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DTSTART;TZID=America/New_York:20250208T193000
DTEND;TZID=America/New_York:20250208T213000
DTSTAMP:20260522T224800
CREATED:20240528T185917Z
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UID:10000099-1739043000-1739050200@nortoncenter.com
SUMMARY:Isidore String Quartet
DESCRIPTION:[vc_row equal_height=”yes” remove_bottom_col_margin=”true”][vc_column width=”3/4″][/vc_column][vc_column width=”1/4″ offset=”vc_hidden-sm”]BUY TICKETS BUY A SUBSCRIPTION ABOUT POLICIES [vc_column_text color=”#464955″ font_family=”Copernicus”]\nSupported by:\nThe Joe A. and Cecil Dulin Wallace Fund\n[/vc_column_text][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1677860692350{margin-bottom: 35px !important;}”][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1716562009469{margin-bottom: 60px !important;}” el_id=”about”][vc_column]ISIDORE STRING QUARTET[vc_column_text font_family=”Copernicus”]Comprised of recent Juilliard graduates\, this New York City-based ensemble approaches the established as if it were brand new\, and the new as if it were firmly established. \nSince forming in 2019 as part of Juilliard’s chamber music program\, the Isidore String Quartet has been recognized with two prestigious awards\, winning the 2023 Avery Fisher Career Grant and first prize at the 14th Banff International String Quartet Competition (BISQC) at Banff Centre for Arts and Creativity. \nThe Quartet will present a program that reveals the intersection of treasured classics and contemporary perspectives with works by Billy Childs\, Mozart and Beethoven\, providing a narrative theme that explores the labyrinth of human compassion and love.  \n\nAdrian Steele\, violin\nPhoenix Avalon\, violin\nDevin Moore\, viola\nJoshua McClendon\, cello\n\nArtist management for the Isidore String Quartet is provided by David Rowe Artists.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]PROGRAM[vc_tta_accordion section_title_tag=”h2″ style=”flat” gap=”3″ active_section=”0″ collapsible_all=”true”][vc_tta_section title=”REPERTOIRE” tab_id=”1737572578082-10a20d28-7718″][vc_column_text font_family=”Copernicus”]Adrian Steele\, violin (first on Childs and Beethoven) \nDevin Moore\, viola \nPhoenix Avalon\, violin (first on Mozart) \nJoshua McClendon\, cello \n  \nQuartet in C major\, KV 465 “Dissonance” (1785)\nWolfgang Amadeus Mozart (1756–1791) \n\nAdagio-Allegro\nAndante cantabile\nMenuetto (Allegretto)\nMolto allegro\n\nString Quartet No. 3 “Unrequited” (2015)\nBilly Childs (b. 1957) \nIntermission \nString Quartet in E-flat major\, Op. 127 (1825)\nLudwig van Beethoven (1770–1827) \n\nMaestoso-Allegro\nAdagio\, ma non troppo e molto cantabile\nScherzo. Vivace – Presto\nFinale: Allegro con moto\n\n[/vc_column_text][/vc_tta_section][vc_tta_section title=”PROGRAM NOTES” tab_id=”1737572584215-14bf6e36-2763″][vc_column_text font_family=”Copernicus”]WOLFGANG AMADEUS MOZART\nBorn in Salzburg\, Austria\, January 27\, 1756; died in Vienna\, December 5\, 1791\nString Quartet in C\, K. 465 (‘Dissonance’) (1785) \n“The quartets are\, indeed\, the fruit of a long and laborious endeavor\,” Mozart admits to Haydn in a letter dated September 1\, 1785\, in which he encloses six new quartets. And the many crossings-out\, careful corrections and fragments of quartet movements from this period of Mozart’s life bear this out. Nowhere else did he labor so painstakingly over his music. “Please\, then\, receive them kindly and be to them as a father\, a guide\, a friend\,” Mozart (a generation younger than Haydn) continues. “I entreat you to be indulgent to those faults that may have escaped a father’s partial eye\, and\, in spite of them\, to continue your generous friendship towards one who so highly appreciates it.” \nThe magnificent and disturbing C major Quartet is the crowning point of Mozart’s six ‘Haydn’ quartets. The work is true evidence of Mozart’s triumph in emulating Haydn in his Op. 33 collection of quartets from 1782\, and achieving a balance of structure\, musical style and emotion. Mozart began work on the six quartets not long after moving from Salzburg to Vienna. It was then that he began to hear music by Bach and Handel on a regular basis at weekly gatherings in the Vienna home of Baron van Swieten. The power of contrapuntal writing began to have a deep and increasing effect on Mozart’s own part-writing at the time. The effect is at its most acute in the unsettling dissonances of the opening 22 measures of the C major Quartet. They give the work a nickname (‘Dissonance’) and arise from a synthesis of free counterpoint and chromatic\, ‘highly spiced’ harmonies\, to use a term that was often thrown at the mature Mozart. The dissonances are calculated to shock – so much so that people at first accused Mozart of releasing the printed music without having carefully proofed the parts! Even half a century later\, Belgian music theorist François-Joseph Fétis proposed a ‘fix’ to Mozart’s strident harmonies by moving the first violin entry one beat earlier. Many applauded the idea; few went along with it. Today were the opening to be played with this crass insensitivity to Mozart’s boldness\, it’s certain that the stone statue of the Don Giovanni Commendatore would appear on stage to sort things out. The suspense and tension created by the dissonance is released in the ensuing Allegro. The profound\, aching Andante cantabile is one of the most sublime movements Mozart wrote. Throughout the chromatic minuet and serene finale\, the musical invention and disciplined working-out of short motifs are exemplary. \n–Note by Keith Horner \n  \nBILLY CHILDS (b. 1957)\nString Quartet No. 3 “Unrequited” \nUnrequited\, String Quartet #3\, was conceived as a commentary on the story of Intimate Letters: String Quartet #2\, by Leos Janácek. The first thing – the only thing\, really – that popped into my mind was the tragedy of unrequited love (hence the name\, Unrequited). When I first heard Janacek’s Intimate Letters performed live\, the emotion of the piece jumped out at me: the wild shifts of tempo\, the beautiful and plaintive melodies\, the stark dynamic contrasts. I wanted to illustrate my perspective on this strange relationship between Janácek and Kamila Stösslová\, by telling the story of a man who goes through different phases of emotion\, before finally coming to terms with the fact that his love for her is one-sided – it will never be returned the way he would like. I sought to compose Unrequited so that it moves\, like the five stages of grief\, through a variety emotions – from romantic\, pure love\, through paranoid\, obsessive\, neurotic possessiveness\, arriving finally at despondent acceptance. \nThis piece was commissioned by Madelyn\, Jerald\, and Lee Jackrel and is dedicated to and premiered by the Lyris Quartet. \n—Note by Billy Childs \n  \nLUDWIG VAN BEETHOVEN\nBorn in Bonn\, Germany\, baptized December 17\, 1770; died in Vienna\, Austria\, March 26\, 1827\nString Quartet in E-flat major\, Op. 127 \nLudwig van Beethoven (1770-1827) was a decade into what critics call his late period when he composed his String Quartet No. 12 in E-flat Major\, Op. 127 (1825). It had been 15 years since he wrote his Quartet No. 11\, a work he deemed so radical that he didn’t want it performed. Money from a commission convinced him to revisit the genre\, setting off a late-life sequence of quartets even more iconoclastic. This quartet is perhaps the most lyrical of the set and\, coming off the composition of his great celebration of joy in the 9th Symphony\, the most exuberant. \nThe beginning maestoso chorale appears simple\, but it is incredibly ambitious\, offering the listener the most basic form of four-part writing that every student learns\, as if to say\, this quartet will contain everything. It is also an affirmation\, as is what follows. Beethoven\, though often considered the Classical to Romantic bridge\, wanted to reclaim his classically inclined aesthetic in this period. An oversimplified tenet for the Romantics is that content dictates form. For Beethoven\, form was a primary driver in the creation of his best writing. Commentary often focuses on the radicalism of the late quartets\, and of course they are radical\, but the paradox is that their originality emerges from Beethoven’s impulse toward conservatism\, a retreat from certain contemporary trends to expand and loosen formal constraints. In this quartet\, the retreat is toward Bach\, Handel\, and the baroque\, with an emphasis on contrapuntal writing and heightened clarity of form. \nThe quartet promptly gets on with the business of restless counterpoint. In the context of the maestoso\, each new theme sounds as if it has been gathered from a disassembled chorale and scattered across the Haydn-esque sonata allegro form. Typical of Beethoven’s late quartets\, shifts are abrupt and transitions are unceremonious\, creating moments of comprehensive disintegration and unease in preparation for resolution. \nThe second movement is a theme and variations\, a form Beethoven was somewhat obsessed with in his late period. The six variations\, unlike some of Beethoven’s related works from this period\, do not reach for higher and higher levels of virtuosity\, but simply and steadily unearth the inherent depth of one of the most beautiful melodies the composer ever wrote. \nThe buzzing scherzo contains the most intricate contrapuntal writing of the piece. It is a masterclass in anticipation and deception – just when a phrase feels that it is settling in\, it will stop abruptly\, or a unison shout will compel it to a new section. \nThe final movement does not reconvene themes from the previous movements as is often the case\, but introduces two fresh themes\, a flowing melody whose shape is reminiscent of the first theme of the piece\, and a joyous march that propels with its decisive articulation and wide open harmonic accompaniment. The great pleasure of this movement is its ending\, a contrasting coda in a shifted key and meter announced suddenly by a violin trill\, the same technique that brought the quartet out of the maestoso at the start. It is Beethoven’s classicism shining through: clarity and unity\, from beginning to end. \n—Note by Connor Buckley[/vc_column_text][/vc_tta_section][vc_tta_section title=”ABOUT THE ARTISTS” tab_id=”1693319199265-12d1aca6-b957d3d4-3651d927-88d77692-edbe13da-250f”][vc_column_text font_family=”Copernicus”] \nWinners of a 2023 Avery Fisher Career Grant\, and the 14th Banff International String Quartet Competition in 2022\, the New York City-based Isidore String Quartet was formed in 2019 with a vision to revisit\, rediscover\, and reinvigorate the repertory.  The quartet is heavily influenced by the Juilliard String Quartet and the idea of ‘approaching the established as if it were brand new\, and the new as if it were firmly established.’  \nThe members of the quartet are violinists ADRIAN STEELE and PHOENIX AVALON\, violist DEVIN MOORE\, and cellist JOSHUA MCCLENDON. The four began as an ensemble at the Juilliard School\, and following a break during the global pandemic reconvened at the Kneisel Hall Chamber Music Festival in the summer of 2021 under the tutelage of Joel Krosnick.  In addition to Mr. Krosnick\, the ISQ has coached with Joseph Lin\, Astrid Schween\, Laurie Smukler\, Joseph Kalichstein\, Roger Tapping\, Misha Amory\, Timothy Eddy\, Donald Weilerstein\, Atar Arad\, Robert McDonald\, Christoph Richter\, Miriam Fried\, and Paul Biss.  \n Their Banff triumph brings extensive tours of North America and Europe\, a two-year appointment as the Peak Fellowship Ensemble-in-Residence at Southern Methodist University in Dallas beginning in 2023-24\, plus a two-week residency at Banff Centre including a professionally produced recording\, along with extensive ongoing coaching\, career guidance\, and mentorship.  \nThe Isidore Quartet has appeared on major series in Chicago\, Pittsburgh\, Seattle\, Durham\, Washington (JFK Center)\, San Antonio\, Toronto\, Montreal\, and Ottawa\, and has collaborated with a number of eminent performers including James Ehnes\, Jeremy Denk\, Shai Wosner\, and Jon Nakamatsu.  Their 23/24 season will feature appearances in Berkeley (Cal Performances)\, Boston (Celebrity Series)\, Washington DC (Phillips Collection)\, New York (92nd St. Y)\, Chicago\, Baltimore\, Ann Arbor\, Denver\, Houston\, Indianapolis\, Tucson\, Phoenix\, Santa Fe\, La Jolla\, Aspen\, Vancouver\, Calgary\, Edmonton\, and at Dartmouth College\, and Spivey Hall in Georgia\, among many others.  European highlights include Edinburgh\, Lucerne\, Brussels\, Amsterdam\, Hanover\, Frankfurt\, and Hamburg’s Elb Philharmonie. \nOutside the concert hall the quartet has worked with PROJECT: MUSIC HEALS US providing encouragement\, education\, and healing to marginalized communities – including elderly\, disabled\, rehabilitating incarcerated and homeless populations – who otherwise have limited access to high-quality live music performance.  They have also been resident ensemble for the Contemporary Alexander School/Alexander Alliance International.  In conjunction with those well-versed in the world of Alexander Technique\, as well as other performers\, the ISQ explores the vast landscape of body awareness\, mental preparation\, and performance practice.  \nThe name Isidore recognizes the ensemble’s musical connection to the Juilliard Quartet:  one of that group’s early members was legendary violinist Isidore Cohen.  Additionally\, it acknowledges a shared affection for a certain libation – legend has it a Greek monk named Isidore concocted the first genuine vodka recipe for the Grand Duchy of Moscow![/vc_column_text][/vc_tta_section][/vc_tta_accordion][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1722439499865{margin-bottom: 60px !important;}” el_id=”Tickets”][vc_column]SELECT YOUR SEATS[vc_column_text font_family=”Copernicus”]Please click on the seats you would like to purchase (maximum 8 tickets per order). Prices listed below map.\nCall the Box Office at 859-236-4692 to request accessible seating.[/vc_column_text][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1689962444644{margin-bottom: 80px !important;}”][vc_column][vc_video link=”https://www.youtube.com/watch?v=uR7uXZxzOBQ”][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” el_id=”accessibility” css=”.vc_custom_1689962483149{margin-top: 20px !important;}”][vc_column]ACCESSIBILITYPlease note that the Norton Center is a historic venue with limited accessible seating. Special reserved wheelchair and companion seating is available for all shows. Interpretive services and large print programs are available upon request at least 20 days in advance of the performance. Please call the Box Office at 859-236-4692 to request assistance with your accommodations. \nREFUNDS AND EXCHANGESTicket sales are non-refundable. Tickets purchased through a subscription package may be exchanged for another show in the same season. Tickets are transferable to friends or family. Donations for the value of tickets are appreciated. \nBEWARE OF SECONDARY SELLERSTickets to Norton Center performances are sold exclusively through the Box Office in person\, by phone at 859-236-4692 or online at www.nortoncenter.com. If you purchase tickets from any other source\, including Ticketmaster\, StubHub or an individual we cannot guarantee your seat. The prices of tickets obtained from unauthorized sources are often greatly inflated. The Norton Center is not responsible for tickets purchased from other sources. Tickets purchased from secondary sellers are not eligible for replacement if tickets are lost or stolen\, or if the event is canceled or rescheduled. \nFor more information\, please call the Box Office at 859-236-4692 or visit our Frequently Asked Questions page. \n[/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h3″][vc_column][/vc_column][/vc_row]
URL:https://nortoncenter.com/event/isidore-string-quartet/
CATEGORIES:Events,Spotlight Series
ATTACH;FMTTYPE=image/jpeg:https://nortoncenter.com/wp-content/uploads/2024/05/ISQ_1179._Jiyang-Chen.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250215T193000
DTEND;TZID=America/New_York:20250215T213000
DTSTAMP:20260522T224800
CREATED:20240528T201510Z
LAST-MODIFIED:20250214T210714Z
UID:10000100-1739647800-1739655000@nortoncenter.com
SUMMARY:Rosanne Cash
DESCRIPTION:[vc_row equal_height=”yes” remove_bottom_col_margin=”true”][vc_column width=”3/4″][/vc_column][vc_column width=”1/4″ offset=”vc_hidden-sm”]BUY TICKETS BUY SUBSCRIPTION ABOUT POLICIES [/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1677860692350{margin-bottom: 35px !important;}”][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1716562009469{margin-bottom: 60px !important;}” el_id=”about”][vc_column]ROSANNE CASH[vc_column_text font_family=”Copernicus”]\n\n\nCelebrating 30 years of stories and songs\, Rosanne Cash’s “Reinventing the Wheel” tour marks the re-release of her groundbreaking album The Wheel. \nCash\, daughter of the legendary Johnny Cash and a respected icon in contemporary American roots music\, has earned 4 Grammys and 14 nominations. Additionally\, she’s an acclaimed author\, with her 2010 memoir Composed receiving widespread praise and landing on The New York Times bestseller list. \nA catalyst in the music community\, the singer-songwriter frequently gathers American roots music luminaries for various events and contributes significantly to documenting modern music history. Notably\, in 2021\, Cash made history as the first female composer to receive the MacDowell Medal\, an honor bestowed since 1960 on artists who have made exceptional contributions to American culture.  \n\n\n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]PROGRAM[vc_tta_accordion section_title_tag=”h2″ style=”flat” gap=”3″ active_section=”0″ collapsible_all=”true”][vc_tta_section title=”ABOUT THE ARTIST” tab_id=”1693319199255-e86b10cd-a331d3d4-3651d927-88d77692-edbed422-a206″][vc_column_text font_family=”Copernicus”]One of the country’s pre-eminent singer-songwriters\, ROSANNE CASH has released 15 albums of extraordinary songs that have earned four Grammy Awards and 12 additional nominations. Cash is also an author whose four books include the best-selling memoir Composed\, which the Chicago Tribune called “one of the best accounts of an American life you’ll likely ever read.” Her essays have appeared in The New York Times\, Rolling Stone\, Oxford American\, The Nation\, and many more print and online publications. Her most recent book\, Bird on a Blade (2018)\, was published by the University Of Texas Press\, combining images by acclaimed artist Dan Rizzie with Cash’s lyrics. In addition to regular touring\, Cash has partnered in programming collaborations with Carnegie Hall\, Lincoln Center\, SFJAZZ\, the Minnesota Orchestra\, and the  Library of Congress. She served as artist-in-residence at New York University and in 2018 and 2023 she was a resident artistic director at SFJAZZ.  Along with many other honors and awards\, Cash received the 2021 Edward MacDowell Medal\, awarded since 1960 to an artist who has made an outstanding contribution to American culture. She is the first woman composer to receive this prestigious honor. Last month she was elected as an Honorary American member of the American Academy of Arts and Letters.  \n“I consider artists to be in the service industry; the premier service industry for the heart and soul. I am curious to a pathological degree and the Sword of Time hangs over me\, and those two things— curiosity and the hourglass— make me feel more urgent than ever to connect\, to find community\, and to create. It doesn’t matter what the world thinks\, it only matters that what is unsaid and what is unseen is given form and has a voice.” \nLate last year\, Rosanne and her husband\, guitarist John Leventhal (6 Grammys)\, also her songwriting\, producing and performing partner\, launched a new record label\, RumbleStrip Records to reexamine and rerelease Rosanne’s early period recordings originally on Columbia/Sony Music. A 30th Anniversary remastered edition of the Cash/Leventhal produced album The Wheel was the inaugural release followed by John Leventhal’s very first solo album entitled Rumble Strip in late January.[/vc_column_text][/vc_tta_section][vc_tta_section title=”LINKS” tab_id=”1693319199265-12d1aca6-b957d3d4-3651d927-88d77692-edbed422-a206″]FacebookInstagramSpotify[/vc_tta_section][/vc_tta_accordion][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1722439452038{margin-bottom: 60px !important;}” el_id=”Tickets”][vc_column]SELECT YOUR SEATS[vc_column_text font_family=”Copernicus”]Please click on the seats you would like to purchase (maximum 8 tickets per order). Prices listed below map.\nCall the Box Office at 859-236-4692 to request accessible seating.[/vc_column_text][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1689962444644{margin-bottom: 80px !important;}”][vc_column][vc_video link=”https://www.youtube.com/watch?v=9Son79iamHw”][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” el_id=”accessibility” css=”.vc_custom_1689962483149{margin-top: 20px !important;}”][vc_column]ACCESSIBILITYPlease note that the Norton Center is a historic venue with limited accessible seating. Special reserved wheelchair and companion seating is available for all shows. Interpretive services and large print programs are available upon request at least 20 days in advance of the performance. Please call the Box Office at 859-236-4692 to request assistance with your accommodations. \nREFUNDS AND EXCHANGESTicket sales are non-refundable. Tickets purchased through a subscription package may be exchanged for another show in the same season. Tickets are transferable to friends or family. Donations for the value of tickets are appreciated. \nBEWARE OF SECONDARY SELLERSTickets to Norton Center performances are sold exclusively through the Box Office in person\, by phone at 859-236-4692 or online at www.nortoncenter.com. If you purchase tickets from any other source\, including Ticketmaster\, StubHub or an individual we cannot guarantee your seat. The prices of tickets obtained from unauthorized sources are often greatly inflated. The Norton Center is not responsible for tickets purchased from other sources. Tickets purchased from secondary sellers are not eligible for replacement if tickets are lost or stolen\, or if the event is canceled or rescheduled. \nFor more information\, please call the Box Office at 859-236-4692 or visit our Frequently Asked Questions page. \n[/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h3″][vc_column][/vc_column][/vc_row]
URL:https://nortoncenter.com/event/rosanne-cash/
CATEGORIES:Blockbusters
ATTACH;FMTTYPE=image/jpeg:https://nortoncenter.com/wp-content/uploads/2024/05/Poets3O8A0810.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250220T193000
DTEND;TZID=America/New_York:20250220T213000
DTSTAMP:20260522T224800
CREATED:20240530T140154Z
LAST-MODIFIED:20250218T160626Z
UID:10000101-1740079800-1740087000@nortoncenter.com
SUMMARY:YAMATO: The Drummers of Japan
DESCRIPTION:[vc_row equal_height=”yes” remove_bottom_col_margin=”true”][vc_column width=”3/4″][/vc_column][vc_column width=”1/4″ offset=”vc_hidden-sm”]BUY TICKETS BUY SUBSCRIPTION ABOUT POLICIES [/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1677860692350{margin-bottom: 35px !important;}”][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1716562009469{margin-bottom: 60px !important;}” el_id=”about”][vc_column]YAMATO: THE DRUMMERS OF JAPAN[vc_column_text font_family=”Copernicus”]人の力 Hito no Chikara – The Power of Human Strength \nStep into the world of YAMATO\, the Japanese Taiko drumming sensation that has captivated audiences worldwide since 1993. YAMATO takes audiences on a whirlwind tour of rhythm and culture with more than 40 Taiko drums standing tall on stage\, each with its own character\, size and sound. The mighty “Odaiko\,” carved from a 400-year-old tree\, weighs 500 kg and sets the stage for an awe-inspiring experience. But it’s not just about power; YAMATO also creates delicate music\, crafting a palette of meticulously curated sound and earning them the title of “physical music.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]PROGRAM[vc_tta_accordion section_title_tag=”h2″ style=”flat” gap=”3″ active_section=”0″ collapsible_all=”true”][vc_tta_section title=”ABOUT THE ARTIST” tab_id=”1739894225172-23fb5c29-a392″][vc_column_text font_family=”Copernicus”]YAMATO is a Japanese Taiko drumming group based in Asuka-mura\, Nara Prefecture — widely recognized in Japan as the nation’s hometown. They proudly refer to themselves as “YAMATO\, the Taiko drumming group that travels all over the world.” Since their formation in 1993\, they have performed over 4\,500 shows across 54 countries\, sharing the powerful sound of Taiko with audiences worldwide. \nSpending half a year touring in Japan and the other half touring the world\, YAMATO’s motto is “We go everywhere when somebody needs YAMATO to bring energy to the people living in the world!” The group hosts workshops and Taiko lessons along with performing for events\, schools\, and theaters around the world.  \nOn stage\, more than 40 Taiko drums stand tall\, each with its own unique character. The largest drum\, called “Odaiko\,” was produced from a tree over 400 years old\, and weighs over 1000 pounds. Each drum is a different size and produces its own individual sound. The members of YAMATO have trained their bodies to the limit to beat these massive drums.  \nTheir drums don’t only explode with sound; YAMATO produces delicate music that can be intense\, sad\, comforting\, and even comical on stage. The audience becomes more than bystanders during a show\, for when people gather around the sound of the Taiko\, their lives interweave and they “feel the power of each other’s inner passion and heart.” \n“Taiko drumming\, to the unexplored field.”   \n [/vc_column_text][/vc_tta_section][vc_tta_section title=”WHAT IS TAIKO?” tab_id=”1739893947346-3f887654-0448″][vc_column_text font_family=”Copernicus”]\nTaiko is a musical instrument deeply familiar to every Japanese person. Since ancient times\, its rich reverberations have inspired and encouraged people in a wide range of settings. Today\, the unmistakable sound of Taiko can still be heard throughout Japan. For many\, its deep\, resonant beat is comforting—an enduring symbol of Japan itself—echoing through Shinto rituals and festivals across the nation. \nTaiko’s powerful sound has also found a place in modern musical compositions and performing arts. Thanks to the dedication of skilled individual performers and troupes\, who are captivated by the drum’s distinctive boom\, Taiko is gaining new fans around the world. This iconic instrument is a profound representation of Japanese cultural identity. \nWe\, the members of Yamato\, believe in the unique value of Taiko. We are committed to preserving its traditions while exploring new possibilities for this majestic instrument. Our mission is to create even more opportunities for the sound of Taiko to resonate across the globe. \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”LINKS” tab_id=”1693319199265-12d1aca6-b957d3d4-3651d927-88d77692-edbe582c-ecea”]FacebookInstagramYoutube[/vc_tta_section][/vc_tta_accordion][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1722439407428{margin-bottom: 60px !important;}” el_id=”Tickets”][vc_column]SELECT YOUR SEATS[vc_column_text font_family=”Copernicus”]Please click on the seats you would like to purchase (maximum 8 tickets per order). Prices listed below map.\nCall the Box Office at 859-236-4692 to request accessible seating.[/vc_column_text][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1689962444644{margin-bottom: 80px !important;}”][vc_column][vc_video link=”https://youtu.be/jC7y34g0v6w”][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” el_id=”accessibility” css=”.vc_custom_1689962483149{margin-top: 20px !important;}”][vc_column]ACCESSIBILITYPlease note that the Norton Center is a historic venue with limited accessible seating. Special reserved wheelchair and companion seating is available for all shows. Interpretive services and large print programs are available upon request at least 20 days in advance of the performance. Please call the Box Office at 859-236-4692 to request assistance with your accommodations. \nREFUNDS AND EXCHANGESTicket sales are non-refundable. Tickets purchased through a subscription package may be exchanged for another show in the same season. Tickets are transferable to friends or family. Donations for the value of tickets are appreciated. \nBEWARE OF SECONDARY SELLERSTickets to Norton Center performances are sold exclusively through the Box Office in person\, by phone at 859-236-4692 or online at www.nortoncenter.com. If you purchase tickets from any other source\, including Ticketmaster\, StubHub or an individual we cannot guarantee your seat. The prices of tickets obtained from unauthorized sources are often greatly inflated. The Norton Center is not responsible for tickets purchased from other sources. Tickets purchased from secondary sellers are not eligible for replacement if tickets are lost or stolen\, or if the event is canceled or rescheduled. \nFor more information\, please call the Box Office at 859-236-4692 or visit our Frequently Asked Questions page. \n[/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h3″][vc_column][/vc_column][/vc_row]
URL:https://nortoncenter.com/event/yamato/
CATEGORIES:Blockbusters,Events
ATTACH;FMTTYPE=image/jpeg:https://nortoncenter.com/wp-content/uploads/2024/05/yamato-habataki1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250228T193000
DTEND;TZID=America/New_York:20250228T213000
DTSTAMP:20260522T224800
CREATED:20240530T195321Z
LAST-MODIFIED:20250225T161655Z
UID:10000103-1740771000-1740778200@nortoncenter.com
SUMMARY:Alison Brown Quintet
DESCRIPTION:[vc_row equal_height=”yes” remove_bottom_col_margin=”true”][vc_column width=”3/4″][/vc_column][vc_column width=”1/4″ offset=”vc_hidden-sm”]BUY TICKETS BUY A SUBSCRIPTION ABOUT POLICIES [/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1677860692350{margin-bottom: 35px !important;}”][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1716562009469{margin-bottom: 60px !important;}” el_id=”about”][vc_column]ALISON BROWN QUINTET[vc_column_text font_family=”Copernicus”]Grammy-winning musician\, Grammy-nominated producer and visionary banjo virtuoso Alison Brown is one of the most multi-faceted minds in roots music. \nAlthough Alison began her musical career as a teenager in the Southern California Bluegrass scene\, she has earned her reputation as one of today’s most forward-thinking and innovative banjo players. Taking her instrument far beyond its Appalachian roots\, Alison blends Bluegrass and jazz influences into a sonic tapestry that has earned her widespread praise and recognition. Her masterful skill and creativity have earned her acclaim from national tastemakers including The Wall Street Journal\, CBS Sunday Morning\, NPR and USA Today. \nRecognized with honors including the UCA Fellowship in Music and the Distinguished Achievement Award from the International Bluegrass Music Association\, Brown was inducted into the American Banjo Museum Hall of Fame in 2019. She is also the founder of Compass Records and co-chair of the coveted Steve Martin Banjo Prize.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column]PROGRAM[vc_tta_accordion section_title_tag=”h2″ style=”flat” gap=”3″ active_section=”0″ collapsible_all=”true”][vc_tta_section title=”ABOUT THE ARTIST” tab_id=”1739906046569-4ef4fd5d-5ecf”][vc_column_text font_family=”Copernicus”]\nALISON BROWN took an unusual path to becoming an internationally recognized banjoist.  After completing her undergraduate studies at Harvard University and receiving an MBA from UCLA\, she pursued a career in investment banking. But she missed the bluegrass music she’d grown up playing in Southern California so much that when Alison Krauss called looking for a banjo player\, she made the decision to give up her Wall Street career to pursue music.  She toured with Alison Krauss and Union Station\, and Michelle Shocked before forming her own group\, The Alison Brown Quartet\, in 1993. \nSince that time\, Alison and her band have been winning over traditionalists and mainstream music fans alike with her unique style.  They have toured extensively throughout the US and abroad with stops at some of music’s most prestigious venues including The Kennedy Center\, Newport Folk Festival\, Telluride Bluegrass Festival\, MerleFest\, New Orleans Jazz and Heritage Festival\, Philadelphia Folk Festival\, FreshGrass\, The Cambridge Folk Festival (England)\, Celtic Connections (Scotland)\, Dublin National Concert Hall (Ireland)\, Galway Arts Festival (Ireland) and Verbier Music Festival (Switzerland).  The band has also traveled to Central and South America at the invitation of the US Information Agency and to Japan as Friendship Ambassadors on behalf of the Nashville Mayor’s office to celebrate a new sister city relationship between Kamakura\, Japan and Music City. \nAlison has recorded 12 critically-acclaimed solo albums\, received a GRAMMY and multiple GRAMMY- nominations. She has also received the USA Artists Fellowship in Music and a Distinguished Achievement Award from the International Bluegrass Music Association. Alison has been featured on CBS Sunday Morning\, NPR’s All Things Considered and in the pages of the Wall Street Journal and the New York Times among many other publications. \nAlison is also the co-founder of the internationally recognized roots music label Compass Records Group which Billboard Magazine has called “one of the greatest independent labels of the last decade.” Compass Records Group oversees a catalog of nearly 1\,000 releases across multiple label imprints\, including Red House Records\, Green Linnet and Mulligan Records. Alison currently serves on the Board of the Nashville Chapter of the Recording Academy\, on the adjunct faculty of Vanderbilt’s Blair School of Music and as co-chair of the Steve Martin Banjo Prize. \n[/vc_column_text][/vc_tta_section][vc_tta_section title=”LINKS” tab_id=”1693319199265-12d1aca6-b957d3d4-3651d927-88d77692-edbe66e6-b11e”]FacebookInstagramTwitter[/vc_tta_section][/vc_tta_accordion][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1722439364768{margin-bottom: 60px !important;}” el_id=”Tickets”][vc_column]SELECT YOUR SEATS[vc_column_text font_family=”Copernicus”]Please click on the seats you would like to purchase (maximum 8 tickets per order). Prices listed below map.\nCall the Box Office at 859-236-4692 to request accessible seating.[/vc_column_text][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″][vc_column][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h1″ css=”.vc_custom_1689962444644{margin-bottom: 80px !important;}”][vc_column][vc_video link=”https://www.youtube.com/watch?v=GfA38E0ufjk”][/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” el_id=”accessibility” css=”.vc_custom_1689962483149{margin-top: 20px !important;}”][vc_column]ACCESSIBILITYPlease note that the Norton Center is a historic venue with limited accessible seating. Special reserved wheelchair and companion seating is available for all shows. Interpretive services and large print programs are available upon request at least 20 days in advance of the performance. Please call the Box Office at 859-236-4692 to request assistance with your accommodations. \nREFUNDS AND EXCHANGESTicket sales are non-refundable. Tickets purchased through a subscription package may be exchanged for another show in the same season. Tickets are transferable to friends or family. Donations for the value of tickets are appreciated. \nBEWARE OF SECONDARY SELLERSTickets to Norton Center performances are sold exclusively through the Box Office in person\, by phone at 859-236-4692 or online at www.nortoncenter.com. If you purchase tickets from any other source\, including Ticketmaster\, StubHub or an individual we cannot guarantee your seat. The prices of tickets obtained from unauthorized sources are often greatly inflated. The Norton Center is not responsible for tickets purchased from other sources. Tickets purchased from secondary sellers are not eligible for replacement if tickets are lost or stolen\, or if the event is canceled or rescheduled. \nFor more information\, please call the Box Office at 859-236-4692 or visit our Frequently Asked Questions page. \n[/vc_column][/vc_row][vc_row remove_bottom_col_margin=”true” local_scroll_id=”h3″][vc_column][/vc_column][/vc_row]
URL:https://nortoncenter.com/event/alison-brown/
CATEGORIES:Events
ATTACH;FMTTYPE=image/jpeg:https://nortoncenter.com/wp-content/uploads/2024/05/BROWN_PromoPhotoC.jpg
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