ORPHEUS CELEBRATES ITS 40TH SEASON WITH TRAILBLAZING COLLABORATIONS AND FRESH TAKES ON MASTERWORKS

Guest artists Sasha Cooke, Nathan Gunn, Anne Akiko Meyers, the Wayne Shorter Quartet, Richard Goode, and Gabriel Kahane join Orpheus at Carnegie Hall and on U.S. tours.

Orpheus also tours Japan with violinist Ryu Goto and Europe with pianist Brad Mehldau.

The diverse programs feature major premieres from Augusta Read Thomas, Wayne Shorter and Gabriel Kahane, plus the Orpheus debut of Beethoven’s Symphony No. 5 and signature works by Mozart, Rossini, Ives, and Prokofiev.

Thursday, October 11, 2012 – Carnegie Hall
Sasha Cooke, Mezzo-Soprano, and Nathan Gunn, Baritone
ROSSINI Overture to L’Italiana in Algeri
AUGUSTA READ THOMAS Earth Echoes (World Premiere)
BEETHOVEN Symphony No. 5 in C Minor

Saturday, December 1, 2012 – Carnegie Hall
Anne Akiko Meyers, Violin
PROKOFIEV Symphony No. 1, Classical
BARBER Violin Concerto
MOZART Symphony No. 41, Jupiter

Friday, February 1, 2013 – Carnegie Hall
Wayne Shorter Quartet
BEETHOVEN Overture to Creatures of Prometheus
IVES Symphony No. 3, The Camp Meeting
WAYNE SHORTER Music for the Jazz Ensemble and Chamber Orchestra (World Premiere)

Saturday, March 23, 2013 – Carnegie Hall
Richard Goode, Piano
COPLAND Short Symphony
SCHUMANN Piano Concerto in A Minor
MENDELSSOHN Symphony No. 4, Italian

Saturday, April 27, 2013 – Carnegie Hall
Gabriel Kahane, Piano
WOLF Italian Serenade
SCHOENBERG Transfigured Night
KAHANE New Song Cycle (World Premiere)

In 1972, a group of like-minded musicians founded the Orpheus Chamber Orchestra as a democratically organized ensemble aspiring to perform orchestral repertoire with the spirit of chamber music. Forty years later, their vision continues to expand through groundbreaking partnerships and probing interpretations of classics. Highlights of Orpheus’ 2012-13 season include favorites by Beethoven, Rossini, Mozart, Schumann, and Mendelssohn, more recent works by Barber, Ives, Schoenberg, and Wolf, significant commissions from Augusta Read Thomas and Gabriel Kahane, and an adventurous collaboration with the Wayne Shorter Quartet.

Of Orpheus’ landmark 40th season, Artistic Director Ronnie Bauch writes, “Musical invention comes in many varied and distinct genres, styles, and systems. Like a universal translator, great ensemble playing has the ability to cut across all musical forms and languages. The techniques of perpetual listening, constant learning, and integrated dialogue that are so fundamental to classical chamber music and the Orpheus Process are also common threads in the worlds of jazz, tango, world music, indie rock, and others. Orpheus will collaborate with the giants of these musical worlds—not only great instrumentalists and composers, but each one an extraordinary ensemble player—to form new artistic bonds, explore new intersections, and create new works of musical convergence.”

This summer, Orpheus embarks on a tour of Japan with the ascendant violinist Ryu Goto. Goto and Orpheus, who collaborated at the orchestra’s annual gala event in 2011 and on a previous tour of Asia, will bring Rossini, Mendelssohn, and Beethoven to Tokyo’s Suntory Hall and Osaka Symphony Hall among other Japanese cities.

The orchestra begins its Carnegie Hall season on October 11, 2012, with a much-anticipated premiere by Augusta Read Thomas, featuring mezzo-soprano Sasha Cooke and baritone Nathan Gunn. Earth Echoes, commissioned by Orpheus, is Thomas’ homage to Gustav Mahler. The orchestra sets the mood for this dramatic evening with Rossini’s Overture to L’Italiana in Algeri, and concludes the program with Beethoven’s 5th Symphony in its Orpheus debut.

 
In November 2012, Orpheus tours Germany with pianist and composer Brad Mehldau, performing a work the orchestra commissioned. This collaboration with one of the foremost jazz artists of our era with performances at the Vienna Musikverein and Berlin’s Philharmonie, among others, confirms Orpheus’ commitment to sharing the stage with sensitive chamber musicians of all disciplines.

On December 1, 2012, Orpheus welcomes violinist Anne Akiko Meyers to perform Barber’s lyrical Violin Concerto. The program also features Mozart’s Symphony No. 41 and Prokofiev’s “Classical” Symphony, selections that highlight the confluence of classical and neoclassical strains in Orpheus’ repertoire.

On February 1, 2013, the Wayne Shorter Quartet joins Orpheus to debut a new work by Shorter, the legendary jazz saxophonist and composer. The program also includes Beethoven’s Overture to Creatures of Prometheus and Ives’ Symphony No. 3, The Camp Meeting.

On March 23, 2013, Orpheus celebrates its long-standing relationship with pianist Richard Goode. Their 1998 recording, featuring Mozart’s Piano Concertos Nos. 23 and 24, was nominated for a Grammy Award; this season, Goode performs Schumann’s Piano Concerto in A Minor. Two other effervescent works complete the program: Copland’s Short Symphony and Mendelssohn’s “Italian” Symphony.

On April 27, 2013, Orpheus caps the two-year residency by composer/performer Gabriel Kahane with the premiere of a genre-bending new work. Kahane has led the orchestra to Galapagos in Brooklyn, worked on educational initiatives in New York City, offered his musical insights in program notes and blog posts, and helped to expose Orpheus to a wider audience. This Carnegie Hall performance showcases a new work inspired by the Works Progress Administration (WPA). Wolf’s Italian Serenade for Viola and Orchestra and Schoenberg’s Transfigured Night round out this season’s final event.

The October 11, 2012, December 1, 2012, March 23, 2013, and April 27, 2013 concerts will be broadcast live on WQXR-New York Public Radio.

As a self-governing organization, Orpheus Chamber Orchestra performs without a conductor and rotates musical leadership roles for each work. Striving to empower its musicians by integrating them into virtually every facet of the organization, Orpheus is changing the way the world thinks about musicians, conductors, and orchestras. The effect is extraordinary: The New York Times raves, “Orpheus, whose string players perform with the physical verve of members of a string quartet, produced a convincingly full-blooded sound.”

The Residency of Gabriel Kahane is made possible through Music Alive, a residency program of the League of American Orchestras and New Music USA. This national program is designed to provide orchestras with resources and tools to support their presentation of new music to the public and build support for new music within their institutions. Funding for Music Alive is provided by The Andrew W. Mellon Foundation, The Aaron Copland Fund for Music, and The ASCAP Foundation.

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For more information about Orpheus Chamber Orchestra, please contact:
Amanda Ameer
First Chair Promotion
amanda@firstchairpromo.com
212.368.5949

Orpheus to Perform with Pianist Jean-Yves Thibaudet at Carnegie Hall, Saturday, February 11 at 7 p.m.

On Saturday, February 11, 2012, Orpheus Chamber Orchestra presents an evening of discovery featuring longtime friend and devoted musical partner, French pianist Jean-Yves Thibaudet in Shostakovich’s celebrated Concerto No. 1 for Piano, Trumpet & Strings at Carnegie Hall. Thibaudet chose to learn this eclectic piece specifically for his engagement with Orpheus and is among a league of top soloists who seek to partner with the orchestra’s exceptionally collaborative musicians. The program also includes Tippett’s Divertimento on “Sellinger’s Round”, Pastorale d’été by Honegger, and Tchaikovsky’s beloved Serenade for Strings. Tickets range from $29 – $110, with student and senior tickets available for just $10 with valid ID.

Orpheus member cellist and Artistic Director Jonathan Spitz speaks for the orchestra when he writes, “Collaboration is at the heart of playing in Orpheus, and Jean-Yves Thibaudet is a fantastic partner, not just because of the brilliance and depth of his musicianship, but also because of the ease with which he works with us in forging an interpretation.” Spitz elaborates on the evening: “The Tippett, Honegger, and especially the Tchaikovsky have all been staples of the Orpheus repertoire, while we haven’t played the Shostakovich since the early nineties. This program balances the Russian passion and pathos of Tchaikovsky and Shostakovich with tuneful, charming and piquant music of Tippett and Honegger.”

“In the Shostakovich Piano Concerto No. 1,” writes trumpet soloist Louis Hanzlik, “I imagine the trumpet voice not as a pure solo voice, but as a humorous, perhaps even sarcastic, commentator on the work. Shostakovich provides opportunity for pure brashness in this score, even rudeness in the trumpet’s loud and percussive interjections or comments in the piece. But there is also plenty of room for expressing the trumpet’s gentler nature in this concerto, and I fully appreciate the opportunity to take those lyrical phrases in such a direction. The work is a true joy to perform!”

Following the success of its debut performance in November, Orpheus returns to Galapagos Art Space in DUMBO, Brooklyn on March 18, 2012 with a program co-curated by Composer-in-Residence Gabriel Kahane exploring the Americana theme in music. Members of Orpheus will perform selections from John Adams’s John’s Book of Alleged Dances and Copland’s Appalachian Spring Suite alongside performances by special guest Chris Thile, an acclaimed mandolin virtuoso, who will also be joining Orpheus on March 24, 2012 at Carnegie Hall. The Galapagos initiative—only one component of Kahane’s two-year-long residency—seeks to feature undiluted Orpheus musicality in a more informal setting, making the orchestra available to a wider audience. Tickets are $20 for general admission and $35 for reserved “island” seating.

A self-governing organization, Orpheus Chamber Orchestra was founded in 1972 by a group of fellow musicians who aspired to perform diverse orchestral repertoire using chamber music ensemble techniques. Today, Orpheus continues to uphold this philosophy, performing without a conductor and rotating musical leadership roles for each work. Striving to empower its musicians by integrating them into virtually every facet of the organization, Orpheus is changing the way the world thinks about musicians, conductors, and orchestras. The organization WorldBlu has named them one of the most democratic workplaces in America for five straight years. The musical results of this method are extraordinary: The Chicago Tribune gushes, “Orpheus Chamber Orchestra shattered the mold, becoming in the process one of the more memorable events in this festival’s 13-year history.” And The New York Times raves, “Orpheus, whose string players perform with the physical verve of members of a string quartet, produced a convincingly full-blooded sound.” The Los Angeles Times agrees: “A virtuosic whole…they’re fast. They’re together. They’re aggressive. They can be electrifying.”

Called “one of the best pianists of our time” (New York Sun), Jean-Yves Thibaudet has the rare ability to combine musical sensibilities with dazzling technical prowess.  His talent at coaxing subtle and surprising colors and textures from even old favorites has led the New York Times to exclaim, “every note he fashions is a pearl…the joy, brilliance and musicality of his performance could not be missed.” After more than 30 years of performing around the world and producing over 40 albums, Thibaudet’s depth, style, and natural charisma have made him one of the most sought-after soloists by today’s foremost orchestras, conductors and festivals.

Thibaudet is currently also an in-demand soloist for film scores, having been featured on the Oscar- and Golden Globe-award winning scores of Atonement as well as the Oscar-nominated Pride and Prejudice. This winter, Thibaudet can be heard on the score for Extremely Loud and Incredibly Close, a film directed by Stephen Daldry whose previous work includes such acclaimed films as The Hours, The Reader, and Billy Elliot. In order to create a seamless artistic unity, the powerful images of the film had to be perfectly in sync with the emotions of the music. Thibaudet spent four days working closely with Daldry, composer Alexandre Desplat, and the production crew. “I loved working with Alexandre Desplat,” Thibaudet says. “He’s so much in control of everything: he knows exactly what he wants, which is both helpful and inspiring.” Thibaudet’s time in the studio involved painstakingly watching scenes from the movie in order to produce just the right musical atmosphere. The movie and score were both made here in New York City, and a full account of the recording process was recently chronicled in the Los Angeles Times. Click here to read the piece. Extremely Loud and Incredibly Close opened on December 25, 2011 in New York and Los Angeles, with nationwide release on January 20, 2012.

Louis Hanzlik has established himself as an accomplished chamber musician, orchestral player, and educator. He has been a member of the Atlantic Brass Quintet since 2002, and was recently appointed a member of the Orpheus Chamber Orchestra. Hanzlik also performs with the Orchestra of St. Luke’s and the Chamber Music Society of Lincoln Center and serves as co-principal trumpet with the Riverside Symphony. In addition, Hanzlik serves as Assistant Professor of Trumpet at the University of Connecticut and maintains an international teaching presence with the Atlantic Brass Quintet’s International Brass Quintet Seminars. The seminars, for brass students and professionals, are designed to foster musicality, ensemble skills, and democratic collaboration. Originally from Iowa, Hanzlik is a graduate of the University of Iowa and the Juilliard School.

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For additional information or to request press tickets to the February 11 concert, please contact:

Amanda Ameer
First Chair Promotion
phone: 212.368.5949
e-mail: amanda@firstchairpromo.com

My son Jonnie and I, along with oboists Matt Dine and James Austin Smith, parted from the group temporarily and took the high-speed train from Frankfurt to Düsseldorf on Sunday the 11th.  It was a fabulous ride!  We hit a top speed of about 279 km/hour (about 173 mph) and were in Düsseldorf in about half the time it took the Orpheus bus.  (I admit this was all James’ idea!)

We were excited to be back in the Düsseldorf Tonhalle, home to Orpheus concerts many times before.  The hall’s excellent acoustics and awe-inspiring architecture make for a memorable and satisfying performance experience.  The Hindemith personnel completely owned the Kammermusik No. 1 by now (this was the group’s 7th performance, including Galapagos, Easton, and Carnegie Hall before the Euro-tour), and Albrecht Mayer was in top form.  Our audience responded nicely to Andrew Norman’s piece, and Haydn 103 came off very well indeed, due in no small part to Maya Gunji’s newfangled improvisation of the famous opening drumroll.  This was her second time going to town on that opening—the first was in Frankfurt and nearly gave me a heart attack: I literally thought I had come onstage for the wrong piece.  But the shocker somehow jarred the orchestra into two particularly stirring and fun performances.

We again gave Rossini’s “Italian in Algiers” Overture as an encore, and this time accordionist Bill Schimmel was joined by none other than Albrecht, who sat himself down in the second violin section to play with us!

And so ended a successful little tour!  We owe a huge debt of gratitude to Ryun Schienbein and Vienne Chen, who managed the tour perfectly—it’s safe to say that a good time, along with quite a bit of bratwurst and good German beer, was had by all.

Pierre Boulez was in the audience at Baden-Baden. We heard he enjoyed our concert immensely!

Our 2011 EuroTour began in John F. Kennedy airport with a slightly-delayed Lufthansa flight to Munich.  We flew in an Airbus A380, which apparently is the largest aircraft in the world—a flying behemoth, but smooth!

Unfortunately, we had a major delay in Munich with our flight to Cologne.  We were herded to a Lufthansa service center (baaaaaaaa!) and then shepherded to a new gate (baaaaaaa!!), where we hung out in a sleep-deprived stupor, many Orpheans spread out on the floor and waiting area seats, snoring away.

It’s been fun to be back in Cologne again—last time was in February 2009, with Jonathan Biss.  There’s an incredible, famous “Weinachtsmarkt” (Christmas Festival Market), which was storybook-like. I told my touring partners Cynde, Olivia, Melissa, Susan, and son Jonathan, that I felt like I was in Harry Potter’s Diagon Alley.  Freshly-made licorice, the best wurst, pommes frites, and gorgeously presented arts and crafts items— a shopper’s paradise.  But no magic wands…

Orpheus Bassist Jordan Frazier at the Christmas Festival Market (c) Matt Dine

Bill Schimmel - accordionist extraordinaire (c) Matt Dine

Today, Thursday, we headed to the Chocolate Museum, run by Lindt’s, spectacularly situated on a little island in the Rhein river.  Looking for excellent marketing ideas, anyone? Check out their gift shop!  You cannot escape it without dropping 40 Euros on a huge variety of chocolate things in all shapes, sizes and flavors.  They know how to present their wares and make a sale.  Highlight of the shop: a completely chocolate—and edible—cellphone.

Composer Insight—Andrew Norman

There is always risk in live music. We listen to our favorite pieces live not just because we want to hear the tunes we love again, but because those tunes we love come out different every time, and in that silent moment before the music begins we really have no idea what is going to happen. This is, for me, a big part of what makes live performance so powerful. And it was also my first thought in the long process of writing a piece for Orpheus Chamber Orchestra.

The piece I ended up writing for Orpheus will never sound the same way twice; I ask the players to make decisions on stage that change the shape and pacing and texture of the experience. At times they deliberately break apart from each other, playing in their own sense of time. At times they layer up in chance textures like the splatters on a Jackson Pollack canvas, and at a few key moments they come together and play with the unanimity of purpose and expression we associate with the best communal music making.

The members of Orpheus have spent the last 40 years interacting in the most vital and intimate ways musicians can. Without a conductor to dictate an artistic vision, they decide on one democratically. They are remarkably sensitive to each other—both in rehearsal and on stage. To honor that legacy, I wanted to explore—and to push the boundaries of—how classical musicians communicate and make music together.

I also wanted to honor Orpheus’ spirit of sonic adventure, so I wrote a piece that uses some of the strange, noise-based sounds that acoustic instruments can make. As a violist myself, I love these scratchy, quasi-electronic sounds; not only are they fun to play, but they also provide a context in which the more familiar, more traditionally “beautiful” sounds of the orchestra can sound fresh and expressively significant once again.

Finding new and personal ways to get an orchestra to speak is largely what my work is about. And speaking, if only for a few minutes, with you through the musicians of Orpheus in this storied concert hall is a privilege that makes months of solitary work worthwhile. I hope that my piece speaks honestly, and that it provides an experience—emotional, transient, and a little risky—that we can all share together.

This piece is dedicated to my parents, Jeff and Kathie Norman, who, like Orpheus Chamber Orchestra, are celebrating 40 years of togetherness.

Orpheus Insight—Gabriel Kahane
Music Alive Composer-in-Residence

Broadly speaking, composers these days tend to fall into two categories. First, there are those trained in the academy who bring to their music a rigorous understanding of extended techniques borne of the avant-garde (e.g., playing with the bow of the violin upside down or strumming the inside of the piano instead of playing the keys), and with such techniques create sometimes arresting sonic landscapes. Second, there are those whose music grows more slowly out of the tradition of the last several centuries, still focused on harmony, counterpoint, and melody, while (in the best instances) pushing those elements into the new century.

What I find so rare and appealing about Andrew’s music is that its fits neatly into neither camp. He is an absolute master of the orchestra, and meticulous in the level of detail which he prescribes in his scores. This is often necessary, as he asks for techniques of the string players that he’s often invented. To look at an orchestral score of Andrew’s is to gaze upon little aphoristic love notes to the players scattered throughout the pages, instructing them both with purely technical remarks as well as those that verge on the irreverent and lyrical—e.g., before a gripping new piano sonority, the expressive marking: “finally getting it right.”

And yet in tandem with Andrew’s quest to push the facility of his interpreters to new realms is his gloriously astute ear, keeping the music grounded at every step. Andrew’s sense of harmony springs as much from Schubert as it does from Xenakis, giving his music a firm foundation in tradition, albeit one that is seldom palpable to the listener on first contact. It is as if Mr. Norman is straddling two centuries—not the 20th and 21st, but perhaps the 19th and 22nd. Emotional and sonic worlds collide, producing an exotic sound world that will no doubt this evening offer up musical and spiritual sustenance for us all.

On December 6, Orpheus will embark on a weeklong tour of Germany with Albrecht Mayer, making stops in Baden-Baden, Frankfurt, Cologne, and Düsseldorf. As a German native—and principal oboist of the Berlin Philharmonic—it’s territory that Albrecht Mayer knows well. Yet this will be a different kind of homecoming for the oboe superstar: a concerto performance with Orpheus, which he affectionately called “truly the best chamber orchestra in the world” during his debut performance two years ago at Carnegie Hall.

On the upcoming tour, which follows our December 3 Carnegie Hall performance, Orpheus will perform some of the works heard that evening. In lieu of Bach’s Concerto for Oboe d’amore in A major, the group will bring Richard Strauss’ decadent and virtuosic Oboe Concerto, which some of you may recall from Mr. Mayer’s last appearance.

Orpheus has enjoyed a long history with German audiences. The orchestra was last in Germany as part of a European tour in February 2009, with pianist Jonathan Biss. Orpheus’ early popularity in Germany—as demonstrated by several multi-city tours and a 15-year contract with Deutsche Grammophon—launched the orchestra’s career on a global platform that continues to this day. “We relish the chance to perform Germanic repertoire for German audiences,” says artistic director and cellist Jonathan Spitz. “Generation after generation, they have grown up with these composers, and whether they love or hate the performance, they’ll make it clear. Fortunately we’ve been warmly received over the years!”

Touring is not only an opportunity to perform in fantastic German concert halls, but also a chance to experience the local culture and hospitality. “After a concert, the Köln Philharmonie hosts a tremendous party for the orchestra featuring the unique local beer of which they are justifiably proud. It is a great tradition we look forward to revisiting,” says Mr. Spitz.

Join us as we say bon voyage to the orchestra! Share your take on must-see sights, and hear from the musicians on tour here at blog.orpheusnyc.org.

“The world’s leading oboist…makes a feloniously rich sound.”
-‘The Guardian’ on Albrecht Mayer’s Voices of Bach

“The piece, for eight violins, is pulsing with adrenalin and rich in vigorous bowing effects and antiphonal give-and-take between the players on the left and right sides of the ensemble.”
-Allan Kozinn of the ‘The New York Times’ on Andrew Norman’s “Gran Turismo”

Where are the Arms

Win a copy of Kahane’s new album Where Are the Arms, acclaimed by The New York Times for its “emotional intelligence along with its extravagant poise.” Email us at marketing@orpheusnyc.org with an answer to the following question:

Gabriel Kahane’s grandmother emigrated from Magdeburg, Germany to which US city? This city also happens to be where Orinoco Sketches received its world premiere.  Click here for samples from the album.

Sunday is right around the corner. Tickets start at just $20, and seating is limited—click here, or call 718.222.8500, to buy today!

Paul Hindemith

In 1939, my paternal grandmother, Hannelore Schaefer, emigrated from Magdeburg, Germany to the United States—Los Angeles by way of New Orleans, by way of Havana, by way of Hamburg. A year later, the German composer Paul Hindemith, too, emigrated to the United States, taking up a teaching post at Yale, where he would remain for the next dozen years. The decision to pair Hindemith’s jaunty Kammermusik No. 1 with my own Orinoco Sketches, whose text was adapted from and inspired by my grandmother’s diaries from the time of her emigration, grew out of three parallels between the two works. First, there is the similarity in instrumentation—Hindemith wrote for 12 solo instrumentalists while Orinoco calls for 16. Second, there is the rigorous engagement of the vernacular—Hindemith’s was one of the first German works to take on the influence of American jazz, while Orinoco engages in a dialogue with American song traditions. Finally, there is the émigré connection—both Hindemith and my grandmother became American citizens as they sought refuge from Nazi Germany. In the Kammermusik No. 1, composed in 1922, there might be said to be a premonition of the country that Hindemith would adopt some two decades later (though his compositional language would become drily academic and nowhere near as playful as it is in the work heard on this program), while Orinoco is written from the perspective of a second-generation American looking backward at the journey that made the composer’s life (mine!) possible.

Where are the Arms

The second half of the Galapagos program is devoted to more explicitly vernacular music—songs from the album Where are the Arms, which I released in September of this year. While there was undeniably some self-interest on my part in programming these songs (who wouldn’t want to play them with glorious Orpheus for a band!), there is something else at work in this decision. The world of concert music is enjoying a renaissance of the composer as performer, and it seemed wise to reinforce this fact as I begin my residency with Orpheus. Composers like Thomas Adès, Timo Andres, and Chris Thile—whose mandolin concerto is heard later this season in a New York premiere with Orpheus and the composer as soloist—harken back to a time when it was axiomatic that the composer was meant to be an active spokesperson for his own work, and not simply to sit in a darkened concert hall awaiting acknowledgement at the end of a performance.

By inviting more composers to perform alongside the ensemble, Orpheus deepens its commitment to collaboration and furthers a practice which I believe benefits greatly both audience and orchestra.

-Gabriel Kahane

The residency of Gabriel Kahane is made possible through Music Alive, a residency program of the League of American Orchestras and Meet The Composer. This national program is designed to provide orchestras with resources and tools to support their presentation of new music to the public and build support for new music within their institutions. Funding for Music Alive is provided by The Andrew W. Mellon Foundation, The Aaron Copland Fund for Music, and The ASCAP Foundation.

Click here for tickets and concert information.

Click here for more information about Gabriel Kahane.

New this season, Orpheus teams up with Music Alive Composer-in-Residence Gabriel Kahane for two concerts at Galapagos Art Space in DUMBO, Brooklyn. Kahane joins Orpheus as composer, curator, and performer—fusing chamber music, art song, and indie rock into a musical language all his own.

Click here for more information and tickets.

Click here for more information about Gabriel Kahane.