Anthony McGill with the Asheville Symphony & Darko Butorac credit: Micah Mackenzie
Anthony McGill is a leading soloist and principal clarinet of the New York Philharmonic—the first African-American principal player in the organization's history. He is the recipient of the Avery Fisher Prize, one of classical music’s most significant awards. As a citizen musician, Anthony works to promote greater connection, equality, and justice in all that he does.
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This concert is part of “Roots and Branches,” Wave Hill’s indoor concert series featuring artists from across musical disciplines, exploring how traditions and heritage inspire musical exploration and growth.
with Susanna Phillips, soprano, and Gloria Chien, piano
Mozart: “Parto, parto, ma tu, ben mio” from La clemenza di Tito Weber: Grand Duo Concertant for Clarinet and Piano James Lee III: Chavah's Daughters Speak William Grant Still: Romance Mendelssohn: "In Felice" for soprano, piano and clarinet, Op. 94
Bologne (Chevalier de Saint-Georges): Clarinet Concerto (transcription of Violin Concerto in A major, Op. 5, No. 2, transcribed by Derek Bermel) Mozart: “Parto, parto, ma tu, ben mio” from La clemenza di Tito
Bologne (Chevalier de Saint-Georges): Clarinet Concerto (transcription of Violin Concerto in A major, Op. 5, No. 2, transcribed by Derek Bermel) Mozart: “Parto, parto, ma tu, ben mio” from La clemenza di Tito
This concert is part of “Roots and Branches,” Wave Hill’s indoor concert series featuring artists from across musical disciplines, exploring how traditions and heritage inspire musical exploration and growth.
Clarinetist Anthony McGill and violinist Rachel Barton Pine are featured soloists on a new recording of two concertos composed in response to societal injustice by Syrian composer Malek Jandali, performed with the ORF Vienna Radio Symphony Orchestra led by renowned conductor Marin Alsop, a champion of the composer’s work.
“He showed a whimsical, rhapsodic wit, and was able to paint in numerous hues, evoking both intimacy and distance. Nowhere was this more evident than in the cadenza, twisting and turning with airy but earnest sentiment.”