CARNEGIE HALL PRESENTS
Performance Tuesday, May 10, 2011 | 7:30 PM

Ensemble ACJW

Featuring musicians of The Academy—a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute in partnership with the New York City Department of Education

Weill Recital Hall

Performers

  • Ensemble ACJW

Program

  • COPLAND Sextet
  • STRAVINSKY Octet for Wind Instruments
  • STEVE REICH Different Trains

Bios

  • Ensemble ACJW

    Ensemble ACJW is an energetic collective of outstanding young musicians from The Academy that has earned accolades from critics and audiences alike for its fresh, open-minded approach to performance and programming. In a variety of venues, they have played a wide range of music—from works written centuries ago to those completed days before—with verve and total commitment to their art.

    The group performs its own series at Carnegie Hall and regularly appears at Paul Hall at The Juilliard School. As part of a partnership with Skidmore College that began in 2007, Ensemble ACJW gives master classes to university students and performs for the Saratoga Springs community.

    All Ensemble ACJW members are alumni or current fellows of The Academy, a two-year fellowship program started in 2007 by Carnegie Hall’s Executive and Artistic Director Clive Gillinson and The Juilliard School’s President Joseph W. Polisi to support young professional musicians in developing their careers as excellent performers, innovative programmers, and dedicated teachers who are fully engaged with the communities in which they live and work.

    Fellows of the two-year Academy program—chosen for their musicianship, but also for their leadership qualities and commitment to music education—come from some of the best music schools in the country, including the Curtis Institute of Music, Eastman School of Music, The Juilliard School, Mannes College The New School for Music, New England Conservatory, Rice University’s Shepherd School of Music, and Yale School of Music.

    Each season, the fellows partner with music teachers in New York City public schools. The hour-and-a-half-per-week that each of the 20 fellows spends in a classroom is an education not only for the students, but for the fellows as well. In their second year, the fellows develop innovative, community-minded group projects. Among those produced in recent years were a collaboration with residents of a Bronx family apartment complex, a pen-pal program that paired young students with professional musicians, and a performance of George Crumb’s Voice of the Whale in the American Museum of Natural History’s Millstein Hall of Ocean Life.

    Exemplary performers, dedicated teachers, and advocates for music throughout the community, the fellows of The Academy that make up Ensemble ACJW are redefining what it means to be a musician in the 21st century. Visit acjw.org to learn more.
    More Info

Major funding for The Academy–a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education–has been provided by Mercedes and Sid Bass, The Diller-von Furstenberg Family Foundation, the Maxwell H. Gluck Foundation, The Irving Harris Foundation, The Kovner Foundation, Martha and Bob Lipp, Mr. and Mrs. Lester S. Morse Jr., Judith and Burton Resnick, Susan and Elihu Rose Foundation, and The Peter Jay Sharp Foundation, with additional support from The Arnow Family Fund, Mr. and Mrs. Nicola Bulgari, the Ella Fitzgerald Charitable Foundation, Susan and Ed Forst, Mrs. Nancy A. Marks, the Edward John Noble Foundation, The Joe Plumeri Foundation, and Suki Sandler.

The Academy School Partnerships benefitting NYC public school students are made possible, in part, by Bank of America.

The Academy is made possible, in part, by public funds from the New York City Department of Education, the National Endowment for the Arts, the US Department of State, and the New York State Council on the Arts.


Audio

Stravinsky Octet for Wind Instruments (III. Finale)
Boston Symphony Chamber Players
Deutsche Grammophon

At a Glance

AARON COPLAND  Sextet
Frustrated by the inability of conductors and orchestras to master the complex rhythmic vocabulary of his Short Symphony in the early 1930s, Copland arranged the score for clarinet, string quartet, and piano, hoping to improve its chances of being performed. Both the Sextet and the Short Symphony illustrate the propulsive, sharply etched rhythms and wide-open intervals that are Copland’s stylistic trademarks.

IGOR STRAVINSKY  Octet for Wind Instruments
Often considered the work that inaugurated the Neoclassical phase of Stravinsky’s career, the Wind Octet harks back to the lighthearted divertimentos of the Baroque and Classical periods. Although Stravinsky insisted that the essence of his musical language was purely formal and objective, there is nothing bloodless or abstract about the Octet’s quirky, effervescent high spirits.

STEVE REICH  Different Trains
Scored for string quartet and tape, this powerful work pays eloquent homage to those who suffered and perished in the Nazi death camps. Reich used digital samples of Holocaust survivors’ recorded testimonies to generate much of the music’s thematic material and kinetic energy. Like many of his other “minimalist” pieces, Different Trains is characterized by hypnotic repetition, multilayered textures, and kaleidoscopic rhythm and melody patterns.

Program Notes
This performance is part of the Chamber Sessions IV series.

This Event is Part of:

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