About This Event
Doors Open:7:00 PM
Show Time:8:00 PM
$10 standing room
$25 table seating
main photo credit: J. Henry Fair
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
This event will be streamed live online through LPR’s streaming channel, beginning at 8pm.
Energetically committed to the music of our time, pianist Stephen Gosling is a member of the New York New Music Ensemble, Ensemble Sospeso, Columbia Sinfonietta, and Ne(x)tworks. He is additionally a frequent guest artist of many other groups, including the New York Philharmonic, Orpheus, American Composers Orchestra, Riverside Symphony, the Orchestra of St. Luke’s, Speculum Musicae, Ensemble 21, Absolute Ensemble, Continuum, SEM Ensemble, DaCapo Chamber Players, the League of Composers/ISCM Chamber Players, and Da Camera of Houston.
Mr. Gosling moved to New York from England at the age of eighteen to study with Oxana Yablonskaya at the Juilliard School, where he earned his Bachelor’s, Master’s and Doctoral degrees. During this time he was awarded the Mennin Prize for Outstanding Excellence and Leadership in Music and the Sony Elevated Standards Fellowship. He was also featured as concerto soloist an unprecedented four times in works by Stravinsky, Schnittke, Schoenfield (whose “Four Parables for Piano and Orchestra” he subsequently performed in Europe with the Dutch Radio Philharmonic Orchestra under Lukas Foss) and Corigliano (conducted by Leonard Slatkin).
Mr. Gosling performed in the New Juilliard Ensemble for three years from its inception, was pianist of the Aspen Contemporary Ensemble for three summers, and has been featured in four Summergarden programs at MOMA. He has also performed at the Friedheim Composition Awards at the Kennedy Center in Washington D.C., the Chamber Music Society’s “Great Day in New York” festival, the opening of the new Winter Garden in downtown Manhattan (in Daniele Lombardi’s Symphonies for 21 Pianos), and Zankel Hall’s inaugural concert.
Among Mr. Gosling’s recent performances have been the world premiere of John Psathas’s Piano Concerto with the New Zealand Symphony Orchestra, solo recitals at Weill Recital Hall (featuring works by Alexander Tcherepnin and his students) and Faust-Harrison Pianos (presented by the International Society for Contemporary Music and featuring works for piano and electronics), orchestral piano duties with the New York Philharmonic in works by Leonard Bernstein, and a performance of Brian Ferneyhough’s “Lemma-Icon-Epigram” at the Lincoln Center Festival. Upcoming projects include performances next month of Xenakis and Ligeti with Shen Wei Dance Arts at Het Musiktheater in Amsterdam, a solo recital (March 30th) at Merkin Hall of Brian Schober’s “Manhattan Impromptus,” the premiere of some new piano etudes by Augusta Read Thomas, and performances of solo and chamber works by Milton Babbitt, to celebrate the composer’s 90th year.
Mr. Gosling has made over 30 recordings for Albany, Bridge, Capstone, Centaur, CRI, Innova, Koch, Mode, Morrison Music Trust, Naxos, New World Records, and Rattle Records.
Renowned as a musical pioneer, cellist Matt Haimovitz has inspired classical music lovers and countless new listeners by bringing his artistry to concert halls and clubs, outdoor festivals and intimate coffee houses, any place where passionate music can be heard. Through his visionary approach – bringing a fresh ear to familiar repertoire, championing new music and initiating groundbreaking collaborations, innovative recording projects for Oxingale Records, a tireless touring schedule as well as mentoring an award-winning studio of young cellists at McGill University’s Schulich School of Music in Montreal – Haimovitz is re-defining what it means to be an artist for the 21st century.
Blair McMillen has established himself as one of the most versatile and sought-after pianists today. The New York Times has described him as “riveting,” “prodigiously accomplished and exciting,” and as one of the piano’s “brilliant stars.”
McMillen has performed in major venues both traditional and avant-garde: from Carnegie Hall, the Moscow Conservatory, Lincoln Center, Caramoor, Miller Theatre, and the Library of Congress; to (le) Poisson Rouge, Galapagos, and the Knitting Factory. Highlights from recent seasons include the Prokofiev Piano Concerto No. 1 at the Bard Music Festival, the Walter Piston Concertino for Piano in Carnegie Hall, and numerous appearances with the New York Philharmonic, St. Paul Chamber Orchestra, and Albany Symphony.
2014 also saw McMillen’s debut at the Gilmore International Keyboard Festival, where he performed a solo recital featuring Morton Feldman’s Triadic Memories (a McMillen calling card; Alex Ross praised his “acute feeling for those remarkable passages…”) right on the heels of a sold-out performance with his tour de force piano sextet, Grand Band. Of his solo performance, the Kalamazoo Gazette wrote, “McMillen played with complete control, meticulously observing Feldman’s tempos, meters, and dynamics, making the high notes sing and the bass resonant…It was like watching the stars come out on a clear night by Lake Michigan, exquisitely played.”
Blair McMillen leads a multifarious musical life as pianist, chamber musician, conductor, and improviser. He thrives on playing a wide variety of musical styles: from medieval keyboard manuscripts to improvisation-based music of all types; from Classical/Romantic-era piano repertoire to the music of young 21st-century composers. Known for imaginative and daring programming, McMillen has premiered hundreds of new works both as a soloist and with numerous ensembles. He constantly collaborates with composers and artists of other genres in commissioning works that stretch the boundaries of the piano and the traditional recital format.
McMillen is pianist for the Naumburg Award-winning Da Capo Chamber Players, the American Modern Ensemble, and the six-piano Grand Band, among others. He is the co-founder and co-director of the Rite of Summer Music Festival, an alt-classical outdoor concert series. Held on New York City’s Governors Island, Rite of Summer celebrated its fourth season in 2014 with eleven world premieres and concerts by Ethel, Iktus Percussion, Grand Band, and Dawn of Midi.
Blair McMillen holds degrees from Oberlin College, the Juilliard School, and the Manhattan School of Music. He lives in New York City, and has served on the music faculty at Bard College and Conservatory since 2005.
Blair McMillen official site
Ensemble Meme is a group of world-class chamber musicians performing the newest and oldest repertoire. In March of 2011, we had our Carnegie Zankel Hall debut and a performance on Cal Performances series, Berkeley, California. Ensembe Meme was the recipient of both a Copland and Ditson Recording Grant to record the music of Gabriela Lena Frank, to be released fall of 2013 on Albany Records. Dedicated to using music for social change, Meme recently returned from a successful trip to Haiti and the Domincan Republic where we shared music with hundreds of beautiful children all eager for more music in their lives now and into the future.
Pianist URSULA OPPENS, one of the very first artists to grasp the importance of programming traditional and contemporary works in equal measure, has won a singular place in the hearts of her public, critics, and colleagues alike. Her sterling musicianship, uncanny understanding of the composer’s artistic argument, and lifelong study of the keyboard’s resources, have placed her among the elect of performing musicians.
Photo credit: Christian Steiner
Grammy award-winning soprano Hila Plitmann is a glittering jewel on the international music scene, known worldwide for her astonishing musicianship, light and beautiful voice, and the ability to perform challenging new works. She regularly premieres works by today’s leading composers while maintaining a vibrant and extraordinarily diverse professional life in film music, musical theatre, and song writing.
Photo by Marc Royce
Canadian-born violinist Lara St. John has been described as “something of a phenomenon” by The Strad and a “high-powered soloist” by the New York Times.
She has performed as soloist with the orchestras of Cleveland, Philadelphia, San Francisco, Seattle, Toronto, Montreal, Vancouver, and with the Boston Pops, the Royal Philharmonic Orchestra, NDR Symphony, Zurich Chamber Orchestra, Camerata Ireland, Amsterdam Symphony, Brazilian Symphony, Sao Paulo Symphony, China Philharmonic, Hong Kong Symphony, Tokyo Symphony, and the orchestras of Brisbane, Adelaide and Auckland among many others.
The Los Angeles Times wrote “Lara St. John happens to be a volcanic violinist with a huge, fabulous tone that pours out of her like molten lava. She has technique to burn and plays at a constant high heat.”
Lara created her record own label, Ancalagon, in 1999, and has recorded with the Royal Philharmonic, the Simon Bolivar Youth Orchestra of Venezuela and The Knights, with which she won the Juno award in 2011 for her Mozart album. Of her Bach Six Sonatas and Partitas for Violin Solo, American Record Guide wrote: “I simply don’t know where else you can go to hear Bach played at this level of artistry. Once again she eclipses her competition”
Lara began playing the violin when she was two years old. She made her first appearance as soloist with orchestra at age four, and her European debut with the Gulbenkian Orchestra in Lisbon when she was 10. She toured Spain, France, Portugal and Hungary at ages 12 and 13, entered the Curtis Institute at 13, and spent her first summer at Marlboro three years later. Her teachers have included Felix Galimir and Joey Corpus.
She performs on the 1779 “Salabue” Guadagnini thanks to an anonymous donor and Heinl & Co. of Toronto.
Lara St. John official site