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April 6 and 7 Either/Or perform Feldman, Zorn, Sharp, and more!
March 30th- NOVA Chamber Artists premiere Matthew Van Brink 'String Quartet'
ST. LUKE�S CHAMBER GOES �CROSSTOWN NEW YORK� APRIL 1 & 2 W/BISCARDI, MOOKE, SANDOW, TOWER
March 9: CUNY Composers Alliance
29 April: Avner Dorman's String Quartet No. 2, 92nd St Y
World Premieres Extravaganza, CapitalM, Cutting Room, March 21
NEW MUSIC AT ROULETTE 3/13 - 3/19
Monday March 20, 2006: New Music in New Places
Xenakis Multi-Media Event
NEC Callithumpian Consort to Perform Xennakis' "Kraanerg"
Record companies, artists and publicists are invited to submit CDs to be considered for our Editor's Pick's of the month. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019
Flexible Orchestra 06
April 28th, 2006, 8 PM St. Peter�s Episcopal Church
346 W. 20th St. @ 8th Av. $15/10, info: 212-925-6684 or email@example.com
For the third season of the Flexible Orchestra, we are pleased to announce that the Orchestra has, most flexibly, changed its make-up to:
2 clarinets (all doublings)
1 violin (viola)
�conducted once more by Tara Simoncic
We have commissioned Barbara Benary, Chris McIntyre, Daniel Goode and Peter Zummo to compose for this new flexible orchestra, and we are pleased to revive a 1969 piece for multiple trombones by Frederick Rzewski: Last Judgment which draws on Mozart�s Requiem, now that his 250th is in full swing.
� a new idea for a real orchestral sound with rotating instrumentation__
� we surmount the rigidity of the historical orchestra with a section of one instrumental family plus a smattering of others, changing every year or two__
In the 2004 debut year of the Flexible Orchestra, its make-up was twelve cellos, flute, clarinet, trombone. We performed new and old work by Christian Wolff, Daniel Goode, and William Hellermann. The same make-up in 2005 presented new work by Polansky, Finckel, Goode, Zummo and a revival of Lois V Vierk�s Simoom, for eight amplified cellos.
�� a wonderful concert�� � Thomas Buckner, Interpretations, after the
first concert of the Flexible Orchestra
Barbara Benary, a multi-instrumentalist, is founder and artistic director of Gamelan Son of Lion. A recording of her work is coming out on New World Records this year. She will present her Exlasega, a re-orchestration of her 1980 commission for the Goldman Band. Shifting chords build, showing influences of Javanese music, Japanese gagaku, Orlando di Lasso, and her own minimalist process music.
Christopher McIntyre, composer/trombonist, director of the large brass ensemble, Tilt, has composed for the Yoshiko Chuma�s School of Hard Knocks dance company and for the UnParade of 2005 kicking off the River To River Festival. His new composition, entitled Elements (for Tenney), expands on the idiomatic and site-specific components explored by his 7X7 Trombone Band with choreographer Yoshiko Chuma. Organized in multiple spatialized inner-groupings, located throughout the church (including a procession from outside), Elements pays literal and oblique hommage to one of the great musical minds in contemporary music, James Tenney.
Daniel Goode, composer and clarinetist, is founder/director of the Flexible Orchestra, and co-founder/director of the DownTown Ensemble. He will premiere Annbling which contemplates how to help New Orleans in a one movement piece bringing Mahler and the passionate vocal style of West Javanese music to this year�s configuration of the Flexible Orchestra.
Peter Zummo will premiere his Flexible Fantasy on Experimenting With Household Chemicals, his trombone concerto from the 1990s that pursued improvisational habit-avoidance using slide logic and ensemble apartness. The Fantasy... will have phantom titles including Honky Arena, Homeland Charcuterie, Limited Encryption, and Terrace of Fusion. Zummo, long-time experimentalist in trombone and composition, has been a member of many groups since the 1970�s, including the DownTown Ensemble and the Flexible Orchestra. His Experimenting With Household Chemicals, chamber version, is available on the XI label.
The Flexible Orchestra, principles:
1) It should sound like an orchestra. That means at least one�probably only one section of multiples of a single instrumental type. And like an orchestra there are also different timbres from a few other instruments used both for contrast and emphasis.
2) It should have flexible orchestration, meaning it should change its section of multiples and the contrasting group of instruments every so often, let�s say every year or two, not every two hundred years (and more) as with the official Western orchestra.
3) It must be economical that is, accomplish its sound concept at a reasonable cost. So if the Flexible Orchestra caps at fifteen, there might be twelve for the section of multiples and three for the contrasting group; or perhaps eleven and four, etc.
4) Such a type of orchestra could spring up anywhere and make use of the instrumental strengths of a community or geographical area. Let�s say San Francisco proper has a surfeit of double basses, while the Peninsula has lots of violas�, Cincinnati may have many trumpets. Those could be the multiples in each of those communities that make up the cores of the flexible orchestras in those places. [DG]