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A concert for New York

A Concert For New York

Music of Martinů, Rival, Estacio, Gilliland & Bernstein

William Eddins
, conductor
Angela Cheng, piano
Juliette Kang, violin
Denise Djokic, cello
Jens Lindemann, trumpet

ESOLIVE 2012-05-1

Double CD-set.

$30 (incl GST) in person at Winspear Box Office.
$35 (incl GST and shipping) by phone at 780-428-1414. Shipping available within Canada only.

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The Music

  • RIVAL: Lullaby (2012 ESO commission)
  • ESTACIO: Triple Concerto (1997 ESO commission)
  • GILLILAND: Dreaming of the Masters III (2010 ESO commission)
  • MARTINŮ: Symphony No. 1
  • BERNSTEIN: Mambo from Symphonic Dances (West Side Story)

Track Listing

Disc One

ROBERT RIVAL
1) Lullaby   7:21

JOHN ESTACIO
2) Triple Concerto   28:46

ALLAN GILLILAND
Dreaming of the Masters III
3) I. 101 Damnations   5:50
4) II. Prayer   5:50
5) III. Lower Neighbour   3:38

Disc Two

BOHUSLAV MARTINŮ
Symphony No. 1
1) I. Moderato   10:23
2) II. Allegro   7:39
3) III. Largo   8:59
4) IV. Allegro non troppo   10:00

LEONARD BERNSTEIN
5) West Side Story – Symphonic Dances: Mambo   2:44


About the CD

This recording is the same program the ESO performed at its Carnegie Hall debut in May 2012. We have nurtured a strong Composer in Residence program with artists whose music has become a mainstay of our programming. Our composers have become part of the greater Edmonton community and much of their music has been performed throughout Canada and the U.S. We take great pride in our ongoing commitment to their music, and our audience has come to know them and look forward to hearing their works. In this program, the range of their music - including a lullaby for a new-born child, a triple concerto that consecrated a new concert hall, and a reflection of past jazz masters – speaks to the entire range of life experiences.

Likewise, the inclusion of Martinů's Symphony No. 1 speaks directly to our artistic philosophy. We actively look for near-forgotten masterpieces that were seminal moments in the artistic development of composers such as Martinů. We believe that if we trust our audience to be receptive to music which is new to them, they will develop an even greater understanding of the music that is familiar.

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