Music Circle loosens up classical traditions
Classical music is entering a new realm, says Akiko Sasaki, artistic director of the Howland Chamber Music Circle, which kicks off its 2026-27 season — its 34th — on Sunday (Sept. 20) with a sold-out performance by the Miró Quartet. The group last played Beacon more than 20 years ago and credits the Chamber Circle's co-founder, Gwen Stevens, with boosting its career.
Diversity among players and the music is inevitable, as evidenced by this year's eclectic program. Adopting an unorthodox dress code, the Catalyst Quartet plans to play three pieces by jazz saxophonist Paquito D'Rivera during the series' final concert, scheduled for May 30.
Also pushing the envelope: The cellist in the brash, young Poiesis Quartet cross-dresses, the violinists sport tattoos and each member provides pronouns. The program for the Oct. 18 gig lists two works written by composers born after 2000; a selection by Lili'uokalani, the deposed queen of Hawaii (1838-1917); and Beethoven's String Quartet No. 16.
"The classical world has absorbed so many influences throughout its history, and we want to surprise people with how broad it can be," says Sasaki. "It's not stuffy and stodgy anymore."
Expanding further, the Chamber Circle commissioned a song by composer Shawn Okpebhdo that evokes Paul Robeson, a classically trained vocalist with ties to the Peekskill Riots in 1949 and the late folk singer Pete Seeger, who lived near Beacon. Two years in the making, the premiere is scheduled for Feb. 21 when Trio Alfiori (piano, vocals and clarinet) performs.
Harpist Bridget Kibbey's Bach to Brazil adds a percussionist and violinist to round out what is perhaps the season's most ambitious program on Nov. 14; the marketing copy evokes a "sonic voyage" to Argentina, Brazil, Colombia, Cuba, Germany, Puerto Rico and Venezuela.
This year, the annual four-concert Piano Festival will include the premiere of a commission for Beethoven specialist Michael Stephen Brown (March 21). The chamber society is one of many underwriters, says Sasaki. Composed by Michelle Ross, the piece is inspired by the Piano Sonata No. 30, completed in 1820.
The program for Grammy winner Michelle Cann (Feb. 7), known for performing historically overlooked music, along with the staples, will be announced closer to the date.
Evren Ozel, 27, plans to bookend Summerland, by American composer William Grant Still, on Jan. 27 between pieces by Debussy and Schumann. "We booked Evren the day he made the final round [in 2025] of the Van Cliburn competition," which is held every four years in Fort Worth, Texas, and draws pianists from around the world, says Sasaki. "His technique is tremendous, and his playing has a maturity and intensity that draws people in."
Inon Barnatan (March 7), "a regular with just about every major orchestra, is known for an intellectual, poetic approach to familiar music that makes it feel new," she says. The Chopin-heavy program will be augmented by works from Thomas Ades, John Field and Karol Szymanowski.
Other small combos include the Dorian Wind Quintet (Nov. 1), a cello/piano duo (April 18) and the Maeve Trio, a violin, cello and piano ensemble, on May 2.
On Sunday, the Austin-based Miró Quartet will mix things up by adopting an informal approach to fashion and onstage presence. Cellist Josh Gindele, a founding member, says the group also mines the past for obscure material, such as recording every string quartet by Argentinian composer Alberto Ginastera (1916-1983).
Though serious about the music, they converse, joke around and try to make their shows feel like "you're in a bar," says Gindele.
Despite performing "thousands of times" since their last appearance for the Howland Cultural Center two decades ago, he remembers the venue "being like a library [which it was, until 1976]. We were young, so any gig was good, but it sticks out because we developed a relationship with Gwen Stevens; she and other Hudson Valley promoters went...