The Binghamton Philharmonic Orchestra has announced an exciting collaboration with Jeans ‘n Classics, “Dancing Queen: The Music of ABBA,” as the first performance of the Philharmonic’s 2024-2025 Visions Federal Credit Union Pops Series.
Acting as the Southern Tier’s largest and longest-serving professional symphony orchestra, the Binghamton Philharmonic serves up to 10,000 people annually through a variety of innovative, engaging, educational, and affordable programming upon the core philosophy of “building community through the power of music.”
Partnering with the Philharmonic is Jeans ‘n Classics, who have a remarkable 27 year legacy of their own. Since its inception, the group bridges the skill of symphony orchestras with that of emerging world-class rock musicians. Creating new interpretations of orchestral scores through a rock lens, Jeans ‘n Classics transcends both genre and generational boundaries to create a broader community of music lovers at large.
The two class acts will combine for one timeless evening celebrating all things ABBA in Dancing Queen: The Music of ABBA. Featuring beloved hits like “Fernando,” “Waterloo,” and the title track of the evening “Dancing Queen,” it’s sure to be an unforgettable night of orchestral, rock, and Swedish pop fun.
Known for their particular spin on classic hits with orchestra, Jeans ‘n Classics’ skills will shine as their dynamic stylings meet the sonic grandeur of the Binghamton Philharmonic in a love letter to ABBA’s works. A lifelong fan or uninitiated to the 70s Swedish pop craze, Dancing Queen: The Music of ABBA promises an unforgettable night of pure joy, celebration, and powerful live music.
Tickets are available now, with prices starting at $28. Kids 17 and under can attend free thanks to Pops Series Sponsor Visions Federal Credit Union. For more information on ticket purchasing and the Binghamton Philharmonic’s other events, visit their website here.
To learn about Jeans ‘n Classics, listen to their works, and keep up to date on future events like Dancing Queen, visit their website here.
Internationally acclaimed classical musicians Christie Julien and Alexander Markov have announced their groundbreaking new project called Baroque to Rock, a concert that bridges the works of classical masters with the energy and showmanship of rock music to be performed at the iconic Carnegie Hall on October 22.
Following this exciting announcement, NYS Music had the opportunity to discuss the project, its origins and roots in both artists’ lives, and what’s to be looked forward to in this one-of-a-kind musical evening bridging classical and rock and roll music.
Previous collaborators and seasoned musicians in their own rights, Christie Julien and Alexander Markov’s partnership for Baroque to Rock is an especially exciting one given their respective backgrounds and musical experiences.
An internationally renowned concert pianist, Christie Julien has toured the world countless times performing throughout China, Japan, South America, Europe and The United States. Graduating from the Peabody Conservatory with a prestigious Artist Diploma under the tutelage of pianist Leon Fisher, Julien is a decorated pianist with several prizes in solo and chamber performance, including first place in both categories in the renowned Conservatoire National Supérieur de Musique et de Danse in Paris.
Having performed some of the most iconic historical venues in her home country of France such as the Theatre des Champs-Elysées, Maison de Radio France in Paris, the Nouveau Siècle, Palais de Congres, and the host of annual concerts at Salle Gaveau, Julien specializes in the French repertoire but finds great joy in performing works across the musical spectrum.
All of Christie’s accomplishments as a pianist are rooted in a lifelong love for music as a whole. When asked about where her fascination with the art form began, Julien described an idyllic scene of her six year old self sitting in a tree in her backyard in the south of France for hours at a time with nothing but the company of a small radio next to her.
Her love story with the piano in particular began after a neighbor had to pass along a piano prior to moving away. The piano found its way into Julien’s home, and she was instantly enamored by its elegant simplicity, explaining that, “You could do the melody on the piano by itself and it was simple. There is something very humble about the way you can do a sound on the instrument.”
Markov has been around classical violin since his youth, being taught by his father, concert violinist Albert Markov, who he still performs alongside to this day. With a largely 19th century romantic virtuoso repertoire, Markov has toured the world several times over as one of the modern violin greats.
After making his Carnegie Hall debut back in 1983, Alexander Markov’s decorated legacy thus far has accumulated in a gold medal at the Paganini International Violin Competition, solo performances alongside the Philadelphia Orchestra, BBC Philharmonic, Orchestre de Paris, the Montreal Symphony, and the Budapest Festival Orchestra, in addition to the title of one of the only violinists ever to perform the entirety of the 24 Paganini Caprices in a singular recital, among many other feats.
These accomplishments among many others culminate in Markov’s iconic gold plated violin, custom made by James V. Remington and Barry Lipman. Born out of a lifelong love for rock music and the realization that there was a “void to be filled” in the electric violin world of a recognizable public figure, Alexander’s violin made of real gold paired with a bow that glows comparably to a lightsaber bridges this gap all while creating an iconic instrument that can evolve into a larger symbol for the electric violin akin to the custom-made guitars or drum sets for rock and roll icons.
Setting out to create an instrument that “didn’t just sound rock and roll, but looked the part,” the striking gold violin has become a Markov staple and will be appearing at the October 22 performance of Baroque to Rock.
An evening that bridges the works penned by the likes of Vivaldi, Chopin, and Beethoven among many others with the electric performance quality and spirit of rock and roll, Baroque to Rock is an entirely unique marriage of two musical worlds that almost seem to be opposite extremes.
Through a playful attitude and a broadened perspective of composition- not written with either rock or classical in mind but with the full breadth of all possible instrumentation and technique from the genres combined- the evening is to be a once in a lifetime live experience that is a love letter to music as a whole and what it can accomplish when labels like genres begin to blur or fall away entirely.
Baroque to Rock as a concept was formed out of Julien and Markov’s individual experiences with the genres and how the interactions between sounds expanded their horizons.
When asked about how rock was introduced to their classical lives, the pair’s answers were entertaining in the best of ways. Alexander admits that “when I came to America, I was not into rock and roll at all. In fact, I used to hate rock and roll.” He had moved to the United States for high school, and the experience ended up being eye-opening.
“… Something clicked. I found this whole new genre and that kind of opened the doors in my mind outside of where I came from- that cocoon. There is so much else, and there’s a great bonus… when you open your door, your musical imagination to other genres, you really start to become a better musician and you see from a much bigger perspective.”
– Alexander Markov
Christie’s side of the story takes root in a surprise concert she held for her husband at their wedding where she performed alongside various other musicians over the course of 25 minutes for their 444-guest ceremony. The set began as expected with a standard classical piece that was familiar and “nice for the ears,” and then suddenly Christie was standing on her piano, the other instrumentalists were on their chairs, and alongside Markov’s striking electric violin skills the performance took a surprising turn into exciting rock and roll covers.
After the unforgettable evening, Julien found herself consistently approached by people who were present at the wedding asking about when they would perform something like that again- and the idea for this collaboration was born.
Conversation over the hypothetical set list quickly grew. Julien discussed a distancing from the more strict works like 40-minute sonatas that were beautiful to hear but lacked the spark they were looking for, instead leaning into “something that is fluid, something that goes with a different atmosphere so we could travel in time.”
The two proposed pieces that generally contained a more deeply inspired sound, searching for something that was “expressing something much more than just the instrument” as Julien put it- hence works from ballets like Prokofiev’s Romeo and Juliet and the Khachaturian Sabre dance of Gayane. Baroque to Rock is not meant to make the audience simply sit their seats, it instead aims to capture how music does not have to exist within the confines of refined airs and stiff attitudes when music’s greatest power is to make people feel.
This removal of social confines allowed for the traditionally classic works to be reimagined without boundary or fear of staying true to what’s written on paper. Both musicians excitedly would embellish or alter the pieces where they felt additional or entirely new instrumentation could be added- treating the full breadth of classical and rock writing styles, motifs, and techniques not as separate selections but one expansive toolset.
Baroque to Rock’s appeal is just that- both Julien and Markov are artists that value the power of music as a whole over convention. The event has no singular audience- folks of all ages, backgrounds, and life experiences will be able to attend and experience the essential truth of music as an art: it communicates and connects in a way where just words, or sometimes words entirely, fail. There is no “requirement” of previous knowledge or experience to attend a classical concert, especially not one crafted especially to show the world that music is something every single human being can enjoy.
Tickets for Baroque to Rock have extremely reduced prices for a Carnegie Hall show starting at just $14 thanks to generous donors who agree with the sentiment that there should be no bar from live music, including price range. In addition, profits from the evening will be dedicated to supporting music education initiatives in underserved communities and uplifting the creative exchange between the United States and France through partner organizations savethemusic.com and villa-albertine.org.
Tickets for this once in a lifetime genre-bending experience are available now- you can visit the event’s page for more information and purchasing opportunities here.
A group of the finest young professional classical musicians based out of Carnegie Hall, Ensemble Connect, have announced their return to Skidmore College for their 18th year.
The Ensemble Connect performance takes place in Helen Filene Ladd Concert Hall, Arthur Zankel Music Center, at 7:30 p.m. Friday, Oct. 25. This event is free and open to the public; no tickets are required. Their Oct. 25 performance at Skidmore occurs at the end of the five-day residency and spotlights the music of South Africa. The performance includes a South African Kwela celebration in collaboration with Skidmore students.
The concert will be bookended by a pair of stunning piano quintets: Bongani Ndodana-Breen’s Safika: Three Tales on African Migration and Dvořák’s Piano Quintet No. 2, and will also feature Andile Khumalo’s Cry Out, a notable work for viola, oboe, marimba, and piano. Together, these pieces suggest echoes of lives, songs, dances, and connections to a land that endure despite the forces of time and change.
Arthur Zankel Music Center at Skidmore College
The fall residency will take place Oct. 22-26 at Skidmore College. While in residence, the fellows of Ensemble Connect engage with Skidmore College students and the broader Saratoga Springs community offering master classes, lessons, class demonstrations, and interactive performances.
Ensemble Connect is a two-year fellowship program that prepares extraordinary young professional classical musicians for careers that combine musical excellence with teaching, community engagement, advocacy, entrepreneurship, and leadership.
The fellowship includes a series of concerts where the musicians explore classical music in all its iterations, performing the timeless alongside new works. Since 2007, these concerts have included Skidmore College, where Ensemble Connect participates in residencies each year in October and February, allowing many members of the Skidmore and surrounding communities to experience the unique artform that is classical music.
Carnegie Hall’s Ensemble Connect in 2023
For more information on the upcoming Ensemble Connect performances at Skidmore College, click here.
The concert features the world premiere of Rumor Mill, an STSC commissioned work by Palestinian-Jordanian composer Dr. Shireen Abu Khader featuring the poetry of Naomi Shihab-Nye.
In addition to the world premiere of Rumor Mill, the Southern Tier Singers Collective gives a guided musical tour of countries surrounding the Mediterranean Sea, including the Levant, Turkey, Syria, Iraq, Spain, Greece, and Italy. The music encompasses works ranging from Gregorian and Greek chant to Renaissance polyphony, to arrangements of folk music from the region. This concert is generously sponsored in part by the Broome County Arts Council, WSKG, and the School of the Arts at Binghamton University.
Dr. Abu Khader will join the Southern Tier Singers’ Collective for a weekend of workshops with students from Binghamton University and area high schools as part of her residency. Students will have the opportunity to hear her works and also experience a variety of Arabic percussion playing traditions. This presentation will conclude with a Q&A and discussion with the artists.
To learn more about Memories of the Mediterranean featuring Dr. Abu Khader, click here.
Merging their deep backgrounds in classical violin and cello performance and composition with influences from an array of musical genres, NYC based instrumental duo ARKAI captivated a full house at The Recovery Lounge in Upper Jay, NY on Sunday, September 20.
ARKAI performed as part of their current world tour and in support of their recently released debut album, Crossroads.
ARKAI at The Recovery Lounge
ARKAI is violinist Jonathan Miron and cellist Philip Sheegog, graduates of New York’s renowned classical music institution The Julliard School. The pair met early in their music career and realized that, despite their devotion to classical music, they had a deep appreciation for a wide variety of music as diverse as pop, folk, metal, jazz and rock, giving birth to the fusion that became ARKAI.
Jonathan Miron, ARKAI
Performing a selection of genre-defying music that showcased both their instrumental virtuosity and compositional and arrangement skills, the duo performed with an energy way beyond what one would anticipate being delivered by violin and cello. Their energy was infectious. Glances around the room showed not only smiles on appreciative faces, but listeners who moved with and to the music, clearly wanting to get out of their seats and dance.
ARKAI at The Recovery Lounge
The pair performed the first half of their show on vintage classical instruments. Miron’s violin was made in Italy in 1709. Sheegog’s cello was made in 1914 in France, where it survived two World Wars. With those instruments they displayed their precise classical training, performing their unique arrangements of songs including A-ha’s “Take On Me”, The Beatles’ “Blackbird”, Charlie Chaplin’s “Smile”, as well as original compositions including “Patchwork”.
ARKAI at The Recovery Lounge
In the second half of the show the pair switched instruments, and delivered an electrifying, high-energy performance on electric violin and electric cello, backed by tracks which they composed and created using a variety of computer and MIDI based techniques to explore and create what might be called soundscapes. Driven by, or perhaps because they are clearly inseparable from the music they deliver, the pair became animated, both facially and in near dance-like movement, during portions of the electro-delivery. And, in a display of technique that might perhaps drive their former Julliard professors to pull their hair out, on one song they used debit cards to play their instruments, Sheegog scraping the strings of his cello with the edge of a card to “swipe” notes or tapping it on the electric cello’s pickup for drum-sounds and Miron tapping the sides and edges of his electric violin to add percussion.
ARKAI at The Recovery Lounge
This “electric” portion of their performance included their compositions “Ascent”, which they said was inspired by Stanley Kubrick’s film “2001: A Space Odyssey”, and “Tokyo Sidecar”; their arrangement of Cold Play’s “Clocks”, and a composition they created based upon the melody of Joji’s “Glimpse of Us” which went viral on TikTok. They also played their composition “Letters”, which came together while the pair was separated during the Covid lockdown period, when Miron and Sheegog would each record themselves on iPhone Voice Memos playing musical “ideas” or contributions and send the recordings back and forth to each other as “audio letters” created in a time of loneliness, sorrow and the hope to be together again. Those bits and pieces ultimately became “Letters” as a musical offering of hope to those in need of being brought together.
ARKAI at The Recovery Lounge
ARKAI’s music, whether their originals or unique arrangements of others, is a signature sound resulting from skilled and exploratory improvisation, a collaborative creative process and pure instrumental virtuosity. In performance they bring these talents full on, playing true to the score in the tightly composed sections, and following their creative spirit in-the-moment in improv sections, inspiring and feeding off each other and deeply enjoying every moment of their performance.
Philip Sheegog, ARKAI
Their fusion, both as musician/composers and in the diversity of the music they explore, was born in part out of a realization that, in their words, they were the “weird guys” in traditional classical music; and out of a strong desire “to stay true to your heart” and to “do something not done before”. And that was the genesis of ARKAI.
Jonathan Miron, ARKAI
Upcoming performances include October 10 at Town Hall, NYC, November 3 at The Strand Center for the Arts in Plattsburgh, NY, and November 14-16, PRISMA, NYC. Their tour will also take them to other major US cities and Toronto as well as overseas to Berlin, Basel, and Rabat. Their newly released CD Crossroads is a collection of seven ARKAI compositions ranging from traditional sounding classical pieces to electro-soundscape-emo music that explore a “journey of discovering one’s voice, overcoming adversity, and embracing new dreams”. ARKAI’s music puts you in touch with your emotions, and if you allow yourself the freedom you “see a video” as you listen.
Philip Sheegog, ARKAI
This review and the photographs presented with it are truly an unintended consequence of attending this performance as a last-minute spontaneous decision, becoming captivated at the outset, capturing images of ARKAI’s performance on an iPhone.
ARKAI at The Recovery Lounge
ARKAI’s performance was presented by Upper Jay Art Center at its “Recovery Lounge” space, where it hosts year-round music, art, and theatre ranging from touring artists and groups to its own productions in an intimate and out-of-the ordinary performance space.
ARKAI at The Recovery LoungeJonathan Miron, ARKAIARKAI at The Recovery LoungePhilip Sheegog, ARKAIPhilip Sheegog, ARKAIARKAI at The Recovery LoungeJonathan Miron, ARKAIARKAI at The Recovery Lounge
Union College and The Egg have announced details for the four-day residency by Eisenhower Dance Detroit from October 15-18.
The residency includes community outreach, a professional experience for local dancers and a public performance at The Egg.
A mini-residency in mid-September included an audition for local college dancers and a rigorous weekend rehearsal process for those selected. Jolita Brettler, Melanie De La Cruz, Ava DuBoff, Hailey Dunn, Livi Gwinnett, Grace Newcombe, Emily Tobar and Abby Wilder, all Union College dancers, will perform “State of Mind” by Eisenhower Dance Detroit (EDD) Executive Director Stephanie Pizzo alongside members of EDD at The Egg on Friday, October 18.
About working with the Union students, EDD dancer Lillie Hamilton said, “We admired their eagerness, dedication, maturity and focus.” About the experience of learning and rehearsing the work in a brief period of time, De La Cruz claimed, “Honestly, I feel stronger, both physically and mentally.” Dunn added that the intensity of the process was “challenging emotionally, physically and socially but I feel as though I have grown both as a dancer and as a human being.”
The residency is made possible by the partnership of the venue and college as well as a major gift from Gus (Union class of ’59) and Sue Davis (Sage class of ’60) in memory of their daughter Stephanie.
The residency culminates at The Egg on Friday, October 18. From 7:15pm to 7:45pm, Laurie Zabele Cawley, Interim Dance Director at Union College, will partake in a pre-show talk with EDD’s Pizzo conversing about the company and the evening’s program. The 8pm performance will feature “Legacy Island” by Filipino Norbert De La Cruz III; “En-code” by Australian, disabled choreographer Marc Brew; “Hyper” by hip-hop ballerina Micaela Taylor and “See Me” by the athletic Christian Denice. The aforementioned “State of Mind” will close out the evening.
Returning to the Capital Region in mid-October, the company will conduct three lecture/demonstrations, three movement workshops and eleven master classes at Union College and seven other locations in the local area. The activities will reach participants from elementary age to senior citizens.
The schedule of activities is found below. Activities with an asterisk are free and open to the public
Tuesday, October 15
Two movement workshops at Mont Pleasant Middle School from 1:09pm to 2:42pm
Two dance technique classes at Schenectady High School from 1:08pm to 2:41pm
An advanced modern dance class at Skidmore College from 3:40pm to 5:30pm
An intermediate ballet class in Union’s Henle Dance Studio from 5pm to 6:30pm
Wednesday, October 16
An intermediate modern dance class at Skidmore College from 10:10am to 12pm
An intermediate ballet class at Emma Willard School from 3:45pm to 5:15pm
A movement workshop for Proctors’ Acting Academy from 4:15pm to 5:15pm
An intermediate modern class in Union’s Henle Dance Studio from 5pm to 6:30pm
Thursday, October 17
An introductory modern class at UAlbany from 10:30am to 11:50am
An adult/senior class in Union’s Henle Dance Studio from 11:15am to 12:30pm
Two lec/dems at the Albany Academies between 11:30am and 12:30pm
A mixed genre exploratory class for adults & seniors at SPAC’s School of the Arts from 12:45pm to 2pm*
An open master class in Union’s Henle Dance Studio from 6pm to 7:15pm*
A lec/dem in Union’s Henle Dance Studio from 7:30pm to 8:30pm*
Tickets for the Eisenhower Dance Detroit performance are $35 and $45 and may be purchased in person at The Egg box office at the Empire State Plaza, by calling 518-473-1845 or online.
National Sawdust has announced the release of their 3-part album playcast series, Live from National Sawdust. The first of this series to release is Joy on October 18.
Drawing from the countless transportive and transcendent performances presented and recorded live at National Sawdust over the decade since its inception, the series—part playlist, part podcast, part radio show—offers a curated journey through the evolution of contemporary music.
New Sounds presents playcast selections on its daily show on WNYC Radio and the full playcasts, with commentary from hosts Prestini and Ousley is presented from their YouTube channel. The music featured in the playcasts will also be available on Apple Music Classical.
Amidst its 10-year Anniversary season recalling the groundbreaking musical and sound-based work shared in one of the best-sounding halls in New York City, National Sawdust now brings these singular performances to listeners everywhere.
Co-Founder Paola Prestini
The initial drop from this series features pieces that fall under the theme of joy — followed, in November, by Faith, and December, by Healing. For the first time, listeners can experience these vibrant pieces, specially mined from the National Sawdust archive.
Joy features works by composers including Andy Akiho, Bach, Beethoven, Magos Herrera, Emma O’Halloran, Caroline Shaw, and Paul Wiancko. The first collection Joy also includes performances from Andy Akiho, Aizuri Quartet, Attacca Quartet, Theo Bleckmann, Magos Herrera, The Refugee Orchestra Project, Brooklyn Rider, Ian Rosenbaum, and Chris Thile.
As Live from National Sawdust explores its given theme, each episode offers a behind-the-scenes look at the creative processes of artists, blending live performances, studio recordings, and intimate interviews. These playcasts give listeners an immersive experience and takes them on a journey through the minds of the artists and the stories behind the music.
Host Andrew Ousley
To listen to the playcast series Live from National Sawdust on October 18, click here. To learn more about National Sawdust and their background click here.
On Monday, Oct. 14, The Albany Symphony and the Empire State Youth Orchestra will offer the chance to rehearse and perform with a professional symphony orchestra in a “Symphony Side-by-Side” at MVP Arena in Albany.
Following the success of last year’s “Movie Music Play-In,” which engaged more than 1,500 people, the Albany Symphony and the ESYO have announced a special free family-friendly event, entitled “Symphony Side-by-Side,” that is designed to engage and entertain audiences of all ages.
Members of the ESYO along with high school and college students from across the Capital Region, will join forces with the Grammy Award-winning Albany Symphony. Together, they will rehearse and perform, gaining invaluable experience in the professional symphonic performance process. Musicians from both the Albany Symphony and ESYO will perform a dynamic selection of music—ranging from blockbuster hits in film, television, and video games to beloved symphonic classics—while sitting literally side by side.
ESYO, a not-for-profit organization founded in 1979, has been recognized as a premier music education/performance program for youth and has received three ASCAP awards.
The event will culminate in a grand finale featuring community musicians of all ages, celebrating the unifying power of music. For the finale, audience members are invited to join the stage with their instruments for a lively performance of John Williams’ iconic “Imperial March” and Beethoven’s “Ode to Joy.” Community members can choose to participate at different points throughout the concert.
Families can also enjoy a variety of activities, including an “instrument petting zoo,” where children can explore and try out different musical instruments.
The appearances are endless and features over 200 international and local music acts. Eclectic Overdrive is hosting the event and a rebranded Rochester experimental week is back.
The goal of the Avant Garde A Clue and Eclectic Overdrive is to open minds and hearts through the transformative power of music, making it a must-attend event for lovers of avant-garde art.
Among the standout acts is Doom Dogs, an improv supergroup that has innovated their own category of music. Doom Dogs includes guitarist Reeves Gabrels, known for his work with The Cure and David Bowie, master drummer Jonathan Kane from Swans and experimental genius Jair-Rohm Parker Wells.
Renowned percussionist Tatsuya Nakatani from Osaka will showcase his distinctive sound using adapted bowed gongs, drums, and singing bowls while the legendary band, Gong will bring their genre-defying music to the festival highlighting their storied history since forming in a French commune in 1967. Other notable performances include Frank Hurricane who draws inspiration from the mystical landscapes of North Carolina and recently featured on PBS.
Additionally, multi-instrumentalist Gabriel Ahkmad Marin, celebrated for his mastery of diverse musical scales and innovative sound manipulations. Wendy Eisenberg an improviser and songwriter who seamlessly weaves through genres such as jazz to Avant-rock to even delicate sounds. Also, Rushadicus, a cellist provocateur whose performances blend black metal with immersive theater, will take the stage offering an experience that is both hilarious and deeply unsettling.
Admission is free and operates on a first-come, first-served basis. Once capacity is reached, the policy is one-in, one-out to ensure everyone has a chance to experience the music.
The New York Philharmonic has announced details of its 2024-25 season that will explore Afromodernism through a program of concerts, free performances and events, and a parallel museum exhibition.
Artwork: Jon Key
A cultural cornerstone of New York City for the past 180+ years, the New York Philharmonic has connected with up to 50 million individuals through live concerts in New York and abroad thus far. Founded in 1842 by a group of local musicians, the Philharmonic is one of the oldest symphony orchestras in the world, and the oldest in the United States. Since its foundation, the New York Philharmonic has performed in 436 cities in 63 countries across five continents.
This lengthy history has not resulted in the Philharmonic existing within the past, however. As accessibility to music, public interest, and the context classical music exists within have shifted and expanded, the New York Philharmonic has adapted likewise. Spanning international broadcasts on television, radio, and online alongside archival recordings and educational programs, the Philharmonic has always been on the cutting edge of reaching and connecting people through music.
The upcoming 2024-25 season in particular will feature explorations and celebrations of the voices of Black creators and examine the influence of contemporary Africa and the African diaspora upon the modern arts movements, from music to fashion and more.
Presented through a combination of subscription concerts, a free performance by the International Contemporary Ensemble co-presented by the Museum of Modern Art, a NY Phil Young People’s Concert, and a series of complementary presentations, the New York Philharmonic will highlight the experiences, creations, and impacts of artists across the African diaspora throughout time.
Photo: nyphil.org
A series of concerts will be the highlight of the Philharmonic’s exploration, with Music of the African Diaspora on October 17 and 18, Young People’s Concert: The Future is Unity on October 19, and Sound On – Composing While Black, Volume II on October 25.
Music of the African Diaspora will consist of works by four black American composers spanning nearly a century to be conducted by Thomas Wilkins; Carlos Simon’s Four Black American Dances, Nathalie Joachim’s Had to Be– a Philharmonic co-commission and New York Premiere featuring the New York Philharmonic debut of cellist Seth Parker Woods as a soloist, David Baker’s Kosbro, and William Grant Still’s Symphony No. 4, Autochthonous.
The October 18 concert will include a pre-concert talk accessible to all ticket holders for the evening moderated by Juilliard professor Fredara Hadley, who will be speaking with panelists Seth Parker Woods, Nathalie Joachim, Barnard College professor Monica L. Miller, and Harvard University professor Carol Oja.
Conductor Thomas Wilkins will also lead the Young People’s Concert: The Future is Unity on October 19 with a program featuring pieces from Music of the African Diaspora’s collection, selections from Nigerian composer Fela Sowande’s African Suite and Florence Price’s Symphony No. 1, and Very Young Composer Isai Rabiu’s Aye Ni Ilu.
On October 25 the Museum of Modern Art will join in partnership with the Philharmonic for a free performance by International Contemporary Ensemble as a part of the Philharmonic’s Sound On contemporary music series.
Titled Composing While Black, Volume II, the concert will examine international perspectives of the African diasporic experience through pieces by composers Jalalu Kalvert-Nelson, Daniel Kidane, Hannah Kendall, Tebogo Monnakgotla, Joshua Uzoigwe, and Leila Adu-Gilmore. The program builds upon ICE’s Composing While Black: Volume I, titled after the scholarly compilation of essays composed by ICE’s artistic director in collaboration with Harald Kisiedu, Composing While Black.
In addition to the musical performances, the New York Philharmonic is presenting several events and a museum exhibition in parallel to their exploration of Afromodernism, including The Unanswered Questions panel discussions and the Africa’s Fashion Diaspora exhibition.
The Unanswered Questions is a two-part panel series featuring “Afromoderism and the Arts” on October 15 at CUNY’s Graduate Center which will examine the decolonization of modernism through the African diaspora’s impact on music and the arts and “Styled for Survival: How Music and Fashion Converge” on February 19 at The Museum at FIT, a conversation tracing the intentional connections between sound and attire, the history of Black dandyism, and more.
The museum exhibition Africa’s Fashion Diaspora will take place at the Museum at FIT on October 7, 9, 21, and November 20. The exhibition will examine fashion as a medium for storytelling and a designer’s tool to contribute to longstanding and evolving ideas of transnational Black cultural spaces.
The exhibit will explore designers from Africa, the Americas, and Europe who construct and interpret their local and community cultures while simultaneously reaching across geography to tie Black cultural practices together through their designs. Talks and tours will be held in the space as well.
Tickets to the New York Philharmonic performances can be purchased online here. Reservations to attend Africa’s Fashion Diaspora and The Unanswered Questions: Afromodernism and the Arts are free but required, and can be made on their respective web pages here and here.
Reservations for Composing While Black, Volume II and The Unanswered Questions: Styled for Survival are also free but required, and will be available at a later date. Keep up to date on the Philharmonic’s web page here.
