Repertoire
What to expect at a Beo Concert
For us, a concert isn't a collection of disparate works loosely connected by a theme. Rather, it's a curated journey where at the heart lies the experience of the listener.
How we do this
We approach our programming by thinking about the arc of the evening; considering the emotional range of a concert; and knowing how we, or a presenter, would like our listeners to be sent off wishing to return. We strive to tell a story through each concert experience, and we want each and every audience member to feel a unique emotional connection to the music that we perform.
What music do we play?
Some of our favorite pieces to perform come from composers such as Bach, Haydn, and Beethoven. One of the things that draws every member of Beo to perform chamber music for a living is the rich tradition of the string quartet repertoire. At the same time, we are passionate about showing the listener how music written within the last year or hundred years can be just as moving and enjoyable as the masterpieces of the past. We also like to plug in and play our own music, sometimes even with drums and electronics.
We have programs for conservative audiences, adventurous audiences, and everyone in between!
What is contemporary music?
The term “contemporary” in music casts a wide net and is often misunderstood. Contemporary music literally refers to music that was composed today or within the past years or decades, which also means that it tells us almost nothing about style or how it will even sound. There is a common misconception that contemporary music means it will be dissonant, unpleasant, or distant from what we consider traditional. However, the progression of music from Shostakovich, Bartók, or other well-known 20th century composers, to music that is currently being composed has not necessarily been one of linearly increased dissonance, intellectualism, and complexity. While there is music that fits the previous description, there is also a lot of chamber music from the past 20 years that offers a lush oeuvre of melody and beautifully functional harmony.
Is Beo a contemporary music ensemble?
No! And yes. While many chamber music ensembles have put themselves in a niche, specializing in contemporary, classical, baroque, or crossover music, Beo values performing music that we love, from any era! Not only have we found that our audiences tend to have richer experiences when hearing a wider variety of styles, but we have also learned that performing in a variety of styles opens a gateway to more expressive possibilities for us when playing.
We also believe that to not expose a listener to thoughtfully selected new music is to hide today’s shared values with the traditional repertoire. Elements such as melody, tonality, and having a moving experience.
2023-2024 Sample programs
Masterworks
Designed for the listeners who want to hear a program that focuses on music that has stood the test of time, composed by some of the musical greats from the past.
Haydn: String Quartet in G major, Op. 33 No. 5 Hob.III:41
Marc Mellits: String Quartet No. 3 “Tapas”
Felix Mendelssohn: String Quartet No. 5 in E-flat major, Op. 44 No. 3
(Tapas is beautiful, catchy, and full of familiar musical features making him the perfect fit for a traditional audience.)
Exploration
For the listener in search of, through familiarity, more conflict, resolution and contrast. With this you can expect an experience that fulfills the known and awakens a curiosity in something new.
Alexander Glazunov: 5 Novelettes, Op. 15
Sean Neukom: People
Missy Mazzoli: Harp and Altar
Dmitri Shostakovich: String Quartet No. 3 in F major, Op. 73
(Missy's Harp and Altar uses a light backing track of lush timbres that enrich the string quartet, and a vocal feature of the poetry that inspired the work. This version of People is a Beo original that melds together qualities of classical and popular styles of music beautifully.)
Monumental
Designed for the listener seeking what the classical string quartet can do in the 21st century, expect an experience full of familiar features enhanced by non-intrusive technology.
Gabriela Ortiz: Mictlán from Altar de Muertos
Sean Neukom: 19|20
Ludwig van Beethoven: String Quartet No. 15 in A minor, Op. 132
(Sean's 19|20 uses staging and technology to unfold a moving, humanistic story centered around the string quartet and the necessity of Art.)
2023-2024 repertoire
Baroque
J.S. Bach - Selections from The Art of Fugue, BWV 1080
Classical/Romantic
Ludwig van Beethoven - String Quartet No. 15 in A minor, Op. 132
Alexander Glazunov - 5 Novelettes, Op. 15
Franz Joseph Haydn - String Quartet in G major, Op. 33 No. 5 Hob.III:41
Felix Mendelssohn - String Quartet No. 5 in E-flat major, Op. 44 No. 3
Bedřich Smetana - String Quartet No. 1 in E minor “From My Life"
20th Century
Dmitri Shostakovich - String Quartet No. 3 in F major, Op. 73
Contemporary
Missy Mazzoli - Harp and Altar
An ode to the Brooklyn Bridge with lyrics by American poet Hart Crane. Featuring fixed electronics designed by the composer.
Marc Mellits - String Quartet No. 3: Tapas
Eight brief, exciting, very accessible, minimalist movements.
Sean Neukom - 19|20
This work is epic. At just under 40 minutes, the live version includes pre-recorded string quartet, projected video, improvisation (and a magic trick). 19|20 questions the role of art in a post-covid world.
Gabriela Ortiz - Altar de Muertos
Another 40” work, featuring traditional percussion (water drums and huesos de fraille) and strong traditional dance influence. Mictlán (the 2nd movement) works well when performed as a standalone piece and has an exciting and explosive ending!
Crossover
Sean Neukom - El Balcón
The story of a childhood dream from the composer’s mother.
Sean Neukom - Colors
Colors is a full-length album that can be performed live and uses amplified string quartet, digital effects, loops, and samples. Written in a popular-leaning style and can get very heavy. Here is a video of one of the songs: Blue.
Sean Neukom - How the Sick Pray
On religious agenda in politics.
Sean Neukom - Immigrant
Designed intricately with live synths and singing from Sean. He doesn’t play viola at all in this piece, so it is essentially scored for synths, voice, 2 violins and cello. The piece is a commentary on the struggle immigrants face from leaving their countries and arriving in the US, as well as getting sent back. Included below is a link to an early version of Immigrant.
Sean Neukom - People
Exploring the unending cycles of “people” — birth, growth, great achievement, terrible tragedy and death — that continues from generation to generation. For acoustic string quartet and projected video.