Classical Music in New York

The New Yorker previews some upcoming shows:


Under the leadership of the violinist Mark Peskanov, the floating chamber-music series has gone in for new music in a big way. The brash young Fireworks Ensemble (featuring the guitarist Oren Fader and the flutist Elizabeth Janzen) takes the stage for four concerts, with Peskanov and the composer-pianist David Del Tredici as guests. Sept. 2 and Sept. 4 at 8: Del Tredici performs the world première of “Mandango Suite,” in a program that features new and recent pieces by such composers as David Shohl, Elizabeth Adams, Charles Wuorinen (Sept. 2 only), and Frederic Rzewski (“Les Moutons de Panurge,” which closes each of the four concerts). | Sept. 5 at 8 and Sept. 6 at 3: Largely the same program, with the addition of the world première of another Bargemusic commission, Russell Platt’s Duo for Violin and Cello (with Colin and Eric Jacobsen of Brooklyn Rider). (Fulton Ferry Landing, Brooklyn. 718-624-2083. For program details, see


Sept. 8 at 7:30: Christopher O’Riley’s NPR program “From the Top” has given valuable exposure to many outstanding young classical musicians. One of them, the violinist Caroline Goulding, is about to go pro, with a self-titled album on the Telarc label. Her New York recital début (with O’Riley at the piano) features works by Gershwin, Kreisler, and Corigliano, the first of two Tuesday concerts at the cutting-edge downtown performance space; two more “From the Top” stars, the pianist Ji-Yong and the composer-pianist Stephen Feigenbaum, are her guests. | Sept. 8 at 9:30: The Amsterdam Cello Octet—the only full-time combo of its kind—makes its New York début, offering a diverting mix of U.S. and European minimalist and avant-garde music—most of it new to New York—by Arvo Pärt, Terry Riley, Krzyztof Penderecki, Olga Hans, and Cristóbal Halffter. (158 Bleecker St.

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Artist Profile

Charles Wuorinen’s Cerebral Wit, Onstage at the Guggenheim Museum

Composer Charles Wuorinen is profiled.

The first thing a visitor to the composer Charles Wuorinen’s Web site sees is a colorful caricature of Mr. Wuorinen by Arnold Roth. Mr. Wuorinen, bearded, balding, with a huge cranium and wearing a jacket lined with musical staffs, is at work on a score, looking amused. His pen, linked to richly colored clouds by a bright rainbow, has notes spilling out of its point onto the table beside his sheaf of manuscript paper.

The picture, at, says a lot about Mr. Wuorinen, a composer whose music and program notes can seem brainy and abstruse but who is actually fairly personable and says he wants people to enjoy his work. Listen without worrying about the music’s theoretical underpinnings and you hear writing that is as vigorous and kaleidoscopic as the Roth drawing suggests.

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