Orpheus 2022-23 Season Brochure

ORPHEUS NEVER LOOKS BACK

A Group Portrait at Fifty

By Aaron Grad

To fans of classical music, Orpheus is thrilling because of how well it executes a particular set of tasks to play complicated music as a cohesive ensemble. For the much larger part of the population that doesn’t yet have that musical frame of reference, Orpheus is thrilling because it is a visible and audible demonstration of the power of trust. These musicians continually test the limits of what can be achieved cooperatively, not by getting along quietly, but by infecting each other with their enthusiasms and passions and being willing at all times to hear and affirm an idea that’s better than their own. One concert at a time,

they do in music what it seems like we all would like to master in personal relationships, politics, and any other thorny aspect of life that goes along with being an individual in a collective society. One gig at a time, for fifty years and counting, Orpheus shows up attuned and present, ready to play hard and listen intently. Their future may or may not look anything like their past, but it hardly matters, since they’re not looking back.

Read the complete essay at OrpheusNYC.org/History

Photo by Neda Navaee

Orpheus Chamber Orchestra is a radical experiment in musical democracy, proving for fifty years what happens when exceptional artists gather with total trust in each other and faith in the creative process. Orpheus began in 1972 when cellist Julian Fifer assembled a group of New York freelancers in their early twenties to play orchestral repertoire as if it were chamber music. In that age of co-ops and communes, the idealistic Orpheans snubbed the “corporate” path of symphony orchestras and learned how to play, plan, and promote concerts as a true collective, with leadership roles rotating from the very first performance.

It’s one thing for the four players of a string quartet to lean in to the group sound and react spontaneously, but with 20 or 30 musicians together, the complexities

and payoffs get magnified exponentially. Within its first decade, Orpheus made Carnegie Hall its home and became a global sensation through its tours in Europe and Asia. Its catalog of recordings for Deutsche Grammophon, Nonesuch, and other labels grew to include more that 70 albums that still stand as benchmarks of the chamber orchestra repertoire, including Haydn symphonies, Mozart concertos, and twentieth-century gems by Stravinsky, Schoenberg, Ravel, and Bartók.

The sound of Orpheus is defined by its relationships, and guest artists have always been crucial partners in the process. Orpheus brings the best out of its collaborators, and those bonds deepen over time, as heard in the long arc of music-making with soloists such as Richard Goode and Branford

Marsalis, and in the commitment to welcoming next-generation artists including Nobuyuki Tsujii and Tine Thing Helseth. Breaking down the barriers of classical repertoire, partnerships with Brad Mehldau, Wayne Shorter, Ravi Shankar, and many others from the sphere of jazz and beyond have redefined what a chamber orchestra can do. Relationships with composers and dozens of commissions have been another crucial way that Orpheus stretches itself, including a role for Jessie Montgomery as the orchestra’s first ever Artistic Partner. Having proven the power of direct communication and open-mindedness within the ensemble, the only relationship Orpheus has never had any use for is one with a conductor.

At home in New York and in the many concert halls it visits in the U.S. and beyond,

Orpheus begins its next fifty years with a renewed commitment to enriching and reflecting the surrounding community. It will continue its groundbreaking work with those living with Alzheimer’s Disease through Orpheus Reflections, and the Orpheus Academy as well as the Orpheus Leadership Institute spread the positive lessons of trust and democracy to young musicians and those in positions of power. Each year, Access Orpheus reaches nearly 2000 public school students in all five boroughs of New York City, bringing music into their communities and welcoming them to Carnegie Hall. Always evolving as artists and leaders, the Orpheus musicians carry their legacy forward, counting on their shared artistry and mutual respect to make music and effect change.

Photos by Chris Lee

THE NEW FIFTY

SAT, OCT 8, 2022 | 8PM

Stern Auditorium/Perelman Stage at Carnegie Hall

JEFF SCOTT

Fanfare

(World Premiere, commissioned by Orpheus for its 50th Anniversary)

HAYDN

Symphony No. 77 in B-flat Major

HUMMEL

Trumpet Concerto in E-flat Major, S. 49

MOZART

Symphony No. 33 in B-flat Major, K. 319

The rousing brilliance and reflective sheen of the trumpet propels

Orpheus into its second half-century! Luminous trumpeter Tine

Thing Helseth returns with Hummel’s masterpiece of classical clarity, and Orpheus brings back symphonies that helped defined the group’s effervescent sound in its concerts and recordings from the 1980s. A new fanfare by composer and horn virtuoso Jeff Scott honors this landmark anniversary.

Photo by Anna-Julia Granberg / BLUNDERBUSS

“Helseth’s trumpet twinkled, beamed, sang, joked, yearned, and strutted about in the self-assured way only the trumpet can.

CHANGE THE FRAME

SAT, JAN 21, 2023 | 7PM

Orpheus refreshes the memorable images of Pictures at an Exhibition with a new arrangement by Jannina Norpoth that uses incisive ensemble virtuosity to magnify the overlooked details in Mussorgsky’s original piano score. A new piece by rising star Hanna Benn takes its own visual flight of fancy, responding to works by women of color in the MoMA collection. Rendering Prokofiev’s unflinching violin sonata as a raw and vulnerable dialogue with strings and percussion, Renaud Capuçon plays “with a disarming sureness of touch, his silvery tonal purity combining with a tantalizing Gallic restraint.” (The Strad)

Stern Auditorium/Perelman Stage at Carnegie Hall

Photo by Simon Fowler

“A dizzying freedom and vitality of playing … A musician uninhibited, at the top of his art.

- LE TEMPS

HANNA BENN

New Work

(World Premiere, commissioned by Orpheus)

MUSSORGSKY (Arr. Jannina Norpoth)

Pictures at an Exhibition

Sonata in F Minor for Violin, Strings and Percussion (Op. 80)

PROKOFIEV (arr. Andrei Pushkarev)

WILL LIVERMAN,

HEROES UNITED

SAT, MAY 20, 2023 | 7PM

Stern Auditorium/Perelman Stage at Carnegie Hall

TRADITIONAL

Spirituals (125th birthday tribute to Paul Robeson)

BEETHOVEN

(arr. Andreas N. Tarkmann)

Incidental

Orpheus stands up for justice and freedom in this homage to courageous voices. Beethoven, an unyielding critic of despots, channeled his ardor and rage into music for Goethe’s historical drama about a local hero defying foreign occupiers. Featuring an incisive new translation and the clarion voice of Karen Slack, Orpheus illuminates the eternal truths of Egmont. Will Liverman, the “muscular-voiced baritone” (The New York Times) who astonished the world with his starring role in Terence Blanchard’s Fire Shut Up in My Bones at the Metropolitan Opera, joins Orpheus to reimagine spirituals in a tribute to the heroic singer-activist Paul Robeson.

- Liev Schreiber

(on performing Egmont with Orpheus in 2020)

Photos by Kia Caldwell & Jaclyn Simpson

“Beethoven realized that the clearest path to this political idea was an emotional, personal one. [Egmont’s] impossible love becomes a kind of metaphor for our faith and hope for democracy.

Music to Egmont Op. 84

Special guest TBA, narrator

ORPHEUS AT THE 92ND STREET Y OUR SUBSCRIBERS SAVE 20%

ORPHEUS & ANGELA HEWITT

SAT, NOV 20, 2022 | 7PM

The 92nd Street Y

BACH

Keyboard Concerto No. 4 in A major, BWV 1055

BACH

Keyboard Concerto No. 2 in E major, BWV 1053

BACH

Keyboard Concerto No. 5 in F minor, BWV 1056

BACH

Concerto for flute, violin, keyboard in A minor (“Triple”), BWV 1044

BACH

Keyboard Concerto No.7 in G minor, BWV 1058

Photo by Eric Richmond

“ I know of no musician whose Bach playing on any instrument is of greater subtlety, beauty of tone, persuasiveness of judgement or instrumental command than Hewitt’s is here...

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by Chris Lee

Photos

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Everyone coming to Carnegie Hall will need to show proof of full vaccination against COVID-19 with a vaccine approved by the World Health Organization (WHO) in order to enter the building.

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Photo by Chris Lee