Monday 27 October 2014, 19:30 - Carnegie Hall, New York This is the latest project in an ongoing collaboration between the Johannesburg-born visual artist William Kentridge and his South African compatriot Philip Miller . Their artistic partnership dates back to Kentridge’s 1993 film Felix in Exile , part of his celebrated Soho Eckstein series for which Miller wrote the score. Paper Music features a selection of films by Kentridge with music by Miller,
Tuesday 28 October 2014, 20:00 - Carnegie Hall, New York Pianist Daria Rabotkina performs three works that show the expressive scope and stretch the stylistic boundaries of the Baroque, Classical, and Romantic eras of composition, and contrast vigorous and energetic motives with others that are intensely and transcendently spiritual.
Wednesday 29 October 2014, 20:00 - Carnegie Hall, New York “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history, and Steve Reich is one of them,” wrote The Guardian . Two of Reich’s early works, Clapping Music and Drumming , are featured alongside the US premiere of Quartet. Clapping Music is a fascinating exploration of rhythm and syncopation, while the groundbreaking Drumming was conceiv
Thursday 30 October 2014, 20:30 - Carnegie Hall, New York Kesivan Naidoo is one of the exciting leaders of the next wave of Cape jazz performers. A composer and drummer, Naidoo leads a fiery quintet that is equally exciting when playing a standard or an original composition, or covering an Ornette Coleman tune. Kesivan and The Lights make their New York debut in this concert.
Thursday 30 October 2014, 19:30 - Carnegie Hall, New York The Cross Border Orchestra of Ireland (CBOI) was set up in 1995, shortly after the cessation of violence in Northern Ireland. Established primarily as a peace initiative, the orchestra sought to unite young people from both sides of the Irish border through music. Having gained international recognition for their years of work in peace and reconciliation, the orchestra extended its focus towards s
Friday 31 October 2014, 20:00 - Carnegie Hall, New York Throughout his life, Mahler maintained that he did not compose music to preexisting programs. But after the 1895 premiere of his “Resurrection” Symphony, critics asked him for a program. He reluctantly gave in and, between 1896 and 1901, provided three programs for the work, all of which he later withdrew. While the three descriptions differ, the sung texts of the symphony’s fourth-movement “Urlic