On Monday, March 9th at 8:00 pm, the Fresno State New Music Ensemble will present a free concert of music by living Armenian composers in commemoration of the 100th anniversary of the Armenian Genocide. The concert will feature music by composers Tigran Mansurian, Charles Amirkhanian, Artur Avanesov, Anna Aidinian, Steven Aprahamian, Eve Beglarian, and Joseph Bohigian.
Fresno State New Music Ensemble members:
Cassandra Barnes (flute)
Katie Winter (clarinet)
Josh Locher (saxophone)
Lianna Stuart (violin)
Aimee Dockum (cello)
Morgan Phillips (guitar)
Nathaniel Musso (piano)
Joseph Bohigian (percussion/piano)
Monday, March 9th at 8:00 pm
CSU Fresno Music Building Concert Hall
2380 E. Keats Ave, Fresno, CA, 93740
Celebrating its 19th year, Sound Liberation, an eclectic chamber ensemble/band, presents a concert re imagining Funk.
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Symphony Number One: Façade
BALTIMORE, MD — Symphony Number One will make their concert debut at Carriage House Baltimore on March 7 & 8, 2015 with the world premiere of Trope by James Chu. Led by conductor Jordan Randall Smith, the program will also feature William Walton’s Façade for chamber orchestra and reciter. Symphony Number One is a unique addition to Baltimore’s contemporary music scene. The group will oversee the commission, performance, and promotion of substantial works by emerging composers and program them alongside carefully selected works of the classical canon.
ABOUT THE PROGRAM
Façade is a set of “Entertainments” or short musical numbers written between 1926 and 1938 by English composer Sir William Walton (1902-1983). Walton sets nonsense poetry by Dame Edith Sitwell (1887-1964). Soprano Laura Whittenberger, will recite Edith Sitwell’s whimsical verses and Catarina Farreira will perform Walton’s dauntingly virtuosic solo cello part. Façade is scored for flute, clarinet, saxophone, trumpet, percussion, cello, and reciter.
In the program’s featured World Premiere, tentatively titled Trope, James Chu augments the Walton chamber ensemble with a violin to round out the instrumental/vocal octet. This new work is Chu’s artistic response to Façade and builds on his previous theatrical work at Princeton University and at the Peabody Conservatory. This marks the second collaboration between Chu and Whittenberger; Smith previously conducted Whittenberger in the Peabody Opera Theater‘s 2013 production of Poulenc’s Dialogues des Carmélites.
Saturday, March 7 at 8pm Facebook | Google
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Carriage House Baltimore
2225 Hargrove Street (alley between N. Calvert and St. Paul) Baltimore, MD 21218
Admission is $0-15 (pay what you want) at symphno1.com
VIP admission by contributing to the orchestra’s crowdfunding campaign at Kickstarter.
LATER THIS SPRING
May 8 & 9, 2015: Symphony Number One presents MOZART IN THE [urban] JUNGLE, featuring harpist Jordan Thomas and flutist Raoul Cho. The duo will be joining the orchestra for Mozart’s Concerto for Flute and Harp. The program will open with Anton Webern’s one and only Read the rest of this entry »
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NEW YORK, NY – On Thursday, February 26th, 2015 at 7pm, New York City-based pianist Eunbi Kim will be performing re: last night as part of the Open Stage 2015 Season at the Korean Cultural Service New York, 460 Park Avenue #601, New York, NY. The event is free, but an RSVP is required at http://www.koreanculture.org/?mid=RSVP02262015
re: last night, performed by pianist Eunbi Kim, is a program of classical and contemporary solo piano works. Inspired by the email subject line “re: last night” on a crowded NYC subway, the program is influenced by dreams and delirium. re: last night celebrates these states of “in-between-ness” through a program of left-field music inspired by night and late-night conversations.
This program includes contemporary jazz-influenced works from composers Fred Hersch, William Albright, Nikolai Kapustin, Toby Twining, and the world premiere of a commissioned work for piano and recorded voices by eminent composer Daniel Bernard Roumain (DBR), who also serves as director for this thought-provoking performance.
“Nighttime is ripe with possibilities, along with fears, regrets, and desire,” says Ms. Kim. “The surreal region betwixt our waking and our dreaming, our present and our future, between the person we present to others and the person we might actually be.”
This performance is the second public performance in a series that follows her February 14th evening at the Kennedy Center’s Millenium Stage in Washington DC.
Concert Program (works to be performed include):
Scriabin, Prelude In G-sharp Minor, Op. 11, No. 12
Nikolai Kapustin, Eight Concert Etudes Op.40 : Reverie
Igor Stravinsky, 4 Etudes, Op. 7: No. 4 in F-Sharp Major
Toby Twining, Satie Blues – arr. for toy piano and piano
Toby Twining, Nightmare Rag – arr. for toy piano and piano
Daniel Bernard Roumain (DBR), It Feels Like A Mountain, Chasing Me – written for piano and recorded voices
William Albright, The Dream Rags
Fred Hersch, Little Midnight Nocturne
About Eunbi Kim, pianist
New York City-based pianist Eunbi Kim has carved a niche as a classical and contemporary pianist who creates adventurous concert programs and interdisciplinary performances. Her most recent piece, Murakami Music, has been presented at Symphony Space (NYC), Asia Society Texas Center (TX), Georgetown University (DC), and was featured in a special documentary produced by NHK, Japan’s public broadcasting organization. Eunbi made her European orchestral debut with I Solisti di Perugia in Italy, and has also performed solo and chamber programs in venues such as the National Museum of Women in the Arts in Washington, D.C. and the 92nd Street Y in New York City. Ms. Kim graduated with her Master’s degree at Manhattan School of Music where she also held a fellowship at The Center for Music Entrepreneurship.
About Daniel Bernard Roumain (DBR), director
DBR’s acclaimed work as a composer and performer spans more than two decades, and has been commissioned by venerable artists and institutions worldwide. “About as omnivorous as a contemporary artist gets” (New York Times), DBR is perhaps the only composer whose collaborations traverse the worlds of Philip Glass, Bill T. Jones, Savion Glover and Lady Gaga. Known for his signature violin sounds infused with a myriad of electronic and urban music influences, DBR takes his genre-bending music beyond the proscenium. He has been nominated for an EMMY for Outstanding Musical Composition for his work with ESPN; featured as keynote performer at technology conferences; and written large scale, site-specific music for public parks. DBR’s made his Carnegie Hall debut (2000) with the American Composers Orchestra performing his Harlem Essay for Orchestra, a Whitaker commission. He went on to compose works for the Boston Pops Orchestra; Carnegie Hall; the Library of Congress; the Stuttgart Symphony, and myriad others. An avid arts industry leader, DBR serves on the board of directors of Creative Capital and the advisory committee of the Sphinx Organization, and is co-chair of 2015 APAP Conference.
Peter Gordon, Symphony No. 5
Peter Gordon’s Symphony No. 5 traces the growth of the New York-based composer’s musical ideas from 2007 to 2012. The number “5” of the title refers to the five-year gestation period as well as the five-movement form of the work, and the idea of a “fifth symphony” as a significant point in a composer’s trajectory. The composition is a striking and elaborate statement, with the communication and energy of an ensemble performance, and the punch and careful attention to detail of a studio recording.
Peter Gordon has been a driving force of New York’s thriving “downtown scene.“ Performing on saxophones and keyboards, he draws inspiration from musical genres as diverse as jazz, rock, opera and world music. His complex and diverse body of work includes recordings, as well as scores for operas, theater, films and dance.
Gordon performed his first symphony, Symphony in Four Movements, in New York in 1976, with a band that included Philip Glass, Laurie Anderson, Arthur Russell and Rhys Chatham. Combining disco, electronic, pop and jazz elements with experimental music, he formalized his ensemble – the Love of Life Orchestra (LOLO) – and has kept it active ever since.
LOLO, with its performers grounded in diverse musical backgrounds, has ranged in size from a trio to 12+ musicians. Its core personnel has remained stable since inception, with recent additions from New York’s Latin jazz scene. LOLO is represented by several influential recordings – including 1978′s Extended Niceties EP (Lust/Unlust Records) and 2010′s retrospective album Love of Life (DFA Records.)
“The Love of Life Orchestra was founded on the coexistence of multiple musical orientations,“ Gordon explains. “Counterpoint is central to my music, and prevalent in all five movements of Symphony No. 5. Each voice maintains its integrity and forward motion, but intersecting voices illuminate harmonic and rhythmic dimensions that are shared and larger than any single voice. This is both a musical and social concept: counterpoint developed in Europe during the Enlightenment, when multiple voices needed to coexist, and be heard, for society to function.“
Homeland Security was created after Gordon returned to New York City, when the country was at war, with a new culture of surveillance. Juvenalia was inspired by Mannie Freshʼs Project Chick with the Cash Money Millionaires of New Orleans, as well as by the Roman poet Juvenal. Both the Roman and New Orleanian works are built from simple, catchy, and symmetrical phrases.
Gordon imagined Chamber Disco as a danse macabre that begins in a stark, empty, closed-down club. At first stone cold, then festive, it leads up to a spinning frenzy, then drops to a sudden sobriety. After composing Homeland Security, Juvenalia, and Chamber Disco, Gordon completed the symphonic structure with Exposition and Transgression, the first two movements.
Recorded live by producer Jeff Jones “The Jedi Master,” who received Grammy Awards for his work with Dr. John and Wynton Marsalis, Symphony No. 5 exhibits Peter Gordon’s complex, yet funky, compositional process.
Mr. Gordon keeps a busy schedule. Recently, Robert Ashley’s Vidas Perfectas saw Gordon reprise his role as music producer of the seminal video opera Perfect Lives. Future projects see him directing a new version of Arthur Russell’s Instrumentals in Europe, as well as a new recording with Tim Burgess (Charlatans), scheduled for release on Record Store Day.
Peter Gordon – organ & synthesizer
Katie Porter – clarinet & bass clarinet
Paul Shapiro – tenor & soprano saxophones
Max Gordon – trumpet
Peter Zummo – trombone
Bill Ruyle – vibraphone
Ned Sublette – electric guitar
Randy Gun – electric guitar
Yunior Terry – bass guitar
Elio Villafranca – piano
Robby Ameen – drums
Produced by – Jeff Jones “The Jedi Master” with Peter Gordon
Excecutive Producer – Benjamin Freeney
Recorded live on June 5, 2013 at Roulette, Brooklyn, NY, USA
AVAILABLE IN STORES AND ONLINE FEBRUARY 16, 2015 OR VIA FOOM MUSIC ON CD, VINYL AND HI-RES DIGITAL DOWNLOAD.
For further info please visit FOOM Music:
New York, NY
Building on the success of their 2013-14 residency at Abrons Arts Center, Experiments in Opera
returns to Abron’s Underground Theater from February 13-21, 2015
for the world premiere of Sisyphus
, a reimagining of the complete Sisyphus story told by three composers. Experimenting with new collaborative processes and embracing the eclecticism of New York’s contemporary and DIY music scenes, EiO aims to expand their support of today’s composers looking to tell their stories through music.
There’s more to the myth of Sisyphus
than a man pushing a boulder up a hill. In this new, collaboratively-composed evening-length opera, the famous story is twisted, pulled apart, and reassembled in a collage of characters, genres and questions. Sisyphus
features texts and music by the three founders of Experiments in Opera: Jason Cady, Aaron Siegel, and Matthew Welch
and is being developed in partnership with the director Ethan Heard
and the designer Kristen Robinson.
Jason, Aaron and Matt
decided that they wanted to write a piece together, each using their own unique musical languages but telling the same story. They chose Sisyphus as a way to continue the tradition of myths as mutable stories, changing with each telling depending on the background of the storyteller. In this new opera, Jason focuses primarily on the story of Sisyphus, whose legendary ego and excesses were the cause of his infamous punishment. Aaron tells the tragic story of Aegina, whose capture by Zeus is discovered and betrayed by Sisyphus. And Matt focuses on the never-ending hell that Sisyphus lives as a result of his transgressions. This version of Sisyphus
will at turns be tragic, obsessive and hilarious, all in the course of a 60 minute, fully-staged production.
The opera is scored for 3 singers, soprano Lucy Dhegrae
, mezzo-soprano Kate Maroney
and tenor Vince B. Vincent.
They will each embody a dizzying number of roles throughout the production and will be accompanied by Joe Bergen
on vibraphone, Meaghan Burke
on cello, Shawn Lovato
on bass, Jason Cady
on modular synthesizer and conducted by Matthew Welch. Sisyphus
will be directed by Ethan Heard,
with stage designs by Kristen Robinson
, lighting design by Masha Tsimring,
and costume design by Maria Hooper.
February 13, 14, 20 & 21, 2015; 8pm
Abrons Arts Center | Underground Theater
466 Grand Street (at Pitt Street), New York, NY 10002
Tickets $20 at abronsartscenter.org
COMING LATER THIS SPRING:
Experiments in Opera presents STORY BINGE, seven new operas in a two-night operathon at Roulette in Brooklyn onApril 1 & 2, 2015. Over the course of this opera binge, you will hear the work of eight composers, whose arrival at opera couldn’t be more roundabout. The resulting pieces, one-act shorts and excerpts in concert and staged performances tell a range of absurd, abstract, historical and hilarious stories.
April 1-2, 2015, 8:00 PM
Roulette | Brooklyn, NY
roulette.org for tickets
ABOUT EXPERIMENTS IN OPERA
Co-founded by composers Matthew Welch, Jason Cady, and Aaron Siegel, Experiments in Opera is a composer-driven initiative, featuring recent and new works with innovative answers to the traditional questions about how to connect words, story and music. Our activities respond to the pronounced need to nurture composers who are exploring musical work beyond a strictly concert setting, but furthermore into the hybrid genre of opera. Additionally Experiments in Opera builds supportive and informed audiences that are capable of contributing to its work.
Since 2011, Experiments in Opera has produced thirty new operas, collaborating with over one hundred performers, designers and directors from the New York City artist community. Experiments in Opera has presented the work of more than 20 composers including Jason Cady, Aaron Siegel, Matthew Welch, Georges Aperghis, John Zorn, Robert Ashley, Joe Diebes, Ruby Fulton, Gabrielle Herbst, Mary Kouyoumdjian, Justin Tierney, Leaha Maria Villarreal, the Cough Button collective, Jessica Pavone, Paul Pinto, Jonathan Mitchell, John King, Dave Ruder and Daniel Kushner. Venues have included Abrons Arts Center, Le Poisson Rouge, Roulette, and Issue Project Room.
All of the work developed with Experiments in Opera is documented extensively in videos, images and writings that are available in an online catalogue at experimentsinopera.com. These insightful looks into the origins of artists’ ideas and their working habits help to support EIO’s mission of building a more robust conversation about how and why opera works the way it does.
The Abrons Arts Center, located at 466 Grand Street, New York, NY, is the performing and visual arts program of Henry Street Settlement. The Abrons supports the presentation of innovative, multi-disciplinary work; cultivates artists in all stages of their creative development through educational programs, commissions, and residencies; and serves as an intersection of cultural engagement for local, national, and international audiences and arts-workers. For more information, call (212) 598-0400 or visit AbronsArtsCenter.org.
92Y presents internationally acclaimed harpist Yolanda Kondonassis and virtuoso classical guitarist Jason Vieaux in recital. The concert is part of 92Y’s Art of the Guitar series and will include works off the duo’s recent release on Azica Records, Together, which highlight the interplay and blended sonorities of harp and guitar. Kondonassis and Vieaux will also each play a solo piece, with Vieaux performing an arrangement Antonio Carlos Jobim’s A Felicidade and Kondonassis performing Carlos Salzedo’s Chanson dans la nuit. The concert will mark the New York debut of the duo.
Los Angeles Chamber Orchestra Music Director Jeffrey Kahane serves as musical “tour guide” for LACO’s annual “Discover” program, which this season features a special one-night-only exploration of Mozart’s incomparable and deeply moving Requiem in D minor with special guests Alison King, soprano; Emily Fons, alto; Nicholas Phan, tenor; Aubrey Allicock, bass; and the Los Angeles Master Chorale, on Thursday, February 19, 2015, 8 pm, at Pasadena’s Ambassador Auditorium. The evening is designed to lead patrons to a greater understanding of Mozart’s musical capstone and to appreciate the work with “new ears.” Kahane, lauded for his “eloquence” (The New York Times), explores a different work each year for LACO’s annual Discover concert. According to LA Opening Nights, “Some conductors are born educators, and Jeffrey Kahane is one of them.” Adding a special flourish to Kahane’s introduction to the work are Antaeus Company actors John Sloan (Mozart) and JD Cullum (Salieri).
After Mozart left his final work—a Requiem mass—in a tantalizing state of incompleteness at his death, his widow, Constanze, desperate for the full commission fee, turned to Franz Süssmayr, the composer’s friend, who delivered a completed score. Noted fortepianist and Mozart scholar Robert Levin published a new edition of the Requiem in the 1990s, about which The New York Times proclaimed, “Where Süssmayr was timid, Mr. Levin is bold. [His] daring approach makes Mozart’s Requiem sound more convincing structurally and more vibrant musically.” Kahane explores the chilling legend and score of the masterpiece Mozart wrote on his deathbed. After intermission, Kahane conducts Levin’s innovative completion of this heart-wrenching work, followed by a question and answer segment with the audience.
Tickets (starting at $25) are on sale now and may be purchased online at laco.org, by calling LACO at 213 622 7001, or at the venue box office on the night of the concert, if tickets remain. Student rush tickets ($12), based on availability, may be purchased at the box office the day of the concert.
Oregon Bach Festival Music Director/harpsichordist Matthew Halls, hailed as “a fresh and forceful talent” whose “music-making is strongly and clearly sculpted” (The Times, London), makes his debut on Los Angeles Chamber Orchestra’s popular Baroque Conversations series following his critically acclaimed conducting debut on its orchestral series last season, on Thursday, February 12, 2015, 7 pm, at Zipper Hall in downtown Los Angeles. From the harpsichord, Halls leads Rebel’s Les Élémens, Telemann’s Don Quixote Suite
and Bach’s Orchestral Suite No. 3 in D major, BWV 1068. A complimentary wine reception for all ticket holders begins at 6 pm.
Halls first came to prominence as a keyboard player and early music conductor, but he is now, in his thirties, better known for his dynamic and intelligent work with major symphony orches¬tras and opera companies, as well as for his probing and vibrant inter¬pretations of music of all periods. His numerous international engage¬ments have included appearances with the Cleveland and Salzburg Mozarteum orchestras, BBC Scottish and Frankfurt Radio symphonies, and the Seattle and Melbourne symphony orchestras, among others. 2014 marked his first season as artistic director of the prestigious Oregon Bach Festival.
LACO’s highly regarded five-concert “Baroque Conversations” series, now in its ninth year, explores the genesis of orchestral repertoire from early Baroque schools through the pre-classical period. In signature LACO style, each concert host shares insights into the music and invites questions from the audience, providing an in-depth look at the music being presented as well as an opportunity to get to know LACO artists on a more personal level.
Subscriptions to all five “Baroque Conversations” concerts ($250) are available by calling LACO at 213 622 7001. Tickets for individual concerts (beginning at $56) are available online at laco.org, by calling LACO at 213 622 7001, or at the venue box office on the night of the concert, if tickets remain. Discounted tickets are also available by phone for groups of 12 or more. College students may purchase student rush tickets ($12), based on availability, at the box office the day of the concert.
Percussive will feature new music performed by the percussion quartet, Free the Birds, at Mimoda. Join us for great coffee at Paper or Plastik Cafe in front before stepping into the world of beautiful clanging.
Free the Birds:
March 7, 2015, 8pm