The orchestra now presents NEW VOICES FROM THE 1930s at Carnegie and a free concert at Symphony Space


The Orchestra Now performs the final concert of its season at Carnegie Hall on Thursday, May 12 at 7 p.m., performing rarely heard masterpieces from the late 1930s. Bard College Conservatory of Music, in Dismal Swamp, William Grant Still’s 1935 portrayal of slaves fleeing to freedom across the bluegrass landscape of Kentucky; and Swiss soloist and Bard Conservatory faculty member Gilles Vonsattel, described as an “extremely talented pianist” and “quietly powerful pianist” (The New York Times) in Carlos Chávez’s dazzling Piano Concerto. The evening also features Symphonic Variations by Witold Lutosławski and Symphony No. 1 by Karl Amadeus Hartmann with mezzo-soprano Deborah Nansteel, who appears courtesy of the Metropolitan Opera, performing the role of Alisa in Lucia di Lammermoor at the opera this season.

This program will also be presented at the Fisher Center in Bard on May 7 and 8 and broadcast live for free on both dates. RSVP on the event pages to receive a direct link to the livestream on the day of the concert.

TŌN’s next performance in New York will be a FREE concert of works by Hungarian composers Franz Liszt, Béla Bartók, Emmerich Kálmán and Zoltán Kodály at the Peter Norton Symphony Space on May 22. The program will be conducted by TŌN Resident Conductor Zachary Schwartzman, also Deputy Conductor of the American Symphony Orchestra, formerly Music Director of the Blue Hill Troupe and Deputy Conductor of the Deutsche Oper Berlin and Glimmerglass Opera.

New Voices of the 1930s

Thursday, May 12, 2022 at 7:00 PM
Carnegie Hall (Stern Auditorium/Perelman Stage)
Léon Botstein, conductor
Gilles Vonsattel, piano
Deborah Nansteel, mezzo-soprano
Frank Corliss, piano
William Grant Still: Dismal Swamp
Carlos Chávez: Piano Concerto
Witold Lutosławski: Symphonic Variations
Karl Amadeus Hartmann: Symphony No. 1, Essay for a Requiem

The show will feature William Grant Still’s moving portrait of captive peoples in search of freedom, with pianist Frank Corliss; and Karl Amadeus Hartmann’s commentary on conditions under the Nazi regime, with Metropolitan Opera mezzo-soprano Deborah Nansteel. The program also includes pianist Gilles Vonsattel performing the virtuoso piano concerto by musical director and composer of the Mexican Symphony Orchestra Carlos Chávez, described as an “imaginative score” and praised for its “elemental force” and “the originality of its coloring orchestral” by the New York Times when it premiered in 1941. Polish progressive music composer Witold Lutosławski’s audacious Symphonic Variations were written while he was still a student at the University of Warsaw. His first substantial orchestral work, the Variations contains many folk themes.

Tickets priced at $25 to $60 are available online at, by calling CarnegieCharge at 212.247.7800, or at the Carnegie Hall Box Office at 57th & Seventh Avenue. Ticket holders will need to comply with the venue’s health and safety requirements, which can be found here.

Liszt & Bartok

Sunday May 22, 2022 at 4:00 PM
Peter Norton Symphony Space
Zachary Schwartzman, conductor
Emmerich Kálmán: Gräfin Mariza Overture
Franz Liszt: The Preludes
Zoltán Kodály: Dances of Galanta
Béla Bartok: Concerto for orchestra

The Orchestra returns to Symphony Space with a free concert featuring the works of four Hungarian composers. The show opens with the overture to Emmerich Kálmán’s 1924 three-act operetta about the tangled love affair of two couples, Gräfin Mariza (Countess Mariza). Next comes the best-known program of Liszt’s 13 symphonic poems, The Preludes, followed by Kodály’s Dances of Galánta, written to celebrate the 80th anniversary of the Budapest Philharmonic Orchestra in 1933, and full of themes representing folksongs and the heritage of Hungary. . The afternoon ends with Bartók’s Concerto for Orchestra, the composer’s last and most popular orchestral work, commissioned by conductor Serge Koussevitzky in 1943.

Tickets for this concert are FREE, RSVP in advance suggested at Spectators will need to comply with venue health and safety requirements, which can be found here.


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