with Christopher Rountree, conductor & Pauline Kim Harris, violin
Thu March 31st, 2016
Minimum Age: All Ages
Doors Open: 6:30PM
Show Time: 7:30PM
Event Ticket: $15/$20/$25
free for members
Andrew Norman: Gran Turismo
Michael Gordon: Weather One
Arvo Pärt: Fratres
Dmitri Shostakovich: Chamber Symphony, Op. 110a (arr. Barshai)
Seated: $20 advance, $25 day of show
Standing: $15 advance, $20 day of show
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.
Named after and headquartered at the acclaimed New York City venue Le Poisson Rouge, Ensemble LPR is an assemblage of New York’s finest musicians. The group personifies the venue’s commitment to aesthetic diversity and artistic excellence.
Ensemble LPR performs an eclectic spectrum of music—from works by the finest living composers, to compelling interpretations of the standard repertoire—and collaborates with distinguished artists from classical and non-classical backgrounds: Timo Andres, Simone Dinnerstein, San Fermin, Daniel Hope, Taka Kigawa, Jennifer Koh, Mica Levi, David Longstreth (of Dirty Projectors), John Lurie, Ursula Oppens, Max Richter, André de Ridder, Christopher Rountree and Fred Sherry, to name a few.
In January 2015 Ensemble LPR made its Deutsche Grammophon debut with Follow, Poet, featuring the music of Mohammed Fairouz and the words of Seamus Heaney and John F. Kennedy. Ensemble LPR’s acclaimed Central Park performance last June, part of the 110th Anniversary of the Naumburg Orchestral Concerts.
In 2008 Le Poisson Rouge changed the classical music landscape, creating a new environment in which to experience art music. In doing so, Le Poisson Rouge expanded classical music listenership. The New York Times has heralded Le Poisson Rouge as “[a] forward-thinking venue that seeks to showcase disparate musical styles under one roof” and “[the] coolest place to hear contemporary music.” The Los Angeles Times raves, “[The] place isn’t merely cool…the venue is a downright musical marvel.” Le Poisson Rouge Co-Founder David Handler brings this same ethos to Ensemble LPR, of which he is Founding Executive & Artistic Director.
Christopher Rountree, conductor
Four women washing blood out of rags in a bathroom; Stravinsky in an abandoned warehouse; a violinist cutting himself out of duct tape with a razor; a lost John Adams suite at Walt Disney Concert Hall. Conductor and composer Christopher Rountree is standing at the intersection of classical music, new music, performance art and pop.
Rountree, 32, is the founder, conductor and creative director of the pathbreaking L.A. chamber orchestra wild Up. The group has been called “Searing. Penetrating. And Thrilling” by NPR’s Performance Today and named “Best Classical Music of 2012” by the Los Angeles Times. wild Up started in 2010 with no funding and no musicians, driven only by Rountree’s vision of a world-class orchestra that creates visceral, provocative experiences that are unmoored from classical traditions.
Whether he’s conducting, composing or curating a program, Rountree’s approach – with its “infectious enthusiasm” (L.A. Times) and “elegant clarity” (New York Times) – is united by extremely high energy and a deeply engaged relationship between a score, musicians and audience.
“For most people, programming and conducting are about restraint, intellect. I want to get rid of restraint: I want to tear the thing’s guts out. I want to go all the way there,” Rountree says. “I want to empower musicians. I want to energize an audience. It’s not that I’m a ‘conduit for the score’ – everyone in the hall is a part of a circuit that connects the conductor, the musicians, the score and the listeners. A concert shouldn’t leave people when people leave the concert hall.”
If there is a dam separating establishment classical music from more adventurous forms, Rountree finds himself spilling over both sides – conducting Opera Omaha here, and writing experimental metal for the group gnarwhallaby there.
This year, Rountree makes his Chicago Symphony, LA Opera and Atlanta Opera debuts, returns to the Music Academy of the West and the San Francisco Symphony’s SoundBox series, conducts the Interlochen World Youth Orchestra on the New York Philharmonic’s 2016 Biennial, joins Jennifer Koh and Shai Wosner with wild Up at the Laguna Beach Music Festival, and conducts Diavolo’s new show “L’Espace du Temps: Glass, Adams, and Salonen.” As a composer, his recent premieres and commissions include a new piece for The Crossing at the Philadelphia Museum of Art, a re-orchestration of Esa-Pekka Salonen’s Foreign Bodies, a choral work for Bjork’s choir Graduale Nobili in Reykjavik, Iceland, and a piece for Jennifer Koh on the New York Philharmonic’s Biennial.
Last year, Rountree founded an education intensive with the Los Angeles Philharmonic, continued an education partnership at the Colburn School, and taught “Creativity and Consciousness” at Bard College’s Longy School. He joined the production company Chromatic, conducted Opera Omaha performing John Adams’ “A Flowering Tree,” debuted on the San Francisco Symphony’s SoundBox series, and started a three-year stint as guest conductor of the Los Angeles Chamber Orchestra.
With his eclectic style and resume, he’s been tapped to curate and create events for contemporary art institutions including the Getty Museum, MCA Denver, the Philadelphia Museum of Art and UCLA’s Hammer Museum, where a long-running wild Up residency brought the group to national prominence.
Through it all, Rountree is guided by his vision of a more engaging classical music culture that blows up the old boxes.
“I don’t have enough tattoos to be the badboy provocateur of classical music,” Rountree jokes. “But is the goal to nuke the artform and build something new? That is exactly what we’re doing.”
Pauline Kim Harris, violin
Pauline Kim Harris is a Grammy-nominated artist who engages in classical to the experimental/avant-garde. Since recording John Zorn’s tour de force solo violin work “Passagen” for Tzadik in 2012, choreographer Pam Tanowitz created a duet named after the piece with Pauline playing onstage. Premiered at the Joyce Theater in 2013, it was also presented by Lincoln Center Out of Doors and the Chicago Dance Company. As the first violinist of the Alchemy String Quartet, she completed a European tour in the “Zorn @60” concerts in London, Gent, North Sea and Warsaw, as well as at the Lincoln Center Festival, the Miller Theater and the Metropolitan Museum in New York City. She is member of the S.E.M Ensemble, Ostravska Banda, OBSq, Ensemble LPR, the Wordless Music Orchestra and the “enterprising violin duo” String Noise. Pauline has been a guest artist with many of the leading new music ensembles to include Talea, Argento, Transit, Ensemble Signal and Alarm Will Sound and has toured with the Orpheus Chamber Orchestra. As Music Director of the Bill T. Jones/Arnie Zane Dance Company, she toured the US, Germany, France and Holland as well as performing with the Orion String Quartet at The Joyce Theater for the 30th Year Anniversary Celebration. As a soloist, Pauline has performed in the LIVE screening of “There Will Be Blood” with Jonny Greenwood and the Wordless Music Orchestra at the United Palace Theatre in New York City, presented the Southeast Asian Premiere of John Zorn’s “Contes De Fees” with the Thailand Philharmonic at TICF, and gave the Czech premiere of Helmut Oehring’s “Vier Jahreszeiten” with Ostravska Band at Ostrava New Music Days. Pauline is the featured soloist in Petr Kotik’s opera “MASTER-PIECES” and is the founding member of “Holographic” an electroacoustic multimedia work by Daniel Wohl, co-commissioned by Baryshnikov Arts Center, St. Paul Chamber Orchestra’s Liquid Music, Mass MoCA and the Indianapolis Museum of Art. Husband Conrad Harris and Pauline curated Drawing Sound: Part II at the Drawing Center – a three night mini-festival featuring artists Alvin Lucier, Greg Saunier and Jad Fair. A collaborative work with sound artist Gordon Monahan, “A Note And Its Lifetime” featuring Pauline was installed on the Floating Library in NYC on the Hudson River (Pier 25) aboard the Lilac Museum Steamship. STRING NOISE: THE BOOK OF STRANGE POSITIONS was released on Northern Spy Records on November 27, 2015, available world-wide showcasing original compositions and punk rock arrangements by Eric Lyon showcasing songs by Deerhoof, Violent Femmes, Radiohead, Black Flag, Bad Brains and Half Japanese. Pauline’s first feature album /SHäˈkôn/ will highlight new works inspired by Bach’s Chaconne. Pauline Kim Harris was a member in the final masterclass of Jascha Heifetz.