Are you ready for a transformative experience? Then join us at LPR on April 11th as New York Polyphony premiers our new Immersia acoustic system. The world-renowned vocal ensemble, praised for a “rich, natural sound that’s larger and more complex than the sum of its parts” (National Public Radio), will present a program carefully selected to showcase the breadth of Immersia’s capabilities, which allow for near-infinite control of a venue’s acoustic environment.
Table Seating: $25 advance, $30 day of show
Standing Room: $20 advance, $25 day of show
Praise for New York Polyphony
“Their voices blend into a rich, natural sound that’s larger and more complex than the sum of its parts.” (NPR) “…four male singers of superb musicianship and vocal allure.” (The New Yorker)
“It was extraordinary how the past and present blurred. The new sounded old, and the old sounded strikingly fresh and immediate.” (The Denver Post)
“Their performance epitomized what truly fine singing is all about…Intelligence, subtlety and consummate artistry.” (Richmond Times-Dispatch)
A Colloquy with God – Richard Rodney Bennett (1936-2012)
La nuit froid et sombre – Orlando Lassus (1532-1594)
Liebe – Franz Schubert (1797-1828)
Ich schwing mein horn – Johannes Brahms (1833-1897)
Serenade d’hiver – Camille Saint-Saens (1835-1921)
Canticum Canticorum I (1990) – Ivan Moody (b. 1964)
I Surge propera
II Descendi in hortum meum
III Ego dilecto meo
Grab und Mond – Schubert
Abschied vom Leser – Gregory W. Brown (b. 1972)
Schone Nacht – Wilhelm Nagel (1871-1955)
Die Nacht – Schubert
Canticum Canticorum II (1994) – Ivan Moody
Prologue – Let him kiss me – Draw me, we will run after thee – I am black but comely
Draw me…(reprise) – Tell me, o thou, whom my soul loveth – Epilogue
Sweet and Low – Joseph Barnby (1838-1896)
Thou didn’t delight mine eyes – Gerald Finzi (1901-1956)
The Long Day Closes – Arthur Sullivan (1842-1900
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.
New York Polyphony
New York Polyphony is:
Geoffrey Williams, countertenor
Steven Caldicott Wilson, tenor
Christopher Dylan Herbert, baritone
Craig Phillips, bass
Praised for a “rich, natural sound that’s larger and more complex than the sum of its parts,” (National Public Radio) New York Polyphony is one of the foremost vocal chamber ensembles active today. The four men, “singers of superb musicianship and vocal allure,” (The New Yorker) give vibrant, modern voice to repertoire ranging from Gregorian chant to cutting-edge compositions. Their dedication to innovative programming, as well as a focus on rare and rediscovered Renaissance and medieval works, has not only earned New York Polyphony two GRAMMY nominations and wide acclaim, but also helped to move early music into the classical mainstream.
Commissioning new works has been central to the mission of New York Polyphony since their founding in 2006. Both in performance and on recording, the ensemble has demonstrated a commitment to presenting contemporary compositions that explore the boundaries between ancient and modern music. They have forged relationships with numerous composers, including established artists such as Richard Rodney Bennett, Jonathan Berger and Jackson Hill, emerging talents Bora Yoon and Gregory Brown, and prominent figures such as Gabriel Jackson and Andrew Smith. In January 2017, as part of Miller Theatre at Columbia University’s Early Music Series, New York Polyphony premiered The Vespers Sequence, a multi-movement setting of the Byzantine evening prayer service composed for the ensemble by Ivan Moody. Future projects include The Bitter Good by American composer Gregory Spears, for which the quartet was awarded a 2016 Commissioning Grant from Chamber Music America.
The ensemble’s growing discography includes two GRAMMY-nominated releases and albums that have topped the “best of” lists of The New Yorker, Gramophone, and BBC Music Magazine. In August 2016, New York Polyphony released Roma aeterna, a program highlighted by two masses of the High Renaissance by Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria. The album, their seventh overall and fourth on BIS Records, debuted at #4 on Billboard magazine’s Traditional Classical Album chart. It has been hailed as “blissfully confident and beautiful” (BBC Radio 3 – Record Review), “resplendent and elegant” (San Francisco Chronicle), and “nothing short of revelatory” (AllMusic).
Called a “spacious, radiant retreat” by The New York Times and selected as a “must have” in its Holiday Gift Guide, 2014’s release Sing thee Nowell scored New York Polyphony its second GRAMMY nomination in the Best Chamber Music/ Small Ensemble Performance category. With the 2013 release of Times go by Turns, the ensemble’s fourth album, New York Polyphony continued “to claim a spot as one of the finest small vocal groups performing today” (Audiophile Audition). Commended as “a complex, clear-eyed yet still painfully beautiful tapestry,” (Gramophone) Times go by Turns amassed substantial critical acclaim. In addition to being named one of iTunes 10 Best Classical Releases of 2013, the album garnered a GRAMMY nomination.
New York Polyphony released endBeginning in early 2012. Featuring rare and never-before recorded works from the Franco-Flemish Renaissance, the album was hailed as a “gorgeous, reflective program” by National Public Radio and selected as one of the ‘Top Ten Notable Classical Music Recordings of 2012′ by The New Yorker. “A stunning tour through chant, polyphony and renaissance harmonies,” (Minnesota Public Radio) New York Polyphony’s 2010 effort Tudor City spent three weeks in the Top 10 of the Billboard classical album chart. It was featured on Danish Public Radio, American Public Radio and NPR’s All Things Considered. New York Polyphony’s debut album I sing the birth was released in 2007. An intimate meditation on the Christmas season, the disc garnered unanimous praise. Gramophone named it “one of the season’s best,” BBC Music Magazine selected it as ‘Editor’s Christmas Choice’, and Classic FM Magazine (UK) deemed it “a disc for all seasons.”
New York Polyphony tours extensively, participating in major concert series and festivals around the world. Noteworthy engagements include debut performances at London’s Wigmore Hall and The Royal Concertgebouw in Amsterdam, residencies at Dartmouth College and Stanford University, concerts under the aegis of the Festival Oude Muziek Utrecht (Netherlands), and the European premiere of the Missa Charles Darwin—a newly commissioned secular Mass setting based on texts of Charles Darwin by composer Gregory Brown—at the Museum für Naturkunde in Berlin. Elsewhere New York Polyphony has performed as part of the Tage Alter Musik Regensburg; Rheingau Musik Festival, Thüringer Bachwochen (Germany); Abvlensis International Music Festival (Spain); Stiftskonzerte Oberösterreich (Austria); Festival de Música de Morelia (Mexico); and the Elora Festival (Canada), among others. They have been featured on Performance Today for American Public Media, Footprints to Paradise: A Medieval Christmas for Public Radio International, and BBC Radio 3’s In Tune. In December 2011, New York Polyphony made its national television debut on The Martha Stewart Show.