Supporters as of December 3, 2010

Special thanks to Glenn Schoenfeld for his tireless leadership of Metropolis.

$50,000+ Judy and Rick Gilmore Nancy Hubbard Elizabeth and Paul De Rosa Jennifer and Eduardo Loja Olga Jobe June K. Wu Who’s in My Fund? Richard Klein Vern Kousky $15,000+ $250+ Gerard Laffan Argosy Foundation for Allegra Cummings and Fred Redd Kristin Lee Contemporary Music Lillian and Jack Davidson Lily Lim and Mateo Paiva Anne Dunning Joselin Linder $10,000+ Leila Mureebe Candice Madey and Ayal Brenner Crosswicks Foundation Anke Nolting Donald Matheson New York State Council for the Marcy Recktenwald and Ken Eberl Suzanne McClelland Arts Christopher Reiger Zain Mikho Mali Sananikone Gaw and Akarin Andrea and Dennis Roberts David Messer Gaw Helene Salomon Sarah Murkett The Richard Salomon Family Jocelyn Stone Daniel Neer Foundation Rosie Walker and Joe Fig Alexis Neophytides Paul Young and Franklin Evans Vladimir Nicenko $5,000+ Renata Parras Aaron Copland Foundation $100+ Andrey Pavlov Weill Music Institute at Carnegie Clay Andres Glenn Schoenfeld Hall Stephanie Amarnick Gabrielle Rieckhof Mikhail Iliev Ksenija Belsley Rachel Salomon Jill and Steve Lampe Anna and Ray Lustig Daniel Schofield Allyson and Trip Samson Astrid Baumgardner Andrew Schorr Andrew Cyr, Artistic Director / Conductor Jerome and Jodi Basdevant Jonathan Schorr $2,500+ Robert Bielecki Noah Smith American Chai Trust Asaf Buchner Cara Starke Department of Dominic Carbone Ned Steiner It takes a long time Cultural Affairs Coralie Carlson Susan Steiner Edward Sien Wendy Chang Janet Stradley Meet the Composer Amy Chen Matt Strassler Nick Cohn Lisa Switkin to become a good composer $1,000+ Kaitlin Collins and Colin Ryan Bill Tansey Elisabeth Bell Avery and John Paul Craig Rachel Teoh Avery Conrad Cummings Mary Thibeault Music by Timothy Andres and Robert Schumann Louise Franck Cyr and Michael Witney Earle Asher Remy-Toledo Cyr Lori Fox Lenny Turkel December 9–10–11, 2010 | 111 West 67th Street | New York City Christina and David deForest Brian Friedman Andy Wall Keys Vivian Fung and Charles Francine Walterbeek Maura Fitzpatrick Boudreau Antony Webb Joan and Allan Fisch Umi Hashitsume and Ryan Carol Wernick Jennifer Salomon Francis Eric Wolfe Richard E. Salomon Emanuel Genauer Kim Van Atta Christopher and Sarah Cox Jennifer Gilmore and Pedro Linda and Jack Viertel Barbeito $500+ Dr. Gerhard Gruitrooy $50+ Phoebe Washburn and AJ Jeff Guida Na Young Baek Bocchino Tom Healy Lilah Gaw Mrs. Morris Baker Joseph Hong Mariko Tsuda Andrew Cyr and Kate Gilmore David Hsia

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@metroensemble P.O Box 1315 New York, NY 10013 bit.ly/metroface The Program Welcome from Andrew Cyr December 9 (8pm), December 10 (8pm), and December 11 (3pm) It is my great pleasure to welcome you to this intimate piano recital featuring rising-star composer Timothy Andres. We are thrilled to have Timo perform the world premiere of his new suite, It takes a long time to become a good composer and Schumann’s youthful masterpiece, Metropolis Ensemble Kreisleriana. Timo will also perform his Clamber Music (2010), free variations for two violins Andrew Cyr, Artistic Director and piano with the talented Owen Dalby and Tema Watstein. Timothy Andres, piano Thank you to our host and Metropolis board member, June Wu. This has truly been an amazing Owen Dalby and Tema Watstein, violin watershed year for Metropolis and 2011 promises to bring more exciting developments. I hope Timothy Andres: Clamber Music (2010) you join our growing community of composers, artists, and fans on this incredible journey. Your enthusiasm and support makes our sustained growth possible. Please consider becoming a free variations for two violins and piano Friend of Metropolis or a Sustaining Member today!

WORLD premiere Get involved at metropolisensemble.org/support Andres: It takes a long time to become a good composer (2010) * About Metropolis for piano Metropolis Ensemble is a nonprofit professional chamber orchestra and collective of the 1. finest young artists performing today. Led by Artistic Director and Conductor Andrew Cyr, 2. Everyone wants to be something they’re not or, Pierrot on 88th St. Metropolis Ensemble is dedicated to launching the next generation of outstanding composers 3. Everything is an onion and performers and has quickly established a reputation for presenting “new music played 4. Please let me sleep in your entrance hall or, Pantalon & Columbine with the same kind of panache and bravura we usually experience only in performances of standard repertoire” (Esa-Pekka Salonen). 5. Time has told me (homage) Metropolis Ensemble is a major commissioner and creator of new works of contemporary Robert Schumann: Kreisleriana, Op. 16 classical music and a leading producer of unique, innovative, and interactive concert experiences. The Ensemble attracts diverse audiences by engaging arts enthusiasts 1. Äusserst bewegt to be active participants in the creation, performance, and perpetuation of our music and 2. Sehr innig und nicht zu rasch - Intermezzo I (Sehr lebhaft) - Tempo I - organization. Metropolis Ensemble is equally dedicated to making a difference in our Intermezzo II (Etwas bewegter) - Tempo I community by collaborating with other cultural organizations, nonprofit partners, and schools to serve under-resourced populations. 3. Sehr aufgeregt 4. Sehr langsam Learn more at metropolisensemble.org/about 5. Sehr lebhaft 6. Sehr langsam Grammy News 7. Sehr rasch 8. Schnell und spielend We are pleased to announce that Metropolis Ensemble’s first studio album, a recording of Avner Dorman’s Concertos, was recently nominated for a Grammy Award that honors Avi Avital (mandolin soloist) and Andrew Cyr (conductor) in the “Best Instrumental Soloist (with * Metropolis Ensemble commission Orchestra)” category. The producer of our album, Grammy Award winner David Frost was This concert is generously sponsored in part by Who’s In My Fund? also honored with a “Producer of the Year” Grammy nomination for his work on five albums, including Metropolis’ recording.

Listen to the album at metropolisensemble.org/albums The Artists

Andrew Cyr, artistic director Owen Dalby, violin

Andrew Cyr is a leader in the rapidly growing contemporary Owen Dalby has been described as a “fearless and inquisitive” classical music scene. His enthusiasm for connecting musicians instrumentalist by the San Francisco Classical Voice. Mr. Dalby and composers of the next generation to today’s audiences led him was a top prizewinner at the 2007 Lyon International Chamber to create Metropolis Ensemble in 2006. His work as conductor has Music Competition, and is hailed for his gripping interpretations of been described by Esa-Pekka Salonen as “...precise, rhythmically music from across the stylistic spectrum. On both violin and viola, incisive and fluid. He made complex new pieces sound natural and Mr. Dalby’s varied career involves regular performances with the organic. What a pleasure it is to hear new music played with the Orchestra of St Luke’s, the early music Four Nations Ensemble, same kind of panache and bravura we usually experience only in performances of standard the Clarion Music Society, and the Grand Tour Orchestra. His chamber music partners have repertoire.” Cyr is a native of Fort Kent, Maine, and has holds music degrees from Bates included Dawn Upshaw, the Persian kemancheh virtuoso Kayhan Kalhor, Sir Simon Rattle, College, the French National Conservatory (Etudes Supérieures), and Westminster Choir and many others. In the 2009-2010 season Mr. Dalby will perform Lou Harrison’s Concerto College. His primary musical mentors include Dr. Joseph Flummerfelt, Kenneth Kiesler, for Violin and Percussion Orchestra at Lincoln Center, give world premieres of major works Pierre Grandmaison, and Kynan Johns. Cyr has performed at such venues as Lincoln Center, by James Blachly and Timothy Andres (Look Around You, a solo concerto for violin and viola), Carnegie Hall, (Le) Poisson Rouge, and, in 2008, appeared with the acclaimed Wordless perform chamber music from Hamburg to Honolulu, and will appear regularly at Carnegie Hall Music Series, conducting a remix of The Rite of Spring for a live audience of 10,000 people. with Ensemble ACJW in chamber music and under the direction of composers Thomas Ads and John Adams. Mr. Dalby is a member of The Academy, a post-graduate leadership program Timothy Andres, composer / piano of Carnegie Hall and the Juilliard School that links a performer’s life with arts advocacy and a teaching residency in New York City pubic schools. He received early training at the Crowden School in California and Bachelor’s and Master’s degrees from Yale. Timothy Andres (b. 1985, Palo Alto, CA) is a composer and pianist. He grew up in rural Connecticut and lives in New York City. His compositions meld a classical-music upbringing with diverse Tema Watstein, violin interests in the natural world, graphic arts, technology, cooking, and photography. He has been praised for his “acute ear” by the Violinist Tema Watstein is pursuing her Masters Degree in New York Times’s Anthony Tommasini and “stubborn nose” by Contemporary Performance at the Manhattan School of Music, the New Yorker’s Alex Ross. An avid pianist from an early age, Timothy (Timo for short) where she frequently performs with Tactus new music ensemble. She recently graduated from ’s Shepherd School performs widely, focusing especially on music by his contemporaries. “New music cannot of Music magna cum laude with a BM in Violin Performance. A be intimidating when played with this degree of skill and zest,” proclaimed Boston Globe major advocate of contemporary music, Tema twice received critic Richard Dyer of a recent concert. Recent commissions include a work for the ACME the Sviatoslav Richter Fund for Music Outreach, with which she string quartet and New York Youth Symphony (Senior), an octet for members of New World began an annual outdoor new music concert series in called “Around Hear.” She Symphony (Some Connecticut Gospel), an orchestral elegy for the Yale Symphony (Bathtub attended the Lucerne Festival Academy, performing under Pierre Boulez, and has played Shrine), and a chamber orchestra work for the Los Angeles Philharmonic (Nightjar), which with both the SYZYGY and Da Camera chamber music societies of Houston. She looks was conducted by John Adams in May 2009. He also performed his solo piano piece How forward to performing with Metropolis Ensemble this coming January. This past spring, Tema can I live in your world of ideas? on the Philharmonic’s Green Umbrella series, which was performed a recital of entirely commissioned premiers. An active soloist, Tema has performed pronounced “irresistible” by the LA Times’s Mark Swed. with numerous orchestras throughout New England, twice including the New England String Ensemble, once along side Marc O’Connor. Tema has served as concertmaster of the Shepherd School Chamber Orchestra as well as the Tanglewood Music Center Festival Orchestra for the past two summers under Kurt Masur and Robert Spano. This June, she will return to Tanglewood as a New Fromm Player. Her most recent musical interests include improvisation and bluegrass. Notes on the Program Clamber Music Notes by the composer Timothy Andres

Kreisleriana When the violinist Wendy Sharp asked me for a new piece, I knew I wanted to write something by Robert Schumann (1810-1856) about pedagogy. Wendy’s life is devoted to teaching other people, from the tiniest of babies to the surliest of graduate students, about playing and understanding music. The violin is the Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, instrument with the second-best repertoire to choose from, after the piano. Despite this, young titled Phantasien fur das Pianoforte, written in April 1838. Dedicated to Frédéric Chopin, it violinists (and this seems to be the same all over the world) endure years of studying what is a very dramatic work and is considered to be one of Schumann’s finest compositions. could kindly be called “pedagogical” literature. This is the music you work on before you’re The work’s erstwhile programme, or at any rate the basis for a depiction of psychological to be trusted with a Brahms sonata, and it was mostly written by other violinists expressly for music-drama, is based on the character Johannes Kreisler from works of E. T. A. Hoffmann. that purpose. As a former accompanist to many of Wendy’s students and an older brother to Like the kaleidoscopic Kreisler, each number has multiple contrasting sections, resembling one, I’ve learned much of this sub-genre by proxy. the imaginary musician’s manic-depression, and recalling Florestan and Eusebius, the two imaginary characters of Schumanns inner vision (representing his impulsive and dreamy Clamber Music is a free set of variations on a theme, in reverse (each successive section sides, respectively). Johannes Kreisler appeared in three books by E. T. A. Hoffmann, most bears more relation to the theme). The theme in question is an amalgamation of the sublime notably in Kreisleriana (a section of “Fantasiestucke in Callots Manier” published in 1814). and the somewhat less sublime: Schubert’s Moments Musicaux no. 2, and Johan Svendsen’s Schumann used material from the eighth movement, “Schnell und spieled,” for the fourth Romance in G. I’ve always mentally associated the two because they share the same first movement of his first symphony. four notes. The end of the piece is a kind of Gradus ad Parnassum, though also in reverse. It takes a long time to become a good composer Notes by the composer Timothy Andres About the Production

I’ve been working on Schumann’s Kreisleriana on and off for maybe the last five years, but This concert is a production of Friends of Metropolis. The concept and execution of the never performed it. When Andrew asked me to start planning a solo piano concert that in concert originated with Friends members June Wu and Mali Sananikone Gaw. This is a true some way incorporated my musical influences, my first thought was to go back to Schumann collaboration between Friends members and Metropolis artists, meant to inspire and engage (it didn’t occur to me that it also happened to be his 200th birthday year). arts enthusiasts in the creative process. Friends of Metropolis is a group of enthusiastic supporters who contribute their time, talent, and resources towards the mission of Metropolis. Living with Kreisleriana, getting to know it on micro and macro levels, led me into the idea for Get involved at metropolisensemble.org/friends a new companion piece, which I’m calling It takes a long time to become a good composer. When people talk about Schumann, the common thing you hear is that he was an unparalleled miniaturist - that the two to four minute piano piece or lied was his pinnacle, and that when Special Thanks it came to writing sonatas and symphonies, better leave that up to Brahms. Kreisleriana, at face value, is a sequence of miniatures, but I’ve come to see it more as a fractal form; you Metropolis Ensemble would like to thank Mario Jose Aguilar, Stephanie Amarnick, Sam ‘zoom out’ and start to hear larger units, you zoom out again and it resolves again, and then Bachelder, Nate Bachhuber, Katima Cahill-Jackson, Carol Ann Cheung, Heather Flow and again and you hear the entire half hour. It works as well or better than any classical sonata. Peter Knell, Mali Sananikone Gaw, Britton Matthews, Jenna Mulberry, Philippe Quint, Yara Travieso, Satya Twena and Jeffrey Zurofsky, June Wu, Friends of Metropolis, and all our

Of particular interest to me is how he accomplished this with recurring material and alternation amazing volunteers. of musical moods. Schumann named the piece after E.T.A. Hoffman’s character Johannes Kreisler, who is ostensibly embodied in this alternation of moods, but you also don’t have to Documentation Team: Ryan Streber (audio engineer), Gareth Paul Cox and Kyrié Cox look very hard to see that it’s a self-portrait as well. You get very intellectual, rational music (videography), Adi Shniderman (photography), and Armistead Booker (marketing director). juxtaposed with sturm und drang. What I’m working on in It takes a long time... is building a similar musical structure, one that uses short timescales as building blocks for something Metropolis Ensemble Board of Directors: bigger, but remains intimate rather than monumental. Mali Sananikone Gaw (Chair), Jeff Guida, Mikhail Iliev, Edward Jones, Candice Madey, Glenn Schoenfeld, Jennifer Salomon, Edward Sien, and June Wu.