Hailed as “the future of chamber music” (Strings), Brooklyn Rider offers audiences an eclectic repertoire in gripping performances that continue to attract legions of fans and draw rave reviews from classical, world, and rock critics alike.

Frequently Asked Questions

“They are four classical musicians performing with the energy of young rock stars jamming on their guitars, a Beethoven-goes-indie foray into making classical music accessible but also celebrating why it was good in the first place.”

Pittsburgh Post-Gazette

Brooklyn Rider are Johnny Gandelsman, violin; Colin Jacobsen, violin; Nicholas Cords, viola and Michael Nicolas, cello. Hailed as “the future of chamber music” (Strings), they offer eclectic repertoire in gripping performances that continue to attract legions of fans and draw rave reviews from classical, world, and rock critics alike. 

In fall 2018, Brooklyn Rider released Dreamers on Sony Music Masterworks with Mexican jazz vocalist Magos Herrera.  The recording includes gems of the Ibero-American songbook as well as pieces written to texts by Octavio Paz, Rubén Darío, and Federico García Lorca. They will tour to support the album beginning in New York City. Brooklyn Rider will also debut their Healing Modes project this season which presents Beethoven’s Opus 132 alongside five new commissions by Reena Esmail, Gabriela Lena Frank, Matana Roberts, Caroline Shaw, and Du Yun.

Brooklyn Rider celebrated its tenth anniversary in 2015 with the groundbreaking multi-disciplinary project Brooklyn Rider Almanac, for which it recorded and toured 15 specially commissioned works, each inspired by a different artistic muse. Last season, Brooklyn Rider released an album with Anne Sofie von Otter entitled So Many Things on Naïve Records, including music by Colin Jacobsen, Caroline Shaw, John Adams, Nico Muhly, Björk, Sting, Kate Bush and Elvis Costello, among others. Together they toured material from the album and more in the U.S. and Europe, including stops at Carnegie Hall and the Opernhaus Zurich.

After performances together at the Jacob’s Pillow Dance Festival, the quartet toured the U.S. with choreographer Brian Brooks and former New York City Ballet prima ballerina Wendy Whelan, performing Some of a Thousand Words. The intimate series of duets and solos featuring Brooks and Whelan foregrounds the live onstage music of the quartet as a dynamic and central creative component.

Other recent recording projects include Spontaneous Symbols in the fall of 2017, 2016’s The Fiction Issue with music by Gabriel Kahane, 2013’s A Walking Fire on Mercury Classics and The Impostor with Béla Fleck on Deutsche Grammophon/Mercury Classics, plus 2011’s much-praised Brooklyn Rider Plays Philip Glass on the composer’s Orange Mountain Music label. Violinist Johnny Gandelsman launched In A Circle Records in 2008 with the release of Brooklyn Rider’s eclectic debut recording, Passport, followed by Dominant Curve in 2010, and Seven Steps in 2012. A long-standing relationship between Brooklyn Rider and Iranian kamancheh player Kayhan Kalhor resulted in the much-praised 2008 recording, Silent City.

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ABOUT THE WILLIAM H. GILE TRUST CONCERT SERIES

The William H. Gile Trust was created by Helen B. Gile in 1952.  She left a legacy of more than $700,000 to finance a free concert series in Concord, New Hampshire in memory of her father, William H. Gile.  Helen Gile stipulated that the trust funds were to be managed by what is now Citizens Bank, and that the selection of shows “of the highest type in all respects” was to be made by a committee of three local citizens.

After much planning, the first William H. Gile Concert Series was held during the 1960-61 show season, and, over 55 years later, we are happy to now call the Capitol Center for the Arts our home.

The Selection Committee strives to present a diverse offering of performance types, to include some shows that are suitable for children, and to expose the community to performances that they might otherwise not have a chance to see.  Please let us know if you have any ideas for future shows.

If you would like to make a tax-deductible gift to help the William H. Gile Trust continue to provide free concerts for years to come, please contact Nicole Herbst in the Citizen’s Bank Trust Department at (603) 634-7737.

We are proud to welcome all types of concerts to our stage.  Occasionally during a performance, audience members will show their enthusiasm by standing and dancing, especially when encouraged by the performers to do so. Unless directed by the show, we do not enforce a “must-sit” policy at concerts. For most concerts this would not be acceptable to the performers on stage who often love it when the crowd is moved enough by the performance to stand. This is especially true for rock shows and for seats closest to the stage.

We do not have a “no standing” policy and, in most situations, will allow guests to stand even if they block the view of the stage for other guests. If your view is ever blocked by a standing or dancing guest, please contact an usher and we’ll attempt to find alternative seating.

Processing and convenience fees are standard in the performing arts industry, but since the Capitol Center for the Arts handles ticket sales independently, our fees are much lower than the average fee you’ll find with theatres using third party ticketing companies. A variable per ticket convenience fee will be added to every order purchased online or by phone. You are not charged this per ticket fee when purchasing in person at the Box Office. These fees help to cover the cost of operating the theatre, as well as administrative and box office staffing, credit card fees charged by merchant services, ticketing software, 24/7 ordering via our website, postage, computer and telephone systems, utilities and supplies.

Refunds or exchanges are not permitted for any tickets purchased unless the show cancels. Please do not purchase a ticket unless you are sure that you can attend.  Members of the Capitol Center for the Arts may exchange tickets for credit toward future events.  Tickets must be presented to the box office during business hours at least 24 hours prior to the event. Tickets that are part of a VIP, Meet and Greet, or group/subscription discount package may not be eligible for ticket insurance.