**David Longstreth’s new work will be replaced with a great piece by guitarist wizard-composer Fred Frith, one of the true pioneering experimental guitarists dating back to his days with the British underground band Henry Cow, his work with Eno, Ikue Mori, and the like.**
The program will be:
Lok Yin Tang: Distorted Indulgence*
Kate Moore: Ridgeway*
Fred Frith: Snakes & Ladders
Alvin Lucier: Canon
Lee Ranaldo: How Deep Are Rivers? (A Map is a Good Piece of Paper)**
**New York Premiere
Merkin Concert Hall at Kaufman Center Presents
NEW SOUNDS® LIVE!
Hosted by WNYC’s John Schaefer
BANG ON A CAN ALL-STARS with special guests LEE RANALDO and ALVIN LUCIER
The 2009 People’s Commissioning Fund (PCF) Concert
Thursday, April 2, 2009 at 8:00pm
“A fiercely aggressive group, combining the power and punch of a rock band with the precision and clarity of a chamber ensemble.”
- NEW YORK TIMES
Fred Frith, composer, improviser and multi-instrumentalist, has situated himself for more than 30 years in the area where rock music and new music meet. Co-founder of the British underground band Henry Cow (1968-78), he moved to New York in the late 1970s and came into contact with many of the musicians with whom he’s since been associated, including, for example, John Zorn, Ikue Mori, Tom Cora, Zeena Parkins and Bob Ostertag. 14 years in New York gave rise to groups like Massacre (with Bill Laswell and Fred Maher), Skeleton Crew (with Tom and Zeena) and Keep the Dog, a sextet performing an extensive repertoire of Fred’s compositions. In the 1980s Fred began to write for dance, film and theatre, and this in turn has led to his composing for Rova Sax Quartet, Ensemble Modern, Arditti Quartet, Asko Ensemble and many other groups, including his own critically acclaimed Guitar Quartet. Best known world-wide as an improvising guitarist, Frith has also performed in a variety of other contexts, playing bass in John Zorn’s Naked City, violin in Lars Hollmer’s Looping Home Orchestra and guitar on recordings ranging from The Residents and René Lussier to Brian Eno and Amy Denio. Frith is the subject of Nicolas Humbert and Werner Penzels’ award-winning documentary film Step Across the Border. He is currently Professor of Composition at Mills College in Oakland, California.
Kate Moore has been living and working since 2002 as a composer in the Netherlands, where she completed a Masters in music under Louis Andriessen. Moore has written for a vast array of ensembles including Syntonia, Orkest de Volharding, De Ereprijs Orkest, Ensemble Klang, Trio Kassandra, Is(BoaC MASSMoCA), The Song Company, Modelo62 and her own Very Big cello and double bass ensemble. She has embraced many curious experiences, including spending two weeks in the ocean building a floating sound sculpture in collaboration with Australian sculptor Jade Oakley as part of The Noosa Floating Land Festival. She has created interactive sound installations supported by the Foundation for Young Australians program, Bundanon Living Arts Space and the Australian National University, and has collaborated with the National Choreographic Centre based in the ACT. Her works have been performed at high-profile festivals such as the International Gaudeamus Festival of Contemporary Music and Bang on a Can Summer festival MASSMoCA and in venues including The National Gallery of Australia, De Balie in Amsterdam and Theatre des Bouffes du Nord in Paris. She has received a number of awards for her creative work. In 2003 she was a prize winner at the Appeldoorn Young Composers Meeting and was in 2001 a recipient of the Franco Australian Composition Competition for her work entitled Sketches of Stars. From1999-2002 she received the Howard Allen Memorial Prize for composition, and during her undergraduate studies she was awarded an honours scholarship and The University Medal for excellence in Music.
Lok-Yin Tang is currently pursuing her Doctorate in Composition, studying with Prof. Wing-wah Chan and Prof. Victor Chan at the Chinese University of Hong Kong, where she obtained a Masters in composition. She received her Bachelor of Music at the Hong Kong Academy for Performing Arts under the tutelage of Wing-fai Law and Clarence Mak. Tang has received numerous composition awards. In 2006, her Sheng Concerto Volcanicity won the Young Composer Award at the Singapore Chinese Orchestra’s International Competition for Chinese Orchestral Composition. In 2007, the chamber ensemble piece The Giving Tree II was awarded first prize at the Asian Pacific Festival Young Composer Composition Competition in New Zealand. That summer, Convergence brought her the Outstanding Prize of the “Palatino” piano composition competition in China. Also that year, Tang received the ACL Yoshiro IRINO Memorial Prize in December 2007 and a Fulbright Scholarship to be a visiting scholar at Columbia University, studying with Tristan Murail.
Alvin Lucier was born in 1931 in Nashua, New Hampshire. He was educated in Nashua public and parochial schools, the Portsmouth Abbey School, Yale, and Brandeis and spent two years in Rome on a Fulbright Scholarship. From 1962 to 1970 he taught at Brandeis, where he conducted the Brandeis University Chamber Chorus, which devoted much of its time to the performance of new music. Since 1970 he has taught at Wesleyan University, where he is the John Spencer Camp Professor of Music. Lucier has pioneered in many areas of music composition and performance, including the notation of performers’ physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. His recent works include a series of sound installations and works for solo instruments, chamber ensembles and orchestra in which, by means of close tunings with pure tones, sound waves are caused to spin through space. Mr. Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia. He has visited Japan twice: in 1988 he performed at the Abiko Festival, Tokyo, and installed Music On A Long Thin Wire in Kyoto; in 1992 he toured with pianist Aki Takahashi, performing in Kawasaki, Yamaguchi and Yokohama. In 1990-91 he was a guest of the DAAD Kunstler Program in Berlin. In January 1992, he performed in Delhi, Madras and Bombay, and during the summer of that year was guest composer at the Time of Music Festival in Vitaasari, Finland. He regularly contributes articles to books and periodicals. His own book, Chambers, written in collaboration with Douglas Simon, was published by the Wesleyan University Press. In addition, several of his works are available on Cramps (Italy), Disques Montaigne, Source, Mainstream, CBS Odyssey, Nonesuch and Lovely Music Records. In October, 1994, Wesleyan University honored Lucier with a five-day festival, ALVIN LUCIER: COLLABORATIONS, for which he composed 12 new works (including Theme, based on a poem by John Ashbery) and Skin, Meat, Bone, a collaborative theater work with Robert Wilson. In April 1997, Lucier presented a concert of his works in the Making Music series at Carnegie Hall, and in October of the same year his most recent sound installation, Empty Vessels, was exhibited at the Donaueschingen Music Festival in Germany. In 1999, Diamonds for three orchestras was performed under the direction of Petr Kotik at the Prague Spring Festival. In March 1995, Reflections/Reflexionen, a bi-lingual edition of Lucier’s scores, interviews and writings was published by MusikTexte, Koln.
Lee Ranaldo is a visual artist, writer, and founding member of the New York City group Sonic Youth, who continue to record new music and tour the world on a regular basis. Their most recent record is Rather Ripped (2006, Geffen Records). An extensive touring museum exhibition, Sonic Youth, etc: Sensational Fix, opens in June 2008 at LIFE, St. Nazaire, France. His visual and sound works have been shown at galleries and museums in Paris, Toronto, New York, London, Sydney and Vienna. In August 2007 he was artist-in-residence at Atelier cneai, Paris. His latest collection, Hello From The American Desert (2007, Silver Wonder Press), contains poems from 2004-2007, which enlist internet spam as a springboard for poetry. Recent solo recordings include The Celestial Answer (with William Hooker) (2005, Table of the Elements); Metal Box, with Text of Light (2006, Dirter); and the forthcoming Maelstrom from Drift (2008, Three-Lobed).
Merkin Concert Hall at Kaufman Center presents
NEW SOUNDS® LIVE! Hosted by WNYC’s John Schaefer
BANG ON A CAN ALL-STARS with special guest LEE RANALDO
The 2009 People’s Commissioning Fund Concert
Thursday, April 2, 2009 at 8:00pm129 West 67th Street
(between Broadway and Amsterdam)
Tickets at 212 501 3330 or www.kaufman-center.org
Single tickets are $25 (members $20)
EDITORS: Please refer to the series by its name, MUSICALLY SPEAKINGâ€¦
and its location, Merkin Concert Hall at Kaufman Center
Press Only: Hi-res photos for download at http://kaufman-center.org/press/image-library
About Merkin Concert Hall
Renowned for its acoustics, accessibility and innovative programming, Merkin Concert Hall is the recipient of multiple awards for adventurous programming, most recently from ASCAP/Chamber Music America in 2002-03. The hall is a division of Kaufman Center, the creative community for listeners, learners and performers people who want music in their lives. Kaufman Center is also home to Lucy Moses School (New York’s largest community arts school) and the Special Music School (a New York City public school for musically gifted children). Kaufman center brings together music education and performance for students and audiences of all ages, backgrounds, and skill levels, combining the finest music education for children and adults with boldly innovative yet intimate concert experiences spanning a wide range of music.
Kaufman Center’s presentations in Merkin Concert Hall are made possible, in part, by support from The Amphion Foundation, the Mary Flagler Cary Charitable Trust, the Edward T. Cone Foundation, the Aaron Copland Fund for Music, the Barbara Bell Cumming Foundation, The Gladys Krieble Delmas Foundation, the Ann and Gordon Getty Foundation, and The Fan Fox and Leslie R. Samuels Foundation, Inc.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs.
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