Nadia Sirota appears in the following:
Monday, September 05, 2011
It’s hard to believe that “September eleventh” was ten years ago. I moved to New York City eleven years ago basically to date, and that event still remains as vivid a memory to me as ever. This anniversary is stirring up plentiful emotions for me, and I imagine I’m hardly the only one for whom this is true.
Monday, August 29, 2011
So I’m currently tropical storm-stranded in Vermont. I had several intricate travel ideas which were aborted in turn and now I’ve found myself extremely far uptown the day after a friend’s birthday party/lamb roast in an absurdly idyllic setting made all the more romantic by torrential rainfalls and book reading and red wine-drinking and the consuming of the livers of some very giving chickens. There are worse things.
Monday, August 22, 2011
Monday, August 15, 2011
“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” Can you guess which composer spoke these words? Don’t worry, I’ll wait!
Monday, August 08, 2011
Sunday, August 07, 2011
Monday, August 01, 2011
Monday, July 25, 2011
Monday, July 18, 2011
Sunday, July 17, 2011
Monday, July 11, 2011
My friends, it’s been so long! I’ve missed you all! I’ve been mostly in London and Reykjavik since we last talked, the former city to see Nico Muhly’s opera Two Boys (so good) and the latter to record viola things and schvitz. Along the way I played some great little shows, and one of the highlights of my trip was a recital with organist Jamie McVinnie and Nico Muhly at Westminster Abbey.
Tuesday, June 14, 2011
Monday, June 06, 2011
I have always relished the feeling of being “backstage.” There’s a crazy lovely thing that happens when you get to feel a sort of ownership for a huge historical building or site, be it a concert hall, a cathedral or a museum. When I was a little kid, I spent the summers at Tanglewood in the Berkshires, where my parents taught. This was a Tanglewood more or less unchanged from the days of Koussevitzky, where Bernstein and Copland were to be found eating in the cafeteria, and where Seiji Ozawa could be found zooming around in his sports car.
Monday, May 30, 2011
After a truly fabulous end-of-the-season run (our first pledge drive! MATA and VOX and Wordless, oh my!), I am taking a little June hiatus to go concertize and record around Europe. Rest assured, I'll be reporting back with exclusive videos and anecdotes from various projects, (cough, Nico Muhly's first opera, cough), so I won't be divorced from planet Q2, but I figured I'd take this week to play some of my favorite things (in Oprah's absence). One of these, apparently, is absurd overuse of parenthetical phrases in writing (I could switch to footnotes? Something something David Foster Wallace).
Wednesday, May 18, 2011
Monday, May 16, 2011
New York is still bustling with festivals, festivals, festivals! This week in particular, there's some impressive programming courtesy of one of our favorite chamber ensembles, eighth blackbird. The versatile sextet has set up a short festival, called Tune-In beginning this Wednesday at the Park Ave Armory, based on Stravinsky's famous quote: "Music is, by its very nature, essentially powerless to express anything at all.”
Saturday, May 14, 2011
The symphony has undergone such transformation since it first emerged as a conventional form hundreds of years ago. Concluding Carnegie Hall's Spring for Music festival, Kent Nagano and the Montréal Symphony Orchestra explore the evolution of the symphony beginning with Giovanni Gabrieli's Sacrae Symphoniae for Brass and finishing with Anton Webern's Symphony, Op. 21. This evening, May 14 from 5 to 8pm, Q2 responds with our own take on this large-scale form as it has transformed into the twenty-first century.
Friday, May 13, 2011
This evening, Friday May 13 from 5 to 8 pm, Q2 continues work in tandem with WQXR's Spring for Music broadcast of the St. Paul Chamber Orchestra's performance with soprano, Dawn Upshaw. In addition to her role as a pedagogue and her career longevity as a singer, we draw inspiration from Upshaw's reputation for forging longstanding relationships with composers who have used her unique voice as their muse.
Thursday, May 12, 2011
Artists have often used their art as a means of making sense of the horrors of war and taking a political stance: from Salvador Dalí's painting Face of War to Kryzstof Penderecki's string orchestra work Threnody for the Victims of Hiroshima. On May 12 as part of Carnegie Hall's Spring for Music Festival, the Oregon Symphony takes the stage and presents a program titled Music for a Time of War featuring cornerstone works by John Adams, Charles Ives, Benjamin Britten and Ralph Vaughn Williams.
Wednesday, May 11, 2011
Carnegie Hall's Spring for Music festival is designed to allow orchestras to flex their creative programming muscles and provide an outlet to think outside of the overture-concerto-symphony box. On May 11, the Dallas Symphony Orchestra performs Steven Stucky's August, 1964 in their Carnegie Hall debut.