“It took four years for world-renowned cellist Alisa Weilerstein to assemble “Fragments,” an innovative program that will be presented May 26 to May 31 at the College of Charleston’s Sottile Theatre.
The project combines 27 contemporary compositions with Johann Sebastian Bach’s “Six Suites for Solo Cello,” resulting in six distinct performances designed to provide an intense, multisensory experience over six days for classical music fans and newcomers.
To build the six pieces, Weilerstein asked 27 living composers, including Paul Wiancko, Missy Mazzoli and Andy Akiho, to create new compositions. The modern works are played alongside Bach’s suites, forming an exchange between the present and the past — and serving as Weilerstein’s bid to redefine classical music for the future.
From Bach to now: New works, one bold vision
For Weilerstein, “Fragments” is not merely a concert series. It’s an opportunity to question the limits of classical performance.
“If we’ve done our job right,” she said, “it will have really connected with people in a very visceral, profound way that I hope will stay with them and also that will take away people’s fear of contemporary music.”
Not only are the performances a celebration of music but a milestone in Weilerstein’s career, as it marks the first time she will perform all six fragments in full in one location.
“There are 27 pieces which I like and respect. But of course, I have my favorites,” said Weilerstein. “It’s completely subjective, and it may have nothing to do with what one other person thinks, but I think they are all important voices to listen to and to know kind of where we are as human beings in 2025.”
Composer and cellist Paul Wiancko — Spoleto’s Charles E. and Andrea L. Volpe Director of Chamber Music and a member of the Kronos Quartet — found time in his busy schedule to write a piece for the project.
“As a cellist myself, I’ve had a lifelong love for Bach and for the Bach Suites, and it was very easy to write from an emotional perspective,” he said. “Knowing Alisa, you know she can play absolutely anything. She’s phenomenal.”
Teamwork drives the creation of “Fragments”
As collaborators worked on the music, others were hard at work backstage. Hanako Yamaguchi, artistic producer and advisor for “Fragments,” said the project is highly collaborative.
“It’s really very delicate. It’s fine-tuning of the experience,” Yamaguchi said. “The set creates Alisa’s home on the stage wherever she is. When Alisa conceived the project, she was at home in her living room, so it sprouted from there, but every single one is completely different.”
The performance design, created by director Elkhanah Pulitzer, features 12 wooden boxes of varying sizes, each carefully illuminated and imaginatively arranged on stage.Yamaguchi said the first fragment begins with the performers arranged in a circle around Weilerstein, creating a striking, Stonehenge-like image. During the Bach sections, the lighting stays the same each time, giving the audience a comforting sense of familiarity — like coming home.
This project’s rich layering of sound, lighting and staging reflects Weilerstein’s artistic vision.
“She takes the music, completely internalizes it, and then communicates it out with full energy and connection to the audience — there’s nothing between you and the music,” Yamaguchi said.
IF YOU WANT TO GO: “Fragments” runs May 26 through May 31 at the College of Charleston’s Sottile Theatre.
Mathilde Refloch is a graduate student in the Goldring Arts Journalism and Communications program at Syracuse University.
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