Thursday Evening, December 12, 2019, at 7:30Isaac Stern Auditorium / Ronald O. Perelman Stage

THE PACKARD HUMANITIES INSTITUTE AND COLUMBIA ARTISTS

Presents

Alma Deutscherat Carnegie Hall

The Orchestra of St. Luke’sJane Glover, Conductor

Alma Deutscher, Violin and PianoNatalie Image, Soprano

Jonas Hacker, Tenor

Alma Deutscher Overture from the opera Cinderella

Alma Deutscher Violin concerto in G minor Allegro Maestoso Romanza. Andante cantabile Allegro vivace e scherzando

Alma Deutscher, Violin

Alma Deutscher Two duets from the opera Cinderella “I dreamed a dream of dancing” “It is her melody!”

Natalie Image, Soprano Jonas Hacker, Tenor

INTERVAL

Alma Deutscher Piano concerto in E-flat major Allegro Adagio (In Memoriam) Allegro giocoso

Alma Deutscher, Piano

Alma Deutscher Siren Sounds Waltz

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

Thank you for coming to this very special concert. I am incredibly excited to share my compositions with you tonight at Carnegie Hall, together with the Orchestra of St. Luke’s, conductor Jane Glover, and the singers Natalie Image and Jonas Hacker.

I would like to thank, above all, the Packard Humanities Institute for making this concert happen. It was David Packard’s idea to turn what had been planned as a smaller recital into a festive orchestral concert dedicated to my own compositions. So I owe this evening to him.

I am extremely grateful to Viking Cruises and their Chairman, Torstein Hagen, for generously sponsoring the live streaming of the concert and allowing many people who could not be at Carnegie today to join us online.

Below, I have written some short explanations about the different pieces you will hear tonight. I hope you enjoy the concert!

Notes ON THE PROGRAM

A WORD OF Welcome

Overture from Cinderella Scoring: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 1 trom-bone, timpani, strings.Performance time: approximately 8 minutes.Premiere: composed 2013–17, premiere of early chamber version in Israel, 2015, pre-miere of orchestral version Vienna 2016, premiere of full version, San Jose, Califor-nia, 2017.

In my opera, Cinderella is a talented composer, who is slave-worked as a copyist in the opera house belonging to her stepmother. Cinderella has been forced to stay up all night copying the orchestral parts in time for next morning’s rehearsal. As Cinderella is struggling to stay awake, the overture begins with the depiction of dawn, and then goes on to introduce many of the themes that will come later in the opera,

for example the waltz in the royal ball, the national anthem of my imaginary country, Transylvanian, the love pleas of the prince and the impatient outbursts of the king, and the falling in love duet of the prince and Cinderella.

Violin Concerto in G Minor Scoring: solo violin, 2 flutes, 2 oboes (2nd doubling as English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 1 trom-bone, timpani, crotales, strings.Performance time: approximately 33 minutes.Premiere: composed 2014–17, movements II-III premiered in Oviedo, Spain, 2015, premiere of full concerto in Carinthian Sum-mer Festival, Austria, 2017

I started writing my violin concerto when I was nine. In fact, I wrote it ‘backwards’, beginning with the third

movement, then the second, and only quite a long time afterwards, when I was twelve, did I write the first move-ment that you will hear today. The reason is simple: the third movement is the easiest to compose, being tra-ditionally a light-hearted movement with a relatively simple structure. The first movement, on the other hand, is the longest, meatiest, and has the most complex structure, so I didn’t yet feel ready to tackle it when I was nine.

The first movement, Allegro maestoso in G minor, has a long story behind it. I first came up with some themes for it when I was seven, improvising a concerto on the violin. The themes were quite dramatic—I thought of the main orchestral theme as a war theme, for example. A year later, I adapted these themes for a movement of a viola sona-ta that I wrote for a friend. But I always knew that these musical ideas were really destined for a violin concerto, so when I was ten, I adapted and expanded the viola sonata movement into the first movement of my violin concerto. I then left this movement for two years. But when I was twelve, I looked back at what I had written earlier and realized there were a lot of things about it that I didn’t like, so I thoroughly re-wrote it. For example, in the original version from 2015, after the first section in G minor came the second section in B-flat major (the “relative major” of G minor). But actually I don’t really like the key of B-flat major so much, and also it doesn’t sound good on the violin, so quite a few bits of the movement sounded stodgy. When I

revised it in 2017, I decided to change the structure completely and have the second section in the dominant key, D major, which is a key full of sun-shine. This gave me the inspiration for a completely different second section, which is happy and radiant, and a con-trast to the dark mood of the main key.

I wrote the second movement, Romanza, when I was nine (and revised the middle section two years later). It is in E-flat major, which was my absolute favourite key when I was younger, and still is one of the keys I love most. The mood of the movement is melancholy, but still full of hope and longing. In the score, I marked it andante cantabile, and asked the orchestra to play “with yearning.” One of the motifs in the second movement also appears in my opera, Cinderella, which I was com-posing at the same time. In the opera, this melody appears in the duet The Star of Hope that is sung by the Fairy and Cinderella. The Fairy sings to Cinderella about a very special star, which will shine for her even when darkness is all around (see sample below).

The third movement, Allegro vivace e scherzando in G major, is the first movement I wrote, when I was nine. It is jolly and merry, and I hope it will make you laugh. The main theme for it came to me in a car journey, coming back home from a music festival in the south of England. The movement is in Rondo form, which is a simpler struc-ture than the elaborate sonata-form of the first movement. In a Rondo, there is one main theme that repeats a few times, with different episodes in between.

Two Duets from the Opera Cinderella Performance time: approximately 12 minutes.

1. Cinderella and Prince meet during the ball (from Act III)In my opera, the Prince is a poet, who is forced to forsake his art in order to marry and assume the royal duties of his ailing father. In a moment of despair, the Prince wants to toss his notebook of poems into the fire, but without his knowledge, the Fairy saves it, and later gives it to Cinderella, without telling her who the poet is. Cinderella is inspired by the poems and dreams about meeting the poet one day. When she finally enters the ball, her slipper falls off, and a modestly dressed (masked) young man gives it back to her and asks her to dance. During the dance, Cinderella relates her dream about meeting the poet, and… the two fall in love.

2. The Prince finds Cinderella and res-cues her from the cellar (Act IV)The Prince eventually finds Cinderella not with a slipper, but through a tune—a haunting melody she sang as she fled from the ball at midnight. He believes this melody is the explanation why the mysterious girl fled, but he can only remember the beginning of the tune. So he decides to go from house to

house asking every girl in the kingdom to continue the melody. When at last he reaches the opera house at the edge of town, the two stepsisters try in vain to continue the melody. This is the last house left for the Prince to search. He is about to leave in despair, when he hears a faint melody coming from the basement…

Piano Concerto in E-Flat Major (AMERICAN PREMIERE) Scoring: solo piano, 2 flutes, 2 oboes (2nd doubling as English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, strings.Performance time: approximately 33 minutes.Premiere: composed 2015-17, premiere in Carinthian Summer Festival, Austria, 2017.

Just like the violin concerto, I wrote the piano concerto backwards: the third movement first, when I was ten, the second movement when I was eleven, and first movement when I was twelve. (I put off writing the first movement for a long time, but then simply had to do it, in a real rush, because the world premiere of the whole concerto was due in Austria in the summer of 2017.)

The first movement, Allegro—you guessed it—is in E-flat major. The main idea for it came to me when I was on

A

B

a flight from London to Vienna. I was looking out of the window when I suddenly heard a melody, and almost immediately two versions of this melody played in my head: a dark and dramatic version, and a happier and more lyrical one. For a while, these two versions fought one another in my mind, and in the end, the whole first movement turned into a conflict between the light and the darkness. The orchestral intro-duction starts with just two happy mea-sures of E-flat major, but it then plunges into the darkness in the third measure of the movement, with a menacing chord (see sample A on facing page).

After the shock of the third measure, the orchestra can’t just stay happily in E-flat major, and the rest of the long orchestral introduction is sombre, mostly in E-flat minor. It’s only the entrance of the piano that brings back the light, with the happier version of the theme, which stays in E-flat major (see sample B on facing page).

Of course, the darkness doesn’t give up so easily, and tries to come back at var-ious stages during the movement, most forcefully at the end, where it tries to have the ‘last word’ with a repeat of the menacing chord from the third measure of the movement. But in the end, the light finally overcomes.

I started writing the second movement, Adagio, when I was eleven, and finished

it shortly after turning twelve. But the main melody for it goes back two years earlier. A few days after my grand-mother in Israel died, I was sitting in her house and improvising on her own piano. A very sad melody came into my mind. I heard the mourning tones of an oboe, playing in an unusual key, B-flat minor (see sample C below).

And this is exactly how the movement starts: the oboe introduces the main melody, with the piano accompanying softly. I have called this movement In Memoriam. In the middle of the move-ment, there is also another very sad motif, which I also used at the end of the overture of Cinderella.

The third movement, Allegro giocoso, is the first one I wrote, and it goes back to when I was eight. One night, I woke up about midnight with a merry tune singing in my head (see sample D below).

I didn’t want to forget it, so I sneaked out of bed and spent two hours writing a short piano piece based on the melody. A few months later I wrote a longer set of variations on this theme, and then, two years afterwards, when I was ten, I adapted these variations into the third movement of a concerto, with a structure which is a mixture of a Rondo and variations.

I re-orchestrated parts of the piano con-certo especially for tonight’s concert.

C

D

Until now, the concerto was played by chamber orchestras, so I only had two horns, two trumpets and one trombone at my disposal. I have now expanded the brass section to four horns, two trumpets, three trombones, and a tuba. So finally, the loud sections in the first movement can actually sound LOUD…

Siren Sounds Waltz Scoring: piccolo, 2 flutes, 2 oboes, 2 clar-inets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, melodica, timpani, bass drum, snare drum, cymbals, glockenspiel, strings.Performance time: approximately 12 minutes.Premiere: composed 2019, premiere of strings-only version in Vienna 2019, pre-miere of symphonic version 2019 in Flens-burg (Germany).

I now live in Vienna, the city of waltz-es, and so naturally wanted to write a waltz myself. When I first came to Vienna, I was struck by the distinct sound of the police sirens there:

It was really different from the “wail-ing” sirens of England or America. In my mind, I tried to turn these harsh sounds into a melody. That was the beginning of the siren waltz.

I have always felt that my music should aim to be beautiful. There is enough ugliness in the world as it is, and I’ve never understood why I should add more ugliness to it with ugly music. But it has often been suggested to me,

including by great musicians whom I deeply admire, that as a modern com-poser I need to integrate more harshness, experimental noises and unresolved dis-sonance into my compositions, in order to reflect the modern world. This waltz is my response to these suggestions. I took their advice to heart, but applied it a little differently. Instead of trying to make my music artificially uglier in order to reflect the modern world, I decided to reverse the direction: take the ugly sounds of the modern world, and try to turn them into something more beautiful through music.

The introduction of the waltz starts with an imitation of a busy street, with cars hooting and police sirens (both Austrian and American…!). After about half a minute of this noisy chaos, we are transferred from the street to the imagination, and in the rest of the introduction, I try to transform these noises into something more beautiful: from police sirens to the sirens of the Odyssey. After this introduction (about 3’) comes a chain of a few waltzes, as is usual in a Viennese concert waltz. The melody of the first waltz is based on a “happy birthday” tune I wrote for my dear friend, David Packard. The middle section of the second waltz is inspired by the beeping of the closing doors on the Vienna buses and subway. The third waltz is a slower and more lyrical interlude. And finally, the fourth waltz is based on the Austrian police siren.

—Alma Deutscher, November 2019

THE ArtistsAlma Deutscher started playing the piano when she was two years old and the vio-lin when she was three. Soon afterwards she started improvising simple melodies on the piano. At six, she completed her first piano sonata, and at seven a short opera, The Sweeper of Dreams.

She wrote a violin concerto and a piano concerto between the ages of 9–12, which have been performed by orchestras around Europe, in the U.S., in Israel, and in China. Between the ages of 8–12, she composed her first full-length opera, Cinderella. A chamber version was performed in Israel in 2015, a version for small orchestra premiered in Vienna in 2016, and the full version was premiered by the Packard Humanities Institute and Opera San Jose in 2017 to critical acclaim. This production was released on DVD with Sony Classi-cal. A children’s version of the opera was staged by the Vienna State Opera in 2018 and revived in 2019. All performances in California and Vienna sold out.

Conductor Zubin Mehta called Alma Deutscher “one of the greatest musical talents today.” Sir Simon Rattle told the BBC: “Alma is a force of nature. I don’t know that I’ve come across anyone of that age with quite such an astonishing range of gifts. I haven’t really seen anything like it.” Composer Jörg Widmann said he had never met a talent like hers before. In Octo-ber 2019, Alma received the European Culture Prize in a ceremony at the Vienna State Opera. And in September 2019 she was chosen by German magazine Stern as one of its twelve “Heroes of Tomorrow.”

Alma Deutscher’s first piano solo album, From My Book of Melodies, was released by Sony Classical in November 2019.

German Radio SR described it as con-sisting of “piano jewels that display the poetry of Franz Schubert, the melancholy of Chopin, the grace, lightness and bril-liance of Mozart.”

Deutscher has given recitals around the world, including in the Lucerne Festival, Aix-en-Provence Festival, and Beijing Music Festival. She has also appeared as soloist playing her own compositions with major orchestras in Europe, Asia, and the U.S.

She has featured prominently in the inter-national press, from New York Times to China Daily, and almost all major newspapers in Europe, from the Financial Times to Le Figaro. She has also appeared in numerous television programs across the world. In 2017 she was the subject of an hour-long BBC documentary and an episode of 60 Minutes on CBS.

Alma Deutscher plays on a violin made in 1683 by Antonio Stradivari (the Bucher Stradivari), kindly loaned to her by a generous patron. The loan is adminis-tered by the Tarisio Trust.

ALMA DEUTSCHER

Helen D

eutscher

British conductor Jane Glover has been the Baroque’s music director since 2002. She made her professional debut at the Wexford Festival in 1975, and in 1979 joined Glyndebourne and became music director of their Touring Opera from 1981 until 1985. She was artistic direc-tor of the London Mozart Players from 1984 to 1991, and has also held princi-pal conductorships of both the Hudder-sfield and the London Choral Societies. From 2009 until 2016 she was director of opera at the Royal Academy of Music where she is now the Felix Mendelssohn Visiting Professor.

Dr. Glover has conducted all the major symphony and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia, and Australia. In recent seasons, she has appeared with the New York Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra, the San Francisco, Hous-ton, St. Louis, Sydney, Cincinnati, and Toronto symphony orchestras, the Orchestra of St. Luke’s, the Belgrade Philharmonic, and Orchestre Natio-nale de Bordeaux et Aquitaine. She also works with the period-instrument orchestras Philharmonia Baroque, and the Handel and Haydn Society.

In demand on the international opera stage, Dr. Glover has appeared with numerous companies including the Met-ropolitan Opera, Royal Opera, Covent Garden, the Washington Opera, English National Opera, Royal Danish Opera, Glyndebourne, the Berlin Staatsoper, Glimmerglass Opera, New York City Opera, Opera National de Bordeaux, Opera Australia, Chicago Opera The-ater, Opera National du Rhin, Opera Theatre of Saint Louis, Luminato, Teatro Real, Madrid, and Teatro La Fenice. Known as a Mozart specialist, she has conducted all the Mozart operas all over the world regularly since she first performed them at Glyndebourne in the 1980s.

This season Dr. Glover’s appearances will include the Philadelphia Orchestra, Houston Grand Opera (Magic Flute), Montreal’s Orchestre Metropolitain, the Bremen Philharmonic, the Malaysian Philharmonic, the Cleveland Orchestra at Blossom and the Aspen Music Festival. Next season, she will return to the San Francisco and Houston Symphonies and debut with the Chicago Symphony.

Dr. Glover’s discography includes a series of Mozart and Haydn symphonies with the London Mozart Players and recordings of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Philharmonic, the Royal Philharmonic, and the BBC Sing-ers. Recent releases include Handel’s Messiah (Signum) and Haydn Masses (Naxos). Her critically acclaimed book Mozart’s Women was published in 2005 while Handel in London was published in September 2018.

Dr. Glover was created a Commander of the British Empire in the 2003 New Year’s Honours.

JANE GLOVER, Conductor

John Batten

Soprano Natalie Image is very excited to be joining Alma Deutscher again singing Cinderella and making her Car-negie Hall debut! A 2017 Metropolitan Opera National Council Grand Finalist, Ms. Image has been praised for her “pristine high notes” (New York Times) and her singing has been described as “crisp [and] buoyant” with a“thrilling display of tonal lushness and agility” (San Francisco Chronicle).

As an Adler Fellow with San Francisco Opera (SFO), 2019 has been a busy year for Ms. Image. She made her SFO debut at the War Memorial Opera House in June performing Frasquita (Carmen) with Maestro James Gaffingan, and First Wood Nymph (Rusalka) with Maestro Eun Sun Kim. In the fall she was Barbarina in the new SFO production of Le nozze di Figaro directed by Michael Cavanagh, followed by the Dew Fairy in Hansel and Gretel, a co-production with London’s Royal Opera. In concert, Ms. Image returned to sing with the San Francisco Chamber Orchestra (SFCO) as Galatea in their semi-stage performances of Handel’s Acis and Galatea, as well as performing in SFO’s Opera in the Park, and The Future is Now opera scenes con-cert featuring the Adler Fellows. She will kick off 2020 in concert with the Victoria Symphony back in her home province of British Columbia. Then in the spring, she will be returning to Opera San Jose to make her role debut as Pamina in Die Zauberflöte.

Other performances have included Bachianas Brasileiras No. 5 by Villa- Lobos (SFCO), a San Francisco Opera Center and Merola Opera Program Schwabacher recital, as well as tour-ing Northern California and Oregon

with the Adler Fellows. Past highlights include Cinderella in Alma Deutscher’s Cinderella with Opera San Jose as part of its North American premiere under the baton of Jane Glover, Clorinda in Rossini’s La Cenerento-la with the Merola Opera Program, Barber’s Knoxville: Summer of 1915 with the San Francisco Conservatory of Music (SFCM) orchestra, Aurore in Massenet’s Le portrait de Manon (SFCM), Handel’s Messiah with the Okanagan Symphony Orchestra as the soprano soloist, Johanna in Sweeney Todd (Opera on the Avalon), and Mrs. De Rocher in Dead Man Walking (Opera NUOVA).

Ms. Image completed her masters degree at SFCM in 2017, studying with César Ulloa. Her undergraduate studies were in Toronto, Canada, with the Glenn Gould School. Ms. Image is from Tsaw-wassen, British Columbia (BC), Canada, but grew up on an orchard in the small town of Osoyoos, BC. She began sing-ing classical art songs at the age of eight, and has not looked back since!

NATALIE IMAGE, SopranoKevin Clark Studios

A 2016 Grand Finalist of the Metropol-itan Opera National Council Auditions, tenor Jonas Hacker regularly receives high praise for his “attractive tenor voice” and his ability to convincingly portray characters across genres from Mozart to Glass. During the 2019–20 season, Mr. Hacker makes his Ari-zona Opera debut returning to the role of Timothy Laughlin in Gregory Spears’ Fellow Travelers and returns to Washington Concert Opera to sing Laertes in Ambroise Thomas’ rarely performed operatic version of Hamlet. Concert appearances include his Cana-dian debut with the Orchestre Métro-politain singing the Tenor Soloist in Mozart’s Great Mass in C Minor under the baton of Maestro Yannick Nézet-Séguin, and Bach’s B minor mass with Jane Glover and Music of the Baroque, again with The Philadelphia Orchestra and Nézet-Séguin. In April he makes his European debut with the Theater St. Gallen singing the Boy/Young King in George Benjamin’s opera Lessons in Love and Violence.

During the 2018–19 season, Hacker made debuts throughout the United States including with the Dallas Opera

as Edmondo in Manon Lescaut, in concert with Jane Glover and Music of the Baroque in Mozart’s Requiem, and with The Cleveland Orchestra as the Tanzmeister in Ariadne auf Naxos under Music Director Franz Welser- Möst. He also returned to The Phila-delphia Orchestra for performances of Handel’s Messiah with Music Director Yannick Nézet-Séguin. Further per-formances included his role debut as Almaviva in The Barber of Seville with Annapolis Opera and Messiah with Columbus Symphony Orchestra. Recent performances for Mr. Hacker include his Lyric Opera of Chicago debut as Timothy Laughlin in Gregory Spears’ Fellow Travelers and his Opera San Jose debut in Cinderella, an opera by Alma Deutscher, the fast rising 12-year old British prodigy.

Mr. Hacker opened the previous sea-son returning to Annapolis Opera as Theodore “Laurie” Lawrence in Little Women, the company with whom he made his professional debut in 2015 as Ferrando in Così fan tutte. Mr. Hacker also returned to Washington Concert Opera, where he was heard in the role of Osburgo in Bellini’s La straniera. In the summer of 2018, Mr. Hacker join the prestigious Mozart Residency at Festival d’Aix-en-Provence.

Recent performances include his debut with Washington Concert Opera in their performance of Beethoven’s Leonore, the first version of his opera Fidelio, as the tenor soloist in a quar-tet rendition of Bach’s Cantata 150 with the Philadelphia Orchestra under the baton of Music Director Yannick Nézet-Séguin, and as George Gibbs in Ned Rorem’s Our Town with Fresno Grand Opera and Townsend Opera.

JONAS HACKER, Tenor

ViolinKrista Bennion Feeney,

Richard Gilder and Lois Chiles Concertmaster Chair

Eriko Sato, Principal Second Violin

Robin BushmanChristoph FranzgroteKarl KawaharaAnca NicolauRobert ShawSusan ShumwayKeats DieffenbachGregor KitzisFritz KrakowskiElizabeth Lim-DuttonSami MerdinianAndrea SchultzLaura SeatonRobin ZehRavenna LipchikLisa MatricardiElizabeth MillerRegi PapaSvetlana TsonevaChala Yancy

ViolaKaya Bryla-Weiss,

PrincipalLouise SchulmanSarah AdamsRichard BriceRonald CarboneRonald LawrenceMonica DavisDana Kelley

CelloDaire FitzGerald,

Janet Prindle Seidler Chair

Arthur Fiacco, Charles and Carol Grossman Family Chair

Rosalyn ClarkeLoretta O’SullivanHamilton BerryMairi Dorman-

Phaneuf

ContrabassLewis Paer, PrincipalAnthony FalangaMotomi IgarashiPawel Knapik

FluteTanya Dusevic-Witek,

PrincipalKeith BonnerJohn Romeri

OboeMelanie Feld,

David Bury and Marianne C. Lockwood Family Chair

Katherine Halvorson

ClarinetJon Manasse,

Emme and Jonathan Deland Family Chair

Liam BurkeShari Hoffman

BassoonAdrian Morejon,

PrincipalThomas Sefcovic

HornJoseph Anderer,

Co-principalStewart Rose,

Co-principalR.J. KelleyKyle Hoyt

TrumpetJohn Dent

Helen and Robert Appel Chair

Thomas Hoyt

TromboneMichael Powell,

PrincipalMichael BoschenJohn Rojak

TubaKyle Turner, Principal

TimpaniMaya Gunji, Principal

PercussionBarry CentanniJohn Ostrowski

HarpSara Cutler, Principal

Orchestra of St.Luke’s OperationsBernard Labadie,

Principal ConductorJames Roe, President

and Executive Director

Valerie Broderick, Vice President and General Manager

Angela DeGregoria, Director of Operations

Ricky Dean McWain, Artistic Personnel Manager

Jules Lai, Library Manager

ORCHESTRA OF ST. LUKE’S

Orchestra of St. Luke’s (OSL) is an independent orchestra and performing arts or-ganization that evolved from a group of virtuoso musicians who began performing concerts together at Greenwich Village’s Church of St. Luke in the Fields in 1974. Now in its 45th season, the Orchestra performs more than 80 times each year at venues throughout New York City and beyond and is widely recognized for its artistic versatility and excellence. OSL is dedicated to cultivating a lifetime of en-gagement with classical music and offers free instrumental training and mentorship for students from elementary school through conservatory and beyond; produces guided community and educational performances for thousands of students and families; and built and operates The DiMenna Center for Classical Music, New York City’s only rehearsal, recording, education, and performance space expressly dedicated to classical music which serves more than 500 ensembles and more than 30,000 musicians each year.

Learn more at OSLmusic.org or @OSLmusic on Instagram, Facebook, Spotify and more.

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