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Photograph: Lisa-Marie MazzuccoThe expert: Jeremy Denk, stylish piano poet
The pick: Violinist Stefan Jackiw
What’s the story? Stefan’s a rare combo: supersmart, perhaps even analytical, but not remotely cold or cynical. He helps you to remember that classical music is not just erudite crap for snobs and nerds—it’s supposed to take your exhausted, stultified synapses and give them a thrill they won’t soon forget.
First encounter? At the Seattle Chamber Music Festival, 2007. Jazzed up on espresso to the point of hipster hallucinations, I had my first rehearsal with Stefan. I have been a jittery, grungy fan ever since.
Latest sighting? We recently caught each other again in Seattle, doing the “Trout” Quintet. We never see each other in New York, for reasons of national security.
Spent any time with him? I have watched ridiculous YouTube videos and sipped martini-esque beverages with this artist. We have probably ingested 40–50,000 calories together. We have shared profound, scintillating musical discussions, of which I cannot remember a word.
Stolen anything? Not exactly. However, Stefan and I played the Strauss Violin Sonata together. The last movement was so fast, it was a hair-raising slide or ride—we kept egging each other on to wilder realms. I would say we stole a good two minutes off that piece just by being impetuous and foolish. I loved every brief, terrifying, immature minute. (Sorry, Strauss.)Visit opus3artists.com/artists/stefan-jackiw.
Photograph: Peter DresselThe expert: Clarice Jensen, cellist and leader of the American Contemporary Music Ensemble
The pick: Composer Ryan Streber
What’s the story? Ryan’s music is a very organic extension of the Second Viennese School tradition. It’s kind of a scary description, I know, but his music is truly compelling and exceedingly beautiful, with delicate and precise textures. I think that a lot of young composers today feel it necessary to continue in the postminimalist, post-rock style in order to be successful. Ryan is quietly ignoring this trend.
First encounter? I first heard Ryan’s music when I was a student at Juilliard. The percussion ensemble Line C3—which I also think should be getting more attention, by the way—did a recital in Room 309 and performed a piece by Ryan.
Latest sighting? I haven’t heard his music in quite a while. I believe the last performance I caught was one in which I was playing—ACME performs a trio he wrote for flute, cello and viola, called Dust Shelter. It’s a beautiful three-movement work.
Spent any time with him? Ryan often serves as ACME’s engineer, recording our concerts and running live sound when we need it. He has made demos for me, he recently recorded an album for my friend violist Nadia Sirota, and he’s currently mastering an album for the Yesaroun’ Duo.
Stolen anything? No, but his recording skills have definitely made us sound better than I thought we did at the time! (Is that stealing?)Visit myspace.com/ryanstreber.See related: American Contemporary Music Ensemble
Photograph: Richard Clark/Seth Cohen PRThe expert: Simone Dinnerstein, fast-rising piano star
The pick: Chamber orchestra the Knights.
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What’s the story? I love the way they can make the orchestral repertoire sound like chamber music. At Washington Irving High School in early June, they gave a really terrific performance. Every member of the orchestra was listening intently to what everyone else was doing and then responding in their own playing. That focus was really alive in the music. I found out afterward that they had rehearsed for six days.
First encounter? The first time I heard them play was at their performance of Beethoven’s Sixth Symphony at Washington Irving High School.
Spent any time with them? I know a number of the people in the orchestra, and I told them how exciting it is to hear music played like that.
Stolen anything? Not yet…
The Knights play the seventh annual Concert for Peace at Merkin Concert Hall Sept 11. See knightmusic.net .See related: Simone Dinnerstein
Photograph: Brie AbbeThe expert: Claire Chase, flutist and leader of the International Contemporary Ensemble
The pick: Composer, vocalist and multi-instrumentalist Du Yun
What’s the story? She has a boundless, almost childlike sense of curiosity about the world around her—she reinvents herself daily, and so does her music. This, combined with a fiercely disciplined technique and a total lack of interest in what anyone else thinks, just might make her that rare artist who catapults into international success but doesn’t feel the need to tame her wild side in the process.
First encounter? I went to college with Du Yun, and when we graduated, she came in on the ground floor of the formation of ICE.
Latest sighting? The last time I saw her live, she was doing an improv set at Issue Project Room, playing her gu zheng into a battery of laptops. A couple of weeks ago I got a hold of an MP3 of a new pop song she wrote called “Shark in You” that totally blew my mind. Right now, she’s writing a chamber piece for narrator and string quartet, inspired by the cockroaches in her Spanish Harlem apartment and based on a Beckett-like text that she wrote from the perspective of the Mother Cockroach.
Spent any time with her? She’s written me a lot of music, and I’ve cooked her a lot of food.
Stolen anything? I’ve thought about stealing her shoes, but alas, I’m too much of a tomboy to rock the heels.Du Yun appears with the International Contemporary Ensemble at the Stone Sept 14. See myspace.com/duyun.See related: International Contemporary Ensemble
Time Out New York / Issue 675 : Sep 4–10, 2008
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"Shark In You" is co-written by Du Yun and Erik Spangler (aka DJ Dubble8)