b'ANGLICA NEGRN Me he perdido (Ive Gotten Lost)COMPOSER:born 1981, San Juan, Puerto RicoWORK COMPOSED:2015, for the American Composers OrchestraWORLD PREMIERE:The ACO gave the first performance on October 16, 2015, at the Brookfield Place Winter Garden in New York CityINSTRUMENTATION:2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, bass drum, glockenspiel, mechanical percussion, tam-tam, vibraphone, MIDI keyboard, harp and stringsESTIMATED DURATION:6 .5 minutesPuerto Rican-born composer and multi-instru- location of the premiere also influenced Negrns mentalist Anglica Negrn writes music for accor- approach to composing the music . As soon as I dions, robotic instruments, toys and electronics,heard the piece I was writing for ACO was going to as well as for chamber ensembles, orchestras,be premiered at Brookfield Places Winter Garden, choirs and film . Her music has been describedI knew I wanted to incorporate some kind of instal-as wistfully idiosyncratic and contemplativelation-based instruments that could somehow (WQXR/Q2), while The New York Times notedconnect the orchestra with the audience in an her capacity to surprise . immersive and engaging way The instrumental Meheperdidowascommissionedbythewriting of the piece was also highly influenced by American Composers Orchestra; in the music,the spaces reverberation, so theres a lot of echoing Negrn incorporates several robotic or mechanicalgestures and resonant chords that will hopefully instruments which are situated amongst the audi- benefit from the natural acoustics of the space .ence and play with the orchestra . In an interviewTo realize her acoustic ideas, Negrn teamed up after the premiere, she talked about how the role ofwith instrument builder Nick Yulman, who created these mechanical percussion instruments evolved .the mechanical percussion instruments for Me he The robotic instruments gradually revealed aperdido . These robotic instruments, or modules, dynamic life of their own that changed the way Iincorporate traditional Indonesian gamelan (tuned wrote for them, she explained . I started realizingbrass percussion vessels in various sizes) together the spatial potential of the robotic instruments andwith samples of woks and pans from Negrns how, given their placement amongst the audience,kitchen . The result is an ethereal soundscape that they could be more direct in their immediacyincorporates resonance, sound decay, and silence because of their proximity to the listeners . Theas fundamental aspects of the total sound . WOLFGANG AMADEUS MOZARTConcerto No. 23 in A minor for piano and orchestra, K.488COMPOSER:born January 27, 1756, Salzburg; died December 5, 1791, ViennaWORK COMPOSED:Mozart may have begun composing this concerto in 1784 . In the catalog of works he began keeping that year, Mozart noted that he completed it on March 2, 1786, in ViennaWORLD PREMIERE:Most likely in March 1786 at a Lenten concert in Vienna, although the exact date and other details of the premiere performance are undocumented . As with most of his concertos, Mozart wrote this one as a subscription concert to generate income; whenever it premiered, Mozart would have conducted it from the keyboard and performed the solo part .INSTRUMENTATION:solo piano, flute, 2 clarinets, 2 bassoons, 2 horns and stringsESTIMATED DURATION:26 minutesWolfgang Amadeus Mozart wrote the majorityMozart wrote at the same time as his opera, The of his piano concertos during the 1780s, and,Marriage of Figaro .as was his habit, he often worked on severalOn first inspection, there seems little simi-compositions simultaneously . Such is the caselarity between K . 488, a lyrical, reflective work, with the Piano Concerto No . 23 in A major, K .and the exuberant silliness that embodies much 488, one of three piano concertos (along withof Figaro . However, a closer look reveals some the E-flat, K . 482 and the C minor, K . 491)interesting parallels between the concerto and 20222023Season 17'