Tanglewood, the home of the Boston Symphony Orchestra, has announced a significant increase in capacity from the previously announced attendance cap of 25% to 50% for the 2021 Tanglewood Season this July 9 – Aug 16.
The decision is in response to recent health and safety issuances by the Centers for Disease Control, Commonwealth of Massachusetts, and Berkshires’ Tri-Town Health Department, as well as feedback from the Boston Symphony Orchestra’s own team of experts – including 9Foundations.
In support of regulations set by the Tri-Town Health Department and the Lenox and Stockbridge health boards, Tanglewood will limit attendance capacity to 9,000—50% of its usual capacity of 18,000. With this significant increase in capacity, they will now be able to welcome up to 2,400 patrons inside the Shed and 6,600 patrons on the lawn. While physical distancing will no longer be enforced on the lawn, the approximate 50% capacity will ensure ample space for voluntary physical distancing should patrons choose that option.
Tanglewood will now maintain three-feet physical distancing between patron parties seated in the Koussevitzky music shed for all Boston Symphony Orchestra related performances, from July 9 through Aug 16. In addition, they will no longer require patrons to wear masks, though it is recommend masking and physical distancing for people who are unvaccinated based on Center for Disease Control guidelines.
The new 9,000 overall capacity limit also applies to the new 2021 Popular Artists schedule, though there will be no capacity restrictions in the Koussevitzky Music Shed. Performances that have been rescheduled for later this summer include:
Brandi Carlile, with opening artist Mavis Staples, originally scheduled for July 27, will now perform on Aug 21, with ticket sales resuming on Monday, June 21.
Judy Collins, Richard Thompson, and Jesse Colin Young, originally scheduled for June 20, will now perform on Aug 22, with ticket sales resuming on Monday, June 21.
Wait Wait… Don’t Tell Me will take place on the originally scheduled date of Aug 26,with tickets on sale now.
Performances by James Taylor, Ringo Starr, and The Mavericks & Los Lobos, originally scheduled to take place on June 17, June 27 and Aug 31, respectively, have been rescheduled for the 2022 Tanglewood Season. The Trey Anastasio concert Scheduled on June 19 and the John Legend concert on August 28 have been canceled.
Additional tickets affected by the 50% capacity change will go on sale to the public on Monday, June 21. Existing ticket inventory remains on sale now. To stay up to date on shows, see highlights from the season, and acquire tickets visit the BSO website.
For more information about safety guidelines and protocol visit the Safe and Sound section on the BSO website.
Spring is here and the Empire State Youth Orchestra (ESYO) is back in action. Known regionally and nationally for empowering leadership among youth musicians from communities in New York’s Capital Region and the Berkshires, The 2021 SpringUP Festival features street performances, an immersive Soundwalk in Albany’s Washington Park, and virtual mainstage performances in ESYO’s new Virtual Concert Hall.
The festival, which runs through Sunday, June 13, allows ESYO to showcase their work in the community for the first time in 15 months.
“Youth leaders are found in every ensemble and at all levels of ESYO. Their passion, resiliency, and commitment inspired ESYO to meet the challenges created by the pandemic and keep making music together.
– Carlos Ágreda, ESYO Music Director
In-person audiences are welcome to bring a lawn chair and picnic lunch to Washington Park. There is also a spot to donate perishable food items to benefit the Regional Food Bank of Northeastern NY.
Outdoor events are FREE and open to the general public. Tickets to ESYO’s virtual mainstage stage concerts are on sale now and start at $1 with ACCESS ESYO membership. For a complete list of festival concerts and events or to donate, visit esyo.org/springup.
Of particular interest is the immersive Soundwalk around Washington Park Leks. It was envisioned by Emma Edgar, a senior at Bethlehem High School and executed by herself and an entire team of ESYO student musicians. the Soundwalk will be accessible to the community during the summer months.
SPRINGUP FESTIVAL EVENTS
ESYO SpringUP at Troy Waterfront Farmers Market | FREE
Saturday, May 22, 2021
Time: 10AM – 1PM Venue: Troy Riverfront Park
ESYO Young Leaders Presents: ESYO Soundwalk | FREE
Jazz Orchestra, String Orchestra- GE Theatre & Repertory Classical Orchestra at the SpringUP Festival
To celebrate Puerto Rican Culture Week, NY PopsUp festival will be having its annual celebration at 52 Amphitheater in The Bronx. The free event will be held on June 6th with live music at 2:30 and 4:30 pm. This is after last year’s Puerto Rican Culture Week celebration was held online.
The music talent will include GRAMMY nominated Bobby Sanabria Multiverse Big Band who will be saluting Puerto Rican composers like Tito Puente, Eddie Palmieri, Rafael Hernández, and more at 2:30 pm. Then at 4:30 pm, they play the complete score from the Grammy-nominated, Jazz Journalists Association Record of the Year, “West Side Story Reimagined”
NY PopsUp is an expansive festival consisting of hundreds of pop-up performances that regularly permeate the daily lives of New Yorkers. It is intended to revitalize the spirit and emotional well-being of New York citizens through the energy of live performance. The programming for NY PopsUp will be led by the interdisciplinary artist Zack Winokur, in partnership with a hand-selected council of artistic advisors who represent the diversity of New York’s dynamic performing arts scenes and artistic communities.
You can attend this event at 52 Amphitheater 681 Kelly St. Bronx, NY. COVID-19 Protocols will be followed so bring a mask.
East Coast meets the Midwest on the Lex Luger assisted banger featuring Chicago rapper, Valee. From Staten Island bred, classical music composer, MVW (Michael Vincent Waller), the two-minute long record is the second single released from his upcoming project, Classic$ (the first hip-hop project from Michael Vincent Waller after releasing three classical albums). With “Still Do” following the Shanique Marie and Lex Luger assisted, “Survey Says.”
A sui generis collaboration, MVW is recognized in the classical world for his portrayal of “melodic classicism.” Something that this record subtly and blatantly emphasizes.
On the vision behind his upcoming project, MVW explains,
My core intention on Classic$ is to get classical music into hip-hop without dissolving either. It’s about allowing the production and samples to breathe organically. We’re not simply trying to add orchestral heavy strings. Instead, we’re relying on dark and episodic chamberal moments, which fit naturally. I hope people are like, I didn’t know classical music could be so funky. I can’t believe trap [music] is so sensuous and beautiful.
Michael Vincent Waller
“Still Do,” is rich in production. It begins with a sensual violin solo which loops throughout before light strings and a thumping drum track starts the record. Light keys are sprinkled throughout the loop and Valee echoes his rhymes of a luxurious life, with trap and classical genres working together symbiotically.
Still do, get the guap we still do. B*tch want to hit up 90210 to shop we still do.
The production on the song just spoke to me, Valee says of the record. I knew I had to do something different and use a brand new flow for it.
Valee
On Classic$, MVW also recruits multi-platinum producer Lex Luger (known for his extravagant sounding orchestral beats and unique use of ihats to open records), whose work with the likes of Rick Ross, Kanye West, Waka Flocka Flame amongst others have made him world renowned.
The two have co-produced multiple records for the album as they have unlocked a bridge between their two worlds.
Lex Luger on the beat
I want to take the same attention to detail associated with classical and chamber music and apply it to one of the most viable, listenable, and casual genres, i.e. trap, explains MVW.
It’s got freshness and energy, but there are a whole bunch of nuances and details you don’t typically hear in modern rap. I’m trying to take the best of both worlds.
The Empire State Youth Orchestra which consists of a group of high school-aged musicians and artists from the Empire State Youth Orchestra (ESYO) Young Leader Program have announced that they will be hosting a Soundwalk at Washington Park in Albany. This Soundwalk, which will premiere on May 30, 2021-Memorial Day Weekend, will be available all summer.
A Soundwalk is an immersive audio experience curated to accompany a walker as they stroll along various nature trails. As a walker passes through each section, the music changes to match the particular sections of the trail. Young composers from ESYO and guest artists composed pieces of music for specific parts of the trail, highlighting its features. In addition to the focus on nature, some pieces will center on the significance of Albany’s heritage, both Dutch and Native American.
Pieces are composed by Brett Wery, Aaron Houston, Jason Handron, Mike Blostein, Monica Roach, Clare Criscione, Max Caplan, and youth composers William Lauricella and Matthew Kenyon. Each piece is performed by ESYO musicians and special guest artists from the Musicians of Ma’alwyck, including ESYO Young Leader mentor Ann Marie Schwartz.
This Soundwalk is an important project for so many reasons. I joined ESYO and the Young Leader program because I wanted to make music with other dedicated young musicians like myself, and now, I want to give that opportunity back to the community. A park is a place that brings people together, and I am reaffirming that statement through this music. I hope that the Soundwalk will continue to grow, fueled by the community surrounding it.
Emma Edgar, Founder and Artistic Director of the Soundwalk project and a 12th grader at Bethlehem Central High School
“Founder and Artistic Director Emma Edgar and Recording Producer Sean Jones oversee the recording session for “Thrumming” composed by Michael Blostein, a musician, educator, and composer in the Capital Region.
The Albany Soundwalk will be a creative musical event that will bring the community together through the COVID-19 pandemic. For additional information about how you can experience the ESYO Soundwalk event, visit esyo.org/soundwalk. To donate and support the artists in the project, click here: esyo.org/soundwalk
Plans for the CSO’s 2021 season will incorporate necessary changes and procedures to ensure the health and safety of all. Performances will often feature a smaller ensemble, with all musicians distanced and non-wind and -brass players masked.
“Planning for the upcoming season has been challenging but also wholly invigorating — dreaming of how we can make the most of our circumstances and deliver concert experiences that will surprise and delight,” Milanov said. “I’m elated to return to Chautauqua and the Amphitheater, and to take the stage with my incredibly gifted orchestra colleagues to make beautiful music for our wonderful audience.”
The CSO’s 2021 season begins on July 10 with a performance of Beethoven’s Fourth Symphony and a work by composer and pianist Gabriela Lena Frank, “Elegía Andina,” that she says “is one of my first written-down compositions to explore what it means to be of several ethnic persuasions, of several minds.” The closing concert on Aug. 14, with Principal Pops Conductor Stuart Chafetz, will feature returning vocalist Capathia Jenkins performing selections made famous by the inimitable Ella Fitzgerald.
Other season highlights include frequent Chautauqua collaborator, Wynton Marsalis, on July 28 and two movie-nights with orchestral accompaniment, “The Nightmare Before Christmas” and 1991’s “Beauty and the Beast”.
2021 will also feature the return of the Chautauqua Diversity Fellows to the Institution grounds. The program began as an expansion of the Cincinnati Symphony Orchestra and University of Cincinnati College-Conservatory of Music’s (CCM) groundbreaking Diversity Fellowship Program for pre-professional underrepresented musicians. 2021 will feature four fellows from the Cincinnati Diversity Fellowship Program and one Fellow from the Sphinx Organization, the pivotal organization dedicated to transforming lives through the power of diversity in the arts.
All Chautauqua Symphony Orchestra performances are included with the Traditional Gate Pass (TGP). TGP holders will have first access to reserved seating, approximately two weeks prior to the start of each week. Remaining tickets will then be available for sale to Grounds Access Pass (GAP) holders and the general public on a space-available basis approximately one week prior to the start of each week.
After a hiatus last year due to the COVID pandemic, The American Music Festival has announced a comeback with four days of events at Albany’s Palace Theatre.
The Albany Symphony Orchestra photo courtesy of Albany Symphony
Presented by the two-time Grammy award-winning Albany Symphony Orchestra and their music director David Alan Miller, the annual festival celebrates cutting-edge composers and musicians. This year, the festival will be held from June 10-13 and consist of a Composer Workshop Masterclass, outdoor neighborhood performances, and family activities.
Other events include a First Draughts reading session, which gives the public a glimpse into the weeklong Composer Workshop, as well as performances from members of the Los Angeles Guitar Quartet and the orchestra’s own Dogs of Desire.
A recent addition to the events include a collaboration between the Albany Symphony and NYSID (New York State Industries for the Disabled). They will be hosting a panel discussing how disabilities can actually provide more positive abilities than negative. The band Flame, made up of talented musicians with disabilities, will also be performing.
The festival will also feature works from composers Nina Shekhar, Clarice Assad, Molly Joyce, Christopher Theofanidis, Alexis Lamb, Kerwin Young, Bobby Ge, Jack Frerer, Carolyn Yarnell, and Tom Morrison, alongside other musicians. Many of the works will be premiered at the fest.
One of the composers, Nina Shekhar, writes in reaction to how classical music has lacked in responding to current social issues. Her piece, Above the Fray, pokes fun at this phenomenon by distorting Bach’s famous Prelude from Cello Suite No. 1.
“Unlike Western art tradition, which believes that classical music is a one-size-fits-all solution, this piece challenges that and asserts that we each have infinitely unique identities that morph under different circumstances. Art itself is not static, but rather something dynamic that we can allow to breathe, reshape, decompose, and reincarnate into new life forms over time,”
Nina Shekhar, Featured Composer at the American Music Festival
In accordance with New York reopening guidelines, the concerts will have limited in-person attendance for paid subscribers only. Livestream access will be available for free.
Concert livestreams can be accessed on the Albany Symphony Orchestra website. Check out the complete schedule below.
Composers Molly Joyce and Nina Shekar sit down for an honest talk about creativity, resilience, and embracing differences with Maureen O’Brien, President & CEO at New York State Industries for the Disabled (NYSID) and Greg Sorrentino, President & CEO at Center for Disability Services.
An iconic location in mid-town Manhattan is closing its doors for good. The Hotel Pennsylvania will not reopen, succumbing to this past year’s lack of business and years of narrowly avoiding the chopping block. The fourth largest hotel in New York City was well situated, right across from Madison Square Garden and Penn Station, making it a natural and affordable stop for travelers and concert goers alike.
Located on 7th Avenue between 32nd and 33rd, and built by the Pennsylvania Railroad under the operatation of Ellsworth Statler, The Hotel Pennsylvania first opened on January 25, 1919. Original Pennsylvania Station designer William Symmes Richardson was the architect of the well-situated hotel. The hotel would undergo a few name changes, including Hotel Statler (1949), The Statler Hilton (1958), New York Statler (1979) New York Penta (1983) and finally Hotel Pennsylvania, beginning in 1991. If there was a centennial celebration, it was muted, but earned.
Hotel Penn has had its share of criticisms in recent years, being perpetually under renovation in the last decade, and not living up to the glory years of the mid-20th century. There were rumors it was haunted, the elevators would sometimes not open entirely on your floor, or need a moment before ascending from the lobby. But amid any issue with Hotel Pennsylvania, the location and history could not be beat.
Full disclosure: I’ve stayed at Hotel Penn at least 40 nights, dating back to December 2005. I’ve heard all the complaints of Hotel Penn, and while some are justified, it always felt like this Grand Hotel got a bad rap. I never had a bad stay, or encountered the issues that people complain about. You look for a 3-star hotel in mid-town, you have to accept what a 3-star hotel brings to the table.
The Music
There is a fair amount of history in this huge hotel, most notably The Glenn Miller Orchestra’s “Pennsylvania 6-5000.” Until early May 2021, you could call 212-PE6-5000, and hear the refrain from “Pennsylvania 6-5000” before connecting to an operator. It was, until this month, the longest continuous use of a phone number in New York. From the moment you called the hotel, music and history was inviting you in.
Jack Albin Orchestra held a long term engagement at Hotel Pennsylvania in the early 1930s, often led by vocalist Bill Coty. Despite being popular in his day, little is known of Albin, although he did record for many labels, including Hotel Pennsylvania Music. “You’re The One,” recorded in 1930 features vocalist Paul Hagan. Hagen recorded with several bands including Ben Bernie’s groups, Bill Moore’s Syncopators, and Fred Culley and his Royal York Hotel Orchestra.
In 1930’s and 40’s, the Café Rouge at Hotel Pennsylvania was one of the most popular nightclubs in New York City. Home to Big Bands at the height of their heyday, including Glenn Miller Orchestra, Duke Ellington, The Dorsey Brothers, Woody Herman, Count Basie, and The Andrews Sisters, among others. The Café Rouge was connected to the NBC Red Network (the NBC Radio Network after 1942) which brought the music from the hotel and Café to captive audiences across the country.
In November 1939, bandleader Artie Shaw, who had a long-term engagement at Café Rouge left the bandstand between sets. Shaw decided he had had his share of the band business amid his success over the past two years, and quit his band on the spot. Shaw’s principal orchestrator from 1937–39, Jerry Gray, was hired by Glenn Miller as a staff arranger when Shaw deserted the band.
In the pre-war 1940s, the Glenn Miller Orchestra had multiple long-term bookings in the room, corresponding with the time of Miller’s highest profile as a bandleader. Broadcasting from The Café Rouge, some performances were recorded by RCA Victor. During the time of Miller’s residency at Hotel Pennsylvania, Gray wrote “Pennsylvania 6-5000,” with lyrics by Carl Sigman, a song that would become iconic alongside the hotel.
Other notable musicians to perform at Hotel Pennsylvania include Benny Goodman‘s famous orchestra including Harry James, Ziggy Elman and Gene Krupa, who broadcast from the hotel’s Madhattan Room in 1937. Les Brown‘s band, with vocalist Doris Day, would introduce “Sentimental Journey” at The Café Rouge in November 1944.
Present Day
The era of music at Hotel Pennsylvania would seemingly cease by the 1950s, with limited evidence of music performances at the hotel. The Café Rouge would be severed from the hotel at an unknown time, having a standalone address on 32nd street. By 2014, The Café Rouge was converted into an indoor basketball court known as Terminal 23. The original interior decor remains intact, with a fountain, beamed ceiling and other architectural details remain.
As for the hotel itself, Vornado CEO Steven Roth, who owns the property, said of the hotel in a letter to shareholders, “while it may have been a grande dame in its time, it is decades past its glory and sell-by date.” In an effort to revitalize the area as the Empire Station Complex, meaning that more than a city block, including Hotel Penn, will soon be razed to make way for PENN15.
With no protection that comes with Historic Landmark status, beginning with a denial in 2010 by the New York City Landmarks Preservation Commission to designate Café Rouge as a landmark, the Hotel Penn as a whole has likewise not been saved by the status that prevents facing the wrecking ball.
Architect Richard Cameron, contests the grounds on which developers seek to demolish what was at one time the largest hotel in the world. Using the history of old Penn Station, which met a similar fate, Cameron said:
We used to have the greatest train station in the world right across the street, literally right across the street, and sadly for me I was too young – when I got to New York it was already gone. The language that was used to destroy that station is the exact same language Steve Roth is using today to argue to destroy this; it’s tired, it’s old, it’s dirty, can’t be reused. We need something new. Everybody admits that what happened across the street was one of the worst crimes in terms of architectural legacy that ever happened in this country. We’re about to commit the exact same crime right here with the Hotel Pennsylvania.
The proposed layout of PENN15 and surrounding area around Hotel Pennsylvania.
Staying at Hotel Pennsylvania
While there was music ingrained within Hotel Pennsylvania, there was of course music across the street at Madison Square Garden, making the location prime for crowds arriving for concerts and events, while looking for the easiest location to stumble back to afterwards. Bands that thrived on multi-night runs – the Grateful Dead and Phish, among others – meant Hotel Penn was often fully booked, offering a proximate and affordable rate for travelers and fans on a budget. This is precisely how I ended up staying there over December 30, 2004 through January 1, 2005. The Hammerstein Ballroom was a short walk for the Disco Biscuits’ New Years Eve show that year, and made for great late night revelry with many fans staying there or just popping by to celebrate the New Year as so many had in decades prior.
Upon arrival, check-in could be the longest line in the world at any time of day, or the shortest. Your keys would work when you got to the room, then not when you returned from a show. The valet doors, well outdated, were a nice historical touch. Rooms varied in size – people were much shorter and smaller when the hotel was built – so you might find the confines of a two-bed room tighter than modern hotels.
Even remodeled rooms at Hotel Penn were still small compared to modern hotels.
Hotel Pennsylvania was dog friendly too, serving as the official hotel for Westminster Kennel Club Dog Show, held annually at Madison Square Garden. Being able to bring a dog to the hotel can be helpful to some travelers, and the courtesy extended by the staff with regards to pets was top notch. The support for Westminster in providing the closest location possible for pets in New York City is noteworthy in itself.
A Personal Story
Having stayed there and willingly accepted the 3-star-ness of the hotel, I looked to Hotel Penn as the perfect location for a PhanArt show. Despite New York City being one of the most expensive cities in the country, Hotel Penn was able to provide an affordable location for these event, the only option beyond venues such as the now closed American Beauty on 30th street. The Gold Room provided well for five PhanArt shows beginning in January 2016, a rare find in a town where the cost to rent out a space for an art exhibit is cost prohibitive without major financial backing. For a group of Phish-inspired artists, Hotel Penn provided a home that the streets and lack of vacant lots in Manhattan could not.
In 2019, after much encouragement from past successes, the hotel brought the event to the 18th floor, which allowed for even more artists to take part, in addition to yoga sessions and providing a meeting place for fans, friends and groups. The staff worked with the artists as professionally as any other, and gave me more reason to look at Hotel Penn as having no more than a faded glory in need of a polishing.
The artists and team behind the December 30, 2019 PhanArt Show at Hotel Penn. Photo by Jamie Huenefeld.
The history of Hotel Pennsylvania may be overshadowed by the past few decades where it fell farther from its glory days, but the history from within should not fade away as the hotel meets its doom.
Maybe it sounds a bit funny When I’m away from my honey Here’s what I do with my money Pennsylvania Six, Five Thousand
New York City’s foremost period instrument orchestra, American Classical Orchestra (ACO), has provided various events for this Summer. Starting on May 6 through July, ACO is offering a range of free digital activities.
In 1984, Artistic Director Thomas Crawford founded the American Classical Orchestra. Crawford is known for his historically accurate performance styles, as well as his numerous accolades. As NYC’s only full-scale orchestra, ACO dedicates performances to 17th, 18th, and 19th-century music on period instruments. The group consists of high-performing artists across an array of well-established ensembles.
Throughout May, the Orchestra is presenting a lively new podcast series: TACOTalk. This podcast explores in-depth conversations among the Orchestra’s musicians, special guests, and honorary host Thomas Crawford. In addition to the provided insight about ACO, the members will also examine the period-instrument movement in the U.S. Each episode seeks to analyze the existing duality that classical musicians face with historical performance and contemporary culture. Produced by Mark Zaki, the 12 episodes of TACOTalk are available now, and more are coming soon.
ACO’s Video Series
Beginning in June, ACO will present Beethoven Sonatas Video Releases. Due to the pandemic, the Orchestra had to cancel their planned recitals featuring Beethoven’s 32 piano sonatas. ACO’s Sfzp Project originally scheduled these performances to be a part of their program. The Sfzp Project is a three-year cycle of programs and events intended to advance fortepiano performance in NYC and beyond. The events will resume in Fall 2022, but the Orchestra has something else in store until then.
AOC has decided to film the performance of seven of those sonatas. Worldwide leading keyboard artists will conduct the performances on original and replica fortepianos. Two of these instruments are from the Metropolitan Museum’s collection. The films will release weekly on Thursday at 11 a.m. from June 3 to July 15. All of which can be streamed on ACO’s website, Facebook page, and YouTube channel.
June 3 – Eric Zivian, pianoforte; Beethoven: Piano Sonata No. 12 in A-flat Major, Op. 26 ‘Funeral March’
June 10 – Shuann Chai, pianoforte; Beethoven: Piano Sonata No. 23 in F minor, Op. 57 ‘Appassionata’
June 17 – Dongsok Shin, fortepiano; Beethoven: Early Piano Sonata to be confirmed
June 24 – Jiayan Sun, fortepiano; Beethoven: Piano Sonata No. 21, in C Major, Op. 53 ‘Waldstein’
July 1 – Petra Somlai, fortepiano; Beethoven: Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 ‘quasi una fantasia’ ‘Moonlight’
July 8 – Shuann Chai, fortepiano; Beethoven: Piano Sonata No. 25 in G Major, Op. 79 ‘Cuckoo’
July 15 – Dongsok Shin, fortepiano; Beethoven: Late Piano Sonata to be confirmed
The Smith Center for the Arts will be host to several Geneva Music Festival performances, beginning Sunday, May 23rd, including the celebration of a decade of the diverse, talented artists that have taken part in the festival for 10 years.
The performance lineup includes classical acts Forgotten Melodies on Sunday May 23rd at 2PM, Interwoven Dialogues on Saturday May 29th at 7:30PM, and several more acts continuing into the summer. The performances are both in-person at the Smith Opera House or livestreamed. The summer dates will be performed outdoors.
For the 2021 Season, the Geneva Music Festival celebrates its first 10 years, during which it has highlighted diverse influences on classical music such as jazz, Latin, African American, and women composers and musicians, and many others.
The season opens on Thursday, May 20th, with “When the Flowers Bloom: ATLYS in the Sonnenberg Gardens.” This is the world premiere of the “Sonnenberg Suite,” composed by Ari Fisher and performed by ATLYS, the classically trained crossover string quartet. This is one of many delightful performances, and it is dedicated to the eclectic gardens of the Sonnnenberg Gardens and Mansion State Historic Park in Carandaigua, where the performance will take place. Each movement in the concert is for each of the nine gardens. Doors open at 6PM and the concert begins at 7PM.
We have been truly fortunate over the course of our first decade to consistently present world-class musicians. Our programming once again highlights the diverse scope of contributions to classical music and demonstrates the universal nature of our art. We aim to give voice to the possibilities of our time, breaking through exclusionary barriers that, historically, have unfairly restricted composers and performers. The classical canon has traditionally denied audiences the opportunity to experience the range and depth that music offers.
Geoffrey Herd, director Geneva Music festival
All tickets to these in-person performances are $25.00, and FREE for individuals 18 years old & younger. Tickets can be purchased at genevamusicfestival.com.
Additional acts of the Geneva Music Festival lineup include:
