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New York City— The 9th Annual MATA Festival, a global catalyst for emerging composers and contemporary music, presents a lively performance series of new and recent genre-jumping works at the fitting experimental space, the Brooklyn Lyceum. Fully committed to expanding the canon of classical music, MATA has selected 19 young composers representing diverse cultures and musical backgrounds including this year’s MATA commissionees: Yotam Haber, Ned McGowan, and Christopher Tignor. Under the leadership of MATA’s directors Lisa Bielawa and James Matheson and Curator Christopher McIntyre, the festival features works written for, in collaboration with, and to be performed by two versatile ensembles: the quintet Hexnut, and the Brooklyn-based orchestra, The Knights.
In keeping with its spirit of adventure, MATA is marching the festival into the borough of Brooklyn. According to James Matheson, Executive Director of MATA, this marks an exciting chapter for both the organization and the field of new music. “With the coupling of the ever-evolving music scene with the MySpace generation of composers, it’s imperative for us to explore new avenues. We’re thrilled to be incubating new seeds of music in the Brooklyn community.”
This year’s MATA festival features 19 composers in their 20s and 30s serving as ambassadors from around the world including the United States (12), the Netherlands (2), France, Italy, Japan, Brazil, and Germany. Some highlights include the New York premiere of Christopher Bailey’s electroacoustic, soda machine-inspired The Quiet Play of Busy Pipes, Missy Mazzoli’s haunting Shy Girl Shouting Music for soprano, electric guitar, piano and double bass, and composer/pianist Bruno Ruviaro’s juxtaposition of acoustic piano and its electroacoustic counterpart in InstantÃ¢nea. Composer Andrew Norman, winner of the 2006 Rome Prize, has sketched a motoric, virtuoso piece for violin ensemble; Gran Turismo portrays the striking parallels amongst the car racing video game of the same name, the “force lines” found in Italian Futurist art-specifically in Giacomo Balla’s 1913 series of speeding cars, and the competitiveness found in the Baroque model of soloists versus ensemble that is prominent in Norman’s music. Japanese composer/pianist Hideki Kozakura brings the sound of shakuhachi, the Japanese bamboo flute, to his serene piece Shorai, a Japanese term referring to the soft rustle sounds heard when wind passes through pine trees, which the Japanese believe to be therapeutic.
To date, MATA has commissioned almost 40 new works and has presented over 160 new compositions by young composers. This year’s commissions include: A wine-dark sea by Yotam Haber, a 2005 Guggenheim fellow; Untitled by Ned McGowan, an American expatriate living in Amsterdam known as a leading contemporary composer/flutist; and Thunder Lay Down in the Heart for string orchestra and laptop by Christopher Tignor. In addition, MATA is thrilled to welcome 2006 commissionee K-Kalna to this year’s festival. (Due to unfortunate transportation problems last season, she wasn’t able to perform her commissioned piece.) Her American debut is a multimedia production featuring K-Kalna as laptopist/vocalist alongside film projections by Brooklyn-based video artist Shige Moriya.
Program Details (subject to change)
* World Premiere ** MATA Commission
Sunday, March 18th, 3:00pm- Instrument Petting Zoo and Concert
Two-hour special performance and educational program for families hosted by Ted Wiprud, Director of Education at New York Philharmonic. ”Instrument Petting Zoo” where kids can touch, play, and learn about musical instruments. Meet-and-greet with MATA composers and musicians. Children ages 5 and up.
Tuesday, March 20th, 8:00 pm – Solitary Confinement V
A MATA tradition: spotlight on works for solo performer, with or without technology, and solo performer/composers who write works for and on themselves.
Performers: The Knights, Members of Hexnut, Mark Dancigers (guitar), Jenny Lin (piano), and Brian Sacawa (saxophone)
MATA Festival Composers: Ryan Brown- Our Friend Adam, Mark Dancigers- Electric Guitar Etudes, Alexandra Gardner- Tourmaline, Vincent Ho- Stigmata, Daniel Koontz- Selections from 12 Improvements for Piano, Missy Mazzoli- Shy Girl Shouting Music, and Bruno Ruviaro- InstantÃ¢nea
Wednesday, March 21st, 8:00pm- Passport to Brooklyn
Brooklyn becomes a meeting-ground for young composers from all over the world, including the Netherlands, Japan, Germany and Brooklyn, of course.
Performers: Members of Hexnut, Kalna Katsoum (vocalist), and Christopher McIntyre (trombone)
MATA Festival Composers: K-Kalna (featuring video artist Shige Moriya)- Hydro-World**, Hideki Kozakura- Shorai, and Ned McGowan- Untitled** and Tools
Special Guest Composers: Christopher McIntyre- Stuplimity No.3 for Solo
Thursday, March 22nd, 8:00pm – A Little Knights Music
This first of two concerts featuring the chamber orchestra The Knights explores the interface between 17th-century and 21st-century instruments: strings and computers.
Performers: Members of The Knights; Lisa Bielawa (vocalist), Eric Jacobsen (guest conductor)
MATA Festival Composers: Ondrej Adamek- Rapid Eyes Movements, Cecilia Arditto- Casi Cerca, Christopher Bailey- The Quiet Play of Busy Pipes, Yotam Haber- A wine-dark sea**, and Jeff Herriott- Trio
Friday, March 23rd, 5:30pm- Electronic Media and the Composing Performer
Electronic Media and the Composing Performer, a conversation series moderated by MATA Curator Christopher McIntyre, with presentation/discussion featuring Raz Mesinai, Miya Masaoka, and others.
Saturday, March 24th, 6:45pm, Conversations with Composers
Conversations with Composers, a free annual pre-concert conversation series, hosted by Alex Ross, Music Critic at The New Yorker. MATA’s four commissionees will be on hand to discuss their new works, and what it is like to be a young composer in 2007.
Saturday, March 24th, 8:00pm – A Little More Knights Music
This second concert featuring The Knights offers virtuoso ensemble pieces that celebrate the timelessness of the acoustic chamber orchestra, plus a performance by commissionee Christopher Tignor as laptop soloist.
Performers: Members of The Knights; Christopher Tignor (laptop), Eric Jacobsen (guest conductor)
MATA Festival Composers: Matthew Barnson- Sibyl Tones, Andrew Norman- Gran Turismo, Filippo Perocco- Corti e di varia ricreazione, and Christopher Tignor- Thunder Lay Down in the Heart**
Special Guest Composers: Osvaldo Golijov- Last Rounds, and James Matheson- Colonnade
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Monday, February 26, 8pm
Frederick Loewe Theater, 35 West 4th Street, New York, NY
Electronic Music Foundation, in collaboration with New York University Interactive Arts Performance Series, presents an evening of multimedia musical performance. Trombonist Mark Hetzler and composer R. Luke Dubois will each perform a set of pieces for traditional instruments, electronics, and interactive video. In the first half, Hetzler performs with pianist/vocalist Martha Fisher and visual artist Katrin Talbot. Later, Dubois performs with saxophonist Argeo Ascani and flutist Natacha Diels.
Admission is free.
For more information, click here.
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The chamber chorus Cantori New York and the saxophone quartet Prism will give the US premieres of three works for chorus and saxophone quartet, conducted by Mark Shapiro. There are two performances: on Saturday March 10 in New York at 8pm at the Church of the Holy Trinity (Episcopal) at 316 East 88th St. (between 1st and 2nd aves.) and on Sunday March 11 at 4pm in Philadelphia at the Trinity Center for Urban Life on 22nd and Spruce Streets. The program includes US premieres by Erkki-Sven Tuur, Giya Kancheli, and Hugi Gudmundsson, as well as music by Astor Piazzolla and the Beatles. More info is available at www.cantorinewyork.com.
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The San Francisco Chamber Orchestra presents
“The Four Seasons of Buenos Aires” by Astor Piazzolla with special guest Coco Trivisonno on the bandoneon.
“Winter” and “Spring” from Antonio Vivaldi’s “The Four Seasons” featuring SFCO concertmaster Robin Sharp.
Benjamin Simon, Music Director
A pre-concert talk given by Maestro Simon precedes each concert by 30 minutes.
TICKETS: All concerts are FREE!
Become an SFCO member and get preferred seating
INFORMATION: (415) 248-1640 or http://www.sfchamberorchestra.org
Dates & Venues:
Thursday, February 1, 2007 at 5:30 PM
Old St. Mary’s Cathedral
660 California St. @ Grant Ave, San Francisco
Friday, February 2, 2007 at 8 PM
401 Van Ness Avenue, San Francisco
Saturday, February 3, 2007 at 8 PM
St. Mark’s Episcopal Church
600 Colorado Ave., Palo Alto
Sunday, February 4, 2007 at 3 PM
First Congregational Church
2345 Channing Way, Berkeley
The San Francisco Chamber Orchestra presents “Six Seasons” featuring “The Four Seasons of Buenos Aires” by Astor Piazzolla and the “Winter” and “Spring” movements from Antonio Vivaldi’s “The Four Seasons.” This tale of two cities marks the return of two popular SFCO soloists: SFCO concertmaster Robin Sharp and bandoneon virtuoso Coco Trivisonno.
Highly regarded as #1 on the â€˜classical music hit parade,’ Vivaldi’s marvelous depiction of the Venetian seasons has charmed audiences for nearly 300 years. Nuevo Tango master Astor Piazzolla set his sexy and scintillating seasons in his hometown of Buenos Aires. Moving the composition one step further, Piazzolla’s interpretation has been arranged for the bandoneon by Coco Trivisonno. SFCO’s “Six Seasons” marks the world premiere performance of Piazzolla’s “The Four Seasons of Buenos Aires” on bandoneon.
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Friday, February 9, 2007, Ensemble TOKI presents a concert of new music featuring New York Women Composers at 8:00 pm at the Second Presbyterian Church, 6 W. 96th St. (suggested donation: $10)
The program will include music by New York Women Composer members: Marilyn Bliss, Victoria Bond and Elisenda Fabregas. Also on the program will be music by Katherine Hoover and Rebecca Clarke.
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The Quintet of the Americas will be on tour and will present two concerts in Oregon and California on January 19 and 21.
January 19 – 7:30 PM at the Craterian Ginger Rogers Theatre, 23 South Central Avenue Medford, Oregon
January 21 – 2:30Pm at Los Gatos High School, 20 High School Court in Los Gatos, California.
Repertoire for these performances will include Bernstein’s Overture to Candide, Samuel Barber’s Summer Music, Colombian Dances from the Quintet’s collection of traditional South American dances, Villa Lobos’ Quinteto em Forma de ChÃ´ros, Gershwin’s “Summertime” from Porgy and Bess, James Cohn’s Mozart Fantasy and his arrangements of Arkansas Reel and Carolina Shout, as well as music by William Grant Still, Dr. Louis W. Ballard, the Quintet’s own Matt Sullivan, William Mayer, Charlie Parker (arr. Edmund Cionek) and Louis Moreau Gottschalk.
For tickets and information about the January 19 concert, visit http://www.craterian.org/, or contact the Craterian Theatre at 541-779-3000.
For tickets and information about the January 21 concert, contact Ray Aylsworth at 408-395-4283 or email@example.com.
Visit the Quintet’s website at http://www.quintet.org.
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With Miya Masaoka, Domenico Sciajno and Toshi Nakamura
REDCAT, Los Angeles, January 25-27 at 8:30 p.m.
“An important contender in the international network of multimedia experimental festivals.” Los Angeles Times
The genre-defying festival, TwoTwenty/OneTen, curated by the CalArts Center for Experiments in Art, Information and Technology, offers three evenings of new improvised music and multimedia. Opening the festival is Miya Masaoka, the Alpert Award-winning composer, sound artist and koto player. Masaoka’s work incorporates field recordings and sounds generated by insects, the physiological processes of plants, and the human brain. This year’s fest also brings programs from the Sicilian composer and improviser Domenico Sciajno, whose practice focuses on a process generating or modifying sounds through visual parameters and processes; and Tokyo-based sound artist, Toshi Nakamura, who uses his signature “no-input mixing board” to develop controlled improvisations despite the “accidental” nature of his feedback system. Each artist will perform a solo set, and then a second set with Los Angeles-based improvisors Hans W. Koch (25 Jan.), David Rothbaum (26 Jan.) and Lewis Keller and Carole Kim (27 Jan.).
Thu Jan 25 | 8:30 pm
Miya Masaoka/Hans W. Koch
“Even within the wide-open esthetic of West Coast improv, Miya Masaoka is a maverick.” The Vancouver Sun
“â€¦those who take the time will marvel at how ingeniously Masaoka can challenge and change perceptions of what is, and isn’t, musicâ€¦” San Diego Union Tribune
Miya Masaoka: www.miyamasaoka.com/
Hans W. Koch: www.hans-w-koch.net/
Fri Jan 26 | 8:30 pm
Domenico Sciajno/David Rothbaum
“It’s a good listen because Sciajno knows how to seduce the ear, not clobbering the listener but welcoming us into his viscous, oozing soundscapes.” Clive Bell, The Wire
Domenico Sciajno: www.sciajno.net/
David Rothbaum: www.davidrothbaum.com/
Sat Jan 27 | 8:30 pm
Toshi Nakamura/Lewis Keller and Carole Kim
“I don’t know of any music being created anywhere that exerts such a profound physiological effect.” David Toop, The Wire
Toshi Nakamura: www.japanimprov.com/tnakamura/index.html
Lewis Keller: www.lewiskeller.com/
Carole Kim: www.turbulence.org/Works/interaxis/bios/ck.html
Funded in part by generous grants from the Istituto Italiano di Cultura and The Herb Alpert Foundation.
REDCAT (the Roy and Edna Disney/CalArts Theater) is located at the corner of W. 2nd St. and S. Hope St., inside the Walt Disney Concert Hall complex. Performances are scheduled for January 25 through 27 at 8:30 p.m. Ticket prices range from $18-$14, with discounts available. Seating is general admission. Tickets may be purchased at the REDCAT box office located at the corner of 2nd and Hope Streets, by calling 213.237.2800, or at . Please plan on arriving at least 30 minutes before curtain time. Seating at REDCAT is unreserved, and late seating is not guaranteed. Parking is available in the Walt Disney Concert Hall parking garage. Enter from 2nd St. and proceed to level P3 for direct access to REDCAT. The evening event rate is $8 after 5 p.m. Before 5 p.m., the maximum daytime rate is $17.
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Composer Judith Lang Zaimont will appear this coming Sunday, January 14 , 4 PM Central Standard Time, on The Composer Next Door, with host Rob Deemer (http://www.thecomposernextdoor.org).
The program will be webcast on KCSC-FM Radio (http://kcscfm.com/listen_now.asp).
Visit Judith Lang Zaimont online at http://www.jzaimont.com/.
For more information about Ms. Zaimont, please contact Jeffrey James Arts Consulting at 516-586-3433 or firstname.lastname@example.org.
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Uruguayan-American pianist Polly Ferman will be in concert with the City Chamber Orchestra of Hong Kong, presenting music of Astor Piazzolla on Saturday, January 13 – 8:00 PM at the Sha Tin Town Hall Auditorium, 1 Yuen Wo Road in Hong, Kong, China.
Ms. Ferman will be joined by conductor German Gutierrez in a performance of Piazzolla’s Invierno and Verano Porteno for piano and strings. Bandoneon master Daniel Binelli will perform the composer’s Concerto for Bandoneon and Chamber Orchestra and will also join Ms. Ferman for performances of other Piazzolla masterworks.
For tickets and information, call URBTIX at 2734 9009 or visit the City Chamber Orchestra of Hong Kong at http://www.ccohk.com/. More about the concert at http://www.lcsd.gov.hk/CE/CulturalService/Programme/en/music/jan07/citychamber.html.
Read Polly Ferman’s new ImÃ¡genes newsletter at http://www.jamesarts.com/releases/jan07/PF_nws_010407.htm.
Visit her website at http://www.pollyferman.net.
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The Boston Modern Orchestra Project Presents the 9TH Annual Boston Connection Concert Featuring New England Conservatory Alumni and Boston-Based Composers
As Part of BMOP’s 10th Anniversary Season
Boston, MA— The Boston Modern Orchestra Project (BMOP), the country’s premier new music orchestra, hosts the 9th annual Boston Connection concert Saturday, January 20th @ 8:00pm at Jordan Hall (30 Gainsborough Street). To honor and acknowledge the vibrant health of Boston’s new music community, BMOP, along with special guest artists including the Raschèr Saxophone Quartet, Kenneth Radnofksy (saxophone) and Andrew Beer (violin), will perform a range of musical styles from local Bostonian composers, including three NEC alumni composers, in addition to the selected score from the 9th annual BMOP/NEC composition competition.
According to Gil Rose, BMOP’s Artistic Director and Conductor, this concert has become a significant Boston tradition. “The city of Boston has been planting seeds of new music composers for years. This concert is an opportunity to highlight their growth and emerging careers.” BMOP/NEC’s evolving relationship began in 1997 out of a mutual desire to give Boston-based composers and performers a venue for presenting new music. Today, Jordan Hall remains BMOP’s primary venue, and NEC faculty, alumni, and student composers continue to provide a rich repertoire for the orchestra, as demonstrated by the annual Boston Connection concert.
NEC alumnus Michael Gandolfi presents the world premiere of his Saxophone Concerto with guest artist Kenneth Radnofksy. A Boston native, Gandolfi is the most local of the evening’s Boston-connected composers, having grown up in Melrose, currently living in Cambridge, and still teaching at NEC. Fellow NEC alumnus Mathew Rosenblum employs a unique 21-pitch octave evident in his Möbius Loop, a one movement four-part-split personality of saxophones performed by the Raschèr Saxophone Quartet, for whom the work was composed. In Möbius Loop, the composer’s interest in pop music, freer jazz forms, and Cuban music is reflected. Like Rosenblum, David Rakowski attended both NEC and Princeton and is one of the most exuberant and popular personalities in Boston’s new music scene. The perpetual-motion element found in his Winged Contraption is one encountered frequently in Rakowski’s music.
Though composed fifteen years ago for a workshop performance by the American Composers Orchestra, the BMOP performance will be its first public performance. The piece was a 60th birthday present for Boston-based composer Martin Boykan. As a technical exercise for himself, Rakowski composed, orchestrated, and copied to score for days, and ended this nine-minute piece at the end of the 60th page of the full score. Both Rakowski’s Winged Contraption and Rosenblum’s Möbius Loop will be recorded by BMOP for future release.
Rounding out the program is Mario Davidovsky’s Concertino for Violin and Chamber Orchestra; a concerto reflecting an engagement with music history. “I intended to lift the particular 20th century form of â€˜violinism’ out of its original historical context, and embed it into the melodic, harmonic, and rhythmic fabric of a composition written at the end of this century,” explains Davidovsky. Known as a pioneer for usage of electronic soundscapes, he is the former director of Harvard University’s Studio for Electrocacoustic Composition, the current Professor Emeritus, and an elder statesman and mentor for many of Boston’s young composers.
The Boston Modern Orchestra Project has had an outstanding reputation amongst Boston’s most innovative and performing arts organizations for attracting multi-generational audiences and providing thematic, diversified programming, and a national reputation for performing and recording new orchestral music at the highest level. Founded in 1996 by Artistic Director Gil Rose, the Boston Modern Orchestra Project strives to illuminate the connections that exist between contemporary music and contemporary society by reuniting composers and audiences
in a shared concert experience. In just 10 years, BMOP has received eight ASCAP Awards for Adventurous Programming of Orchestral Music, and at the 2006 American Symphony Orchestra League conference BMOP received the prestigious John S. Edwards Award for Strongest Commitment to New American Music. BMOP has appeared at the Bank of America Celebrity Series, the Boston Cyberarts Festival, Tanglewood, the Festival of New American Music (Sacramento, CA), and Music on the Edge (Pittsburgh, PA). In Boston BMOP performs at Jordan Hall and Symphony Hall, and has performed in New York at Miller Theater, the Winter Garden, and Weill Recital Hall at Carnegie Hall. BMOP recordings are available from Albany, New World, Naxos, Arsis, Oxingale, and Chandos, and are regularly reviewed by national and international publications including The New York Times (Best CDs of 2003), the Chicago Tribune (Best CDs of 2004), Gramophone, Fanfare, The Philadelphia Inquirer, Time Out New York (Best CDs of 2004), The Boston Globe (Best CDs of 2003), Paris Transatlantic Monthly, LA Weekly, Opera Now, BBC Music, and American Record Guide.
BMOP is generously supported by the National Endowment for the Arts, the Massachusetts Cultural Council, Meet the Composer and other private foundations, and individuals.
Gil Rose, Artistic Director, Founder, and Conductor for BMOP, is recognized as one of a new generation of American conductors shaping the future of classical music. Since 2003, Rose has served as Music Director of Opera Boston, launching the much-celebrated Opera Unlimited, a ten-day contemporary opera festival performed with BMOP. He was recently chosen as the “Best Conductor of 2003″ by Opera Online. The Boston Globe claims he “is some kind of genius; his concerts are wildly entertaining, intellectually rigorous, and meaningful.”
Lisa Bielawa is a New York-based composer-vocalist and enthusiastic advocate for new music, and the new Composer-in-Residence for BMOP starting October 2006. Bielawa currently serves on the Board of the American Music Center and teaches composition through the New York Youth Symphony Making Score program. She is also one of the founders and co-directors of the MATA festival, which was New York Times reviewer Allan Kozinn’s #1 Classical Pick of the Year. In the works is her piece for migrating ensembles and soprano Susan Narucki for performance in public spaces, a multi-year project of Creative Capital.
Tickets range from $21 – $42 for the January 20th concert at Jordan Hall. Special pricing for students $10. Seniors receive a 10% discount. FREE pre-concert talk @ 7:00pm. For tickets, call BMOP at 617.363.0396 or visit www.bmop.org. Tickets are also available for sale at the Jordan Hall Box Office three weeks before the concert and at the door, subject to availability.
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