fter more than a decade of musical friendship, composer-performers Caroline Shaw and Gabriel Kahane embark on their first large-scale collaboration, orbiting a new work inspired by Jorge Luis Borges’ story, “The Library of Babel.” Performing this jointly written song cycle, Shaw and Kahane invite audiences to contemplate the joy, grief, wonder, and bewilderment that spring from life in a world oversaturated with information. The first half of the program includes a survey of music from both written and aural traditions: music by Mozart, folk music, free improvisation, and more.

About Gabriel Kahane: A musician and storyteller whose work increasingly exists at the intersection of art and social practice, Kahane has been hailed as “one of the finest songwriters of the day” (The New Yorker). He has released give albums as a singer-songwriter including his most recent album Magnificent Bird, hailed by the San Francisco Chronicle as “a gorgeous, intimate collection of musical snapshots.” As a composer, he has been commissioned by many of America’s leading arts institutions, including the Brooklyn Academy of Music, Carnegie Hall, the Los Angeles Philharmonic, Orpheus Chamber Orchestra, and the Public Theater, which in 2012 presented his musical, House. A frequent collaborator across a range of musical communities, Kahane has worked with an array of artists including Paull Simon, Sufjan Stevens, Andrew Bird, Phoebe Bridgers, Caroline Shaw and Chris Thile.

About Caroline Shaw: Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist. Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society).

Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas. Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Her favorite color is yellow, and her favorite smell is rosemary.

TICKETS

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