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Chautauqua Symphony Orchestra: “An Enigmatic Evening”

Tuesday, July 31, 2018
08:15pm

Location Amphitheater

Gate Pass or event ticket required.

Purchase Tickets

Into the Music Series No. 2

Rossen Milanov, conductor
Percussion, soloists

 

Repertoire

David Lang: man made   [22’]

Edward Elgar: Variations on an Original Theme, op. 36, “Enigma”   [29’]


Rossen Milanov, conductor

Respected and admired by audiences and musicians alike, Rossen Milanov is in his third season as Music Director of the Chautauqua Symphony Orchestra following two seasons of enthusiastic acclaim. He is also the Music Director of the Columbus Symphony Orchestra, the Princeton Symphony, and the Orquesta Sinfónica del Principado de Asturias (OSPA) in Spain.

Mr. Milanov has previously appeared with the St. Paul Chamber Orchestra, Royal Scottish National Orchestra, and the BBC, Baltimore, Mexico, Indianapolis, New Jersey, North Carolina, Seattle, Oregon, and Milwaukee Symphony Orchestras. His recent season highlights include Tchaikovsky’s critically acclaimed Alexei Ratmansky revival of Swan Lake in Paris with La Scala Ballet and in Zurich with the Zurich Opera, appearances with the Toronto, Colorado, Detroit, Milwaukee, Vancouver, Fort Worth, Aalborg, and National Symphony Orchestras, and his Link Up education projects at Carnegie Hall with the Orchestra of St. Luke’s.

Mr. Milanov has had the privilege to collaborate with some of the world’s finest artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, and André Watts. During his eleven-year tenure with The Philadelphia Orchestra, Milanov served as Associate Conductor and Artistic Director of the Orchestra’s summer home at The Mann Center for the Performing Arts.  

Mr. Milanov studied at the Curtis Institute of Music, The Juilliard School, and the Bulgarian National Academy of Music. In addition to his musical achievements, Mr. Milanov is a passionate chef and frequently dedicates his culinary talents to various charities.


Sō is: Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting

With innovative multi-genre original productions, sensational interpretations of modern classics, and an “exhilarating blend of precision and anarchy, rigor and bedlam,” (The New Yorker), Sō Percussion has redefined the scope and vital role of the modern percussion ensemble.

Sō’s repertoire ranges from “classics” of the 20th century, by John Cage, Steve Reich, and Iannis Xenakis, et al, to commissioning and advocating works by contemporary composers such as Caroline Shaw, David Lang, Steve Mackey, and Paul Lansky, to distinctively modern collaborations with artists who work outside the classical concert hall, including vocalist Shara Nova, electronic duo Matmos, the groundbreaking Dan Deacon, legendary drummer Bobby Previte, jam band kings Medeski, Martin, and Wood, Wilco’s Glenn Kotche, choreographer Shen Wei, and composer and leader of The National, Bryce Dessner, among many others.

Sō Percussion also composes and performs their own works, ranging from standard concert pieces to immersive multi-genre programs – including Imaginary City, Where (we) Live, and A Gun Show, which was presented in a multi-performance presentation as part of BAM’s 2016 Next Wave Festival. In these concert-length programs, Sō Percussion employs a distinctively 21st century synthesis of original music, artistic collaboration, theatrical production values and visual art, into a powerful exploration of their own unique and personal creative experiences.

In the current season, Sō performs the New York premiere of David Lang’s man made with Louis Langrée and the Mostly Mozart Festival Orchestra; tours a new work by Caroline Shaw with Dawn Upshaw and Gil Kalish to the Kennedy Center, San Francisco Performances, UCLA, Penn State, and elsewhere; returns to Carnegie Hall with the JACK Quartet in a program of new works by Donnacha Dennehy and Dan Trueman; tours the United Kingdom with its original production exploring the community and culture of English coal mining country, From Out a Darker Sea; and more.

Recent highlights include an acclaimed Trilogy portrait at the Lincoln Center Festival; appearances at Bonnaroo, the Eaux Claires Festival, MassMoCA, and TED 2016; international tours to Poland and Ireland; performances of man made with Gustavo Dudamel and the LA Phil; Bryce Dessner’s Music for Wood and Strings at the Barbican in London; and an original score for a live performance and broadcast of WNYC’s Radiolab with Jad Abumrad and Robert Krulwich at BAM.

Rooted in the belief that music is an essential facet of human life, a social bond, and an effective tool in creating agency and citizenship, Sō Percussion enthusiastically pursues a growing range of social and community outreach. Examples include their Brooklyn Bound presentations of younger composers; commitments to purchasing offsets to compensate for carbon-heavy activities such as touring travel; and leading their SōSI students in an annual food-packing drive, yielding up to 25,000 meals, for the Crisis Center of Mercer County through the organization EndHungerNE.

Sō Percussion is the Edward T. Cone Ensemble-in-Residence at Princeton University, where they offer educational work and present an annual series of concerts. They are also Co-Directors of the percussion department at the Bard College-Conservatory of Music, and run the annual Sō Percussion Summer Institute (SōSI, now in its ninth year), providing college-age composers and percussionists an immersive exposure to collaboration and project development.

Why “Sō?”

One of the first things any group needs is a name.  When our group was founded in 1999, we cast far and wide among our friends and family for suggestions.  The winner was this simple, short word offered by Jenise Treuting, Jason’s sister.  Jenise has been living and working in Japan as an English-Japanese translator for 20 years.  The word “Sō” was punchy, enigmatic, and memorable.

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