Alexi Kenney, violin
Shifting Ground
| J.S. BACH | Adagio, from Sonata No. 1 in G minor, BWV 1001 (1720) |
| GEORGE ENESCU | “Le Ménétrier,” from Impressions d’Enfance, Op. 28 (1940) |
| BACH | Allemande from Partita in D minor, BWV 1004 (1720) |
| PAUL WIANCKO | Allemande from X Suite for Solo Violin (2019) |
| DU YUN | Under a Tree, an Udātta, for violin and tape (2016) |
| • • • | |
| ANGÉLICA NEGRÓN | The Violinist for violin and electronics, story by Ana Fabrega (2023) |
| • • • | |
| BACH | Allemande and Double, from Partita No. 1 in B minor, BWV 1002 (1720) |
| STEVE REICH | Violin Phase, for live-looped violin (1967) |
| • • • | |
| BACH | Grave, from Sonata No. 2 in A minor, BWV 1003 (1720) |
| NICOLA MATTEIS | Alla Fantasia (c. 1700) |
| SALINA FISHER | Hikari, for solo violin (2023) |
| • • • | |
| BACH | Largo, from Sonata No. 3 in C Major, BWV 1005 (1720) |
| MATTHEW BURTNER | Elegy, from Muir Glacier (1889-2009), for violin and glacier sonification (2017/2020) |
| ANONYMOUS | Nitida Stella (c. 1600) (arr. Alexi Kenney for solo violin) |
| BACH | Chaconne from Partita No. 2 in D minor, BWV 1004 (1720) |
In an intrepid act of programming, the insightful young violinist Alexi Kenney matches well-loved solo works by J.S. Bach with new compositions by the best and brightest voices in contemporary music. Kenney, a recipient of a Borletti-Buitoni Trust Award and an Avery Fisher Career Grant, enjoys melding the new with the old, the familiar with the undiscovered, and here highlights the spiritual and mystical dimensions of Bach’s music. The revered Chaconne from the Partita in D minor is the jewel at the center of Kenney’s recital, illuminating recent works for solo violin (with and without electronics) by a host of contemporary composers. The title Shifting Ground references the heart of all Baroque music—the omnipresent ground bass—upon which variations are built. “Spellbinding…[an] architect’s eye for structure and space and a tone that ranges from the achingly fragile to full-bodied robustness” (The New York Times).
Join us for a post-concert talk with the artist.
This performance is made possible, in part, by Art Berliner and Marian Lever.
Run time for this performance is approximately 1 hour 20 minutes, with no intermission, but not including any possible encores.
Alexi Kenney, violin
Shifting Ground
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