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X-WR-CALNAME:Bargemusic
X-ORIGINAL-URL:https://www.bargemusic.org
X-WR-CALDESC:Events for Bargemusic
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260905T140000
DTEND;TZID=America/New_York:20260905T140000
DTSTAMP:20260923T165353
CREATED:20260324T013558Z
LAST-MODIFIED:20260904T153908Z
UID:7893-1788616800-1788616800@www.bargemusic.org
SUMMARY:Labor Day Here and Now Weekend: Ensemble Dérive
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					ENSEMBLE DÉRIVE\nPROGRAM \n\nArrivals and Departures (1994) for two violins                                  Milton Babbitt (1916-2011)\nSechs Bagatelles\, op. 9 (1913) for string quartet                               Anton Webern (1883-1945)\n\nMässig\nLeicht bewegt\nZiemlich fliessend\nSehr langsam\nÄusserst langsam\nFliessend\n\n\n9 Bagatelles for solo piano (1996)                                                      William Bolcom (b. 1938)\n\n“…the ghost mazurka”\n“…aimai-je un rêve?”\n“…forgotten prayers”\n“…cycle de l’univers”\n“…la belle rouquine”\n“…Pegasus”\n“(…this endernight)”\n“…recess in hell”\n“…Circus Galop”\n\n\n\n\nFragment No. 1 for String Quartet (1994)                                          Elliott Carter (1908-2012)\nFragment No. 2 for String Quartet (1999)                                          Elliott Carter\nFantasy on Puccini’s Turandot                                                            Taige Wang (b. 2010)\nCon Leggerezza Pensosa (1990)                                                         Elliott Carter\nSCAT (2007)                                                                                         Augusta Read Thomas (1964)\n\n  \nwith Ensemble Dérive \nAlyson Lee\, Flute \nMichael Sun\, Clarinet \nTaige Wang\, Piano \nTobia Im\, Laurentia Woo\, Violins \nDarren Cai\, Viola \nLarissa Lakner\, Cello \nDavid Fulmer & Laurentia Woo – Co-Directors \n  \n\n    -ENSEMBLE DÉRIVE-\n\nGood afternoon and welcome to our concert. The Ensemble is a collective of pre-college musicians – the first of its kind –  dedicated to the music of our time. We work microscopically with each musical surface\, and look to reveal the unique structures and nuclei of the composer’s design and architecture. Each week we tackle these sophisticated musical gestures in the same way that we would when preparing a Brandenburg Concerto of Bach\, a string quartet of Schubert\, or a symphonic poem of Brahms. These extraordinary young musicians have come together to give these new and complex musical languages a communicative meaning today\, in 2026. It has been such an honor to work with these young virtuosi\, and I am very proud to present this concert with them. This is the future of music\, and the future of creative art-making and artistic exploration\, at its finest. It is my great pleasure to welcome you today. \n-David Fulmer \n\nARTISTIC STATEMENT\n\n“In the summer of 2024\, I reached out to composer and conductor David Fulmer for an interview with the Clexical Project\, an organization I founded to make new music more accessible to a wider audience. This conversation sparked the creation of Ensemble Dérive\, which would include students at the Juilliard Pre-College to perform contemporary pieces. As co-director\, I helped guide the ensemble’s vision\, working closely with David to select repertoire\, organize rehearsals\, and support my peers as we tackled a challenging and rewarding program. It was not only my first time co-directing an ensemble\, but also my first time performing the music of Pierre Boulez\, Elliott Carter\, Anton Webern\, and Augusta Read Thomas. Each piece brought a unique experience. Rehearsing Boulez’s Dérive challenged me to navigate its intricate rhythms and textures\, constantly listening for how each fragment wove into the larger picture. Carter’s Fragments pushed me to embrace spontaneity within its tightly constructed gestures\, while Webern’s Bagatelles invited me into a world of extreme precision and subtlety\, where every note carried weight. Augusta Read Thomas’s Scat was a joyful\, kinetic exploration of color and motion\, encouraging a playful\, vibrant energy in the ensemble. I was also delighted to be able to include my pre-college friend Alex Robertson’s piece. His writing is creative\, liminal\, and unique\, which I realized while premiering his work Nenia with the Juilliard Pre-College Orchestra. This experience has shaped me profoundly—both as a musician and as a leader—expanding my perspective\, sharpening my skills\, and deepening my passion for contemporary music. I am beyond honored to have been given this opportunity\, and look forward to many more years of music-making and changemaking in NYC’s classical music scene.” \n-Laurentia Woo \n  \n  \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/labor-day-here-and-now-weekend-ensemble-derive/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260906T140000
DTEND;TZID=America/New_York:20260906T140000
DTSTAMP:20260923T165353
CREATED:20260324T020935Z
LAST-MODIFIED:20260324T020935Z
UID:7920-1788703200-1788703200@www.bargemusic.org
SUMMARY:Labor Day Here and Now Weekend: World Premiere by David Shohl with Marc Peloquin\, piano
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					David Shohl 13 Preludes and Fugues\, dedicated to David Del Tredici     *World Premiere* \nwith \nMarc Peloquin\, piano \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/labor-day-here-and-now-weekend-world-premiere-by-david-shohl-with-marc-peloquin-piano/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260912T140000
DTEND;TZID=America/New_York:20260912T140000
DTSTAMP:20260923T165353
CREATED:20260324T014640Z
LAST-MODIFIED:20260907T160349Z
UID:7906-1789221600-1789221600@www.bargemusic.org
SUMMARY:9/11 Memorial Concert
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					J. S. Bach Selections \nA. Copeland Selections from the Sonata for Violin and Piano (1943) \nDvořak Piano Trio #4\, Op. 90 (“Dumky”) \nwith Mark Peskanov\, Margo Shohl\, Noah Chen\, Doris Stevenson \n  \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/9-11-memorial-concert/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260913T140000
DTEND;TZID=America/New_York:20260913T140000
DTSTAMP:20260923T165353
CREATED:20260325T143041Z
LAST-MODIFIED:20260325T143041Z
UID:7994-1789308000-1789308000@www.bargemusic.org
SUMMARY:Avita Duo violin/piano recital: Beethoven\, Biber\, Lily Boulanger\, and Dohnanyi
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					  \n\nHeinrich Ignaz Franz von Biber (1644-1704)  Sonata  Representativa   (1669)\n\n Allegro  \nNachtigal (Nightingale)\nAllegro\nCu Cu (Cuckoo)\nFresch (Frog)\n Adagio\nDer Hahn (The Rooster) Presto\n Die Vachtel (The Quail)\nCantabile\n Die Katz (The Cat)\n Mussquetir Mars (Musketeer March)\n Allemande      \n\n\n\n\nErnő Dohnányi  (1877-1960) Violin Sonata in C sharp minor\, Op. 21                                                                                          \n\nAllegro appasionato\nAllegro ma con tenerezza\nVivace assai                                                                                                                                         \n\n\n\n\nLily Boulanger (1893-1918) Four Pieces for Violin and Piano\n\nD’un matin de printemps                                                                                                        \nNocturne. Pièce courte\nPièce\nIntroduction—Cortège\n\n\n\n\nLudwig van Beethoven (1770-1827) Violin Sonata No.7\, Op.30 No.2\n\nAllegro con brio\nAdagio cantabile\nScherzo: Allegro\nFinale: Presto\n\n\n\nwith Avita Duo \nAvita Duo\, featuring Katya Moeller on violin and Ksenia Nosikova on piano\, has been praised for “technical excellence\, emotional intensity\, and unity of purpose” and “fresh\, committed playing\, always powerful and concentrated”. The collaboration between these two award-winning soloists has flourished over 15 years\, leading to versatile and captivating performances across the globe. Committed to broadening exposure to classical music\, Avita Duo aims to impact audiences both internationally and locally. The Duo prioritizes community engagement and outreach\, frequently performing at public schools\, community centers\, and retirement homes\, presenting educational workshops and teaching masterclasses. Their programming strives to highlight both standard repertoire and the works of lesser-known composers. \n  \nThis mother-daughter partnership culminated in their first CD recording of Lera Auerbach’s Twenty-Four Preludes for Violin and Piano\, alongside the world premiere of Oskolki in 2022. This groundbreaking CD\, released on the Hänssler Classic label\, has garnered enthusiastic reviews from prominent critics\, who lauded it as “absorbing\, dramatic\, compelling\, audacious\, and riveting”. \n  \nKsenia Nosikova was praised as “First rate” (Fono Forum)\, “Full of dramatic intensity” (International Piano)\, and “Impressive musicianship\, musically very poetic” (Boston Globe). Her extensive repertoire comprises of masterworks and lesser-known compositions and includes over thirty piano concertos. Among her twelve critically acclaimed CD recordings are complete Années de Pèlerinage by Franz Liszt and Aus Meinem Tagebuch\, Op. 82 by Max Reger. Nosikova’s concert engagements span prestigious venues across the globe\, from Shanghai City Hall in China to City Hall Theatre in Hong Kong\, Chetham’s International Piano Series in England\, Weill Recital Hall at Carnegie Hall in New York City\, and Sala Cecilia Meireles in Rio de Janeiro\, to name a few. A graduate of Moscow Conservatory and University of Colorado\, Dr. Ksenia Nosikova is a professor and co-chair of the piano department at the University of Iowa School of Music. She has been a faculty member at Wiener MusikSeminar International Master Classes\, Amalfi Coast International Music Festival\, Schlern/Semper International Music Festival\, and PianoTexas International Music Festival and Academy\, among others. Ksenia Nosikova is a Steinway Artist and was inducted into the Steinway Teacher Hall of Fame. \n  \nViolinist Katya Moeller\, 21\, was called a “phenomenal instrumentalist” and praised for her “dramatic and convincing performances” and “exquisite interpretations”.  She was named Prix Rodolphe et Helen Tissières at the 2024 Verbier Music Festival Academy\, the First Prize Winner of the World Bach Competition\, ODIN International Music Competition\, Walgreens National Concerto Competition\, the Charleston Baroque Music Competition\, and Grand Prize Winner of the ENKOR International Violin Competition\, among others. Her NYC based string quartet\, DragonBoot Quartet\, received the Grand Prize in the senior division of the Coltman Chamber Music Competition. As a member of the Peresson and Dasani String Quartets\, she won Gold Medal at the St. Paul String Quartet Competition\,  Grand Prize at the Chicago International Music Competition\, and  Silver Medal at the  Fischoff Сhamber Music National Competition. Katya is a Senior at the Juilliard School\, studying with Masao Kawasaki. Previously she studied with Almita Vamos. She has participated in numerous master classes\, including Midori\, Gyorgy Pauk\, Paul Huang\, Mihaela Martin\, David Finckel\, and Julian Martin. She received scholarships at Aspen Festival\, Yellow Barn Festival\, Bowdoin Festival\, and was one of nine violinists invited to the 2024 Verbier Festival Academy in Switzerland. This past summer Katya attended the Perlman Music Program Chamber Workshop. \n  \n  \n  \n  \n  \n  \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/avita-duo-violin-piano-recital-beethoven-biber-lily-boulanger-and-dohnanyi/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260919T140000
DTEND;TZID=America/New_York:20260919T140000
DTSTAMP:20260923T165353
CREATED:20260325T143937Z
LAST-MODIFIED:20260325T143937Z
UID:8004-1789826400-1789826400@www.bargemusic.org
SUMMARY:From Folk Melodies: Three Piano Trios with Mark Peskanov\, Julian Schwarz\, and Marika Bournaki
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					Piano Trios by Shostakovich\, Haydn\, and Brahms \nwith Mark Peskanov\, violin; Julian Schwarz\, cello; Marika Bournaki\, piano \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/from-folk-melodies-three-piano-trios-with-mark-peskanov-julian-schwarz-and-marika-bournaki/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260920T140000
DTEND;TZID=America/New_York:20260920T140000
DTSTAMP:20260923T165353
CREATED:20260325T144117Z
LAST-MODIFIED:20260325T144117Z
UID:8007-1789912800-1789912800@www.bargemusic.org
SUMMARY:From Folk Melodies: Three Piano Trios with Mark Peskanov\, Julian Schwarz\, and Marika Bournaki
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					Piano Trios by Shostakovich\, Haydn\, and Brahms \nwith Mark Peskanov\, violin; Julian Schwarz\, cello; Marika Bournaki\, piano \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/from-folk-melodies-three-piano-trios-with-mark-peskanov-julian-schwarz-and-marika-bournaki-2/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260926T140000
DTEND;TZID=America/New_York:20260926T140000
DTSTAMP:20260923T165353
CREATED:20260325T150748Z
LAST-MODIFIED:20260909T014740Z
UID:8013-1790431200-1790431200@www.bargemusic.org
SUMMARY:"Music and Words" with David Rockefeller\, Kathryn Knight\, and Joel Sachs
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					\nMusic and Words\nDavid Rockefeller\, Jr.\, narrator \nKathryn Knight\, mezzo-soprano \nJoel Sachs\, piano \n\nRichard Strauss (1864-1969)\n\nMelodrama: Das Schloss am Meere (The Castle by the Sea) (1899) \nText: After a poem by Ludwig Uhland (1787-1862); new English rendering by Joel Sachs \n\nFranz Liszt (1811-1886 )\n\nLenore (158\, rev. 1860) \nBallade (1733)\, by Gottfried August Bürger (1747-1794) with melodramatic accompaniment by Franz Liszt. Translator unknown. \n\nCharles Ives (1974-1952)\n\nAutumn (1908); Text: Harmony T. Ives \nThe Housatonic at Stockbridge (Text: Robert Underwood Johnson)\, 1921\, after the orchestra piece of the same name) \nThe New River (1921\, after an instrumental piece\, 1912); Text by Ives \nTom Sails Away (1917 ); Text by Ives \nNov. 2\, 1920 (1921): Text by Ives \n\nCharles Ives:\n\nTwo movements from Piano sonata No. 2\, “Concord\, Mass.\, 1840-1860” \nRevised edition ca. 1940-47 \nPreceded by excerpts from Ives’s “Essays before a Sonata” read by David Rockefeller Jr. \nIII The Alcotts (1915) \nIV Thoreau (1915) \n  \n++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ \nToday’s program\, highlighting the interaction between music and the written word\, originated in the desire of David and me\, college friends\, to work together\, and gradually expanded to include our English friend Kathryn. Having David read from Ives’s own brilliant essays about his sonata honoring the literary stars of Concord\, Massachusetts\, seemed like an improvement on the traditional program note\, and having him read the texts of a group of Ives’s songs seemed appropriate to Ives’s careful fusions of words and music. \nIt remains to say a word about the centuries-old tradition of “melodrama\,” a genre fusing the spoken word with music. The most enduring example is Schoenberg’s masterpiece for actress and ensemble\, Pierrot Lunaire\, but the idea of fusing spoken poetry with musical accompaniment had originated in the 18th-century German-speaking world and probably stemmed from operatic recitative. (Actually\, reciting the Greek dramas with musical accompaniment goes back at least 3000 years.) The idea of melodrama is unfortunately obscured by the related adjective “melodramatic\,” with connotations of cheesy sentimentality. \nSince Franz Liszt and Richard Strauss were among the finest composers of the late period of melodrama\, we chose one by each. They were not peripheral compositions: Strauss built his early reputation on extensive touring that featured his first melodrama\, “Enoch Arden\,” a huge piece whose text is by Tennyson\, but recited by a famous actor in a German translation. He later added “The Castle by the Sea” to their tours. Since the published English version struck me as too rooted in sentimentality\, I created a new translation preserving the poetic structure. The anonymous translation of Gottfried August Bürger’s popular ballade seemed usable despite some antiquated language. Although the text makes no mention of vampires\, it is thought to have launched the fashion for vampire literature in the German-speaking world.   – Joel Sachs \n  \nThe musical life of British mezzo-soprano Kathryn Knight began when her piano teacher urged her to apply to Oxford University to study music. Admitted as a pianist\, she gravitated towards singing\, since when she has enjoyed a varied performing career\, thanks to a wide vocal range and even wider-ranging repertoire. Her programs include works across the millennium\, from Pérotin to Arvo Pärt\, and Byrd to Errollyn Wallen. Kathryn has sung and recorded with renowned vocal ensembles including Tenebrae\, Gabrieli Consort and Tonus Peregrinus\, performing throughout Europe.  An accomplished recitalist\, she is also the soprano in the Teahouse Baroque Cantata\, which presents the repertoire in intimate performance.  Appearances in 2026 span London\, the Netherlands and New York. The desire to advance the legacies of earlier and living composers drove her to music publishing. Until 2023 she was President of Edition Peters New York\, the major publisher of post-World War II American modernists. Its catalog includes John Cage\, Milton Babbitt\, George Crumb\, and Chou Wen-chung\, and living composers such as George Lewis. Kathryn has appeared as a guest presenter on the BBC’s televised Proms concerts and Radio 3. All her work underlines her belief in the power of storytelling and musical context. \nDavid Rockefeller\, Jr. has used his voice as a performing instrument since he was ten.  In college\, his rich bass voice earned him the nickname “Mr. Resonance”  in the renowned men’s chorus The Harvard Glee Club\, of which he was a devoted member. Long resident in the Boston area\, he sang as a semi-professional chorister for more than forty years with Boston’s Cantata Singers and – more briefly – the Boston Camerata.  More recently\, David focused on narration with organizations like the Boston Pops and the Handel & Haydn Society. Since moving to New York City\, David has been narrator for musical performances and  reader of short stories and poetry at the Juilliard School\, Alice Tully Hall\, the Century Association\, All Souls Church (for Musica Viva NY)\, and the Colony Club.  He has also performed at the Bohemian Club in San Francisco\, the University of Mississippi (Strauss/Tennyson’s Enoch Arden)\, and at the Kennedy Center with the New Orchestra of Washington.  He also has narrated three films directed by his wife\, Susan Cohn Rockefeller\, and was a reader for a five-CD set for Audible.com\, in which he was the voice of Albert Einstein. \nAs co-director of Continuum\, and as an invited guest\, pianist/conductor Joel Sachs has appeared in hundreds of performances in the Americas and throughout the Eurasian continent from England to Japan\, Korea\, China\, and Indonesia. Although he is best known for his work in 20th– and 21st-century music\, both Brahms’s Piano Concerto No. 2 and Rachmaninoff’s Piano Concerto No. 3 entered his traditional repertory recently. In 1993 he founded the New Juilliard Ensemble\, a chamber orchestra for new music\, conducting it in hundreds of premieres until retirement in 2022s. He also produced and directed Juilliard’s annual Focus! Festival of post-traditional music from 1985 to 2022 and Juilliard’s summer concerts at the MoMA from 1993 to 2009. All this has brought him into close contact with composers throughout the planet. He received Columbia University’s Alice M. Ditson Award to a conductor for service to American Music; honorary membership in Phi Beta Kappa at Harvard for his support of new music; the Gloria Artis Medal of the Polish Government for his service to Polish music; and a citation by the Music Publishers’ Association for advocacy of living composers. He is now emeritus professor of music at Juilliard. Always an active historian\, he has published in many fields\, including biographies of the composers Henry Cowell and J.N. Hummel. \n\n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/poetics-of-music-with-reciter-david-rockefeller-flutist-kathryn-knight-and-pianist-joel-sachs/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260927T140000
DTEND;TZID=America/New_York:20260927T140000
DTSTAMP:20260923T165353
CREATED:20260325T144317Z
LAST-MODIFIED:20260916T011803Z
UID:8010-1790517600-1790517600@www.bargemusic.org
SUMMARY:Violin and Piano Recital with Mark Peskanov and Jonathan Feldman
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					Violin and Piano Recital\n\nMozart Sonata for Violin and Piano in E minor\, K. 304\n\nAllegro\nTempo di menuetto\n\n\nBeethoven Sonata No. 1 in D Major\, Op. 12 No. 1\n\nAllegro con brio\nTema con variazioni. Andante con moto\nRondo. Allegro\n\n\nFranck Sonata in A Major\n\nAllegretto ben moderato\nAllegro\nRecitativo-Fantasia: Ben moderato\nAllegretto poco mosso\n\n\n\nwith Mark Peskanov\, violin\, and Jonathan Feldman\, piano\n  \nAmerican virtuoso violinist and artistic visionary Mark Peskanov was born in Odesa. Peskanov sang before he could walk or talk\, and soon became a star violin student at the famed Stolyarsky school. At fifteen\, he emigrated to the United States\, where he was immediately accepted at the Aspen Music Festival and the Juilliard School. \nHis phenomenal facility and musicianship won him both the Aspen and Juilliard concerto competitions\, bringing him to the notice of Isaac Stern and Mstislav Rostropovich and rocketing him into the top echelons of the music world. Upon his debut with the Chicago Symphony\, the Chicago Tribune called him a “sensational soloist.” The Cleveland Plain Dealer proclaimed\, “Violinist Adds Glory to Odessa” and the New York Times declared\, “Mark Peskanov is a tremendous young violinist and his Friday evening concert at Carnegie Hall was a triumph…He has it all—technique\, temperament\, and taste.” \nPeskanov is a staunch champion of American composers. He premiered the John Williams Concerto with the St. Louis Symphony\, and the Stanley Wolfe Concerto (written for Peskanov) with the New York Philharmonic. He has performed more than fifty concertos with virtually every major U.S. orchestra and in Europe\, the Middle East\, Australia\, South America and Japan. Peskanov’s major accolades include the Avery Fischer Career Grant\, the first Frederick R. Mann Award\, and Carnegie Hall’s first Isaac Stern Award. \nPeskanov inaugurated Tokyo’s Suntory Hall with Yo-Yo Ma and Stern\, and Weill Recital Hall with Stern\, Midori and Gil Shaham. Collaborating with these colleagues prompted Peskanov to turn intensively to the chamber music repertoire’s more intimate\, complex\, and dialogical possibilities. His delight in chamber music\, his independent artistic vision\, and his desire to mentor promising musicians as he had been mentored\, led to Peskanov’s present role. Since 2005\, he is president and artistic/executive director of Bargemusic\, New York City’s cultural icon in Brooklyn Bridge Park. Over more than three decades of artistic involvement with Bargemusic\, Peskanov has curated in the neighborhood of five thousand chamber concerts\, encompassing a vast range of genres and styles in hundreds of concerts annually. Under his leadership Bargemusic continues to evolve as an innovative\, influential\, and integral component of New York City’s cultural world. \nPeskanov is known for his openness to an astonishing range of music and artists at all stages of their careers. Muses the New York Times\, “One reason that openness seems to come so easily to Mr. Peskanov is that few proposals crossing his desk are likely to outpace his own vision of what Bargemusic can be.” \n  \nRecognized by colleagues and critics worldwide as a leading chamber musician and collaborative pianist\, Jonathan Feldman has performed with some of the world’s most legendary musicians\, including violinists Nathan Milstein\, Itzhak Perlman\, Gil Shaham\, Kyung Wha Chung\, Joshua Bell\, Yehudi Menuhin\, Augustin Hadelich\, cellists Pierre Fournier\, Zara Nelsova\, Harvey Shapiro\, and flutists James Galway and Emanuel Pahud.A graduate of The Juilliard School\, Mr. Feldman joined its faculty in 1989 and became chairman of the school’s collaborative piano department from 1991 until 2015. He was invited to join the collaborative piano faculty of New England Conservatory in 2010 and completed his tenure there in 2024.  He was asked to help out\, and is currently teaching\, at the USC Thornton School in Los Angeles for the 2024-25 year.  He has given master classes throughout the United States and the Far East and has lectured at international festivals and competitions. He is the Director of Collaborative Piano at the Music Academy of the West in Santa Barbara\, California\, a post he has held since 2005. He has appeared in other summer festivals\, such as Tanglewood\, Bridgehampton\, Music from Angel Fire\, Vail Bravo Festival\, the Hidden Valley Music Seminars\, the Cape Cod Chamber Music Festival and the Collaborative Piano Institute.  He has performed with the Chamber Music Society of Lincoln Center in New York City and was a featured performer in a Live From Lincoln Center with Gil Shaham.  For over twenty years\, he performed regularly with the New York Philharmonic as a keyboard player and appeared in many concerts with the New York Philharmonic Chamber Ensembles. Jonathan Feldman has recorded for Angel/EMI\, RCA Red Seal\, DGG\, Columbia Masterworks\, Naxos\, Nonesuch\, Summit\, Avie and Cala Records.  Mr. Feldman has recorded with his wife\, New York Philharmonic principal bassoonist Judith LeClair.  His most recent recording is with violinist William Wei\, winner of the 2015 Queen Elizabeth competition. Mr. Feldman can also be heard on soundtracks for many movies\, most notably Music of the Heart with Meryl Streep and The Man Who Wasn’t There\, directed by the Coen Brothers. \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/four-hands-extravaganza-duo-piano-recital-with-rita-sloan-and-jonathan-feldman/
LOCATION:NY
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261003T140000
DTEND;TZID=America/New_York:20261003T140000
DTSTAMP:20260923T165353
CREATED:20260325T184442Z
LAST-MODIFIED:20260911T200559Z
UID:8040-1791036000-1791036000@www.bargemusic.org
SUMMARY:RESILIENCE: "Lost and Reclaimed Voices from the Holocaust" with Desirée Ruhstrat\, Melissa Reardon\, and Wendy Sutter
DESCRIPTION:\n				\n				\n				\n				\n					\n				\n				\n				\n				\n				\n				\n				\n					RESILIENCE\nLost and Reclaimed Voices from the Holocaust\nDesirée Ruhstrat\, violin\nMelissa Reardon\, viola\nWendy Sutter\, cello \nProgram: \nErwin Schulhoff Duo for Violin and Cello \nGideon Klein String Trio \nHans Gál Trio \nHans Krása Tanz \nResilience is an intimate and deeply moving concert project in which three acclaimed artists of\ninternational stature come together to restore music silenced by the Holocaust to the living repertoire.\nViolinist Desirée Ruhstrat\, violist Melissa Reardon\, and cellist Wendy Sutter—each a leader in the\nclassical music world—unite in a program devoted to extraordinary chamber works by composers\nwhose lives and careers were shaped\, interrupted\, or extinguished by Nazi persecution. Through\nsolo\, duo\, and string trio repertoire\, Resilience offers both remembrance and renewal\, allowing\nvoices nearly erased by history to speak again with urgency and clarity.\nThe program features music by composers such as Erwin Schulhoff\, Gideon Klein\, Schul\,\nHermann\, and Hans Gál\, including Gál’s String Trio in F-sharp minor\, Op. 104 and Serenade\, Op.\n41. Alongside these recognized works\, Resilience incorporates chamber pieces that have only\nrecently resurfaced—some drawn directly from archival sources and private holdings\, and in certain\ncases not performed publicly for decades\, if not since the period immediately following the Second\nWorld War.\nThese works are presented not as historical artifacts\, but as living music—expressive\, daring\, and\nprofoundly human. The program’s flexible structure alternates between solo\, duo\, and trio\nperformances\, creating contrast\, intimacy\, and narrative flow while highlighting the individuality of\neach composer’s voice. Designed for chamber-scale halls and series\, the concert can be adapted in\nlength and format to suit a wide range of venues.\nViolinist Desirée Ruhstrat brings to this project a long-standing commitment to rediscovering\nsuppressed repertoire. As founder of the Black Oak Ensemble\, her work on the acclaimed album\nSilenced Voices—recognized by the Chicago Tribune\, Fanfare\, and WQXR—has been instrumental\nin returning forgotten composers to the concert stage. Her scholarship and musical insight form a\ncentral pillar of Resilience.\nShe is joined by Grammy-nominated violist Melissa Reardon\, a member of the Borromeo String\nQuartet and Artistic Director of the Portland Chamber Music Festival. Praised for her “elegant” and\n“virtuosic” performances\, Reardon brings a wide-ranging artistic voice shaped by international\ntouring\, leadership in major chamber organizations\, and collaborations across classical and\ncontemporary traditions.\nCellist Wendy Sutter—hailed by the Wall Street Journal as “one of the great leading cellists of the\nclassical stage”—completes the trio. Renowned for her intensity and expressive range\, Sutter has\nperformed as a soloist on five continents with major orchestras and leading conductors\, while also\nshaping contemporary music through decades-long collaborations with composers including Philip\nGlass\, Tan Dun\, and Steve Reich. Her career bridges the classical canon and the modern\navant-garde\, bringing urgency and depth to music that demands remembrance.\nTogether\, Ruhstrat\, Reardon\, and Sutter form an ensemble of rare authority and sensitivity.\nResilience is more than a concert: it is an act of artistic restoration\, a testament to creative\nendurance\, and a powerful affirmation that music silenced by violence can—and must—be heard\nagain. \n				\n			 \n			 \n				\n				\n			 \n				\n				\n			 \n
URL:https://www.bargemusic.org/concert/resilience-lost-and-reclaimed-voices-from-the-holocaust-with-desiree-ruhstrat-melissa-reardon-and-wendy-sutter/
LOCATION:NY
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