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a splendid cellist --New York Newsday (Oct 27)
jump to: time | lines


Elliott Carter: Cello Sonata (1948) 20'
Branic Howard: Folds and Overlays for cello & electronics (2011), World Premiere 6' More Info
Joan Tower: Très Lent for cello and piano (1994) 8'
T. Patrick Carrabré: Ancestral Drones for cello & electronics (2011); written for Caroline Stinson 10' More Info
Magnus Lindberg: Konzertstück for cello and piano (2006) 15'

Sponsored by the Consulate General of Finland in New York, Ms. Stinson created a musical evening exploring composers uniquely interested in Time, how music is conceived within it and the various ways in which we experience Time through music. The first performance took place on Wednesday, November 6th, 2013 at Merkin Hall, 129 W 67th St New York, NY.

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Brought about by a series of events that began at the Creative Dialogue seminar with Finnish cellist Anssi Karttunen in 2009, this program explores the concept of Time from Carter's iconic Cello Sonata beginning a new era in American music by re-conceiving musical time, to Lindberg's luscious Concert Piece in a continuation of Carter's approach, and Joan Tower exploring 'slow time'. These works suspend, animate and flank two premieres with electronics, exploring the passage of time and the perspective it provides.

Caroline Stinson: Lines

European Lineages in American Music (Albany Records 2011)
Molly Morkoski, piano

Program presented on this disc:
Witold Lutoslawski: Grave | Steven Stucky: Dialoghi | Anna Weesner: Possible Stories | Andrew Waggoner: Le nom (Upperline) | Ernest Bloch: Suite No. 3 for solo cello | Roger Sessions: Six Pieces for Violoncello | John Harbison: Suite for solo cello | Nadia Boulanger: Trois Pièces | Elliott Carter: Figment for cello alone


In this début CD, Caroline Stinson says this about the album's conceit:

"For a number of years now I have been programming concerts by following the lines traced by my own curiosity about composers' relationships with one another as teachers, mentors and friends. I see the relationships and bonds that exist between the composers with whom I collaborate, and have become keenly aware of the significance of these relationships musically, personally and professionally. To what extent these exchanges play a role in determining what and how composers write, is intriguing to me; whether they manifest distinctly in harmony and structure, and whether the music either hints at influence or does not betray its associations at all, these connections have become an important entry point for me interpretively and programmatically.

This program presents music that through connection and contrast, outlines a series of relationships extending from three significant European figures into North American cello music of the 20th and 21st centuries, and is in all cases music that I love and have relished exploring. I feel fortunate and happy to have worked with all the living composers whose work is represented here. My time with each one of them has informed the playing, shaped the program and enriched my experience throughout the project. I thank them all for their time and support. "

Produced and engineered by Judith Sherman. Recorded October 22, 23 and 30, 2009 at the American Academy of Arts and Letters, New York City. Cover photo by Bob Gates.

Special thanks to Joel Krosnick and Ara Guzelimian for their guidance, wisdom and enthusiasm, and to The Juilliard School's Artist Diploma Program. Funding for the Artist Diploma degree made possible by the Jerome L. Greene Foundation (2009-10), the Sasakawa Young Leaders Fellowship Fund (SYLFF), the Argyll Campbell Rice and Argyll Prior Rice Scholarship and the Lyllie Chasnoff Miller Scholarship (2008-09). Post-production made possible by Paul Gridley, David Stam and the Delmas Foundation.