Great Music at St. Barts Presents Marilyn Nonken & Stephen Marotto

GREAT MUSIC AT ST. BART’S PRESENTS
MARILYN NONKEN & STEPHEN MAROTTO PERFORMING
MORTON FELDMAN’S PATTERNS IN A CHROMATIC FIELD
SUNDAY, MAY 13, 2018, AT 3:00 PM IN THE ST. BART’S CHAPEL

Morton Feldman, Marilyn Nonken, Stephen Marotto

Patterns in a Chromatic Field is a late work (1981) by Morton Feldman (1926-1987), an 80- minute odyssey for cello and piano exploring different degrees of stasis and patterns of harmony and color. As described on AllMusic.com, “Feldman’s small, interlocking gestures – inspired by designs in Asian carpets – are spun out through a convoluted process of repetition, layering, and alternation with contrasting sonorities and shapes, and these juxtaposed figures cycle over 80 minutes to mesmerizing effect.” Patterns in a Chromatic Field reflects Feldman’s lifelong fascination with the Abstract Expressionist painters: “My compositions are not really ‘compositions’ at all,” Feldman said. “One might call them time canvasses in which I more or less prime the canvas with an overall hue of music.”

Marilyn Nonken, who The New York Times has called “a pianist from music’s leading edge,” and cellist Stephen Marotto, a young member of the acclaimed Boston-based new music ensemble Sound Icon, will present this rarely-performed work as the culminating event of the Great Music at St. Bart’s concert series, on Sunday, May 13, 2018, at 3:00 pm. The concert will take place in the intimate, 150-seat St. Bart’s Chapel.

Marilyn Nonken’s history with the music of Morton Feldman has included being featured in the 2001 Carnegie Hall festival “When Morty Met John: John Cage, Morton Feldman and New York in the 1950’s,” and recording Feldman’s solo piano work Triadic Memories in 2004. She says, “Patterns in a Chromatic Field has been a piece I have wanted to play for such long time. My first experiences playing his music were with the late work Piano, Violin, Viola, Cello, written just a few months before he died. There is a sense in which the music is very ritualistic…. There is tremendous stillness in the music, and yet extraordinary activity, concentration, intensity.”

A few years ago, Nonken had the opportunity to work with cellist Stephen Marotto in a performance of Gerard Grisey’s Vortex Temporum with Sound Icon. “I thought, this person is just on fire! And then one day, he mentioned Patterns in a Chromatic Field … and it seemed like the stars aligned.”

Pianist Marilyn Nonken has been heralded as “a determined protector of important music” (The New York Times) and “one of the greatest interpreters of new music” (American Record Guide). Her repertoire comprises the complete piano music of Schoenberg, Boulez, and Murail, as well as works by pioneers of the New York School, New Complexity, and spectral music. She has recorded more than 30 CDs for the New World, Lovely Music, Hanging Bell, Harrison House, Albany, Divine Art, Innova, CRI, BMOP Sound, New Focus, Kairos, Metier, Mode, and Bridge labels. Highlights of her 2017-18 season include collaborations with cellist Stephen Marotto, mezzo-soprano Jessica Bowers, violinist Rolf Schultz, and pianists Joseph Kubera, Stephen Beck, and Irina Kataeva-Aimard. A Steinway Artist, she is also the author of The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age (Cambridge University Press, 2014). A graduate of the Eastman School and Columbia University, Marilyn Nonken is Associate Professor and Director of Piano Studies at New York University. www.marilynnonken.com

As a passionate advocate of contemporary music, cellist Stephen Marotto has worked with numerous composers, and has played with several new music ensembles in the Boston area including Sound Icon and EQ Ensemble. Marotto has attended music festivals at the Banff Centre, SoundSCAPE in Maccagno, Italy, and the Summer Course for New Music in Darmstadt, Germany. He has played in master classes for artists such as the Arditti Quartet and JACK Quartet. Marotto has a wide range of musical interests that include contemporary chamber music, improvisatory music, and electronic music. A native of Norwalk, Connecticut, he received a bachelor’s degree with honors from the University of Connecticut, a master’s degree from Boston University, and is currently a candidate for a Doctorate of Musical Arts degree also from Boston University under the direction of Michael Reynolds. Marotto’s formative teachers include Kangho Lee, Marc Johnson, and Rhonda Rider. www.stephenmarotto.com

Great Music at St. Bart’s continues the programmatic focus initiated by MMPAF Artistic Director William K. Trafka (Director of Music and Organist of St. Bart’s): to embrace a wide range of music in programs that shine in St. Bart’s spaces. The concert series, produced by the Mid-Manhattan Performing Arts Foundation, for the past seven years has presented music in St. Bartholomew’s Church, a parish of the Episcopal Diocese of New York located in the heart of midtown Manhattan. The magnificent 1918 Romanesque-style church, a National Historic Landmark, features a portal designed by Stanford White and a grand Byzantine-style interior – and two of New York’s unlikely but outstanding concert spaces. The 150-seat chapel is an intimate and acoustically brilliant space perfectly suited for contemporary chamber music, and the majestic 1,000-seat sanctuary – outfitted with comfortable chairs enabling flexible seating – boasts an Aeolian-Skinner pipe organ that is the largest in New York City and one of the finest examples of the American Classic Organ in the U.S.


Sunday, May 13, 2018, at 3:00 pm
Great Music at St. Bart’s Presents
MORTON FELDMAN’S PATTERNS IN A CHROMATIC FIELD
Marilyn Nonken, piano
Stephen Marotto, cello

Tickets: $25 general admission; $15 students/seniors


Tickets may be purchased online at www.mmpaf.org, by phone by calling 212-378- 0248, or in person at St. Bart’s, 325 Park Avenue at 51st Street.

Two Great Concerts Coming Up at St. Bart’s

GREAT MUSIC AT ST. BART’S PRESENTS:

  • “Portals To the Divine: Radiance From the North,” Choral Music from Scandinavia and the Baltic States in the St. Bart’s Sanctuary – Tuesday, March 20, 2018
  • Dorian Wind Quintet Performs Jazz – Gershwin, Schuller, and Schifrin in the St. Bart’s Chapel – Tuesday, April 17, 2018

St. Bartholomew’s Choir (photo by Tim Martin)

Dorian Wind Quintet

Romantic and recent choral music from Scandinavia and the Baltic States performed by the St. Bartholomew’s Choir in the grand St. Bart’s sanctuary, and the Dorian Wind Quintet playing jazz compositions in the intimacy of the St. Bart’s Chapel – these are upcoming spring events presented by Great Music at St. Bart’s (more information below).

Tickets may be purchased online at www.mmpaf.org, by phone by calling 212-378-0248, or in person at St. Bart’s, 325 Park Avenue at 51st Street.

Great Music at St. Bart’s continues the programmatic focus initiated by MMPAF Artistic Director William K. Trafka (Director of Music and Organist of St. Bart’s): to embrace a wide range of music in programs that shine in St. Bart’s spaces. The concert series, produced by the Mid-Manhattan Performing Arts Foundation (www.mmpaf.org), for the past seven years has presented music in St. Bartholomew’s Church, a parish of the Episcopal Diocese of New York located in the heart of midtown Manhattan. The magnificent 1918 Romanesque-style church, a National Historic Landmark, features a portal designed by Stanford White and a grand Byzantine-style interior – and two of New York’s unlikely but outstanding concert spaces. The 150-seat chapel is an intimate and acoustically brilliant space perfectly suited for contemporary chamber music, and the majestic 1,000-seat sanctuary – outfitted with comfortable chairs enabling flexible seating – boasts an Aeolian-Skinner pipe organ that is the largest in New York City and one of the finest examples of the American Classic Organ in the U.S.


Tuesday, March 20, 2018, at 7:30 pm in the Church
ST. BARTHOLOMEW’S CHOIR
“PORTALS TO THE DIVINE: RADIANCE FROM THE NORTH”
St. Bartholomew’s Choir
William K. Trafka, conductor
Romantic and contemporary choral works by composers from both Scandinavian countries and the Baltic States offer a testament of faith and a glimpse into a transcendent world: the Requiem of Icelandic composer Jón Leifs (1899-1968), Psalm 67 and Only in Sleep of Latvian Eriks Ešenvalds (b. 1977), Ubi caritas by Norwegian Ola Gjeilo (b. 1978) and Biegga luohte by Swedish Jan Sandström (b. 1964), as well as music of Norwegian Edvard Grieg (1843-1907), all performed by the St. Bartholomew’s Choir led by St. Bart’s Music Director William Trafka in the grand Romanesque architecture of the St. Bart’s sanctuary.

Jón Leifs’ Requiem was composed in memory of his young daughter, who perished in a swimming accident. Jan Sandström’s Biegga luohte was inspired by a Scandinavian Yoik, an improvised chant originating in the Sami culture, the indigenous people of Scandinavia, who inhabit the northern portions of Norway, Sweden, and Finland. Biegga is a call to the wind, conveying a sense of the divine.

“Much of this music, although unfamiliar to American audiences, is deeply affecting and expresses a dimension of experience which is mystical and divine, transcending the ordinary,” says William Trafka. “One can’t help but to consider that the extraordinary Northern European landscape, much of it arctic, with the beauty of its solitude and wealth of natural wonders including the fjords, forests and the extraordinary Aurora Borealis, might have served as a source of inspiration for these composers.”

This concert has been made possible by a generous gift from Robin Henry.
Tickets: $35 general admission; $25 students and seniors


Tuesday, April 17, 2018, at 7:00 pm in the Chapel
THE DORIAN WIND QUINTET – AN EVENING OF JAZZ
The Dorian Wind Quintet – Gretchen Pusch, flute; Gerard Reuter, oboe; Benjamin Fingland, clarinet; Adrian Morejon, bassoon; Karl Kramer-Johansen, horn – is known worldwide as one of chamber music’s pre-eminent and longest continuously-active ensembles. At St. Bart’s, the quintet will perform a program of jazz works including Gershwin’s Three Preludes, Gunther Schuller’s Blues, Billy Childs’s Fugue in Perpetual Motion, and Lalo Schifrin’s La Nouvelle Orleans.

The Quintet has traveled around the world – concertizing in 48 of the 50 United States and Canada, touring Europe eighteen times, and playing throughout the Middle East, India, Africa, and Asia. The Dorian made history in 1981, as the first wind quintet to appear at Carnegie Hall. The quintet has been responsible for 40 commissions of 20th and 21st century wind music from major composers such as Luciano Berio, Lukas Foss, and Sir Richard Rodney Bennett. Their commission of George Perle’s Wind Quintet No. 4 won the Pulitzer Prize for music in 1986. The Dorian Quintet partners with the Pro Musicis foundation, expanding and restructuring its outreach efforts in New York City – bringing chamber music of the highest quality to residents of assisted living facilities, rehabilitation facilities, hospitals, schools, community centers, and retirement communities. Its goals are to provide access for audiences that are prevented from attending regular concert venues, spread joy and inspiration to people in difficult situations, and for the Quintet to continue enriching its beloved New York City community.

Tickets: $25 general admission; $15 students and seniors


The final event of the 2017-2018 season presented by Great Music at St. Bart’s is the acclaimed pianist Marilyn Nonken and cellist Stephen Marotto performing Morton Feldman’s 1981 Patterns in a Chromatic Field, one of the composer’s most intricate chamber works (Sunday, May 13, 2018), in the St. Bart’s Chapel.


Tickets may be purchased online at www.mmpaf.org, by phone by calling 212-378- 0248, or in person at St. Bart’s, 325 Park Avenue at 51st Street.

GREAT MUSIC AT ST. BART’S 2017-18 SEASON

10 EVENTS INCLUDING:

  • “A CityRecorder Gala” with Martin Bernstein in the Chapel
  • Hotel Elefant – New York Premieres from Brown, Castillo, Narveson, Villarreal, and Volness in the Chapel
  • “Radiance from the North” – St. Bart’s Choir and Music of Ešenvalds, Gjeilo, Leifs, Sandström, and Grieg in the Church
  • Morton Feldman’s Patterns in a Chromatic Field Performed by Marilyn Nonken and Stephen Marotto in the Chapel
  • Buster Keaton Comedies Screened to Live Organ Accompaniment in the Church
  • Annual Holiday Events in Church and Chapel Including “A Joyous Christmas Concert,” “Adoration of the Magi,” and “A Concert to Usher in the New Year”

(Download above photos in hi-res: St. Bartholomew’s Church, St. Bart’s Christmas concert, St. Bart’s Chapel)

Great Music at St. Bart’s, the concert series produced by the Mid-Manhattan Performing Arts Foundation (MMPAF), for the past seven years has presented music in St. Bartholomew’s Church, a parish of the Episcopal Diocese of New York located in the heart of midtown Manhattan. The magnificent 1918 Romanesque-style church features a portal designed by Stanford White and a grand Byzantine-style interior – and two of New York’s unlikely but outstanding concert spaces: the 150-seat chapel, an intimate and acoustically brilliant space that is perfectly suited for contemporary chamber music, and the majestic 1,000-seat sanctuary – outfitted with comfortable chairs enabling flexible seating – whose Aeolian-Skinner pipe organ is the largest in New York City and one of the finest examples of the American Classic Organ in the U.S.

The 10 events of the 2017-18 season of Great Music at St. Bart’s continue the programmatic focus initiated by MMPAF Artistic Director William K. Trafka (Director of Music and Organist of St. Bart’s): to embrace a wide range of music in programs that shine in St. Bart’s spaces.

Events in St. Bart’s Chapel launch with the season-opening event presented in conjunction with Gotham Early Music Scene and Amherst Early Music’s CityRecorder workshop: a performance by the young recorder phenomenon Martin Bernstein. The maverick new-music ensemble Hotel Elefant performs music by Kaija Saariaho and New York premieres of new works by Hotel Elefant composers Hannis Brown, Patrick Castillo, Jascha Narveson, Leaha Maria Villarreal, and Kirsten Volness. The acclaimed pianist Marilyn Nonken and cellist Stephen Marotto perform Morton Feldman’s 1981 Patterns in a Chromatic Field, one of the composer’s most intricate chamber works. In addition, the Apple Hill String Quartet makes a return to the series, and the Dorian Wind Quintet performs an evening of jazz; music by George Gershwin, Gunther Schuller, and Lalo Schifrin.

The season’s events in the main sanctuary of St. Bart’s include a concert by the St. Bartholomew’s Choir led by William Trafka titled “Portals To the Divine: Radiance from the North,” music by Northern European composers: Latvian Ēriks Ešenvalds, Norwegian Ola Gjeilo, Norwegian Edvard Grieg, Icelandic Jón Leifs, and Swedish Jan Sandström. The third annual silent film screening to live organ accompaniment by St. Bart’s Associate Director of Music and Organist Jason Roberts features three short comedies of Buster Keaton. And the church is the setting for such beloved holiday events as the annual “Joyous Christmas Concert,” “Adoration of the Magi,” and “A Concert to Usher in the New Year.” (The full season schedule follows below.)

All regular tickets to Great Music at St. Bart’s are priced between $15 and $40, with discounted tickets for students and seniors available for all events. Admission to the “A Concert to Usher In the New Year” is free.

Rounding out the St. Bart’s musical offerings is a free component: the ongoing Midtown Concerts, a series of free weekly early music programs that run from September through June.

William K. Trafka has been the Director of Music and Organist of St. Bartholomew’s Church since 1995. Prior to that, he served as St. Bartholomew’s Associate Organist for 10 years. He leads St. Bartholomew’s Choir and St. Bart’s Singers and is the Artistic Director of the Mid-Manhattan performing Arts Foundation, overseeing the programming of Great Music at St. Bart’s. He also programs and conducts St. Bartholomew’s annual Summer Festival of Sacred Music.

At St. Bart’s, he has conducted the premieres of several works including David Conte’s September Sun and Missa Brevis, James MacMillan’s Since it was the day of preparation (New York premiere), and Herbert Howells’ Hymnus Paradisi (New York premiere of the orchestral version) as well as works by Ēriks Ešenvalds and Neely Bruce. As an organist, he has performed on concert series throughout the U.S. and Germany and has also performed with the New York Philharmonic, the American Symphony Orchestra, and the Fairfield Academy of Period Instruments. He has also served on the faculty of Westminster Choir College in Princeton, New Jersey, as Adjunct Professor of Sacred Music.

Great Music at St. Bart’s is produced by the Mid-Manhattan Performing Arts Foundation, an independent 501(c)(3) corporation established to cultivate, promote, sponsor and develop the understanding and love of the performing arts as presented at St. Bartholomew’s Church. The corporation sponsors performances of music, dance, drama, and other performing arts as well as the exhibition of works in the film and fine arts genres.

St. Bartholomew’s Church was founded in January 1835. Its present building, a Byzantine style structure with an iconic dome, designed by Bertram Goodhue and completed in 1918, has had a vital presence in New York for close to a century. St. Bartholomew’s also became a force in the musical life of the city and the wider church: Legendary musicians such as Leopold Stokowski, who went on to a career as one of the world’s great conductors, Harold Friedell and James Litton have served the church as Organist and Choirmaster. For many decades, a world famous weekly series of Evensongs featuring performances of the great oratorios by St. Bartholomew’s Choir was offered free of charge, stressing the parish’s commitment to inclusion by ministering to a wide community. Great Music at St. Bart’s, an outgrowth of these Evensongs, still offers the greater New York City community top shelf concert performances at very reasonable ticket prices. 

GREAT MUSIC AT ST. BART’S 2017-18 SEASON

Saturday, October 21, 2017 at 7:30 pm in the Chapel
A CITYRECORDER GALA CONCERT

The Mid-Manhattan Performing Arts Foundation in conjunction with Gotham Early Music Scene and Amherst Early Music’s CityRecorder workshop present the young recorder phenomenon Martin Bernstein, with Elliott Figg, harpsichord, in a program of 17th century music and poetry in the intimacy of St. Bartholomew’s Chapel. The program will include love songs of Giulio Caccini, shepherd’s laments of Sebastien de Brossard and instrumental works of Nicolas de Grigny and Nicola Matteis.

Martin Bernstein is a student of recorder virtuoso Nina Stern. After graduating from Hunter College High School, he studied at the Royal Conservatoire of The Hague with Reine-Marie Verhagen, where he also worked extensively with Han Tol. He is currently a student at Harvard University.

Tickets: $25 general admission

Friday, November 3, 2017, at 7:30 pm in the Church
JASON ROBERTS ACCOMPANIES THREE SHORT COMEDIES OF BUSTER KEATON

Jason Roberts, St. Bartholomew’s Associate Director of Music and Organist, will provide live, improvised accompaniment on St. Bart’s famous Aeolian-Skinner pipe organ to three short comedies of Buster Keaton. Convict 13 (1920) features Keaton as a golfer who is mistaken for a convict. In The Boat (1921), Buster and his family sail into the Pacific Ocean in a homemade vessel that is barely seaworthy. And in Day Dreams (1922), Buster tries to win the hand of his girl by “making it big” in the city.

Over the past three years, Jason Roberts has improvised the organ accompaniment to St. Bart’s screenings of The Wind starring Lillian Gish and the Buster Keaton classics Steamboat Bill, Jr., and The General.

Tickets: $20 general admission, $10 for students and seniors

Tuesday, December 12, 2017, at 7:30 pm in the Church
A JOYOUS CHRISTMAS CONCERT

St. Bartholomew’s Choir, Boy and Girl Choristers, Chamber Orchestra
Jason Roberts, organist and conductor
William K. Trafka, conductor

A beloved New York holiday tradition, this concert combines the choral forces of St. Bart’s, New York City’s largest pipe organ, and a chamber orchestra for a concert of Christmas favorites. The Christmas portion of Handel’s Messiah, Vaughan Williams’s Fantasia on Christmas Carols and carol settings of Ešenvalds, Chilcott, Willcocks and others are performed in the candlelit splendor of St. Bartholomew’s Church.

Tickets: $100 Angel Club Seating, $40, $25; students and seniors receive a $10 discount

Friday, December 15, 2017, at 7:30 pm in the Chapel
ADORATION OF THE MAGI

Jeff Morrissey, baritone
William K. Trafka, piano

Singer Jeff Morrissey and St. Bart’s Music Director William Trafka present their popular Christmas program inspired by the elegant paintings found in the South Chapel of St. Bartholomew’s. In 1919 Ethel Parsons Paullin and her husband Telford created the beautiful Adoration of the Magi and the 13 medallions surrounding it depicting subjects connected with the Nativity of Christ. This program brings the artwork to life, weaving passages from the Bible with Polish carols and ballads from the Southern Appalachian Mountains as well as works by Nin, Ramirez, Grainger, and Michael Head to present a visual and musical telling of the Christmas story.

Tickets: $25 general admission, $15 for students and seniors

Sunday, December 31, 2017, at 11:00 pm in the Church
A CONCERT TO USHER IN THE NEW YEAR

William K. Trafka, organ

In an annual St. Bart’s tradition, William Trafka, Director of Music and Organist, performs works by Bach, Guilmant, and Mendelssohn on St. Bartholomew’s grand Aeolian-Skinner pipe organ, one of New York’s greatest musical treasures. Trafka’s own transcription of Copland’s Fanfare for the Common Man will be played at the stroke of midnight.

A free champagne reception will follow the concert.

Admission is free

Saturday, February 3, 2018, at 7:30 pm in the Chapel
HOTEL ELEFANT

The contemporary music ensemble Hotel Elefant, lauded by Time Out New York as “megatalented” and “one of New York’s fastest rising new-music outfits,” makes its Great Music at St. Bart’s debut. Their program juxtaposes music by Kaija Saariaho (Nocturne, Oi kuu) with the New York premieres of new works by Hotel Elefant composers Hannis Brown, Patrick Castillo, Jascha Narveson, Leaha Maria Villarreal, and Kirsten Volness.

Named for the scene of a chance meeting in Austria between Strauss, Mahler, Puccini, and Schoenberg in 1906, Hotel Elefant has achieved renown for celebrating the dynamism and diversity of the contemporary music landscape, and has appeared at Carnegie Hall, Lincoln Center, the Guggenheim Museum, and the Bang on a Can Marathon.

Tickets: $25 general admission; $15 students and seniors

Sunday, March 4, 2018, at 2:30 pm
APPLE HILL STRING QUARTET

Since its founding in 2007, the Apple Hill String Quartet – Elise Kruder, Colleen Jennings, violin; Mike Kelley, viola; Rupert Thompson, cello – has earned praise around the world for its concerts presenting interpretive mastery of traditional repertoire as well as for new and commissioned works by outstanding composers. As resident musicians at the Apple Hill Center for Chamber Music, the Quartet is featured in the summer concert series at the Center in Nelson, New Hampshire. Apple Hill’s innovative outreach program “Playing for Peace” focuses on social change and conflict resolution through music.

Tickets: $25 general admission; $15 students and seniors

Tuesday, March 20, 2018, at 7:30 pm
BARTHOLOMEW’S CHOIR
“PORTALS TO THE DIVINE: RADIANCE FROM THE NORTH”

St. Bartholomew’s Choir
William K. Trafka, conductor

Five choral works by Northern European composers offer a testament of faith and a glimpse into a transcendent world: the Requiem of Icelandic composer Jón Leifs (1899-1968), Stars and Only in Sleep of Latvian Eriks Ešenvalds (b. 1977), works by Norwegian Ola Gjeilo (b. 1978) and Swedish Jan Sandström (b. 1964), as well as music of Norwegian Edvard Grieg (1843-1907), all performed in the noble Romanesque architecture of St. Bartholomew’s Church.

This concert has been made possible by a generous gift from Robin Henry.

Tickets: $35 general admission; $25 students and seniors

Tuesday, April 17, 2018, at 7:00 pm
THE DORIAN WIND QUINTET – AN EVENING OF JAZZ

The Dorian Wind Quintet – Gretchen Pusch, flute; Gerard Reuter, oboe; Benjamin Fingland, clarinet; Adrian Morejon, bassoon; Karl Kramer-Johansen, horn – is known worldwide as one of chamber music’s pre-eminent and longest continuously-active ensembles. They have been responsible for 40 commissions of wind music from major composers; their commission of George Perle’s Wind Quintet No. 4 won the Pulitzer Prize for music in 1986.

At St. Bart’s, the quintet will perform a program of jazz works including Gershwin’s Three Preludes, Gunther Schuller’s Blues, Billy Childs’s Fugue in Perpetual Motion, and Lalo Schiffrin’s La Nouvelle Orleans.

Tickets: $25 general admission; $15 students and seniors

Sunday, May 13, 2018, at 3:00 pm
MORTON FELDMAN’S PATTERNS IN A CHROMATIC FIELD

Marilyn Nonken, piano
Stephen Marotto, cello

Patterns in a Chromatic Field is a late work (1981) by Morton Feldman (1926-1987). This 80-minute odyssey offers an opportunity for contemplation, as cello and piano explore different degrees of stasis and patterns of harmony and color. Patterns in a Chromatic Field reflects Feldman’s lifelong fascination with the Abstract Expressionist painters. “My compositions are not really ‘compositions’ at all,” Feldman said. “One might call them time canvasses in which I more or less prime the canvass with an overall hue of music.”

Marilyn Nonken has been recognized as “a determined protector of important music” (New York Times), and “one of the greatest interpreters of new music” (American Record Guide). Since 2006, she has been Director of Piano Studies at NYU’s Steinhardt School, where she is currently Associate Professor of Music.

Boston-based celllist Stephen Marotto, a member of Sound Icon and the Contemporary Sinfonietta, has performed internationally at venues including the Banff Centre, SoundSCAPE (Maccagno, Italy), and the Summer Courses for New Music (Darmstadt, Germany). His wide-ranging musical interests include contemporary chamber music, improvisation, and electronic music, and he has coached with the Arditti and JACK quartets.

Tickets: $25 general admission; $15 students and seniors

Tickets are available through the Box Office at St. Bartholomew’s Church, 325 Park Avenue, New York, NY, and are available by phone, 212-378-0248, and online.

Great Music at St. Bart’s: Fall 2015 Events

“THE ARGENTINIAN-ITALIAN BACH,” DOMENICO ZIPOLI – October 15
JOHN ZORN: THE HERMETIC ORGAN – October 30
JASON ROBERTS, ORGANIST, ACCOMPANIES THE WIND – November 20

The firMMPAF_press_release_iconst three events of the 2015-16 season of Great Music at St. Bart’s, the concert series at St. Bartholomew’s Church produced by the Mid-Manhattan Performing Arts Foundation (MMPAF), include a program focusing on the music of the “Argentinian-Italian Bach,” Domenico Zipoli, and J.S. Bach himself; and two events showcasing the magnificent St. Bart’s organ, the largest pipe organ in New York City: a performance by John Zorn of his own epic work The Hermetic Organ; and a silent film classic starring Lillian Gish, The Wind, screened to the accompaniment of live organ improvisation.

Tickets may be purchased online at www.mmpaf.org, by phone by calling 212-378-0248, or in person at St. Bart’s in Midtown Manhattan, 325 Park Avenue at 51st Street.

Thursday, October15, 2015, at 7:30 pm, in the Church
“THE ARGENTINIAN-ITALIAN BACH,” DOMENICO ZIPOLI

Part of the New York Early Music 2015 Celebration “El Nuevo Mundo”
Julianne Baird and Sarah Moulton Faux, sopranos
Nicholas Tamagna, countertenor
Pablo Bustos, tenor
John-Arthur Miller, baritone
Crescendo Chorus & Youth Singers
Crescendo Period & Andean Instrument Orchestra
Directed by Christine Gevert

Famed early music artist Julianne Baird and rising young singers Sarah Moulton Faux, soprano; Nicholas Tamagna, countertenor; Pablo Bustos, tenor; and John-Arthur Miller, baritone, join Crescendo, the New England-based vocal and instrumental ensemble directed by Christine Gevert, for a program featuring the music of Baroque composer Domenico Zipoli (the Italian-born Jesuit musician and missionary who lived and worked in Paraguay and Argentina) alongside two cantatas of J.S. Bach. “Zipoli’s music is comparable in style and quality to his contemporary Antonio Vivaldi – full of contrasting and dramatic elements,” says Gevert. “In our performance we will combine European Baroque instruments with native Andean ones, such as quenas [flutes] and charango [lute], to create the unique sound of the Latin American Baroque,” as well as combining adult and youth voices in the chorus.

“All pieces, except the Tantum Ergo, were written for soprano, alto, and tenor voices only, as there practically weren’t any low voices among the indigenous people in Latin America (and still today we have many more tenors than basses among Latin American singers),” says Gevert. “My arrangement carefully includes the choral bass voice into the choral texture – sometimes in a quite high range for their voices, to preserve the character of Zipoli’s writing and the sound quality of what must have been heard back then in the missions.”

Domenico Zipoli was a successful organist and composer in Rome before his departure to Argentina in 1717. Zipoli became the most famous Baroque composer in South America – his works were performed all over the continent and his reputation spread from there to Europe. The music he wrote in South America was lost for more than 200 years, surfacing in the late 1970s – this program presents some of these works, including parts of Misa San Ignacio and Vespers San Ignacio. The program also features two sacred cantatas by Johann Sebastian Bach. His choral cantata Nach Dir, Herr, verlanget mich (For Thee, O Lord, I long), BWV 150, is an early one, and the abundance of short contrasting choral movements makes it similar to Zipoli’s works. The soprano solo cantata Alles mit Gott und nichts ohn’ ihn (Everything with God and nothing without him), BWV 1127, was lost for almost 300 years, only re-discovered in 2005.

Crescendo received the Alfred Nash Patterson Award given by Choral Arts New England for this program, presented in New England in November of 2014. Crescendo’s repertoire focuses mainly on music from the Renaissance and Baroque periods, but encompasses all musical eras. Chorus America’s 2014 Alice Parker/ASCAP award winner for innovative programming, Crescendo is led by Artistic Director and conductor Christine Gevert, whose exploration of her Latin American heritage has led to concerts of rarely heard Colonial Latin American music, as well as contemporary works by Latin American composers.

http://worldclassmusic.org/crescendo/

WATCH: Crescendo performs the Credo from Zipoli’s Misa San Ignacio on YouTube.

D. ZIPOLI
Misa San Ignacio (excerpts)
Vespers San Ignacio (excerpts)
Tantum Ergo

J.S. BACH
Nacht Dir, Herr, verlanget mich, BWV 150
Alles mit Gott und nichts ohn’ ihn, BWV 1127

Tickets: $40 Preferred Seating; $30 General Seating; $10 for Students

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Friday, October 30, 2015, at 11:59 pm, in the Church
JOHN ZORN: THE HERMETIC ORGAN

Presented in tandem with National Sawdust’s John Zorn Festival
John Zorn, organ

Modern music icon John Zorn performs his epic solo organ improvisation The Hermetic Organ on the largest pipe organ in New York City, the magnificent Aeolian-Skinner at St. Bart’s. Zorn released a recording of the 2012 performance in St. Paul’s Chapel at Columbia University, which Lou Reed praised as one of “culmination and conquest,” on his own Tzadik Records.

From that album’s notes: “Although organ was Zorn’s first instrument (he often credits Lon Chaney in the silent classic Phantom of the Opera as a primal influence), in 2011 Zorn surprised even his hardcore fans by initiating a new series of solo organ concerts in churches around the world. Premiering at the historic Christ Church in Philadelphia, the word on these concerts spread like wildfire and further events were set up in Belgium, France and of course in New York. … the music is breathtakingly beautiful, and distinguished by a spiritual mood that only a huge pipe organ can create. A perfect outlet for Zorn’s dramatic sense of color and contrast, we hear the composer’s mind at work in all its bizarre permutations – huge blocks of sound, chords, clusters, counterpoint, drones, ostinatos, lyrical melodies and more – often all at the same time!” www.tzadik.com

“The one word virtually everyone can agree on in any discussion of the work of composer John Zorn is ‘prolific,’ in the strictest sense of the definition,” says Thom Jurek in allmusic.com. “Though he didn’t begin making records until 1980, the recordings under his own name number well over 100, and the sheer number of works he has performed on, composed, or produced easily doubles that number. Though now an internationally renowned musician and the founder and owner of the wildly successful and equally prolific Tzadik imprint, Zorn is a cornerstone of New York’s fabled and influential downtown scene. In addition, he has played with musicians of every stripe. He is … a quintessential mirror of 21st century culture.”

WATCH: John Zorn’s talks about his approach to The Hermetic Organ on YouTube.
WATCH: A video about the St. Bart’s organ on Vimeo.

Tickets: $35, $25, $15 for Students and Seniors

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Friday, November 20, 2015, at 7:30 pm, in the Church
JASON ROBERTS ACCOMPANIES THE WIND

Jason Roberts, organ

St. Bart’s Associate Director of Music and Organist Jason Roberts improvises organ accompaniment to one of the last great silent films, the romantic drama The Wind. This 1928 cinematic masterpiece by director Victor Sjöström stars the great Lillian Gish, who was an active member of St. Bart’s and who is interred in the church’s memorial chapel.

The Wind was the last silent film headlined by Lillian Gish, one of the silent screen’s greatest stars. Based on a novel by Dorothy Scarborough, it tells the story of a young Virginia woman who moves west to Texas and is almost driven mad by physical hardship, spiritual repression, and a howling wind.

Last season, Jason Roberts improvised the organ accompaniment for Steamboat Bill, Jr., at St. Bart’s. A sought-after recitalist, Jason was chosen to play at last summer’s Regional Convention of the American Guild of Organists in Hartford, CT. An avid improviser, he won first prize at the AGO National Competition in Organ Improvisation in 2008, and was a finalist in improvisation at the St. Alban’s International Organ Competition in 2011.

WATCH: A video about the St. Bart’s organ on Vimeo.

Tickets: $20, $10 for Students and Seniors

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Tickets may be purchased online at www.mmpaf.org, by phone by calling 212-378-0248, or in person at St. Bart’s in Midtown Manhattan, 325 Park Avenue at 51st Street. Great Music at St. Bart’s is produced by the Mid-Manhattan Performing Arts Foundation, an independent 501(c)(3) corporation established to cultivate, promote, sponsor and develop the understanding and love of the performing arts as presented at St. Bartholomew’s Church, a treasured masterpiece of architecture on the east side of Manhattan’s midtown. The corporation sponsors performances of music, dance, drama, and other performing arts as well as the exhibition of works in the film and fine arts genres.

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