphony of sound that enveloped listeners in its embrace.Euphoria and JoyMusic blocked worries and cares at this moment, replacing them with an overwhelming sense of euphoria and joy. Listeners became active participants in a musical journey transcending time and space, uniting them with fellow travelers in a shared celebration of the artistic human spirit.Victor HugoYou may recall Victor Hugo's play "Ruy Blas," which has themes of love, betrayal, and political intrigue that captured Mendelssohn's imagination and inspired tonight's musical homage. Mendelssohn's overture served as a prelude to the dramatic events of the play and perhaps tonight's concert works, setting the stage for an unfolding emotional journey. The orchestra aptly projected the musical narrative of cinematic sweep and grandeur, drawing listeners into spellbinding sonic theater.Virtual World of Passion and IntrigueOne of the most striking features of Mendelssohn's "Ruy Blas Overture" is its vivid orchestration and evocative use of musical themes. From the brooding, ominous opening bars to the triumphant fanfares that herald the climax, the overture emerged as a work of contrast, with moments of darkness and light, tension and release. The ensemble's masterful projection of orchestral color and texture brought the drama of Hugo's play to life, immersing listeners in its virtual world of passion and intrigue.An Elegant, Shimmering StudyViolinist Yangxin Song ascended the stage to perform Prokofiev's Violin Concerto No. 2. From the onset, she commanded the work's striking juxtapositions of lyrical melodies with bold, angular rhythms. From the hauntingly opening theme of the first movement to the frenetic energy of the finale, she projected Prokofiev's work as an elegant, shimmering study in contrasts with glistening arpeggios, double stops, and virtuosic patterns blending moments of introspection with bursts of fiery intensity. Song conveyed Prokofiev's struggle to navigate the competing demands of artistic freedom and political conformity he expressed through an innovative blend of traditional and modernist elements. Yangzin Song, Violini. Courtesy Bard.eduTreasure Awaiting DiscoveryAs each segment of the Violin Concerto No. 2 unfolded, melody and brilliance revealed themselves like a treasure awaiting discovery, each note a brushstroke on the canvas of Song's artistic imagination. And as the final crescendo echoed through the hall, listeners were left breathless, enthralled by the sheer beauty and power of Song's performance.Vivid Sonic LandscapesAfter intermission, the orchestra returned to perform Jean Sibelius's Symphony No. 1, a masterpiece of orchestra colors displayed by delicate woodwind solos to grand brass fanfares. The orchestra created vivid sonic landscapes, evoking the Finnish landscape's vastness and the tumultuous emotional terrain of the human experience.Refined InterpretationThe opening movement set the stage for the symphony's musical sojourn with its bold brass statements and sweeping strings. In contrast, the ethereal beauty of the slow movement and the rhythmic energy of the scherzo demonstrated Sibelius's versatility as a composer and the orchestra's refined interpretation and skills. This performance by TŌN exemplified the Sibelius Symphony No. 1's significance as a milestone in projecting Finnish national identity, inspiration from folk melodies and epic legends, pride, and nostalgia.The Orchestra Now Performs Mendelssohn and SibeliusZachary Schwartzman, ConductorYangzin Song, ViolinistThe ProgramFelix Mendelssohn: Ruy Blas OvertureSergei Prokofiev: Violin Concerto No. 2Yangxin Song, violinAllegro moderatoAndante assaiAllegro, ben marcatoJean Sibelius: Symphony No. 1Andante, ma non troppo—Allegro energicoAndante (ma non troppo lento)Scherzo: AllegroFinale (Quasi una Fantasia)Peter Norton Symphony SpacePETER JAY SHARP THEATRE2537 Broadway at 95th Street, New York, NY 10025Box Office: 212.864.5400The Orchestra Nowton.bard.edu / @theorchnowBARD COLLEGE bard.eduP.O. Box 500030 Campus RoadBard CollegeAnnandale-on-HudsonNY 12504845-752-2422FIND MORE at bard.eduReaders may also enjoy our reviews of Peter and the Wolf, Transcendent Triumph and Rachmaninoff’s Symphony No. 2, The American Symphony Orchestra and the Roaring 20s, The American Classical Orchestra presents a Romantic Fantasy, Venice City of Light at St. John the Divine, and The Park Avenue Chamber Symphony performs Mahler’s Symphony No. 5.https://youtu.be/dCIw_4oJ4Gg?si=JjaH4qQ2AJ0BN6Yf

Tonight was an event when The Orchestra Now Performs Barber, Strauss, and Schumann. The concert unfolded in New York City's Peter Norton Symphony Space. In this free concert, a full house enjoyed a marvelous selection of vital, essential selections from the orchestral canon.Gossip and BackbitingViolinist Judith Kim eloquently introduced the first two works, Samuel Barber's programmatic The School for Scandal Overture, Op. 5 (1933), and Richard Strauss's remarkable tone poem, Death and Transfiguration. Op. 24 (1890). Kim articulately described each work's provenance, noting that The Overture was rooted in Richard Brinsley Sheridan's 18th-century eponymous drama, which satirized the gossip and backbiting of the British upper class. She stressed that Strauss's work portrayed the artist's struggle with mortality. Violinist JUDITH KIM introduced the Barber and Strauss pieces.Cinematic SoundscapesConductor Zachary Schwartzman launched Barber's vibrant, lively composition, portraying the humor and sophistication of Sheridan's play. After the powerful opening bars, the strings advanced angular melodic structures. These proceeded splendid woodwind passages leading to expansive, orchestral, cinematic soundscapes.Lush String and Horn PassagesA delightful melody performed by the oboe imbued the piece with an air of playfulness and whimsy before the lush string and horn passages. The Orchestra masterfully portrayed the work's rhythmic energy and dynamic contrasts, honoring Barber's characteristic stylings.These young artists ultimately captured the work's irony, lightheartedness, and seamless blending of classical traditions with contemporary sensibilities that are faithful to the work's source material.Rich PathosThe Orchestra commanded the rich pathos of Strauss's masterpiece. The work's themes demanded sophisticated employment of orchestral techniques to paint vivid sonic images of the artist's physical and emotional turmoil before his imminent death. This and more were achieved as the artists musically explored Strauss's experiences with death, dying, and the complex associated emotions. Conductor Zachary Schwartzman with The Orchestra Now at Symphony Space. Photo by Edward KliszusSoulful WoodwindsTonight's interpretation of the Strauss reflected expressive, refined use of musical elements. The musicians performed elegant melodic passages through rich, lush strings, brass, and soulful woodwinds. They brought to life the artist's struggle to come to terms with his mortality. Dramatic pulsing by the tympani and a resounding gong ably characterized the inevitable passage of time.Sonic SuffusionThe audience's sonic suffusion ranged from beautiful solos from the violin concertmaster, flute, oboe, and ethereal harps. Moreover, from sweeping strings to the somber intones of the woodwind section, the music evoked a wide range of emotions in listeners. The Orchestra's portrayal of the work's unique structures and tonal shifts kept listeners engaged until the final triumphant notes of the transfiguration were articulated through a magnificent, ascending, and dramatic appoggiatura.Elation and Despair Cellist EVA ROEBUCK introduced Schumann's Symphony No. 4Cellist Eva Roebuck came to the forefront to introduce Robert Schumann's Symphony No. 4 (1841). She expressively described Schumann as a Romantic composer and noted his challenges with mental health and ultimate demise in a mental asylum. The Symphony No. 4 portrayed Schumann's elation and despair. We discovered the work was a remake of Schumann's Second Symphony before Roebuck introduced tonight's conductor, Zachary Schwartzman.Gifted Graduate StudentsMaestro Schwartzman welcomed and thanked everyone for coming. His salutary remarks recognized The Orchestra Now's accomplishments and their status as gifted graduate students of music performance. He reminded everyone that the Bard School, the home of The Orchestra Now, relied on donations to offer programs like today's at Symphony Space.Leonard BernsteinSchwartzman also spoke of a new film entitled Maestro. It opens on November 22 and is about Leonard Bernstein's life. It was produced by Steven Spielberg and Martin Scorsese, with Bradley Cooper starring as Bernstein. The Orchestra Now played a role in the movie, along with members of the Philadelphia Orchestra.Continuous, Immersive Flow of SoundSchwartzman began the Orchestra's interpretation of Schumann's Symphony No. 4. The work's provenance was highly significant as it was composed after Schumann recovered from a mental breakdown. As expected, the work was characterized by an enigmatic and somewhat fragmented structure and, as Schumann intended, a continuous, immersive flow of sound.Dramatic and Lyrical ElementsThe Orchestra rose to the occasion, magnificently expressing the emotional depth, transparency, and originality of this timeless masterpiece of Schumann's genius. Listeners were mesmerized by the work's unique harmonies and portrayal of the delicate balance between dramatic and lyrical elements. The cello solo was marvelous!Fantastic ConcertTonight was a fantastic concert of challenging, diverse, and intriguing music. The musicians performed with intensity, purpose, and virtuosic brilliance. They delivered moments of excitement, adulation, passion, pathos, and profound serenity.Schwartzman delivered precise, expressive leadership with aplomb; accordingly, the musicians responded with passion, bravura, and brilliance. Articulation, dynamics, entrances, and intonation were excellent, while ensemble and solo work were inspiring!Runtime approximately 1 hour and 45 minutes, including intermission The Orchestra Now Performs Barber, Strauss, and SchumannPeter Norton Symphony SpaceZachary Schwartzman, ConductorLeon Botstein, Music DirectorSAMUEL BARBER The School for Scandal OvertureRICHARD STRAUSS Death and TransfigurationROBERT SCHUMANN Symphony No. 4Ziemlich langsam—LebhaftRomanze: Ziemlich langsamScherzo: LebhaftLangsam—LebhaftThe ArtistsViolin 1: Samuel Frois (Concertmaster), Chance McDermott, Haley Schricker, Seunghye Park, Enikő Samu, Haley Maurer Gillia, Judith Kim, Shengjia (Sherry) Zhang, Jonathan Fenwick, Leonardo Pineda '15 TŌN '19, Luca SakonViolin II: Yaewon Choi (Principal), Lana Auerbach, Nayoung Kim, Julián Andrés, Rey Peñaranda, Yi-Ting Kuo, Zeyi Sun, Emerie Mon, Gökçe EremViola: Emmanuel Koh TŌN ’19 (Principal), Andrea Natalia Torres-Álvarez, Tania Ladino Ramirez, Sydney Link, Michael Halbrook, Keegan DonlonCello: Yuri Ahn (Principal), Dariimaa Batsaikhan, Eva Roebuck, Emma Churchill, Amelia Smerz, Sam BoundyBass: Rowan Puig Davis (Principal), Holdan Silva Acosta, Milad Daniari TŌN ’18, Luke Stence TŌN, ’22,Flute: Olivia Chaikin, Principal (Barber, Strauss), Jordan Arbus, Principal (Schumann), Chase McClung, Piccolo (Barber)Oboe: David Zoschnick, Principal (Barber, Strauss), Quinton Bodnár-Smith, Principal (Schumann), English Horn (Barber, Strauss), Shawn HutchisonClarinet: Colby Bond, Principal (Barber, Strauss), Zachary Gassenheimer, Principal (Schumann), Bass Clarinet (Barber, Strauss), Dávid KéringerBassoon: Miranda Macias, Principal (Barber), Contrabassoon (Strauss), Kylie Bartlett, Principal (Strauss), Han-Yi Huang, Principal (Schumann)Horn: Stefan Williams, Principal (Barber) and Assistant (Strauss), Tori Boell, Principal (Strauss), Daniel Itzkowitz, Principal (Schumann), Douglas Nunes, Ziming ZhuTrumpet: Forrest Albano, Principal (Barber), Giulia Rath, Principal (Strauss), Jid-anan Netthai, Principal (Schumann)Trombone: Stephen Whimple, Principal (Barber, Schumann), Zachary Johnson, Principal (Strauss), Samuel Boeger, Bass TromboneTuba: Tyler WoodburyTimpani: Miles SalerniPercussion: Petra Elek, Principal (Barber), Nick Goodson, Principal (Strauss), Luca EspositoHarp: Cheng Wei (Ashley) Lim, Principal, Violetta Maria NorrieTHE ORCHESTRA NOWton.bard.edu / @theorchnowBARD COLLEGE bard.eduGET IN TOUCHP.O. Box 500030 Campus RoadBard CollegeAnnandale-on-HudsonNY 12504845-752-2422FIND MORE at bard.eduReaders may also enjoy our reviews of Transcendent Triumph and Rachmaninoff’s Symphony No. 2, The American Symphony Orchestra and the Roaring 20s, The American Classical Orchestra presents a Romantic Fantasy, Venice City of Light at St. John the Divine, and The Park Avenue Chamber Symphony performs Mahler’s Symphony No. 5.https://youtu.be/v48hRxjvWmM?si=cfrS8FsR58qJtI75&t=3

Symphony Space hosted Selected Shorts: Ken Burns Presents Willa Cather’s America, bringing dynamic and eloquent prose to life on stage and live-streamed on September 27th.Patricia Clarkson, David Strathairn, Sonia Manzano, and Sarah Mezzanotte entertained the audience with their reading. In addition, there was a musical performance by mezzo-soprano Linda Collazo.Willa Cather, born in 1873, was a 20th-century writer of short stories, and poetry and a noted teacher. Her family moved to Nebraska when she was nine, and the frontier lifestyle, weather, and the grandness of the prairie influenced her life and writing. She won a Pulitzer Prize in 1923 for her World War I-based novel, One of Ours.The Way of the World, presented by Sonia Manzano, best known for her role as “Maria” on Sesame Street. Dressed in a blue, yellow, and black two-piece outfit, she was animated as she told the short story published in 1898. The Way of the World is about a small town, Speckleville, where kids pretend to run the town. The piece spins a tale of sexism where only boys are allowed, and the idea of letting a girl into their game ruins the fun.Cather was a feminist long before they coined the phrase, and this story is really an insight into male sexist prejudices that still exist today, making the theme relevant. Burns thanked Manzano for her beautiful reading.David Strathairn presented A Wagner Matinee, and Burns remarked it had a “gentle acuity.” The prose is from Cather’s published first collection, The Troll Garden. Strathairn, dressed in a comfy-looking plaid flannel shirt, brought insight to a story that presents the sadness of living a life of idleness and dreaming of another. It’s somewhat just a reflection of Cather’s life, from time spent in Nebraska and the excitement of Georgiana having lived in New York City.At the end of the story, the main character, Georgiana, having witnessed an intensely moving symphony concert, remarks, “I don’t want to go.” It is a simple sentence about getting lost in a daydream world and not wanting to enter reality. The story reaffirms Cather’s stunning ability to present the happiness and pain of hidden longing.Sarah Mezzanotte, a graduate of The Tisch School at NYU, gave a superb reading of The Song of the Lark, a short story published in 1915. The tale is about a young girl who leaves her small hometown for Chicago to fulfill her dream of becoming a singer. The underlying theme of some of Cather’s writing appears to be about dreams, both filled and unfilled. She reminds us that introspection is a good thing.Linda Collazo, with her powerful mezzo-soprano voice, brought delight to the room as she performed Che faro senza Euridice, accompanied by Eric Sedgwick.Patricia Clarkson, looking sleek in a black jacket, pants, and boots, gave an emotional reading of The Burglar’s Christmas, a story about a young man’s travails, as he goes from poor to rich. Cather mastered this transition in a few pages, bringing the emotions of helplessness and the magic of Christmas into this story published in 1896.After the final reading, Burns remarked, “Let’s put Cather back on the Times Best Seller list. You will not be disappointed.” Not disappointed, the audience celebrated with a hearty round of applause for the brilliant performances of those who were onstage.Symphony Space presents Selected Shorts: Ken Burns Presents Willa Cather’s America.With Sonia Manzano, David Strathairn, Sarah Mezzanotte, Linda Collazo and Patricia Clarkson. Musical accompaniment by Eric Sedgwick. Press by Blake Zidell.Symphony Space, 2537 Broadway at 95th Street, New York 10025. Box office 212-864-5400 or [email protected] might also enjoy our reviews of My Moment – 106 Women on Fighting for Themselves, and Artwork at The Players: 50 Selected Essays. Women Running in the Mountains, and Gold by Rumi. https://www.youtube.com/watch?v=FMtCh0VuoKg