Out-of-the-box management, PR, and project planning for visionary artists and institutions
Gramophone magazine on the new recording of Aaron Jay Kernis’s violin concerto by James Ehnes with the Seattle Symphony and conductor Ludovic Morlot: it’s “entertaining, dazzling, smile-inducing, toe-tapping music…Kernis is the preeminent orchestral showman of the age.”
“For lovers of contemporary American music nothing could exceed “Late Night with Leonard Bernstein,” according to The Times of San Diego, which saw the show at La Jolla SummerFest and said it “delighted and, even thrilled, a packed house. Those in attendance will not forget this delicious evening, narrated by Nina Bernstein Simmons, daughter of by the late great American composer.”
Living in Aspen, I’ve enjoyed access to a remarkable slate of cultural experiences, but the Moab Music Festival is something else. From the outset, Moab’s striking natural landscape has been a fest hallmark. the purity of sound within the natural amphitheater is nothing short of astonishing. When the audience claps, the gentle noise is like raindrops pitter-pattering onto the desert floor.
About Late Night with Leonard Bernstein at the Ravinia Festival, Chicago Tonight said there were “stories of his friends and collaborators (Aaron Copland, Jerome Robbins, and Adolph Green and Betty Comden), were a major part of the mix, along with some rare archival material and the sensational playing of pianists Michael Boriskin and John Musto.”
Network for New Music premiered Jalbert’s Light, Line, Shadow at the Philadelphia Museum of Art. The Philadelphia Inquirer said it “strikes a smart balance: Specific references are there to be found, but he does nothing to shackle the listener’s imagination…. his piece spoke quite well for itself,” calling the last movement “serious and crushingly beautiful…it sums up a journey, but sends you on your way with something — a mood, the intimation perhaps of something lurking beyond those trees — that you didn’t have on your way there.”
Composer Pierre Jalbert’s Light, Line, Shadow sat down to talk to WRTI about his upcoming premiere at the Philadelphia Museum of Art. Written for Network for New Music and written in response to Edward Hopper’s oil painting, Road and Trees, it explores a range of moods and emotions, using flute, clarinet, violin, viola, cello, doublebass, and percussion.
