Bio:
Hailed as “the future of chamber music” (Strings), the veteran string quartet Brooklyn Rider presents eclectic repertoire and gripping performances that continue to draw rave reviews from classical, world, and rock critics alike. NPR credits Brooklyn Rider with “recreating the 300-year-old form of string quartet as a vital and creative 21st-century ensemble.”
In fall 2018, Brooklyn Rider released Dreamers on Sony Music Masterworks with celebrated Mexican jazz vocalist Magos Herrera. The recording includes gems of the Ibero-American songbook as well as pieces written to texts by Octavio Paz, Rubén Darío, and Federico García Lorca — all reimagined by arrangers including Jaques Morelenbaum, Gonzalo Grau, Diego Schissi, Guillermo Klein, and Brooklyn Rider’s own Colin Jacobsen. They will tour to support the album beginning at New York City’s Jazz at Lincoln Center. Brooklyn Rider will also debut their Healing Modes project this season which presents Beethoven’s Opus 132 in its entirety alongside five compact new commissions which explore the subject of healing from a wide range of historical and cultural perspectives. Composers include Reena Esmail, Gabriela Lena Frank, Matana Roberts, and recent Pulitzer Prize winners Caroline Shaw and Du Yun.
To start the 2017-18 season, Brooklyn Rider released Spontaneous Symbols on Johnny Gandelsman’s In a Circle Records label. The album featured new quartet music by Tyondai Braxton, Evan Ziporyn, Paula Matthusen, Kyle Sanna, and Brooklyn Rider violinist Colin Jacobsen. Works from that recording were also featured in live performance for Some of a Thousand Words, the ensemble’s recent collaboration with choreographer Brian Brooks and former New York City Ballet prima ballerina Wendy Whelan. An intimate series of duets and solos in which the quartet’s live onstage music is a dynamic and central creative component, Some of a Thousand Words was featured at the 2016 Jacob’s Pillow Dance Festival, before two U.S. tours, including a week-long run at New York City’s Joyce Theater.
This season the quartet reunites with Whelan and Brooks for a second North American tour. They also teamed up with banjoist Béla Fleck — with whom they appeared on two different albums, 2017’s Juno Concerto and 2013’s The Impostor — for concerts in Texas, Oklahoma, Arkansas, Colorado, and Montana. Other recent highlights include partnering with two instrumentalists who are at the forefront of their respective genres, jazz saxophonist Joshua Redman and Irish fiddle master Martin Hayes. The tours with Redman and Hayes were the product of multi-season collaborations that will continue and include new recordings with both artists. Balancing these collaborations was a full schedule of quartet performances across the U.S., as well as in the U.K., Sweden, and Germany.
During the 2016-17 season, Brooklyn Rider released an album entitled so many things on Naïve Records with Swedish mezzo-soprano Anne Sofie von Otter, comprising music by Colin Jacobsen, Caroline Shaw, John Adams, Nico Muhly, Björk, Sting, Kate Bush and Elvis Costello, among others. The group toured material from the album and more with von Otter in the U.S. and Europe, including stops at Carnegie Hall and the Opernhaus Zürich. Additionally, Brooklyn Rider performed Philip Glass’s String Quartet #7, furthering a relationship with the iconic American composer which began with 2011’s much-praised Brooklyn Rider Plays Philip Glass and continued with the release of Glass’s most recent quartets on the composer’s Orange Mountain Music label in December 2017.
In 2015, the group celebrated its tenth anniversary with the groundbreaking multi-disciplinary project Brooklyn Rider Almanac, for which it recorded and toured 15 specially commissioned works, each inspired by a different artistic muse. Other recording projects include the quartet’s eclectic debut recording in 2008, Passport, followed by Dominant Curve in 2010, Seven Steps in 2012, and A Walking Fire in 2013. In 2016, they released The Fiction Issue with singer-songwriter Gabriel Kahane, with the title track a Kahane composition that was premiered in 2012 at Carnegie Hall by Kahane, Brooklyn Rider and Shara Worden. A long-standing relationship between Brooklyn Rider and Iranian kamancheh player Kayhan Kalhor resulted in the much-praised 2008 recording, Silent City.
Johnny Gandelsman, violin
Colin Jacobsen, violin
Nicholas Cords, viola
Michael Nicolas, cello
Contact Information
Management/Booking:
BOOKING
Opus 3 Artists
(212) 584-7570 [email protected]
Quotes, Notes & Etc.
“They are four classical musicians performing with the energy of young rock stars jamming on their guitars, a Beethoven-goes-indie foray into making classical music accessible but also celebrating why it was good in the first place.” – Pittsburgh Post-Gazette
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).