By MCN Editor editor@moviecitynews.com

AMERICAN SYMPHONY ORCHESTRA PREMIERES NEW CELLO CONCERTO BY HOWARD SHORE APRIL 27 & 28

For Immediate Release
March 28, 2012

MYTHIC GARDENS COMPOSED FOR CELLIST SOPHIE SHAO, COMMISSIONED BY ASO

On April 27 and 28 the American Symphony Orchestra and Music Director and Conductor Leon Botstein present the world premiere performances of Howard Shore’s Mythic Gardens at the Richard B. Fisher Center for the Arts at Bard College. Commissioned by the Orchestra thanks to a generous gift from Stuart and Linda Nelson, Shore composed the concerto for cellist Sophie Shao, who will premiere the work.

Award-winning composer (including the score of The Lord of the Rings trilogy), Shore first worked with Shao when she performed solo cello pieces on his score for the Oscar nominated 2008 documentary The Betrayal (Nerakhoon). Shore says that “the concerto was conceived for the masterful playing of Sophie Shao and for the depth and beauty of the 1860 Honore Derazey cello in her hands. The work was inspired by the architecture of three classic Italian Gardens: Cimbrone, Medici and Visconti Borremeo Litta.” Mythic Gardens is a companion piece to Shore’s 2010 piano concerto Ruin and Memory which he composed for Lang Lang.

“I am so excited to premiere this complex piece, full of such beautiful and dramatic moments,” says Shao. “Just to have the opportunity to perform a Howard Shore work in front of a live audience is a thrill.”

The work will be presented as part of a program that also includes works by Lutosławski, Brubeck and Bartók. See below for full details.

PROGRAM DETAILS:

American Symphony Orchestra

Friday & Saturday, April 27 & 28, 2012

Richard B. Fisher Center for the Arts at Bard College

7:00 p.m. Preconcert Talk with Peter Laki

8:00 p.m. Concert

Tickets: $25, 35, 40

WITOLD LUTOSLAWSKI

Concerto for Orchestra

CHRISTOPHER BRUBECK

Prague Concerto for Bass Trombone and Orchestra

Tamas Markovics, bass trombone

HOWARD SHORE

Mythic Gardens, Concerto for Cello and Orchestra

Sophie Shao, cello

BELA BARTOK

Concerto for Orchestra

Ticket Information

Tickets can be purchased through fishercenter.bard.edu, in person at the Fisher Center Office, or by calling (845) 758-7900.

About the American Symphony Orchestra

Founded in 1962 by legendary conductor Leopold Stokowski, the American Symphony Orchestra continues its mission to demystify orchestral music, and make it accessible and affordable to everyone. Under music director Leon Botstein, the ASO has pioneered what the Wall Street Journal called “a new concept in orchestras,” presenting concerts curated around various themes drawn from the visual arts, literature, politics and history, and unearthing rarely-performed masterworks for well-deserved revival. These concerts are performed in the Vanguard Series at Carnegie Hall.

The orchestra also performs in the celebrated concert series Classics Declassified at Peter Norton Symphony Space, and is the resident orchestra of the Richard B. Fisher Center for the Performing Arts at Bard College, where it appears in a winter subscription series as well as Bard’s annual SummerScape Festival and the Bard Music Festival. In 2010, the American Symphony became the resident orchestra of The Collegiate Chorale, performing regularly in the Chorale’s New York concert series. The orchestra has made several tours of Asia and Europe, and has performed in countless benefits for organizations including the Jerusalem Foundation and PBS.

ASO’s award-winning music education program, Music Notes, integrates symphonic music into core humanities classes in high schools across the tri-state area.

In addition to albums released on the Telarc, New World, Bridge, Koch and Vanguard labels, many live performances by the American Symphony Orchestra are now available for digital download. In many cases, these are the only existing recordings of some of the rare works that have been rediscovered in ASO performances.

www.americansymphony.org

Twitter: @ASOrch

# # #

Leave a Reply

Quote Unquotesee all »

“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick