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Hajnal Pivnick

New York, NY         

Hungarian-American violinist Hajnal Kármán Pivnick was born and raised in Memphis, Tennessee. She advocates the performance and promotion of music written in the 20th and 21st century, and works extensively as an educator and arts administrator. She is co-founder of Tenth Intervention, a collective of musicians that presents new music in New York City.

Hajnal performs regularly with IRIS Orchestra, ensemble mise-en, and Quartet Metadata, and has played with the Memphis Symphony Orchestra, Opera Theater of Pittsburgh, and the Hungarian New Music Chamber Ensemble (UMZE). In New York, she performs in venues ranging in scope from The Park Avenue Armory to Joe’s Pub to Carnegie Hall.

As a soloist, she has performed with the Association for the Promotion of New Music, the New Music Gathering at Bowling Green State University, Æpex Contemporary Performance, the Casa de las Américas in Havana, Cuba, and the Tribeca New Music Festival.

Hajnal is a member of the violin faculty at Interlochen Arts Camp, and maintains a violin studio at Greenwich House Music School, Opus 118 Harlem School of Music, and Lucy Moses School at Kaufman Music Center. She is also a chamber music coach with the Face the Music/Kronos Quartet program. She holds degrees from Carnegie Mellon University and the Liszt Academy of Music in Budapest, Hungary.

Vibrant Matter (2018) by Ryan Lott

Hajnal Pivnick, violin and Ryan Lott, electronics
“Vibrant Matter” is a movement from “Pentaptych,” a collection of 9 new tracks from Ryan Lott, taken from the ballet piece commissioned by the Philbrook Museum of Art and presented by Tulsa Ballet. The original evening-length work was choreographed by Ma Cong.

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Sun Propeller (2013) by Nina Young

Note from the composer: “The ideas for this work came while I was researching the music of Tuva, a culture in southern Siberia. Their music, particularly the practice of throat sining, is a vocal imitation of natural surroundings and is used to pay respects to the spirits of nature. This type of Tuvan music is built upon a low drone-tone with overtones floating above. The music values timbre and vertical intervals over traditional western melodic and harmonic principles.”

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Spine, Spleen and Shard by Meredith Gilna

Hajnal Pivnick, violin and Alexandra Jones, cello
Spine, Spleen and Shard is derived from a linear black and white graphic: a map guiding its lines, texture, pacing, timbre, and register. This skeleton provided the work with its gestural and dynamic character and irregular form, and the music departed from the graphic when optimal. Drawing from an idiomatic visual source, the work’s shape and content would have a self contained logic, distanced from other habitual conventions that arise from relying on auditory interests alone.

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