North/South Consonance Season Finale
|Tuesday June 17th, 8pm
Christ and St. Stephen’s Church, 120 West 69th St (bet Bway & Columbus
KATHERINE HOOVER South Zephyr
Carol Wilson, soprano
Jun 10 2014
On Monday, June 16th, 7 PM Gina Izzo, flute & Ian Rosenbaum, percussion feat. Fung Chern Hwei, violin will be performing works by Andy Akiho, Timo Andres, Ted Hearne, David Lang + improv. Hope to see you there!
Jun 08 2014
Resonances from East & West
Music from Asia and the Americas
DANIEL BLAKE Resonances
Laura Nichols, mezzo-soprano
Tuesday, June 10 at 8 PM
On Tuesday evening June 10, the North/South Consonance Ensemble under the direction of Max Lifchitz will present a special concert featuring premieres of recent works for large mixed ensembles by composers hailing from Australia, China and the US.
The exciting program will feature premieres of works by the Brooklyn-based saxophonist/composer Daniel Blake and the Minneapolis-based Carleton Macy the Carleton College faculty member.
It will also introduce New York audiences to the music of Australian composer May Howlett and Hong Kong based Wong Chun-Wai. A work by Max Lifchitz — the Mexican-born musician who is the ensemble’s director – will round off the program.
Soloist for the occasion will be Laura Nichols, the Minneapolis based mezzo-soprano and dedicatee of Macy’s work.
The composers will be present at the concert to introduce their works and meet with the audience.
Performers and composers are available for media events and interviews and may be contacted through the North/South Office at firstname.lastname@example.org.
Since its inception in 1980, North/South Consonance has brought to the attention of the New York City public over 1,000 recent works by composers representing a wide spectrum of aesthetic views. It activities are made possible in part, with public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.
For the complete concert series schedule please visit
To stream, download and/or purchase the more than 60 compact discs
released under the North/South Recordings label please go to
May 31 2014
Musical Amoeba’s final concert of the season, with the Washington Square Winds, will be presented June 10th, at 7:30 pm, at the Church Street School of Music in lower Manhattan.
Music of CUNY Grad composer Austin Shadduck, recent Queens College graduates Gregory J Menillo and William Wheeler, and founder of the blog/magazine “I Care if You Listen” Thomas Deneuville will be presented along side a performance of Leos Janacek’s sextet ‘Mládi’.
Musical Amoeba is a new concert series, now on it’s third official concert, whose focus is to bring new compositions to the world, while also juxtaposing them against the historical canon. In order to bring a diversity of sounds, Musical Amoeba seeks to work with established groups, allowing them to curate part of the program, leading to a wide variety of music. Musical Amoeba has worked with the Samadi-Keene duo, Washington Square Winds, along with premiering its own ensemble in May, STRIA.
The Washington Square Winds, founded in 2009, is a wind quintet which seeks to bring new repertoire to life by collaborating with emerging composers. Their annual series “They’re Alive” has become a hotbed of premiers, with several works specifically written or arranged for it. They have also recently presented “The Fisherman and other stories”, with Oracle Hysterical, blending Brothers Grimm tales with contemporary music.
For more information:
May 30 2014
New York City Electroacoustic Music Festival 2014 – June 2 through 8 at Manhattan’s Abrons Arts CenterPosted by s21concerts in Concert Announcement
NYCEMF 2014 will showcase electroacoustic music and video art from around the world in New York City through this multi-day festival, with several events each day. The festival will include presentations of electroacoustic music recorded alone in up to sixteen channels, works involving live electronics, works combining musical instruments or voices with recorded or live electronics, video and multimedia works, and audio and video installations.
More than 200 composers from around the world will be presented, representing the full international range of electroacoustic music, including works by Monty Adkins (UK), Andreas Bergsland (Norway), Joao Pedro Oliveira (Portugal), Maurice Wright (USA), Takayuki Rai (Japan/Germany), Kenneth Gaburo (USA), Clarence Barlow (India/USA), George Brunner (USA), Paul Koonce (USA) and James Dashow (USA/Italy).
Performers include Francesco Prode, pianist (Italy), Mari Kimura, violinist (Japan/USA), Madeleine Shapiro, cellist (USA) and Esther Lamneck, clarinetist (USA).
See a complete list of programs at http://www.nycemf.org/program.php.
Tickets for the New York City Electroacoustic Music Festival are $18 ($12 students and seniors) for 8 PM concerts, $15 ($10 students and seniors) for day and late-night concerts and $30 ($20 students and seniors) for a day pass (all concerts on one day), available at 212-352-3101 or http://www.abronsartscenter.org/performances/nycemf-2014/nycemf-2014.html. For more information call Abrons Arts Center at 212-598-0400.
May 30 2014
Today, Friday May 30, 2014 at 2pm EST – a live internet broadcast of the semi-staged concert performance of Elodie Lauten’s opera, Waking in New York, from the libretto by Allen Ginsberg, broadcast from the National Opera Center, New York City – https://www.youtube.com/watch?v=3zMJ2KeV4Zs.
Kenneth Hamrick conducts the American Virtuosi orchestra, with baritone Mark Duer in the lead role of Ginsberg, and sopranos Meredith Borden, Catherine Rothrock and Mary Hurlbut, with the Gospel-Blues Choir of St Mark’s Church in the Bowery.
Waking in New York debuts in semi-staged concert, on Sunday, June 1st at 3pm at St. Mark’s Church in-the-Bowery, 2nd Ave at 10th Street in Manhattan. Info and tickets at https://www.facebook.com/events/1421570564773760/.
May 29 2014
When: Tuesday 7.15 – Sunday 7.20 at 8:00pm + 10:00pm nightly
Where: The Stone, Corner of Avenue C/2nd Street, NYC, Train: F/J/M/Z at Delancey-Essex
Tickets: $15/Students $10. No advanced ticket sales. For more information, visit stonenyc.com.
John Zorn’s renowned THE STONE presents a weeklong residency performed and curated by mesmerizing guitarist and composer Eyal Maoz. A mainstay of the NYC downtown music scene, Maoz is notoriously known as the bad (and crazy) boy of the progressive jazz guitar world. For six nights, he brings his new works evoking both cutting edge rock-jazz-Jewish extravaganza noise and chamber grace. Residency includes sets with his iconic bands: Middle-Eastern meets pop and Downtown music of Edom featuring Shanir Blumenkranz (7.18); The X guitar and contemporary classical string quartet premiering new works (7.15); acoustic Jewish project Dimyon (7.16); eccentric, electric Collapse Guitar Quartet (7.17); jazz-based trio 9 Volt featuring Rick Parker and Tim Berne (7.17); the Jewish rock sounds of John Zorn’s Abraxas (7.19); experimental group Hypercolor featuring Lukas Ligeti (7.20); and more.
May 29 2014
Elodie Lauten’s Opera Waking in New York – from the Poetry of Allen Ginsberg – Concert Performance on June 1 at Manhattan’s St. Mark’s Church-in-the-BoweryPosted by s21concerts in Concert Announcement
New York, NY – Lower East Side Performing Arts (LESPA) and St. Mark’s Church present Waking in New York, the opera by Elodie Lauten and Allen Ginsberg, to be performed on Sunday, June 1 at 3:00 PM at St. Mark’s Church-in-the-Bowery, 2nd Avenue and 10th Street in Manhattan. A YouTube webcast of the opera will be recorded and simulcast from the National Opera Center on Friday, May 30 at 2pm at https://www.youtube.com/watch?v=3zMJ2KeV4Zs and will remain available online.
This final version of the opera is for 9 singers and 10 musicians, conducted by music director Kenneth Hamrick, with baritone Mark Duer in the lead role, sopranos Meredith Borden, Catherine Rothrock and Mary Hurlbut, flutist Andrew Bolotowsky, Mat Fieldes, on contrabass, Afro-Cuban percussionist Mustafa Ahmed, members of the American Virtuosi Orchestra, and the St Mark’s Church Chorus with Jeannine Otis.
In Lauten’s unique operatic setting, Ginsberg’s stream of consciousness weaves his introspection, observations, sensations, emotions, sexuality, humanity and spirituality into a New York City moment. Each scene is full of stories, characters and dramatic flashes deeply related to the very fabric of the city and painting a complex portrait of Ginsberg, culminating in his prayer for humanity: “That all beggars be fed, all dying medicined, all the loveless tomorrow be loved”. Characters include Allen and his muses, Freedom 1, Freedom 2 and Compassion, joined at the end by a chorus.
Tickets are $15 /$10 Seniors/Students. For more information or reservations, call 212-388-0202 or visit http://www.elodielauten.net/ or http://www.lesperformingarts.org to order tickets online. This concert is ADA accessible.
May 29 2014
New York, NY – On June 5 & 6, TRANSIT New Music’s DoubleBill Festival returns for a 6th season presenting recent music by emerging composers from Berlin and Sweden alongside the work of NYC composers. The DoubleBill Festival allows New York audiences to sample a variety of the latest international developments in new music, an experience that might otherwise require air travel. Both concerts take place at the beautiful Dimenna Center in Manhattan and are performed by the TRANSIT’s resident ensemble, whose playing has been described as ‘fantastic’ (Chicago Reader), ‘exquisite’ (NPR), and ‘deliciously lovely’ (NY Times).
Berlin / NYC:
Jun 5: Berlin / NYC
Sarah Nemtsov: Deconstructions ; Nils Frahm: Sheets (selected pieces) ; Sebastian Elikowski-Winkler: …Bis als letzter der Zeugen Das Gedächtnis verstummt.
Caleb Burhans: Time to Spare ; Daniel Wohl: One Piece ; Jeff Myers: Makassar Strait
Jun 6: Sweden / NYC
Adrian Knight: Trio ; Caroline Shaw: in manus tuas ; Missy Mazzoli: Still Life With Avalanche
Tomas Hulenvik: Rondo ; Marcus Fjellström: Odboy and Erordog (episode 2) ; Fabian Svensson: Two Sides
TRANSIT New Music is the fresh face of new music. For too long, musicians have been isolated from each other into narrow categories that have diminishing relevance to a digital society in a quickly globalizing world. Taking their cues from the slapdash diversity of the city around them, the artists of TRANSIT seek to create bridges between and among the various schools and styles of music being written and performed today, while embracing innovative projects that are relevant to contemporary culture. Their goal is not to achieve an international style or to promote a particular “sound.” Rather, they champion experimental music from a wide range of influences with the conviction that the music of today is inherently meaningful to audiences and vital to social progress. Paired with superior artistry, shrewd programming, and radically open ears, this determination keeps TRANSIT firmly rooted at the cutting edge of new music.
TRANSIT is Daniel Wohl (composer), David Friend (piano), Joe Bergen (percussion), Andie Springer (violin), Evelyn Wadkins (cello), and Sara Budde (clarinet).
TRANSIT New Music is supported by:
Cary Fund for New Music
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May 29 2014
The Los Angeles Master Chorale (LAMC) has announced that eminent Music Director Grant Gershon will continue his key leadership role at the choir’s helm through the 2019-2020 season, which will be his 19th season with the chorus, with the new title of Artistic Director effective July 1, 2014, according to LAMC Chair David Gindler. Gershon’s title change from Music Director to Artistic Director, a significant part of his five-year contract extension that begins in the 2015-16 season, reflects the highly regarded conductor’s expanded vision to redefine the choral experience. Widely lauded by critics for elevating the Chorale’s musical excellence to new heights since he joined the chorus in 2001, Gershon will reimagine how, why and where the chorus explores and presents choral music, from its concerts and educational programs to its online presence, marketing, strategic planning and every other area guided by the Chorale’s artistry.
“We are extremely pleased that Grant is not only extending his outstanding leadership of the Los Angeles Master Chorale but is dedicated to doing so in such a meaningful way,” says Gindler. “It will definitely not be business as usual. Grant is deeply committed to changing the face of choral music through his work with the Chorale. His desire to create a completely immersive environment for the audience has ignited incredible passion in the singers, the staff and our board. We are fully committed to supporting his vision to break barriers in choral music and redefine the concert experience. Grant’s expanded artistic vision will help the Los Angeles Master Chorale’s light shine so much brighter than it already does.”
“I am very excited to have the opportunity to take our work with the Chorale to a new level and am deeply grateful to the Board of Directors for embracing this enhanced vision and for committing to provide the resources to make it feasible,” says Gershon. “We are in a remarkable position to redefine what is possible for a choral organization. The Los Angeles Master Chorale is a tremendously strong and extremely well respected institution with a rich history and tradition. Our singers have achieved a phenomenally high level of artistry and refinement together in recent years. I’m therefore making this decisive commitment to rededicate myself to this amazing organization and its very bright future. The length of this contract extension is somewhat unusual, and I think that it should be seen as a sign that we are making an extraordinary commitment together for the artistic future of the institution as we strive to reach the Chorale’s full potential. By extending my leadership of the Chorale through the 2019-2020 season, we will be able to plan strategically in an unprecedented way. This will allow us to dream big and use our imaginations to create the most impactful organization possible.”
Explaining the significance of his title change to Artistic Director and how it will shape his role with the chorus, Gershon says, “It speaks to my strong commitment to the overall artistic profile and direction of the Chorale and my desire to be more involved with all aspects of the organization that touch on our artistic mission, including our education programs, community engagement, marketing/messaging, strategic planning and enhanced production values. It also suggests that there is more than just the music alone that defines our artistic profile. The look and feel of each concert is also vitally important, so we will explore all ways to open up the concert experience to maximize the impact of the music we love.”
There are several long-range projects and initiatives currently in the planning stages that will be announced at a later date. As an example of the kind of broader over-arching themes that the Chorale will explore, Gershon points to the unifying “triple Passion” concept that he crafted for the upcoming 2014-15 season, which features, in three separate concerts, J.S. Bach’s Passion According to St. Matthew, the Chorale’s reprise of Tan Dun’s extraordinary Water Passion After St. Matthew and the Disney Hall debut of Richard Einhorn’s “brilliantly effective” (Washington Post) 1994 work Voices of Light/The Passion of Joan of Arc, inspired by and performed with the 1928 silent film.
In addition, with the Master Chorale’s subscription concerts at Walt Disney Concert Hall generally attracting capacity audiences for more than a decade, Gershon will explore expanding the chorus’s performance offerings into smaller venues, with concerts that provide fresh and unique artistic opportunities to showcase new repertoire with the talents of LAMC’s gifted singers, achieving LAMC’s goal of attracting even broader audiences while creating the most satisfying artistic experience possible for the singers. “Not all music is best served in a venue like Disney Hall,” explains Gershon. Alternate performance opportunities will also provide Gershon with more opportunities to tap the long list of composers with whom he would like to work. Additionally, there are a number of prominent and emerging directors, video artists and other arts organizations with whom he and the Chorale would like to engage in collaborative projects.
Gershon is reimagining the look and feel of the chorus’s artistic presentations to make concerts an “all in” experience for the audience by expanding such production elements as lighting, staging, video, singers’ attire and movement. “Incorporating these kinds of values into our concerts in a meaningful and thoughtful manner will further enhance our concerts and maximize the impact of the music, which is our ultimate goal,” explains Gershon.
Making the Chorale’s highly successful education programs more targeted and far-reaching and imagining new ways to engage the community and introduce people to the art form of choral music are also key components of Gershon’s vision. Additionally, he wants to reach new audiences in greater numbers with recordings, a more substantial social media presence and special projects that are marketable to presenting organizations in other regions.
“Bottom line, it’s all about reaching towards the Chorale’s full potential,” he says. “The Los Angeles Master Chorale is one of the strongest and most vibrant choral organizations in the world. We want to celebrate this by adopting best practices in all areas that will allow choral music to evolve in a way that is compelling and relevant for today’s world and beyond. I am so excited about the opportunities ahead and for the chance to make our vision a reality.”