Masques and Marionettes ensemble132

• Igor Stravinsky (1882 - 1971): 2 Poems by Konstantin Balmont, K013:
• 1 Stravinsky: 2 Poems by Konstantin Balmont, K013 (Arr. for Piano Quintet by Sahun Hong): No. 1, Forget-Me-Nots 01:27
• 2 Stravinsky: 2 Poems by Konstantin Balmont, K013 (Arr. for Piano Quintet by Sahun Sam Hong): No. 2, The Dove 02:04
• Petrushka, K012:
• 3 Stravinsky: Petrushka, K012, Scene 1: The Shrove-Tide Fair (Arr. for Piano Quintet by Sahun Sam Hong) 05:20
• 4 Stravinsky: Petrushka, K012, Scene 1: The Magic Trick (Arr. for Piano Quintet by Sahun Sam Hong) 02:05
• 5 Stravinsky: Petrushka, K012, Scene 1: Russian Dance (Arr. for Piano Quintet by Sahun Sam Hong) 02:49
• 6 Stravinsky: Petrushka, K012, Scene 2: Petrushka's Room (Arr. for Piano Quintet by Sahun Sam Hong) 04:21
• 7 Stravinsky: Petrushka, K012, Scene 3: The Moor's Room (Arr. for Piano Quintet by Sahun Sam Hong) 02:44
• 8 Stravinsky: Petrushka, K012, Scene 3: Dance of the Ballerina (Arr. for Piano Quintet by Sahun Sam Hong) 00:45
• 9 Stravinsky: Petrushka, K012, Scene 3: Waltz (Arr. for Piano Quintet by Sahun Sam Hong) 03:02
• 10 Stravinsky: Petrushka, K012, Scene 4: The Fair Towards Evening (Arr. for Piano Quintet by Sahun Sam Hong) 01:12
• 11 Stravinsky: Petrushka, K012, Scene 4: Wet-Nurses' Dances (Arr. for Piano Quintet by Sahun Sam Hong) 02:24
• 12 Stravinsky: Petrushka, K012, Scene 4: Peasant with Bear (Arr. for Piano Quintet by Sahun Sam Hong) 01:42
• 13 Stravinsky: Petrushka, K012, Scene 4: Gypsies (Arr. for Piano Quintet by Sahun Sam Hong) 00:55
• 14 Stravinsky: Petrushka, K012, Scene 4: Dance of the Coachmen (Arr. for Piano Quintet by Sahun Sam Hong) 02:08
• 15 Stravinsky: Petrushka, K012, Scene 4: Masqueraders (Arr. for Piano Quintet by Sahun Sam Hong) 02:04
• Clara Schumann (1819 - 1896): 3 Romances, Op. 22:
• 16 Schumann: 3 Romances, Op. 22: No. 1, Andante molto (Arr. for Cello & Piano by Anonymous) 03:08
• 17 Schumann: 3 Romances, Op. 22: No. 2, Allegretto. Mit zartem Vortrage (Arr. for Viola & Piano by Anonymous) 03:10
• 18 Schumann: 3 Romances, Op. 22: No. 3, Leidenschaftlich schnell 03:55
• Robert Schumann (1810 - 1856): Carnaval, Op. 9:
• 19 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 1, Préambule 02:17
• 20 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 2, Pierrot 01:54
• 21 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 3, Arlequin 01:05
• 22 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 4, Valse noble 02:09
• 23 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 5, Eusebius 01:59
• 24 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 6, Florestan 01:02
• 25 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 7, Coquette 01:53
• 26 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 8, Réplique 00:50
• 27 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): Sphinxes 00:39
• 28 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 9, Papillons 00:46
• 29 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 10, Lettres dansantes 00:51
• 30 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 11, Chiarina 01:27
• 31 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 12, Chopin 01:05
• 32 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 13, Estrella 00:34
• 33 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 14, Reconnaissance 01:43
• 34 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 15, Pantalon et Colombine 00:58
• 35 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 16, Valse allemande 00:56
• 36 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 17, Paganini 01:23
• 37 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 18, Aveu 01:16
• 38 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 19, Promenade 02:19
• 39 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 20, Pause 00:18
• 40 Schumann: Carnaval, Op. 9 (Arr. for Piano Quartet by Sahun Sam Hong): No. 21, Marche des Davidsbündler contre les 03:47
• Total Runtime 01:16:26

Info zu Masques and Marionettes

ensemble132 veröffentlicht heute sein Debütalbum „Masques and Marionettes“. Das Programm verdeutlicht die Energie und Dynamik des Ensembles in seinen originellen Kammermusikbearbeitungen von Igor Strawinskys bezauberndem „Petruschka“ und „Zwei Gedichten von Balmont“ für Klavierquintett, Clara Schumanns intimen „Drei Romanzen“ sowie Robert Schumanns ausgelassenem „Karneval“ für Klavierquartett.

In seinen Programmnotizen zum Album schreibt Zachary Mowitz, Co-Künstlerischer Leiter von ensemble132: Die Werke auf diesem Album fangen lebendige Geschichten und Charaktere aus der Fantasie und dem Leben ihrer Autoren ein, die alle durch universelle Erfahrungen wie Liebe, Sehnsucht, Feier und Freundschaft vereint sind – mit einem Hauch von Geheimnis und Humor. Jedes Stück ist zudem untrennbar mit dem Klavier und seinen magischsten Eigenschaften verbunden, die der künstlerische Co-Leiter Sahun Sam Hong in seinen visionären Bearbeitungen durch die unendlichen Möglichkeiten von Klangtextur und Klangfarbe des Klaviers und der Streichinstrumente auslotet. „Masques and Marionettes“ verbindet den Charakterreichtum und die Nuancenvielfalt von ensemble132 mit der Begeisterung, jede dieser musikalischen Erzählungen neu zu erzählen.

Igor Strawinskys „Petruschka“ (1911), von Sahun Sam Hong für Klavierquintett bearbeitet, wurde ursprünglich als groß angelegtes Ballett vom Ballett Russes unter Diaghilev aufgeführt. Es erzählt die Geschichte einer Marionette, die von einem geheimnisvollen Zauberer auf magische Weise zum Leben erweckt wird und sich naiv durch intensiv menschliche Emotionen und Dynamiken bewegt, während sie die Ballerina – die ebenfalls unter dem Bann des Zauberers steht – verehrungsvoll umwirbt. „Petruschka“ schwelgt in russischen Volksmelodien und -geschichten, signalisiert aber auch Strawinskys wachsenden Wunsch, zu experimentieren und die Grenzen der westlichen Musik zu erweitern. Das Arrangement ist eine originalgetreue Neuinterpretation der komplexen Klangtexturen und der grenzenlosen Energie der ursprünglichen großformatigen Orchestrierung von 1911, die durch die Vielseitigkeit des Klavierquintetts zum Ausdruck kommt.

Stravinskys „Zwei Gedichte für Balmont“, die im selben Jahr wie „Petruschka“ entstanden, waren ursprünglich ein Diptychon aus zwei kurzen, aber bewegenden Liedern nach Gedichten von Konstantin Balmont. „Незабудочка‑цветочек“ (Nezabudochka‑tsvetochek, „Vergissmeinnicht-Blüte“) und „Голубь“ (Golub, „Die Taube“) verwandeln scheinbar alltägliche Momentaufnahmen aus der Natur in lebhafte, emotionale Vignetten, in deren Mittelpunkt eine Taube und eine Blume stehen. Wer genau hinhört, entdeckt vielleicht musikalische Fragmente aus „Petruschka“, die Hong in dieser Fassung für Klavierquintett zum Leuchten bringt.

Clara Wieck-Schumann widmete ihre strahlend intimen „Drei Romanzen“, Op. 22 (1853), dem Geiger Joseph Joachim, ihrem lebenslangen Freund. Schumann, eine der bemerkenswertesten Pianistinnen der Romantik, brachte das Werk gemeinsam mit Joachim selbst zur Uraufführung. Um ihre Kunst und ihr Vermächtnis zu würdigen, haben wir jeden der drei Sätze als unterschiedliche Duokombination aufgenommen – jeweils mit Violine, Viola und Cello im Zusammenspiel mit dem Klavier –, um die vielfältigen Facetten von Clara Schumanns großartiger Kunst und Menschlichkeit zu erkunden.

Robert Schumanns „Carnaval“, Op. 9 (1835), ist eines der beliebtesten Werke im Repertoire für Klavier solo. Mit dieser Sammlung farbenfroher und lebhafter Charakterstücke verwirklichte Schumann eine einzigartige Vision: eine musikalische Darstellung von Szenen, in denen sowohl reale als auch imaginäre Figuren vorkommen, die sich in maskierte Karnevalisten verwandeln. Ähnlich wie bei „Petruschka“ stammen viele dieser Figuren aus der Commedia dell’arte, doch ebenso viele entstammen Schumanns eigenen Beziehungen, darunter auch Clara Schumann. In dieser neuen Fassung wurde der ursprüngliche Klavier-Solopart auf ein Klavierquartett erweitert, was dem Stück neue Facetten von Humor, Lebendigkeit und Intensität verleiht.

Während „Masques and Marionettes“ die bezaubernden Welten erkundet, die jeder dieser Komponisten erschafft, erzählt es zugleich die Geschichte unseres Ensembles. Wir haben als Ensemble erstmals unseren Weg gefunden, als wir diese Bearbeitungen entwickelten und gemeinsam als Freunde großartige Kammermusik erkundeten. Indem wir uns intensiv mit diesen Stücken auseinandergesetzt haben, haben wir Wege gefunden, jedem dieser vier Werke neues Leben einzuhauchen, und hoffen, ihnen so einen neuen Platz im Kammermusikrepertoire zu verschaffen. — Zachary Mowitz

„Die Aufführung dieser unglaublich komplexen Reduktion einer Vollorchesterbesetzung auf fünf unglaublich versierte Musiker [Petruschka] durch das Ensemble 132 ist eine bemerkenswerte Leistung sowohl für die Musiker als auch für ihren Pianisten und Arrangeur.“ – The Talbot Spy

„Die fünf Musiker zeigten einen kollegialen Zusammenhalt, der besonders bei den schnellen Tempi und komplexen Rhythmen von ‚Petroushka‘ bewundernswert war … Die Streicher spielten mit Hingabe und Überzeugung … Hong, der Arrangeur, stellte hohe virtuose Anforderungen an sich selbst und verwandelte den orchestralen Klavierpart in eine durchweg fesselnde Figur.“ – Boston Musical Intelligencer

ensemble132

ensemble132
is an American collective of soloists and chamber musicians of the highest caliber, uniting with a shared mission to reimagine the chamber music landscape. The only group of its kind to continually create and premiere new standards in the chamber music repertoire with its artist-crafted arrangements, ensemble132 excites the imagination of audiences across the country with its uniquely genre-defying programs.

At every e132 event, audiences can expect a one-of-a-kind chamber music experience characterized by ensemble132’s versatile artistry and limitless programming possibilities. Chamber ballets, transcriptions of symphonies and jazz standards, and orchestrations of solo works comprise just a few of ensemble132’s programming highlights. Each member of ensemble132’s dynamic roster, all with stellar careers and accolades, brings their unique blend of uncompromising individuality and collaborative spirit to traditional masterworks as well as unearthed gems.

The group’s arrangements have been praised by critics and renowned musicians alike as “Audacious… liberating… illuminating” (Jon Sobel), “absolutely terrific ... a delight … [they] succeed in opening up the sound of the piece in meaningful ways” (Robert McDonald), and “a fresh approach to music that is second to none” (Herbert Greenberg).

The artists of ensemble132 have collaborated closely at music festivals such as Marlboro, Ravinia, Music@Menlo, Verbier, and Taos, and they appear regularly with ensembles such as the Chamber Music Society of Lincoln Center, Catalyst Quartet, Borromeo String Quartet, and Orpheus Chamber Orchestra. They are prizewinners at major competitions such as the Paganini, Joseph Joachim, Tibor Varga, Sibelius, Primrose, Beethoven Vienna, Vendome Prize, and American Pianists Awards.

Alongside its traditional concerts, ensemble132 takes a uniquely creative approach to community engagement, sharing the joy of musical creation through interactive workshops. At these events, e132 artists guide listeners in real time through the arranging process. ensemble132 also presents cross-disciplinary programs and innovative educational programs. Most recently, e132 presented a residency at Texas Christian University where ensemble members both coached and played alongside students in mixed groups.

In January 2026, ensemble132 is premiering a new chamber ballet production of Stravinsky’s Petrushka in collaboration with BalletX and Philadelphia Chamber Music Society. In 2025, ensemble132 became a STEINWAY ENSEMBLE and was awarded an Artistic Projects Award from Chamber Music America.

Sahun Sam Hong
Hong is a prize winner of numerous international competitions, including the Vendome Prize at Verbier, International Beethoven Competition Vienna, and Naumburg International Piano Competition. In addition to performing, Hong is a prolific arranger and orchestrator, recognized for his innovative transcriptions that are featured in the touring programs of ensemble132, Orpheus Chamber Orchestra, and Mount Vernon Virtuosi. Hong’s primary mentors have included John Owings, Leon Fleisher, and Yong Hi Moon. He is currently based in New York City, and serves on the faculty of CUNY Queens College. He is a member of the Bowers Program (2024–27) at the Chamber Music Society of Lincoln Center. Hong is a Steinway Artist.

Zachary Mowitz
An artist who wears many hats, cellist Zachary Mowitz co-founded ensemble132 and the nonprofit Nodality Music and is a member of the SAKURA Cello Quintet and the Los Angeles Philharmonic. Mowitz made his solo debut with the Philadelphia Orchestra in 2018 and continues to perform internationally at venues like the Marlboro Music Festival, Caramoor, Carnegie Hall, and Berlin Konzerthaus. Recognized for his artistry as a chamber musician, he has collaborated with artists such as Jonathan Biss, Joseph Lin, Hsin-Yun Huang, and Ida Kavafian, and regularly plays with the Bach Gamut Ensemble. He has premiered the works of today’s leading composers, including Richard Danielpour, Gabriela Órtiz, Donald Crockett, Angélica Negrón, and Nick DiBerardino. As a teacher and guest lecturer, Mowitz has visited Yale University, the Curtis Institute of Music, Queens College, Western University, and Texas Christian University. Mowitz attended the Curtis Institute of Music, the Royal College of Music, and the Queen Elisabeth Music Chapel, where he studied with mentors Peter Wiley, Carter Brey, Richard Lester, Jeroen Reuling, and Gary Hoffman.

Abi Fayette
Violinist Abi Fayette, the youngest of four children in a musical family, started her violin studies at age three with her mother. She earned degrees from The Curtis Institute of Music and New England Conservatory, studying under Ida Kavafian and Soovin Kim respectively. Other principal teachers include Ann Setzer, Kyung-Wha Chung, and Joseph Silverstein. Passionate about chamber music, she has performed with renowned artists such as Jonathan Biss, Brett Dean, Kim Kashkashian, and others. As an active touring musician, Fayette’s performances have taken her all over the world with appearances spanning across the United States, Europe, and Asia. She has toured with Musicians from Marlboro, The Knights, and Orpheus Chamber Orchestra. Currently, she is a member of the Grammy Nominated Catalyst Quartet and serves as Artistic Director of the Orpheus Chamber Orchestra of which she is also a member musician. Ms. Fayette performs on a violin made in 1860 by Jean-Baptiste Vuillaume generously on loan from Marlboro Music.

Maria Ioudenitch
American-Russian violinist Maria Ioudenitch gained international recognition in 2021 after winning first prizes at the Ysaÿe, Tibor Varga, and Joseph Joachim competitions. In 2023, she received the Opus Klassik Award for Chamber Music Recording of the Year for her Warner Classics debut album, Songbird. Known for her imaginative programming, Maria’s repertoire ranges from Brahms, Britten, and Bernstein to Dvořák, Tailleferre, and Prokofiev.

Highlights of the 2025/26 season include debuts with the ORF Vienna Radio Symphony Orchestra, Royal Danish Opera Orchestra, Cincinnati and Detroit Symphony Orchestras, and George Enescu Philharmonic. Maria also tours with the Basel Symphony Orchestra and performs recitals at Wigmore Hall and Brucknerhaus Linz with pianist Roman Borisov. A member of ensemble132, she collaborates with leading chamber musicians internationally. Maria studied at the ICM at Park University, Curtis Institute of Music, New England Conservatory, and Kronberg Academy with Pamela Frank, Shmuel Ashkenasi, Ben Sayevich, Gregory Sandomirsky, Miriam Fried, and Christian Tetzlaff.

Luther Warren
Violinist and violist Luther Warren maintains an active career as a chamber musician and educator. He has appeared alongside many esteemed musicians and at numerous festivals including Ravinia, Yellow Barn, Four Seasons, Caramoor, Prussia Cove Open Chamber Music, Olympic Music Festival, Norfolk, and Taos. Luther is a founding member of ensemble132 and has been a regular collaborator with LA-based chamber orchestra Delirium Musicum and a frequent guest with the Borromeo String Quartet. As an educator, Luther is on faculty at New England Conservatory’s Expanded Education division and serves as Director of Junior Division Chamber Music at the Heifetz International Music Institute. He has presented masterclasses and residencies at Queens College, University of Houston, East Carolina University, and Texas Christian University. Luther holds graduate degrees from the New England Conservatory where he has been a student of Miriam Fried, Donald Weilerstein, and Kim Kashkashian.

ensemble132 is a recipient of a 2025 grant from Chamber Music America’s Artistic Projects program, funded through the generosity of The Howard Gilman Foundation, for this recording.

Booklet für Masques and Marionettes