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DTSTART;TZID=America/New_York:20251109T160000
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SUMMARY:Spectrum Solo Piano Exile Series\, at Pearl Street Bar
DESCRIPTION:Fifth International Stretto Piano Festival Collaboration with Spectrum \n  \n“[Spectrum] has become a go-to place for contemporary fare.”\n— Anthony Tommasini\, The New York Times \n  \n“…a cozy\, ambitious performing-arts space.”\n— Steve Smith\, The New Yorker \nSingle program of 1 hour\, 20 minutes\, played straight through. \n  \nFirst Set: (~15-20 minutes): \nRamin Arjomand\, piano improvisations \n  \nSecond set (~70 minutes\, uninterrupted): \nTeodora Adzharova\, piano \nSelections from The Vanishing Pavilions by Michael Hersch \nInterspersed with Twelve Preludes by Galina Ustvolskaya \nTranscription of Music by Josquin des Prez by Michael Hersch \n  \nReception to follow. \n  \nClick here to read more about Spectrum\, a remarkable organization established to “foster innovation and virtuosity in the arts\,” and has since asserted itself as one of New York City’s enthusiastic venues for modernist\, experimental music (and other endeavors)\, presenting over 2\,400 events. \n  \nThis event is one of over 50 global events taking place in October – November\, 2025 for the Fifth International Stretto Piano Festival\, the only performance platform in the world that gives pianists a choice of piano key size\, supporting all hand sizes\, promoting equality for pianists everywhere.  Go to our festival website to see listings of all the events. \nSince its inception in 2021\, Stretto Piano Events\, Inc. 501(c)(3) has presented over 100 concerts with artists from five continents with its global affiliates. \n  \nAbout Teodora Adzharova \nLaureate of numerous national and international competitions\, Dr. Teodora \nAdzharova’s career has taken her to multiple performance venues in the United States\, \nBulgaria\, France\, Germany\, Macedonia\, Serbia\, and the Czech Republic. Described as \na “true musician” with “electrifying energy” and “limitless emotional and dynamic range” \n(NYCR)\, the Bulgarian pianist has established herself as one of the most sought-after \nmusicians in the Baltimore\, MD-Washington\, D.C. region\, frequently collaborating with \nmusicians from both the Peabody Institute of the Johns Hopkins University and the \nBaltimore Symphony Orchestra. Some of Dr. Adzharova’s recent performances include \nappearances at the Peabody Institute\, University of Maryland\, Baltimore County\, \nGoucher College\, York College\, Catholic University of America\, the DiMenna Center\, the \nBulgarian Embassy in D.C.\, the Washington Arts Club\, and Silo Hill. \nDr. Adzharova’s 2025–2026 season will feature the release of her debut solo album \ndedicated to the music of Dmitri Shostakovich. The CD will include the \ncomposer’s Preludes\, Op. 34 and Piano Sonata\, Op. 61. One of the few pianists who \nperforms both of Shostakovich’s piano sonatas in a single program\, Dr. Adzharova has \npresented lecture-recitals of the repertoire at Peabody (2025)\, UMBC (2022)\, the World \nPiano Conference (Serbia\, 2023)\, and the DiMenna Center (New York\, 2024). Her \ninterest in the legacy of Shostakovich has garnered the recognition of Alan Mercer\, \neditor-in-chief of the international DSCH Journal\, leading to collaborations and the \npublication of Dr. Adzharova’s writings. \nAs a passionate educator\, she teaches at the Peabody Preparatory division\, where she \nalso coordinates the Musicianship for Pianists program. Her previous faculty \nappointments include the Peabody Conservatory\, UMBC\, Community College of \nBaltimore County and the Leon Fleisher Academy. Dr. Adzharova is a board member of \nthe Greater Baltimore Music Teacher Association and is a sought-after adjudicator for \nnumerous regional and state competitions and recitals. In 2019\, Dr. Adzharova’s \ndedication to chamber music and community engagement led her to become the Co- \nfounder and Co-Artistic Director of the Annunciation Cathedral Concert Series. Each \nseason\, the series offers inventive and accessible classical music programming to the \nBaltimore community\, promoting high-caliber artists from the region and beyond. \nDr. Adzharova holds piano performance degrees from the Peabody Institute (DMA\, \n2020; Performance Diploma\, 2013; MM\, 2011)\, where she studied with Ellen Mack. \nAbout the program \nA set of 50 movements divided into two books\, The Vanishing Pavilions is a large-scale \nwork composed by Michael Hersch and inspired by the poetry of Christopher Middleton. \nWritten over a span of five years\, the work explores a vast range of emotions that can \nbe unsettling\, disturbing\, frightful and yet tender and pure in their unassuming \ndirectness. From sparse textural simplicity to multi-layered sophistication\, the work is \nheld together by a subtle narrative of harmonic implications and musical gestures. The \npremiere took place in 2006 in the hands of the composer himself. Performed in its \nentirety the cycle lasts approximately two and a half hours\, and it represents one third of \na the much larger work – sew me into a shroud of leaves. \nIn stark opposition to Tha Vanishing Pavilions stand Ustvolskaya’s Twelve preludes \ncomposed in 1953. As a composer working during the Stalinist era\, her music did not \nachieve popularity at the time\, and it has only recently reached wider recognition. A \nwoman of fierce\, brutal and uncompromising nature\, Ustvolskaya considered herself \n“unique” and her music as untouched by any musical influences. The preludes are \nrepresentative of the composer’s affinity for stark textures\, dramatic contrasts and \nobstinacy of musical ideas. \nAbout Ramin Amir Arjomand \nRamin Amir Arjomand is an Iranian-American composer\, pianist\, conductor\, and \nteacher based in Brooklyn. His music blurs distinctions between composition and \nimprovisation\, demanding in each the spontaneity as well as the level of formal \nintelligence often associated with one or the other individually and exclusively. His \nplaying draws as much on a 19th-century European approach to piano resonance as it \ndoes on the unfettered sensibility of American avant-garde jazz. Beneath the surface \nlies a musical ethos that quietly echoes the Iranian dastgah tradition. \nArjomand’s research has focused on the polyphonic technique of 15th-century Franco- \nFlemish composers. His pedagogical essay “On Contrapuntal Practice” is based largely \non his research into this music. His interest in vocal music and in speech as music has \nled to a wide variety of concert\, electroacoustic\, and music theater works that \nexperiment with the human voice in different ways. \nArjomand has worked extensively as a composer\, pianist\, lecturer\, and musical adviser \nfor modern dance. He has worked to develop collaborative models in which composer \nand choreographer can trust one another to work freely and independently toward a \ncommon goal. His approach to dance theater composition emphasizes contrapuntal \nrelationships between sound and movement. \nArjomand is the recipient of awards from New York Foundation for the Arts\, the Alice M. \nDitson Fund\, the FACE Foundation\, and the New York City Artist Corps. His music has \nbeen presented by ensembles and soloists in venues throughout the United States\, \nEurope\, the Middle East\, and Asia. A highly sought-after teacher\, he is currently on the \nfaculty at Columbia University and the Steinhardt School at New York University\, where \nhe is the recipient of the 2022-2023 Steinhardt Teaching Excellence Award. He \nmaintains a private teaching studio in Brooklyn. \nListen to an interview with Ramin Amir Arjomand on The Earfull\, where he discusses \nhis early life in Tehran\, the secrets of counterpoint\, and truth and trust in performance. \n 
URL:https://www.pianyc.net/event/spectrum-solo-piano-exile-series-at-pearl-street-bar/
LOCATION:Pearl Street Bar\, 147 Front St\, Brooklyn\, NY\, 11201\, United States
CATEGORIES:Live Musical Performance
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