As summertime slowly approaches, concerts of music both minimal and maximal will enchant Manhattanites in search of aural Yiddishkeit. On April 29 at the Walter Reade Theater, flutist Claire Chase will perform Steve Reich’s “Vermont Counterpoint” in its version for flute and tape; the alternate version, for eleven flutes, would doubtless exceed even the gifted Chase’s capacities. She will be joined for other, less minimalist, works on the program by the pianist Jacob Greenberg. On May 1 at Carnegie Hall, Reich’s mini-fluting is exchanged for emotional maxing-out in the form of Gustav Mahler’s songs interpreted by baritone Matthias Goerne with the superstar pianist Leif Ove Andsnes.
Classical music events both before and after Purim (on March 8) focus on dialogues redolent of Yiddishkeit, as New Yorkers and others will discover. On February 10 at Weill Recital Hall pianist Lia Jensen-Abbott will perform Fanny Mendelssohn’s “The Year,” a work inspired by the composer’s relationship with her brother Felix. The Hungarian Jewish composer György Ligeti described his 1951 “Sonata for solo cello” as: “[a] dialogue. Because it’s like two people, a man and a woman, conversing.” Ligeti’s sonata converses on February 10 at Bargemusic with cellist Nicholas Canellakis.
As temperatures climb, some New Yorkers gather their families and head for the countryside, while others remain en ville to seek similar experiences in concerts redolent of Yiddishkeit. One such is a May 26 recital at The Austrian Cultural Forum in which Austrian soprano Ursula Langmayr performs a selection of Gustav Mahler’s outdoors-inspired songs, accompanied by pianist Russell Ryan. Instead of strenuous exercise in rural settings, music lovers can experience virtuosic derring-do in the form of Felix Mendelssohn’s “Variations sérieuses” played on June 1 at Bargemusic by pianist Victoria Korchinskaya-Kogan, whose grandparents were the mighty Ukrainian Jewish violinists Leonid Kogan and Yelizaveta Gilels.