The Center for New MusicEnsemble
with guest pianist Ann Arazi
performs the music of

Guest composer and pianist Ketty Nez (Boston University)

Sunday, April 15, 2018 at 7:30 in the Concert Hall



4 visions (2017)

Ketty NEZ  (b. 1965)

dream at midnight
Courtney Miller, oboe
Ketty Nez and Anna Arazi, piano
Peter Naughton and Travis Newman, percussion
David Gompper, conductor



Suite for Two Pianos and Percussion (2002)

András HAMARY  (b. 1950)

  with video projection
Window on Infinity
Perpetuum mobile
Song with Strophes
Ketty Nez and Anna Arazi, piano
Peter Naughton and Travis Newman, percussion
David Gompper, conductor



Israeli pianist Anna Arazi is a prize winner of the 2015 Dallas International Piano Competition (Third Prize), the American Protege 2014 (Second Prize), and the 2014 Boston University Concerto Competition. Ms. Arazi frequently appears as a soloist and a chamber ensemble member, often playing contemporary music. On her account are several world premieres, including compositions by Richard Cornell, Joshua Fineberg, Martin Amlin, Adam Berndt and others. In the summer 2015 she is planning to premiere chase by Ketty Nez. Her force, technical brilliance and pristine execution were praised in TheaterJones reviews in March 2015, while Boston Musical Intelligencer described one of her duo appearances as “a great fun” and “a theatrical flourish”.
    Ms. Arazi has founded and been running several community projects engaging Boston inhabitants and students in musical activities and discussions. Among others, she organized a Musical Marathon, joined by performers from Connecticut, Massachusetts and Rhode Island, as well as from Brazil, China, Croatia, Germany, Greece, Israel, Korea, Russia and Spain to collect donations for the Boston Marathon bombing victims (Symphony Magazine, summer 2013).


 Program Notes


Ketty Nez

4 visions

Written in Denver during the summer of 2017, 4 visions is an exploration of mirroring, echoing, allusions, and the establishment and disintegration of rhythmic and melodic patterns. The four movements follow each other without interruption: windmills, canons, escape, and dream at midnight. Textures are derived from my opera Lina and the Wolf. The last movement began as one of the arias, a setting of Anna Akhmatova’s poem “In a Dream,” a line of which evokes a mood of otherness: "If only at midnight/you'd send me a greeting across the stars.” —Ketty Nez
Composer/pianist Ketty Nez joined the composition and theory department at the Boston University School of Music in 2005, after teaching for two years at the University of Iowa. At BU, she directed the Time's Arrow new music ensemble for four years. Listen to a Wonder Never Heard Before!, her portrait CD as composer/pianist, was released in 2010 by Albany Records. Her folk opera, The Fiddler and the Old Woman of Rumelia, was premiered in a staged version in May 2012, by the Juventas New Music Ensemble. Her piano concerto thresholds, performed by Ketty and the Boston University Wind Ensemble, was released in July 2013 by Ravello Records. Current projects include the CD release of four scenes for Juliet, commissioned by the BU Wind Ensemble, and Lina and the Wolf, an opera on the life of Lina Prokofiev (based on the book Lina and Serge: The Love and Wars of Lina Prokofiev, by Simon Morrison).

András Hamary

Suite for Two Piano and Percussion

Commissioned by the Hungarian Radio, Suite for Two Piano and Percussion was premiered in a public concert in 2002 at the Budapest Hungarian Radio Studio, by the dedicatee Márta Gyulás and the composer. The first movement, Window on Infinity, is a “galactic” piece.  One sees traces of the movements of stars, coming closer and moving further away, and hears their collisions. The second movement, Lattices, is the most “Bartókian” of the Suite, and alludes to Bartók’s magnificent Sonata for Two Pianos and Percussion.  Strange resonances and echoes emanate from the interiors of the pianos, as if these instruments were cathedrals. The third movement, a true Perpetuum mobile, includes no interruptions or pauses. The performers play every attack, and the first pianist plays only white keys.  Starting pianissimo, the music incessantly grows in dynamic, ending it fortissississimo, at the same time spanning the entire keyboard range in slow ascent. In the fourth movement, Song with Strophes, a very simple short melody serves as the basis of variations, through means of canons and echoes.  The last variation alludes to the resonant timbre of the cimbalom, a hammered dulcimer used in East European folk music. I added my film for a subsequent performance in Hamburg.—András Hamary
András Hamary (Budapest, 1950) studied at the Bartók Conservatory and the Franz Liszt Academy of Music, and as a concert pianist under Hans Leygraf at the Hanover University of Music. Since 1986 he has held a professorship in piano and chamber music at the University of Music in Würzburg. For eight years he also conducted that university's Ensemble for New Music.
    He was awarded the Composition Prize of the City of Stuttgart for Timor - Fragmente zur Angst (“Timor: Fragments about Fear”), five pieces for orchestra written while he was still studying composition under Milko Kelemen. Since the late 1970s, Hamary has written compositions in an extremely varied range of genres, including the opera Seid still (“Be Still”), which was commissioned by the Second Biennale in Munich; the performance piece Regenzeit (“Rainy Season”) in collaboration with the Frankfurt-based choreographer Christian Golusda on a commission from Germany's Südwestrundfunk (SWR); and the ballet Der Welt Lohn (“The World's Reward”) for vocal soloists, choir and orchestra, which was composed for the 200th anniversary of Würzburg's Mainfranken Theater.
    Hamary has also focused his attention as a conductor entirely on new music. In Stuttgart he founded “ensemble avance”, a group of young musicians dedicated to the interpretation of contemporary music. With them he has made numerous recordings for radio and premiered the works of celebrated composers. For his work conducting Adriana Hölszky's opera Bremer Freiheit (“Bremen Freedom”) at the First Munich Biennale he received the BMW Musical Theatre Award for the best musical direction.