22 / 23 SEASON

For Longy’s 2022–2023 event season, we invite you to leave all preconceptions at home.

Musical experiences can have any starting point. Whether born of complex ideas, emotional impulses, or spontaneous inspiration, every music maker begins wherever they are—which is exactly where they need to be.

Just as there’s no right way, no single starting line for becoming a musician, composer, or performer, there’s no one correct entry point for us as the audience. There’s no required reading for experiencing a piece of music, no prerequisite understanding or context to bring with you to a musical experience. You come to it from wherever you are.

In relinquishing our ideas of what a musical experience should be, we open ourselves to receiving and internalizing music in a way that is unique and true to each of us.

Every artist, composer, and musician represented in this season’s program took a different path to arrive at Longy, detours and scenic routes included. We hope the stories on our stages this year inspire you to begin your own new journey, no matter where you start. Allow yourself to begin wherever you are.

When there’s no set path to follow, you become free to begin anywhere.

COVID-19 Concert Attendance Policy

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5.13.19 Graduating Student Recital: Elegance and Absence: Mengyu Fu, piano

Monday • May 13, 2019   |   4:30 pm

This program, “Elegance and Absence,” explores themes of connection and absence, elegance and longing. Romantic character pieces compliment and contrast each other; dialogues of influence emerge between composers and between compositions. The program begins with early works by Scriabin, a waltz and prelude, that show the influence of Chopin yet hint at Scriabin’s future development. These are followed by three Chopin Mazurkas, written while Chopin was in Paris, and which combine the elegance of his musical style with a longing for his absent homeland, Poland. Then comes a Mazurka by the Romanian composer Enescu, looking back to Chopin, yet looking ahead also. Mozart’s Sonata in B flat, K 570, perhaps the epitome of his piano sonata writing, combines a natural elegance with a poignancy of loss. The second half expands the concert’s themes by coupling a Barcarolle by Fauré with Ravel’s Pavane pour une infant defunte. The subtlety of Fauré’s writing is answered by the sophisticated simplicity and evocations of the past in Ravel’s popular piece. Finally a selection of Bagatelles by Bartok lead to the conclusion of the program, Liszt’s “Funerailles.” Several of the Bartok bagatelles performed tonight are based on folk melodies, echoing the use of folk influence in Chopin and Enescu. Yet Bartok’s more astringent harmonic language is derived from Liszt and reflects Bartok’s own personal vision. Liszt’s “Funerailles” commemorates the failed uprising for Hungarian independence in the year 1849. The funereal tone reflects the political defeat, yet moments of power, including the famous octave section in the middle, revive the dream of Hungarian nationalism. It brings the program to a powerful yet ambivalent conclusion.



Monday • May 13, 2019
4:30 pm
Event Category:


Edward M. Pickman Concert Hall
Longy School of Music, 27 Garden Street
Cambridge, MA 02138 United States
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