During the break between Covid lockdowns, when most performances were primarily restricted to outdoors, a lot of my recital bookings were solo in order to get around the restrictions in place. I decided to use this time to explore works that were either new or (for some reason or other) relatively unknown.
It came on the heels of my last year in uni as I was finalizing my thesis related to new music when lockdown first began, but the inspiration came somewhat unknowingly from a project I had a brushing with years ago in Toronto. I got to know the ARC Ensemble, whose focus for two decades has been to uncover works that hadn’t been performed. More specifically, works silenced by war and suppressive regimes, particularly around WW II. As a student, one of my coaches who was in the ensemble got me to assist in studio with one of their recording sessions (the ensemble has received 2 Grammy nominations since). My job that first day was only to turn pages for the pianist, but getting the chance to look and hear this music that had been created under such dire circumstances stayed with me.
Fast forward and once the pandemic ended, I decided that with similar-minded artistic collaborators we could set a regular recital series in New York. My fellow Torontonian, pianist Jelena Cingara, was also looking for a collaborator, so we came up with the series Connecting Through Sound.
I like to call these social concerts. By combining a one-hour concert program with artist dialogues and a wine reception, it's an evening version of the classic 'happy hour.' And while 'the classics' are regularly programmed, the aim of the series is to introduce audiences to lesser known works and/or composers. On October 20th we hosted the second installment of the series, so please check back soon as the December event will be announced shortly.