{"id":864,"date":"2015-11-09T13:51:51","date_gmt":"2015-11-09T18:51:51","guid":{"rendered":"http:\/\/www.artsjournal.com\/curves\/?p=864"},"modified":"2015-11-09T13:51:51","modified_gmt":"2015-11-09T18:51:51","slug":"entracte","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/curves\/2015\/11\/entracte.html","title":{"rendered":"Entr&#8217;acte"},"content":{"rendered":"<div id=\"attachment_866\" style=\"width: 310px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2015\/11\/IMG_2616.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-866\" class=\"wp-image-866 size-medium\" src=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2015\/11\/IMG_2616-300x224.jpg\" alt=\"IMG_2616\" width=\"300\" height=\"224\" srcset=\"https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2015\/11\/IMG_2616-300x224.jpg 300w, https:\/\/www.artsjournal.com\/curves\/wp-content\/uploads\/2015\/11\/IMG_2616-1024x765.jpg 1024w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><p id=\"caption-attachment-866\" class=\"wp-caption-text\">Caroline Shaw, in gold sweater, coaching the Giannini String Quartet<\/p><\/div>\n<p>Between performances of <em>Lo<\/em>, her new quasi-violin concerto, Caroline Shaw paid a visit to our Composition Department yesterday.\u00a0\u00a0 Her visit came in two chunks: first coaching a graduate string quartet in her 2011 composition <em>Entr\u2019acte<\/em>, then speaking with the composition students about her music and theirs.<\/p>\n<p>If you haven\u2019t heard any of Caroline\u2019s music, type her name into your favorite search box and get listening. It\u2019s a treat: full of joyous sound in service of penetrating thought.<\/p>\n<p><em>Entr\u2019acte<\/em> takes the minuet of Haydn\u2019s Op. 77, No. 2 string quartet as a launch pad for a delicate excursion, juxtaposing 18<sup>th<\/sup>-century harmony and phrasing with 21<sup>st<\/sup>&#8211; century notions of pacing and instrumental color. Of particular note is what I think of as the introverted side of Shaw, passages of such spare, tiny sound as to be barely audible from a short distance. Indeed, the work as a whole occupies a world of restraint: no fist-pounding or heart-wrenching necessary, just an affecting appreciation for nuance and tone.<\/p>\n<p>When speaking about her music, Caroline similarly communicated a great deal by saying very little: she began the seminar by playing the <em>Allemande<\/em> from her widely loved <em>Partita, <\/em>after which she opened the floor to questions. Her responses to the questions were usually very brief, followed by turnabout: she would ask the student the same or similar question. Their responses were often met with generous, even enthusiastic, acknowledgement. Again, artist and art found a place of convergence: grace, focused attention, intimacy.<\/p>\n<p><em>Lo<\/em> was jointly commissioned by the North Carolina Symphony and Cincinnati Symphony, with Caroline as the soloist. Rumor has it we may be hearing much more of it in the future.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Between performances of Lo, her new quasi-violin concerto, Caroline Shaw paid a visit to our Composition Department yesterday.\u00a0\u00a0 Her visit came in two chunks: first coaching a graduate string quartet in her 2011 composition Entr\u2019acte, then speaking with the composition students about her music and theirs. If you haven\u2019t heard any of Caroline\u2019s music, type [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-864","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/864","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/comments?post=864"}],"version-history":[{"count":1,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/864\/revisions"}],"predecessor-version":[{"id":867,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/posts\/864\/revisions\/867"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/media?parent=864"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/categories?post=864"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/curves\/wp-json\/wp\/v2\/tags?post=864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}