CURATION
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from this page:
by Augmented Matrix
Network Node
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Name:
Inon Barnatan
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City/Place:
New York City
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Country:
United States
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Hometown:
Tel Aviv, Israel
Life & Work
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Bio:
“One of the most admired pianists of his generation” (New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence, and consummate artistry. He inaugurates his tenure as Music Director of California’s La Jolla Music Society Summerfest in July 2019. The coming season brings the release of a two-volume set of Beethoven’s complete piano concertos, which he recorded for Pentatone with Alan Gilbert and London’s Academy of St. Martin in the Fields. Barnatan’s upcoming concerto collaborations include Mozart’s Piano Concerto No. 23 with Nicholas McGegan and the Los Angeles Philharmonic at the Hollywood Bowl, Gershwin’s Rhapsody in Blue and Ravel’s G-major Concerto with the Chicago Symphony, Rachmaninov’s Third Concerto with Gilbert and the Royal Stockholm Symphony, Clara Schumann’s Concerto with the New Jersey Symphony, and a recreation of Beethoven’s legendary 1808 concert, which featured the world premieres of his Fourth Piano Concerto, Choral Fantasy, and Fifth and Sixth Symphonies, with Louis Langrée and the Cincinnati Symphony. Barnatan also plays Mendelssohn, Gershwin, and Thomas Adès for his solo recital debut at Carnegie’s Zankel Hall, returns to Alice Tully Hall with Chamber Music Society of Lincoln Center, and reunites with his frequent recital partner, cellist Alisa Weilerstein, for tours on both sides of the Atlantic. The first takes them to London’s Wigmore Hall and other venues in England, the Netherlands and Italy for Brahms and Shostakovich, while the second sees them celebrate Beethoven’s 250th anniversary with performances of his complete cello sonatas in San Francisco and other U.S. cities.
Barnatan’s 2018-19 orchestral highlights included Beethoven’s Fourth Concerto with Gilbert and the NDR Elbphilharmonie Orchestra, a complete Beethoven concerto cycle with New Jersey’s Princeton Symphony, Rachmaninov with the Pittsburgh Symphony and Israel Philharmonic, Copland with the Oregon Symphony, and Mozart with the Houston Symphony and the Australian Chamber Orchestra at Lincoln Center. Solo recitals took him to Boston’s Celebrity Series, Seattle’s Benaroya Hall, and London’s Southbank Centre, where he made his International Piano Series debut with a program of Ravel and Mussorgsky. In addition to performances with the Dover Quartet and St. Lawrence Quartet at Carnegie Hall, his chamber highlights included national tours with the Calidore Quartet and with Alisa Weilerstein, violinist Sergey Khachatryan, and percussionist Colin Currie. This summer, in his first season as Artistic Director of the La Jolla Music Society SummerFest, Barnatan explores the theme of transformation through programs which explore evolution in music, and collaborates with Grammy-winning jazz vocalist Cécile McLorin Salvant, visionary director and visual artist Doug Fitch, the Mark Morris Dance Group, and other artistic luminaries in a series devoted to cross-disciplinary exploration.
A regular performer with many of the world’s foremost orchestras and conductors, Barnatan served from 2014-17 as the inaugural Artist-in-Association of the New York Philharmonic. In summer 2017, he made his BBC Proms debut with the BBC Symphony at London’s Royal Albert Hall and gave the Aspen world premiere of a new piano concerto by Alan Fletcher, which he went on to reprise with the Atlanta Symphony and in a season-opening concert with the Los Angeles Philharmonic at the Hollywood Bowl. Recent orchestral debuts include the Chicago, Baltimore, Fort Worth, Indianapolis, Nashville, San Diego, and Seattle Symphony Orchestras, as well as the Leipzig Gewandhaus Orchestra and the London, Helsinki, Hong Kong, and Royal Stockholm Philharmonics. Other recent highlights include a complete Beethoven concerto cycle in Marseilles; performances of Copland’s Piano Concerto with the San Francisco Symphony and Michael Tilson Thomas in San Francisco and at Carnegie Hall; and a U.S. tour with the Academy of St. Martin in the Fields, playing and conducting Mozart and Shostakovich from the keyboard and premiering a newly commissioned concerto by Alasdair Nicolson. With the Minnesota Orchestra and Osmo Vänskä, Barnatan played Tchaikovsky’s First Piano Concerto on New Year’s Eve, followed by a Midwest tour that culminated in Chicago, and a return to the BBC Proms in summer 2018.
Barnatan is the recipient of both a prestigious 2009 Avery Fisher Career Grant and Lincoln Center’s 2015 Martin E. Segal Award, which recognizes “young artists of exceptional accomplishment.” A sought-after chamber musician, he was a member of the Chamber Music Society of Lincoln Center’s CMS Two program from 2006 to 2009, and continues to make regular CMS appearances in New York and on tour. His passion for contemporary music sees him commission and perform many works by living composers, including premieres of pieces by Thomas Adès, Sebastian Currier, Avner Dorman, Alan Fletcher, Joseph Hallman, Alasdair Nicolson, Andrew Norman, Matthias Pintscher, and others. He has given multiple solo recitals at internationally acclaimed venues including New York’s 92nd Street Y, the Celebrity Series of Boston, Chicago’s Harris Theater, the Vancouver Recital Society, and London’s Southbank Centre and Wigmore Hall. Last season, he gave collaborative recitals at Carnegie Hall and Philadelphia’s Kimmel Center with soprano Renée Fleming, and in both 2016 and 2018 he collaborated with the Mark Morris Dance Group at New York’s Mostly Mozart Festival.
Barnatan’s most recent album release is a live recording of Messiaen’s 90-minute masterpiece Des canyons aux étoiles (“From the Canyons to the Stars”), in which he played the exceptionally challenging solo piano part at the Santa Fe Chamber Music Festival. In 2015 he released Rachmaninov & Chopin: Cello Sonatas on Decca Classics with Alisa Weilerstein, earning rave reviews on both sides of the Atlantic. His most recent solo recording, of Schubert’s late piano sonatas, was released by Avie in September 2013, winning praise from such publications as Gramophone and BBC Music, while his account of the great A-major Sonata (D. 959) was chosen by BBC Radio 3 as one of the all-time best recordings of the piece. His 2012 album, Darknesse Visible, debuted in the Top 25 on the Billboard Traditional Classical chart and received universal critical acclaim, being named BBC Music’s “Instrumentalist CD of the Month” and winning a coveted place on the New York Times’ “Best of 2012” list. He made his solo recording debut with a Schubert album, released by Bridge Records in 2006, that prompted Gramophone to hail him as “a born Schubertian” and London’s Evening Standard to call him “a true poet of the keyboard: refined, searching, unfailingly communicative.”
Born in Tel Aviv in 1979, Inon Barnatan started playing the piano at the age of three, when his parents discovered his perfect pitch, and made his orchestral debut at eleven. His musical education connects him to some of the 20th century’s most illustrious pianists and teachers: he studied first with Professor Victor Derevianko, a student of the Russian master Heinrich Neuhaus, before moving to London in 1997 to study at the Royal Academy of Music with Christopher Elton and Maria Curcio, a student of the legendary Artur Schnabel. Leon Fleisher has also been an influential teacher and mentor. Barnatan currently resides in New York City.
Contact Information
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Management/Booking:
Opus 3 Artists (Worldwide Management)
Patricia Winter, Sr. Vice President
Opus 3 Artists
470 Park Avenue South
9th Floor North
New York, NY 10016
+1 (212) 584-7525
[email protected]
www.opus3artists.com
Askonas Holt Limited
Olivia Lyndon-Jones
15 Fetter Lane, London
EC4A 1BW, United Kingdom
+44 (0)20 7400 1727
[email protected]
www.askonasholt.com
M. Hirasa Ltd (Japan)
Moto Hirasa, President
2-40-5-603 Seijo, Setagaya-ku,
Tokyo 157-0066, JAPAN
[email protected]
www.hirasaoffice06.com
21C Media Group (Public Relations)
Max Lefer
21C Media Group, Inc.
200 West 57th Street, Suite 403
New York, NY 10019
+1 646 532-4371
[email protected]
www.21cmediagroup.com
Clips (more may be added)
For all roads here lead to Black Rome, and everywhere, but all pathways lead to Bahia.
I created this matrix so the world might discover elemental cultural genius here in Bahia, Brazil: João do Boi (rest in power) and magisterial others... But following the dictates of logic, in order to make these artists discoverable worldwide, the matrix must, to the greatest extent possible, do likewise for all creators across the planet.
Pardal/Sparrow
The Integrated Global Creative Economy: uncoiling from this sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix...
The mathematics of the small world phenomenon transforming the creative universe into a creative village wherein all are connected by short pathways to all...
Tap the grey crosses on somebody's Matrix Page to recommend that person for the categories next to those crosses.
(Crosses visible when you are logged in)
The crosses will turn green.
That person/category will appear in your My Curation & Recommendations.
You will appear in that person's Incoming Curation and Recommendations.
You and the person you are recommending will be pulled by mathematical gravity to within discoverable distance of all others inside the Matrix. Wherever they may be.
In a small world great things are possible.
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
This Matrix was conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
Sodré
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Hence A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until...
And hence a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
Assis Valente's (of Santo Amaro, Bahia) "Brasil Pandeiro" filmed by Betão Aguiar
Betão Aguiar
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
Replete with Brazilian greatness, but we listened to Miles Davis and Jimmy Cliff in there too; visitors are David Dye & Kim Junod for NPR/WXPN
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
Kareem Abdul-Jabbar found us (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
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 founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Salvador is our base. If you plan to visit Bahia, there are some things you should probably know and you should first visit:
www.salvadorbahiabrazil.comAcross the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
Ex Terra Brasilis
Wolfram MathWorld
UNIVERSAL
Alicia Svigals
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Roberto Mendes
Luciano Calazans
Gustavo Caribé
J Velloso
Lázaro Ramos
Fernando Guerreiro
Maria Marighella
Russell Okung
Bule Bule
Caetano Veloso
RÁDIO MATRIX