Events & Tickets

Chamber Music
Chamber Music: This Is Now
New World Center, Michael Tilson Thomas Performance Hall
With a commitment to cultivating a more curious and engaged society through music, the International Contemporary Ensemble amplifies creators whose work propels and challenges how music is made and experienced. Members of the ensemble join NWS Fellows in two world premieres by Sofía Rocha and Fernanda Navarro. Stately organ chorales by ultra-Romantic Johannes Brahms take on new splendor in these arrangements for brass. Dmitri Shostakovich’s Piano Quintet is one of his most popular works and features a demanding piano part that the composer premiered himself.
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Program
Johannes Brahms
(1833-1897)
Arranged by Simon Cox
Approx. Duration: 10 minutes
Chorale Preludes, Op. 122
(1896)
I. "My Jesus Leadeth Me"
VII. "O God, Thou Faithful God"
XI. "O World, I Must Leave You"
IV. "My Heart Abounds with Pleasure"
Alan Tolbert, Morgen Low, Kenneth Chauby, trumpet
Chase Waterbury, Guangwei Fan, trombone
Noah Roper, bass trombone; Andrew Abel, tuba
George Lewis
(b. 1952)
Approx. Duration: 15 minutes
Artificial Life 2007
(2007)
Emily Bieker, flute; Benjamin Cruz, clarinet
Brendon Sill, bassoon
Spencer Bay, Kyle Thompson, horn
Caleb Breidenbaugh, Jennifer Marasti, percussion
Noah Sonderling, piano/keyboard
Beatrice Hsieh, Yu-Chia Hsu, violin
Peter Ayuso, viola; Hana Cohon, cello
Bryan Bailey, bass
Sofía Rocha
( b. 1996)
Approx. Duration: 11 minutes
Chains, Rope and Vertebrae
(2023; world premiere of NWS commission )
Entr'acte
Bind
Hold, shiver
Flex
Michael Linville, conductor
Isabel Lepanto Gleicher, flute; Joshua Rubin, clarinet
Rebekah Heller, bassoon; Kyle Thompson, horn
Kenneth Chauby, trumpet; Noah Roper, bass trombone
Jennifer Marasti, percussion; Phoebe Powell, harp
Allison Taylor, violin; Jessica Hong, cello
Carolyn Farnand, viola; Bryan Bailey, bass
Intermission
Fernanda Aoki Navarro
Unnoticed Spectacles II
(2023; world premiere of NWS commission)
Kayleigh Butcher, vocals
Isabel Lepanto Gleicher, Emily Bieker, Minha Kim, flute
Joshua Rubin, Benjamin Cruz, Shaquille Southwell, clarinet
Rebekah Heller, Brendon Sill, Eleni Katz, bassoon
Dmitri Shostakovich
(1906-1975)
Approx. Duration: 34 minutes
Quintet in G minor for Piano and Strings, Op. 57
(1940)
Prelude: Lento
Fugue: Adagio
Scherzo: Allegretto
Intermezzo: Lento
Finale: Allegretto
Wesley Ducote, piano
Jacob Buhler, Allison Taylor, violin
Toby Winarto, viola; Vivian Chang, cello
Johannes Brahms
Chorale Preludes, Op. 122
(1896)
Approximate duration: 10 minutes
Less than a year before his death, Johannes Brahms wrote a set of 11 Chorale Preludes for organ. Brahms was heavily influenced by Johann Sebastian Bach’s (1685–1750) counterpoint, and this late work of his seamlessly melds the stylistic elements of Bach’s chorale preludes with late-19th-century harmonic conventions. The chorale prelude emerged as a genre in the 17th century and it was typically associated with Lutheran worship services. In most pieces of the genre, the chorale (hymn) tune is prominently sounded in long notes in one part, while the other parts play embellishing and accompanying melodies. In the context of a worship service, these pieces were frequently used as the introduction to a hymn for congregational singing. Today’s program includes brass septet ensemble arrangements of three of Brahms’ Chorale Preludes.
I. "My Jesus Leadeth Me" focuses on themes of eternal bliss and rejoicing in Heaven. Each phrase of the chorale tune is sounded in long notes in the lowest voice. Before each phrase of the melody is heard, the other three voices play an intricate fugue based on the contour of the chorale tune.
VII. "O God, Thou Faithful God" describes God as an ever-flowing fountain of forgiveness. Phrases of the chorale tune alternate between the highest and lowest voices. Each phrase of this melody is preceded by a two-voice introduction that is rich with chromaticism. The texture becomes quite dense in the last phrase, when six different parts are sounding simultaneously.
IV. "My Heart Abounds with Pleasure" imagines that the Second Coming of Christ will result in splendor akin to summer’s freshness. The chorale tune in this prelude is more obscured than in the previous two. Each phrase is first heard in the tenor range and then imitated in the soprano voice at a different pitch level. The entire prelude is composed of constant eighth-note motion alternating between all the voices, and the chromatic harmonies are at times exceptionally expressive.
George Lewis
Artificial Life 2007
(2007)
Approximate duration: 15 minutes
Artificial Life 2007 is designed to realize a model of group improvisation based on negotiation and local intelligence. The work is composed in two parts, either or both of which may be performed as desired, consisting of a set of instructions, presented graphically on a grid. The moment of execution and the kind of sounds and silences produced are chosen according to the improvisers considered judgement unless indicated otherwise.
Although structural components and sonic gestures do recur throughout the work, in performance the use of intuition and snap judgements are preferable to teleological thinking and attempts to articulate or impose global form are entirely eschewed by both composers and performers. As with all improvisations, including our everyday-life human efforts, all aspects of the performance are achieved through negotiation and consensus, and the success of the performance is less a question of individual freedom than the assumption of personal responsibility for the sonic environment.
– George Lewis
Sofía Rocha
Chains, Rope and Vertebrae
(2023; world premiere of NWS commission )
Approximate duration: 11 minutes
This is normally where I’d tell you what this piece of music is about—and, indeed, this piece is actually somewhat programmatic (that is, there is a story).
But! I’d rather not tell you what I think it’s about.
The details of the story aren’t so important as the overall arc that it takes—the ups and downs and surprising turns. And, whatever story the piece might conjure in your head would almost assuredly be more personal and important to you than whatever story I could dictate to you. So, instead, I’ll humbly ask that you let yourself fully engage with the performance, which you’re all a part of by being here too, and try to leave your other thoughts behind once it starts.
– Sofía Rocha
Dmitri Shostakovich
Quintet in G minor for Piano and Strings, Op. 57
(1940)
Approximate duration: 34 minutes
While vacationing in 1940, Dmitri Shostakovich wrote his Piano Quintet, Op. 57, a work that would become one of his signature chamber pieces. He had originally planned to write a string quartet that summer, but he instead decided to write a piano quintet he could also perform. As Shostakovich recalled to a friend, he wanted “to travel on concert tours and get a chance to see the world.” Indeed, the Piano Quintet was premiered to great critical acclaim by the Beethoven String Quartet in Moscow in September of the same year. At the time, Shostakovich was on the composition faculty at the Leningrad Conservatory, and the Soviet Union was on the brink of war with Germany, which would ultimately prevent him from immediately seeing the world on tour. In the ensuing decades, however, Shostakovich performed the Piano Quintet numerous times, including in his final public performance as a pianist with the Borodin Quartet in 1964.
The Piano Quintet was received favorably by both music critics and the public at a time when Shostakovich’s career was complexly intertwined with the political landscape of the Soviet Union. The Politburo sought to cultivate music, art and literature that was created by proletarians for proletarians. Across his career, Shostakovich frequently vacillated between being praised and condemned by the authorities, and some of his music was heavily censured. The Piano Quintet did not go without controversy. In fact, a prominent member of the Communist Party wrote a letter to Stalin in January 1941 declaring that “An atmosphere of unhealthy sensation has been created around the Piano Quintet by Shostakovich…how much there is in this Quintet of stilted, singular new sounds resulting from abstract formal quests. And how little there is of genuine beauty and strength, emanating from an awareness of genuine life, from the realization in music of great human feelings…This is music that does not connect with the life of the people.” Despite this criticism, the Piano Quartet was awarded a Stalin Prize that year.
This intense, five-movement Piano Quintet was revered at its premiere for its classical grandeur and memorable thematic material. The Scherzo and Finale proved so popular they had to be played twice at the premiere; one observer recalled that the Piano Quintet was discussed in the trams for weeks and people in the streets tried to sing the second theme from the Finale. The Piano Quintet opens with a Prelude and Fugue written in the Baroque style of Johann Sebastian Bach (1685-1750). The fugue’s compositional process adheres strictly to the 18th-century conventions, with an initial subject presented in a single voice that is then imitated in all the other parts, and is based on a traditional Russian song. The Scherzo is modeled on similar movements by Ludwig van Beethoven (1770-1827) and is reminiscent of a rustic dance with hammering repeated notes. The piano assertively interrupts with an aggressive accompaniment. An exquisite lamenting theme is presented in the first violin during the Intermezzo, which is immediately followed by the Finale that is loosely based on a melody associated with the entrance of clowns in the Russian circus.
– © Dr. Paula Maust
Dr. Paula Maust is an Assistant Professor of Music Theory at the Peabody Institute of the Johns Hopkins University and the creator of Expanding the Music Theory Canon, an extensive online collection of music theory examples by historical women and/or people of color. A book based on the website is forthcoming from SUNY Press, and she has also published articles in Women & Music and The Journal of the International Alliance for Women in Music. As a harpsichordist and organist, Paula conducts baroque opera from the keyboard, most recently directing a program of opera scenes by early modern women at Peabody.
Program
Johannes Brahms
(1833-1897)
Arranged by Simon Cox
Approx. Duration: 10 minutes
Chorale Preludes, Op. 122 (1896)
I. "My Jesus Leadeth Me"
VII. "O God, Thou Faithful God"
XI. "O World, I Must Leave You"
IV. "My Heart Abounds with Pleasure"
Alan Tolbert, Morgen Low, Kenneth Chauby, trumpet
Chase Waterbury, Guangwei Fan, trombone
Noah Roper, bass trombone; Andrew Abel, tuba
George Lewis
(b. 1952)
Approx. Duration: 15 minutes
Artificial Life 2007 (2007)
Emily Bieker, flute; Benjamin Cruz, clarinet
Brendon Sill, bassoon
Spencer Bay, Kyle Thompson, horn
Caleb Breidenbaugh, Jennifer Marasti, percussion
Noah Sonderling, piano/keyboard
Beatrice Hsieh, Yu-Chia Hsu, violin
Peter Ayuso, viola; Hana Cohon, cello
Bryan Bailey, bass
Sofía Rocha
( b. 1996)
Approx. Duration: 11 minutes
Chains, Rope and Vertebrae (2023; world premiere of NWS commission )
Entr'acte
Bind
Hold, shiver
Flex
Michael Linville, conductor
Isabel Lepanto Gleicher, flute; Joshua Rubin, clarinet
Rebekah Heller, bassoon; Kyle Thompson, horn
Kenneth Chauby, trumpet; Noah Roper, bass trombone
Jennifer Marasti, percussion; Phoebe Powell, harp
Allison Taylor, violin; Jessica Hong, cello
Carolyn Farnand, viola; Bryan Bailey, bass
Intermission
Fernanda Aoki Navarro
Unnoticed Spectacles II (2023; world premiere of NWS commission)
Kayleigh Butcher, vocals
Isabel Lepanto Gleicher, Emily Bieker, Minha Kim, flute
Joshua Rubin, Benjamin Cruz, Shaquille Southwell, clarinet
Rebekah Heller, Brendon Sill, Eleni Katz, bassoon
Dmitri Shostakovich
(1906-1975)
Approx. Duration: 34 minutes
Quintet in G minor for Piano and Strings, Op. 57 (1940)
Prelude: Lento
Fugue: Adagio
Scherzo: Allegretto
Intermezzo: Lento
Finale: Allegretto
Wesley Ducote, piano
Jacob Buhler, Allison Taylor, violin
Toby Winarto, viola; Vivian Chang, cello
Johannes Brahms
Preludios Corales Nos. 1, 7 y 4, Op. 122 (1896)
Duración aproximada: 10 minutos
Menos de un año antes de su muerte, Johannes Brahms escribió un conjunto de 11 Preludios Corales para órgano. Brahms fue profundamente influenciado por el contrapunto de Johann Sebastian Bach (1685-1750), y esta, su última obra, fusiona perfectamente los elementos estilísticos de los preludios corales de Bach con las convenciones armónicas de finales del siglo XIX. El preludio coral surgió como género en el siglo XVII y era asociado generalmente con los servicios religiosos luteranos. En la mayoría de las obras del género, la melodía del coral (himno) se presenta en notas largas en una parte, mientras las otras partes tocan melodías que ornamentan y acompañan. En el contexto de un servicio religioso, estas piezas eran utilizadas frecuentemente como introducción a un himno para el canto congregacional. El programa de hoy incluye arreglos para septeto de viento metal de tres de los Preludios Corales de Brahms.
I. “Mi Jesús me guía” se enfoca en temas de alegría eterna y celebración en el cielo. Cada frase de la melodía del coral se presenta en notas largas en la voz más baja. Antes de que se escuche cada frase de la melodía, las otras tres voces tocan una intrincada fuga basada en la silueta de la melodía del coral.
VII.“Oh Dios, Dios fiel”describe a Dios como una fuente de perdón que siempre fluye. La melodía se alterna entre la voz más alta y la más baja. Cada frase de esa melodía es precedida por una introducción a dos voces rica en cromatismos. La textura se vuelve densa en la última frase, cuando seis partes diferentes suenan simultáneamente.
IV.“Mi corazón rebosa de placer”imagina que la Segunda Llegada de Cristo resultará en un esplendor semejante a la frescura del verano. La melodía del coral en este preludio es más oscura que en los dos anteriores. Cada frase se escucha primero en el rango del tenor y luego es imitada en la soprano en un tono diferente. El preludio completo está compuesto de un constante movimiento de 8 notas alternando entre las voces, y las armonías cromáticas son, por momentos, excepcionalmente expresivas.
George Lewis
Vida Artificial 2007 (2007)
Duración aproximada: 15 minutos
Artificial Life 2007 está diseñada para hacer realidad un modelo de improvisación grupal basado en la negociación y la inteligencia local. La obra está compuesta en dos partes, cualquiera de las cuales o ambas pueden interpretarse como se desee, consistiendo en un conjunto de instrucciones , presentadas gráficamente en una cuadrícula. El momento de la ejecución y el tipo de sonidos y silencios producidos son escogidos por los improvisadores, a menos que se indique lo contrario.
Aunque los componentes estructurales y los gestos sonoros recurren a través de la obra, en la interpretación, el uso de la intuición y las decisiones instantáneas son preferibles al pensamiento teológico ,y los intentos de articular o imponer una forma general son evitados completamente tanto por los compositores como por los intérpretes. Como todas las improvisaciones, incluyendo nuestra vida diaria, todos los aspectos de la presentación son logrados a través de la negociación y el consenso, y el éxito de la obra es más una asunción de responsabilidad personal por el ambiente sonoro que una cuestión de libertad individual.
– George Lewis
Sofía Rocha
Cadenas, Soga y Vértebra, 2023; estreno mundial de una comisión de NWS )
Duración aproximada: 11 minutos
Aquí es donde normalmente les contaría de qué trata esta pieza musical y, de hecho, esta obra es algo programática (o sea, hay una historia).
¡Pero! Preferiría no decirles de que creo que trata.
Los detalles de la historia no son tan importantes como el arco general, los altibajos y los giros sorpresivos. Y, cualquier historia que la obra pueda generar en sus mentes será sin lugar a dudas más personal e importante para ustedes que cualquier historia que yo pueda dictarles. Así que, en cambio, les pido humildemente que se dejen envolver plenamente por la presentación, de la cual también forman parte por estar hoy aquí, y que traten de dejar atrás sus otros pensamientos una vez que comience la obra.
– Sofía Rocha
Dmitri Shostakovich
Quinteto en Sol Menor para Piano y Cuerdas, Op. 57 (1940)
Duración aproximada: 34 minutos
Mientras vacacionaba en 1940, Dimitri Shostakovich escribió su Quinteto para Piano Op. 57, una pieza que se convertiría en una de sus obras de cámara distintivas. Originalmente había planeado escribir un cuarteto ese verano, pero en cambio decidió escribir un quinteto para piano donde él también pudiera tocar. Como Shostakovich le contaba a un amigo, él quería “viajar en giras de conciertos y tener la posibilidad de ver el mundo.” En efecto, el Quinteto para Piano fue estrenado por el Beethoven String Quartet con gran éxito de la crítica en Moscú, en septiembre del mismo año. En aquel momento, Shostakovich trabajaba como profesor de composición en el Conservatorio de Leningrado, y la Unión Soviética estaba a punto de entrar en guerra con Alemania, lo cual eventualmente le impediría ir de gira y ver el mundo. Sin embargo, en las décadas siguientes, Shostakovich interpretaría el Quinteto para Piano en numerosas ocasiones, incluyendo en su última presentación pública como pianista con el Borodin Quartet en 1964.
El Quinteto para Piano fue recibido de manera favorable tanto por los críticos musicales como por el público, en un momento en que la carrera de Shostakovich estaba complejamente mezclada con el ambiente político de la Unión Soviética. El Politburo (Buró Político) buscaba cultivar la música, el arte y la literatura creada por los proletarios para los proletarios. A lo largo de su carrera, Shostakovich vaciló frecuentemente entre ser elogiado o condenado por las autoridades, y parte de su música fue fuertemente censurada. El Quinteto para Piano no escapó a la controversia. De hecho, un miembro prominente del Partido Comunista escribió una carta a Stalin en enero de 1941 declarando que “una atmósfera de sensaciones malsanas había sido creada alrededor del Quinteto para Piano de Shostakovich…cuánto hay en este quinteto de sonidos nuevos, singulares que resultan en búsquedas formales abstractas. Y cuán poco hay de la fuerza y belleza genuinas, que emanan de la conciencia de una vida genuina, y de la realización en la música de grandes sentimientos humanos… Esta es una música que no conecta con la vida del pueblo.” A pesar de su crítica, el Quinteto para Piano ganó el Premio Stalin ese año.
Este intenso Quinteto para Piano de cinco movimientos fue reverenciado en su estreno por su grandeza clásica y su memorable material temático. El Scherzo y Finale demostraron tal popularidad que tuvieron que ser tocados dos veces en el estreno; un observador recordaba que el Quinteto para Piano se discutió en los tranvías durante semanas y la gente en las calles trataba de cantar el segundo tema del Finale. El Quinteto para Piano abre con un Preludio y Fuga escrito al estilo barroco de Johann Sebastian Bach (1685-1750). El proceso composicional de la fuga se adhiere estrictamente a las convenciones del siglo XVIII, con el sujeto inicial presentado en una sola voz, que luego es imitada por todas las demás partes, y está basada en una canción tradicional rusa. El Scherzo está inspirado por movimientos similares de Ludwig van Beethoven (1770-1827) y evoca una danza rústica con notas repetidas de forma percutids. El piano interrumpe asertivamente con un acompañamiento agresivo. Un exquisito tema de lamento es presentado por el primer violín durante el Intermezzo, seguido inmediatamente por el Finale, el cual está basado libremente en una melodía asociada con la entrada de los payasos en el circo ruso.
– © Dr. Paula Maust
Dr. Paula Maust es Profesora Asistente de Teoría Musical en el Instituto Peabody de la Universidad John Hopkins y creadora del sitio web Expanding the Music Theory Canon, una extensa colección de ejemplos de teoría musical escritos por mujeres históricas y/o personas de color. Un libro basado en el sitio web será publicado próximamente por SUNY Press, y también ha publicado artículos en Women & Music y The Journal of the International Alliance for Women in Music. Como clavecinista y organista dirige ópera barroca desde el teclado, y más recientemente dirigió un programa de escenas de ópera de mujeres modernas en Peabody.
Translation by Maria Paulina García
International Contemporary Ensemble

With a commitment to cultivating a more curious and engaged society through music, the International Contemporary Ensemble – as a commissioner and performer at the highest level – amplifies creators whose work propels and challenges how music is made and experienced.
The Ensemble’s 35 members are featured as soloists, chamber musicians, commissioners and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored the Ensemble’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.
GUIDING PRINCIPLES & VALUES
The International Contemporary Ensemble strives to cultivate a mosaic musical ecosystem that honors the diversity of human experience and expression by commissioning, developing and performing the works of living artists. The Ensemble is a collective of musicians, digital media artists, producers and educators who are committed to creating collaborations built on equity, belonging and cultural responsiveness. Now in its third decade, the Ensemble continues to build new digital and live collaborative environments that strengthen artist agency and musical connections around the world.
We at the International Contemporary Ensemble believe that as a collective committed to advancing experimental music, it is our responsibility to challenge our biases and practices around who performs, or has their works performed, on the world’s stages. We acknowledge that Western European classical music has excluded individuals based on wealth, race, sex, pedigree, background, gender-identity, disability, and sexual orientation. We are actively making changes to all entry points to our organization to ensure that Black, Indigenous and/or People of Color are represented throughout the organization and on the world’s stages, and that our operations and decision-making structures support building spaces of belonging for everyone involved in the process of developing new music.
MORE ABOUT THE ENSEMBLE
Described as “America’s foremost new-music group” (The New Yorker), the Ensemble has become a leading force in new music throughout the last 20 years, having premiered over 1,000 works and having been a vehicle for the workshop and performance of thousands of works by student composers across the U.S. The Ensemble’s composer-collaborators—many who were unknown at the time of their first Ensemble collaboration—have fundamentally shaped its creative ethos and have continued to highly visible and influential careers, including MacArthur Fellow Tyshawn Sorey; long-time Ensemble collaborator, founding member, and 2017 Pulitzer Prize-winner Du Yun; and the Ensemble’s founder, 2012 MacArthur Fellow, and first-ever flutist to win Lincoln Center’s Avery Fisher Prize, Claire Chase.
A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, the International Contemporary Ensemble was also named Musical America’s Ensemble of the Year in 2014. The group has served as artists-in-residence at Lincoln Center’s Mostly Mozart Festival (2008-20), Ojai Music Festival (2015-17), and the Museum of Contemporary Art Chicago (2010-15). In addition, the Ensemble has presented and performed at festivals in the U.S. such as Big Ears Festival and Opera Omaha’s ONE Festival, as well as abroad, including GMEM-Centre National de Création Musicale (CNCM) de Marseille, Vértice at Cultura UNAM, Warsaw Autumn, International Summer Courses for New Music in Darmstadt and Cité de la Musique in Paris. Other performance stages have included the Park Avenue Armory, ice floes at Greenland’s Diskotek Sessions, Brooklyn warehouses, Metropolitan Museum of Art and boats on the Amazon River.
The International Contemporary Ensemble advances music technology and digital communications as an empowering tool for artists from all backgrounds. Digitice provides high-quality video documentation for artist-collaborators and provides access to an in-depth archive of composers’ workshops and performances. The Ensemble regularly engages new listeners through free concerts and interactive, educational programming with lead funding from The Andrew W. Mellon Foundation.
Curricular activities include a partnership at The New School’s College of Performing Arts (CoPA), along with a summer intensive program, called Ensemble Evolution, where topics of equity, diversity and inclusion build new bridges and pathways for the future of creative sound practices. Yamaha Artist Services New York is the exclusive piano provider for the Ensemble. Read more at www.iceorg.org and watch over 350 videos of live performances and documentaries at www.digitice.org.
Musicians of the New World Symphony

A laboratory for the way music is taught, presented and experienced, the New World Symphony consists of 87 young musicians who are granted fellowships lasting up to three years. The fellowship program offers in-depth exposure to traditional and modern repertoire, professional development training and personalized experiences working with leading guest conductors, soloists and visiting faculty.
NWS Fellows take advantage of the innovative performance facilities and state-of-the art practice and ensemble rooms of the Frank Gehry-designed New World Center, the campus of the New World Symphony and home of the Knight New Media Center.
In the hopes of joining NWS, nearly 1,000 recent music school and conservatory graduates compete for available fellowships each year. The Fellows are selected for this highly competitive, prestigious opportunity based on their musical achievement and promise, as well as their passion for the future of classical music.