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Schubert With an Earthy Feeling
The Academy, a training program for young musicians that Carnegie Hall has undertaken jointly with the Juilliard School and the Weill Music Institute, offers recent conservatory graduates an ambitious two-year program in which they do everything from participating in master classes to teaching young musicians. There are also, naturally, performing opportunities. As members of Ensemble ACJW, the players have a hefty schedule of concerts not only in Carnegie's various halls and at the Juilliard School but elsewhere in the city as well.

The first concert of the season, at Weill Recital Hall on Tuesday evening, was devoted largely to new music, with Schubert's Piano Trio No. 1 in B flat as the sole nod to the past. And it showed the current crop of musicians to be versatile, original interpreters.

In the Schubert, for example, Gabriela Martinez, the pianist; Joanna Frankel, the violinist; and Caitlin Sullivan, the cellist, immediately set aside the smooth, enveloping approach that groups like the Beaux Arts Trio have made the standard reading and instead played the music with sharply articulated phrasing and an earthy rough-and-tumble feeling.

...[Flutist Erin Lesser and clarinetist Romie de Guise-Langlois] and Ms. Martinez were joined by Owen Dalby, a violinist, for a fluid, often haunting reading of George Crumb's "Eleven Echoes of Autumn (Echoes 1)" (1966).

Mr. Crumb always demands much of his instrumentalists: apart from having to memorize his scores because his pictorial, winding calligraphy is all but impossible to read in performance, musicians are asked to modify their instruments' sounds by, for example, playing into the piano or using unusual bowing techniques. Vocalization is often required as well, as it was here. The ACJW players met these challenges with an admirable fluency.

Allan Kozinn, The New York Times
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