Last week, before I could collect and share my contributions to the Goings On About Town section in the March 16, 2020 issue of The New Yorker, covering the dates March 11-17, the cancellations started to trickle in—and then came the flood. Here are screenshots of my listings for that issue as they appeared online, before they were hidden away one by one. (Click on an image to enlarge it, or hit the link to read the listing on the New Yorker website.)
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While all of this was going on, we GOAT contributors already had put the finishing touches on our listings for the March 23 issue, covering the dates March 18-24, with our valiant editor, Briana Younger. Those listings never made it to page or to the website, and none of the events transpired. Perhaps some of them will, some time down the line; for now, I'm preserving the text here simply for posterity.
Again: The following events are not happening on the dates and times listed.
Switch~ Ensemble
DiMenna Center; March 21 at 7:30
Switch~ Ensemble, which devotes itself to fusing music with technology in innovative ways, presents the world première of “Up Close,” by the resourceful Swiss composer Katharina Rosenberger. The new piece, the result of a yearlong collaboration between Rosenberger and the group, features tiny sounds that are closely amplified and conjoined with interactive lighting in a darkened room. Complementary works by Cathy van Eck, Dieter Ammann, and the ensemble members Jason Thorpe Buchanan and David Clay Mettens complete an intriguing program.
Latitude 49
Areté Venue and Gallery; March 24 at 7, free with suggested R.S.V.P.
A well-travelled sextet widely known for its technical assurance, stylistic versatility, and abundant personality, Latitude 49 visits Brooklyn on the heels of its vivid new recording, “Wax & Wire.” Playing at the cozy, comfortable venue Areté, the group serves up compositions by Gabriella Smith, Sarah Kirkland Snider, and Viet Cuong from the album, plus a newer piece by Juri Seo and a longtime favorite by Pierce Gradone.
Belcea Quartet
92nd Street Y; March 24 at 7:30
The Belcea Quartet recorded a compelling Beethoven cycle not quite a decade ago; it’s no surprise, then, that the British group would mine this lode during a season dominated by the two-hundred-and-fiftieth anniversary of the composer’s birth. The program isn’t quite an alpha and omega, but it’s close, pairing the blithe Quartet No. 1 in F Major with the powerful Quartet No. 13 in B-Flat Major—the latter outfitted with its still jolting original ending, the “Grosse Fuge.”
Johnny Gandelsman
Irish Arts Center; March 24 at 8
The violinist Johnny Gandelsman, a linchpin of Brooklyn Rider and the Silk Road Ensemble, celebrates the release of his superb new recording of Bach’s six suites for unaccompanied cello, as rearranged for violin. The Irish Arts Center is an ideal setting in which to hear the set of beloved works anew, both for its intimacy and its close association with dance—a quality Gandelsman emphasizes in his interpretations.
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