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Chamber Music Redefined
This page: Vaudeville Act (detail), 1934 and 1937, by Max Beckmann. Oil on canvas. Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967 (67.187.51) © 2016 Artists Rights Society (ARS), New York Opposite page: PUBLIQuartet photo by Paula Lobo
Sight and Sound: Leon Botstein and The Orchestra Now Three Sundays at 2 pm Explore the places where musical and visual expression meet. Conductor and music historian Leon Botstein and The Orchestra Now pair orchestral works with masterpieces from The Met collection. Each event includes a discussion featuring on-screen artworks and orchestral excerpts, a full performance of the piece of music, and an audience question and answer session. metmuseum.org/sightandsound Tickets start at $30; $75 for the series Grace Rainey Rogers Auditorium
Hindemith & Beckmann: Expressionism and Exile Hindemith’s Mathis der Maler Symphony and the artwork of Max Beckmann Sun Oct 16, 2 pm Hindemith composed this symphony in 1934 during the beginning stages of work on an opera of the same name. It centers on the medieval artist Matthias Grünewald, whose famous altarpiece Max Beckmann admired. Both Hindemith and Beckmann ran afoul of the Nazi regime as artists, and emigrated to the US Presented in conjunction with Max Beckmann in New York, on view Oct 18, 2016–Feb 20, 2017. Brahms, Menzel & Klinger The Canvas of Sound Brahms’s Symphony No. 3 and the artwork of Adolf Menzel and Max Klinger Sun Jan 29, 2 pm Critic Eduard Hanslick called this symphony “artistically the most nearly perfect” of Brahms’s works. The composer was profoundly interested in contemporary painting, and especially admired two living artists of his time: Adolf Menzel and Max Klinger. Symphony No. 3 invites an exploration of the connection between the visual and the musical in Brahms’s world. Ives & Hartley: Landscapes of Modernism Ives’s Three Places in New England and the artwork of Marsden Hartley Sun May 21, 2 pm In this orchestral set, Connecticut-born composer Charles Ives sets out to evoke through music the atmosphere and history of three locations in New England. His contemporary, Maine-born painter Marsden Hartley, was himself deeply attached to music. The artist returned to Maine in his final years and applied his modernist aesthetic to its landscapes. Presented in conjunction with Marsden Hartley’s Maine, on view Mar 14–June 18, 2017.
metmuseum.org/tickets
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