Roulette Presents: Ned Rothenberg Feat-Erik Friedlander, Min Xiao-Fen, Satoshi Takeishi, Arbor Vitae, Mivos Quartet. Chamber Music Retrospective November 9 & 10, 8:00pmPosted by s21concerts in Concert Announcement
What: Ned Rothenberg presents a two night, chamber music retrospective
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
When: November 9 & 10, 8 pm
Cost/Info: $15/10 members/students/seniors, www.roulette.org
Brooklyn, NY: Ned Rothenberg presents a two night retrospective of his chamber music on November 9 & 10 at 8pm each night, along with new premier works. The evenings will feature several of his compositions from recent cd releases on Tzadik including the compositions Ghost Stories for pipa, cello and percussion (Nov. 9) and the first movement from his Quintet for Clarinet and Strings (both from cds of the same title). Other pieces from the Tzadik releases will include Arbor Vitae, for clarinet and shakuhachi, Cloud Hands for 2 shakuhachi, new solo works for woodwinds and a world premiere piece for String Quartet, Viewfinder (Nov. 10th). Performers will include Erik Friedlander, Min Xiao-Fen, Satoshi Takeishi, and the Mivos Quartet.
Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 30 years in North and South America, Europe and Asia. He performs primarily on the alto saxophone, clarinet , bass clarinet, and the shakuhachi – an end blown Japanese bamboo flute.
Ghost Stories (Tzadik)
Like virtually all of the new-music composers and performers associated with the original Knitting Factory in New York, woodwind/saxophone ace Ned Rothenberg has a formidable reputation as an innovator. Specifically, Rothenberg has been celebrated for his circular-breathing techniques, as well as his experiments with overtone manipulation and polyphony. He also shares the restless eclecticism of colleagues like John Zorn and Anthony Braxton, with a particular interest in the more painterly shades of contemporary Japanese classical music. What renders Rothenberg more approachable and, in the end, more significant than many of his peers is the serenity at the heart of his fiercest playing. Even when fronting the Double Band, his long-standing, free-blowing jazz-funk ensemble, Rothenberg infuses solos of breathtaking virtuosity with a rare, peaceful patience.
Ghost Stories, a collection of classically themed chamber pieces, may be his most perfectly realized release to date. Austere but not forbidding, all four of these works recall Rain Tree Sketch–era Toru Takemitsu in their moments of misty, gently disintegrating dissonance, yet they are never derivative. In “Arbor Vitae,” Rothenberg’s clarinet and Riley Lee’s shakuhachi flute alternate as still ocean and trade wind, blowing around and across and through each other. The title composition, for pipa (Chinese lute), cello and percussion, develops fitfully, with moments of politely plucked strings and tapped toms evolving into squalls of scraping bows and scurrying percussion. “Kagami,” for Rothenberg’s solo shakuhachi, remains centered in the preternatural stillness that instrument creates around itself, but shudders with unexpected bursts of tongue and breath.