ECCO

ECCO :


Gustav Holst
, (1874-1934), St. Paul’s Suite, Op. 29, No. 2,  (1922)
I. Jig: Vivace
II. Ostinato: Presto
III. Intermezzo: Andante con moto
IV. Finale (The Dargason): Allegro

Dimitri Shostakovich, (1906-75), String Quartet No 8 in C Minor, Op 110, (1960)
I. Largo
II. Allegro molto
III. Allegretto
IV. Largo
V. Largo

Johann Sebastian Bach, (1685-1750) Chorale No. 22: Schmuke dich, o liebe Seele

Intermission

Edvard Greig, (1843-1907), Holberg Suite, Op. 40, (1884)
I. Praeludium (Allegro vivace)
II. Sarabande (Andante)
III. Gavotte (Allegretto)
IV. Air (Andante religioso)
V. Rigaudon (Allegro con brio)

Johann Sebastian Bach, (1685-1750), Chorale No. 34: Erbarm’ dich mein, o Herre Gott

David Diamond, (1915-2005), Rounds, (1944)
I. Allegro molto vivace
II. Adagio
III. Allegro vigoroso


WQXR HOST:  Elliott Forrest

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Additional Information

ECCO  – East Coast Chamber Orchestra

The critically acclaimed East Coast Chamber Orchestra (ECCO) is a collective of dynamic like-minded artists who convene for select periods each year to explore musical works and perform concerts of the highest artistic quality. Drawing from some of the world’s finest orchestras, chamber groups, and young soloists, ECCO strives for vitality and musical integrity; a self-governing organization, each member is equal and has a voice in every step of the artistic process, from programming to performance. ECCO believes that the best musical experience can speak to all audiences regardless of age or socioeconomic background and performs accordingly across a wide range of venues.

ECCO is also firmly committed to sharing educational experiences with the communities it visits. Through interactive children’s concerts, small group master classes, and one-on-one lessons, ECCO continually seeks out opportunities to connect with young people. Doing so creates a much more engaging concert experience, illustrating through living example the ways in which classical music can be accessible to the modern listener. Performance opportunities also allow the members of ECCO to share the musical knowledge gained during their individual and unique lifetimes of music. The same energy that is contagious in ECCO’s performances is presented and shared without the boundaries of the stage to those interested in learning.

ECCO, East Coast Chamber Orchestra

The East Coast Chamber Orchestra, ECCO, performs works by Joaquín Turina, Claudio Monteverdi, Pierre Jalbert, Witold Lutoslawski, and Antonín Dvořák.

Our 111th year of free concerts at the historic Naumburg Bandshell (directions). No tickets issued– 1,200 seats provided on a first come first serve basis. Benches around concert ground also available. The concert is weather dependent– no rain dates, no rain location. Thank you to our donors who generously support our series.

WQXR will broadcast every concert in this series live on 105.9 FM and via live stream on their website.

Program Details

ECCO

Joaquín Turina, (1882-1949), La Oración del Torero, “The Bullfighter’s Prayer” (1925)

Claudio Monteverdi, (1567-1643), Selection of Madrigals

Pierre Jalbert, (1967-), String Theory, (written for ECCO)

I. Partials
II. Timeless
III. Rhythmus

INTERMISSION

Witold Lutoslawski, (1913-94), Five Folk Melodies (1952)

Antonín Dvořák, (1841-1904), Serenade for Strings in E major, Op. 22 (1875)

I. Moderato
II. Menuetto): Allegro con moto
III. Scherzo: Vivace
IV. Larghetto
V. Finále: Allegro vivace

WQXR HOST: Terrance McKnight

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Additional Information

ECCO  – East Coast Chamber Orchestra

Some of the most enjoyable and revelatory musical experiences happen when musicians get together for fun rather than work. That’s exactly what you can expect at every ECCO concert—music played with total involvement and passion from musicians who thrive on the pure joy and camaraderie of classical music making. The members of this democratically‐run, self-conducted chamber orchestra are colleagues and friends from leading conservatories and music festivals across the country. They are soloists, chamber musicians, principals of major American orchestras, and GRAMMY award winners who play with the symphony orchestras of Philadelphia, Minnesota, San Francisco, Chicago, St. Louis, Seattle and Boston among others. Members also play with the Enso, Jasper, Jupiter, and Parker Quartets, as well as the Horszowski Trio, Trio Cavatina, Sejong Soloists, Time for Three, and Chamber Music Society II.

This dynamic collective of some of today’s most vibrant and gifted young string players combines the strength and power of a great orchestral ensemble with the personal involvement and sensitivity of superb chamber music. For a few concentrated periods of time each year, the members of ECCO meet for rehearsal and musical exploration. Cooking, eating, enjoying close friendships and now sharing tips for raising the next generation of ECCO are important aspects of the ensemble’s gatherings. Along with musical exploration, there is always an intense discussion to be had about the joys and challenges of maintaining a truly communal creative organization.

They only schedule a handful of their unique concerts annually, which makes them rare and joyous events.

See: eccorchestra.org

String Theory was written for the East Coast Chamber Orchestra (ECCO) and commissioned by the Philadelphia Chamber Music Society in celebration of its 30th anniversary season, through support from the William Penn Foundation. The work is in three movements and was inspired by the idea of dynamic vibrating strings, referring to both the musical instruments and the theory of quantum gravity. In terms of the string instruments, the idea of dividing a string in various ways to produce harmonics (Partials), sustaining long held tones (Timeless), and rapidly moving the bow back and forth along the string (Rhythmus) all played a part in the work, as did the idea of vibrating strings propagating through space-time and interacting with each other in various ways.

The first movement, Partials, contains pulsating music and exploits both natural and artificial harmonics on each of the instruments. The second movement, Timeless, is a more lyrical, floating movement marked “with a sense of cosmic time.” The third movement, Rhythmus, is fast-paced and syncopated. It contains virtuosic rhythmic figures for the entire ensemble, but also features solo first and second violin parts, echoing and dueling with each other, leading to the entire ensemble merging for the final push to the end.

 

ECCO – East Coast Chamber Orchestra – play Turina, Monteverdi, Jalbert, Lutoslawski & Dvořák

The East Coast Chamber Orchestra play at the Naumburg Bandshell on Aug. 2, 2016. (Kim Nowacki/WQXR)
The East Coast Chamber Orchestra play at the Naumburg Bandshell on Aug. 2, 2016. (Kim Nowacki/WQXR)

Listen to the archived broadcast of the East Coast Chamber Orchestra performing works spanning five centuries of music from Central Park’s Naumburg Bandshell, hosted by WQXR’s Terrance McKnight. The ensemble perform works by Joaquin Turina, Claudio Monteverdi, Pierre Jalbert, Witold Lutoslawski and Antonín Dvořák, whose Serenade for Strings ends the program. Jalbert’s String Theory was commissioned by the Philadelphia Chamber Music Society in honor of its 30th anniversary, this year, and composed specifically for ECCO. Its title is a pun, referring to the theory of quantum gravity, as well as the actual vibrating strings on the musicians’ instruments. ECCO is a democratically‐run and self-conducted chamber orchestra which unites periodically each year to perform exciting one-off events. It is comprised of soloists, chamber musicians and principals from a variety of American orchestras.

Program

Joaquín Turina: La Oración del Torero, “The Bullfighter’s Prayer”

Claudio Monteverdi: Selection of Madrigals

Pierre Jalbert: String Theory, (written for ECCO)

Witold Lutoslawski: Five Folk Melodies

Antonín Dvořák: Serenade for Strings in E major, Op. 22 (1875)

ECCO, East Coast Chamber Orchestra

Program

ECCO, East Coast Chamber Orchestra

“These youthful players are helping form classical music’s future. Long may they ECCO.” The Washington Post

Judd Greenstein, (1979- ), Four on the Floor, 2006

Heinrich Ignaz Franz von Biber, (1644-1704), Battalia à 10 in D Major, C.61, (1673)

I. Sonata
II. Die liederliche Gesellschaft von allerley Humor
III. Presto
IV. Der Mars
V. Presto
VI. Aria
VII. Die Schlacht
VIII. Adagio. Lamento der Verwundten Musquetirer

Francesco Geminiani / Michi Wiancko, (1687-1762) / (1976 – ), “La Follia” Variations for String
Orchestra

INTERMISSION

Pyotr Ilyich Tchaikovsky, (1840-1893), Serenade for Strings in C Major, Op. 48, (1880)

I. Pezzo in forma di Sonatina: Andante non troppo – Allegro moderato – Andante non
troppo
II. Waltz: Moderato
III. Elégie: Larghetto elegiaco
IV. Finale: (Théma russe): Andante – Allegro con spirit – Molto meno mosso –
Allegro con spirit

**The performance of ECCO has been made possible by a generous grant from Andrea and Guillaume Cuvelier.**
WQXR HOST: Naomi Lewin

WQXR will broadcast every concert in this series live on 105.9 FM and via live stream at www.wqxr.org

Download Program

Additional Information

ECCO
In 2001, a group of musicians – colleagues and friends from leading conservatories and music festivals across the country – collectively envisioned the creation of a democratically‐run, self-conducted chamber orchestra that would thrive on the pure joy and camaraderie of classical music making. This organic approach and high level of passion and commitment resulted in ECCO, a dynamic collective that combines the strength and power of a great orchestral ensemble with the personal involvement and sensitivity of superb chamber music.

ECCO is comprised of some of today’s most vibrant and gifted young string players — soloists, chamber musicians, principals of major American orchestras, and GRAMMY award winners. ECCO members play with the symphony orchestras of Minnesota, San Francisco, Chicago, St. Louis, Seattle and Boston among others. Members also play with the Enso, Jasper, Johannes, Jupiter, and Parker Quartets, as well as the Horszowski Trio, Trio Cavatina, Sejong Soloists, Time for Three, and Chamber Music Society II.  For a few concentrated periods of time each year, the members of ECCO meet for rehearsal and musical exploration. Cooking, eating, enjoying close friendships and now sharing tips for raising the next generation of ECCO are important aspects of their gatherings. Along with musical exploration, there is always an intense discussion to be had about the joys and challenges of maintaining a truly communal creative organization.

In 2012 ECCO celebrated its first decade of friendship and discovery with the release of its first commercial recording. It includes Tchaikovsky’s Serenade for Strings in C Major Op. 48, Shostakovich’s Chamber Symphony in C minor, Op. 110a and the exuberant and surprising “La Follia” Variations for String Orchestra, arranged by ECCO’s own Michi Wiancko after Francesco Geminiani’s Concerto Grosso No. 12 in D minor.

ECCO’s 2015-16 season includes the premieres of two commissioned works by composers Christopher Theofanidis and Pierre Jalbert. This season they will make their debuts at the Naumburg Orchestral Concerts in New York’s Central Park and the Nasher Series of the Nasher Sculpture Center in Dallas, TX along with return visits to the Skaneateles Festival, Philadelphia Chamber Music Society, and Peoples’ Symphony Concerts. For more info see: eccorchestra.org


THE NEW YORK TIMES

All Together Now, No Leader Needed
East Coast Chamber Orchestra at Tishman Auditorium

By ZACHARY WOOLFE

MARCH 17, 2014
There is a warm glow to the sound of the East Coast Chamber Orchestra, a conductorless ensemble made up of members of a variety of American orchestras and quartets.

That tonal radiance was there throughout the wide range of repertory the orchestra played in a concert on Sunday afternoon at the New School’s Tishman Auditorium, from the noble harmonies of Gesualdo’s “Tristis Est Anima Mea” to a Mozart divertimento to work by the players’ contemporaries, including a recent commission, David Ludwig’s “Virtuosity: Five Microconcertos for String Orchestra” (2013). Everything the group touched felt balanced and bright.

The poise of the sound was all the more remarkable given that, of the six works, only Mr. Ludwig’s was composed for string orchestra; the others were heard in generally persuasive arrangements. Only the violinist and composer Michi Wiancko’s version of Satie’s “Gymnopédie No. 1,” originally for solo piano, seemed to gain clotted textures as it was ramped up for 18 string players.

Without the voices for which it was written, Gesualdo’s music seemed, if anything, overly polished and polite, its dissonances more distant than dangerous. The orchestra played the delicate and gauzy passages beautifully — it was impressive throughout the concert to hear so many people reduce their collective sound to a sliver — but I was left with a muted impression in a work that can terrify.

Most effective were three arrangements of works originally written for string quartet. Mozart’s Divertimento in B flat (K. 137) opened the concert with silky grace. The first movement of Ravel’s String Quartet in F, in the orchestra’s own arrangement, was as gentle and agile as the original, but was also shot through with new thickets of complexity. The meatiness of the group’s sound brought a new savagery to the second movement: Written in 1903, the work began to seem like a premonition of Stravinsky’s “Rite of Spring” from a decade later.

The ingratiating bustle of Judd Greenstein’s quartet “Four on the Floor” (2006) transferred well to this larger group. But it was about as bland as Mr. Ludwig’s “Virtuosity,” which sends a solo part traveling around the orchestra as it alternates benignly between frenetic and relaxed passages.

But there are piquant moments. At one point, cellos and violas whisper underneath a soulful solo cello melody, and neo-Baroque unanimity near the end dissolves into clever snaps, slaps and slides under a stern double bass solo. And the orchestra, as always, played luminously.

SEE ALSO
http://www.franksalomon.com/ecco

Their program includes Tchaikovsky’s Serenade for Strings in C Major Op. 48 and the exuberant and surprising “La Follia” Variations for String Orchestra, arranged by ECCO’s own Michi Wiancko after Francesco Geminiani’sConcerto Grosso No. 12 in D minor.

 

Michi Wiancko, comppser:
Sculpting a diverse musical life for herself as a violinist, composer, arranger, and song-writer, Michi Wiancko has been described in Gramophone magazine as an “alluring soloist with heightened expressive and violinistic gifts.” She made her solo debuts with the New York and Los Angeles Philharmonics, and in 2011 she released an album on Naxos of the virtuosic violin works of Émile Sauret.

As a composer, Michi’s most recent projects include commissions from the Enso String Quartet and Sybarite5. In 2014, Michi’s work was premiered at the Ecstatic Music Festival by the electro-acoustic composer collective, Bright Wave. In November 2015, she will be premiering a new work on the Liquid Music Series in St. Paul, MN.

As an arranger, Michi’s re-composition of Geminiani’s “La Follia” has been performed by orchestras across the country, and recorded by the East Coast Chamber Orchestra on E1 Records. Michi is currently working with The Saint Paul Chamber Orchestra as their “resident arranger,” and creating several substantial works for them over the course of the season. She has also arranged her own works for the Silk Road Ensemble and The Knights.

As a song-writer and singer, Michi has performed her own brand of chamber pop under the name Kono Michi throughout the east coast and the UK. She premiered her critically-acclaimed album, “9 Death Haiku,” at Symphony Space’s Thalia Theater in New York, and The Strad described her sound as “intriguing and exquisitely beautiful…music that breaks through the pop classical barrier.”

Michi started playing the violin at the age of 3. She holds a B.Mus. in performance from the Cleveland Institute of Music and a master’s degree from The Juilliard School, where she studied with the Donald Weilerstein and Robert Mann, respectively.