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Gabriel AlegrÃa with the Afro-Peruvian Sextet @ REDCAT, Los Angeles, March 7th at 8:30 p.m.
“Gabriel is a wonderful composer who is creating sounds few people have heard before. Very fresh!” Maria Schneider
In an exclusive 2007 West Coast performance, Peruvian jazz trumpeter and composer Gabriel AlegrÃa leads the Afro-Peruvian Sextet in an exploration of the polyrhythmic world of Afro-Peruvian jazz at REDCAT. AlegrÃa is joined by saxophonist Laurandrea LeguÃa, guitarist Jocho Velazquez, bassist Joscha Oetz, drummer Hugo AlcÃ¡zar and percussionist Freddy “Huevito” LobatÃ³n – who plays traditional Afro-Peruvian instruments such as cajÃ³n (box drum) and quijada (jawbone) and adds spectacular passages of zapateo criollo tap dancing. Featured music in the evening’s performance will include pieces from AlegrÃa’s latest recording, Nuevo Mundo.
Funded by La AsociaciÃ³n Internacional Jazz PerÃº and the Peruvian Ministry of Culture.
About Gabriel Alegria and the Afro-Peruvian Sextet: http://www.gabrielalegria.com/english.htm
Hear and see Gabriel Alegria and the Afro-Peruvian Sextet: http://www.gabrielalegria.com/audiovisuals.htm
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.
Evening performances are scheduled for March 7th at 8:30 p.m. Ticket prices range from $20-$16, 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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Cantabile Chorale, artistic director Sanford Dole, and legendary Russian
basso Nikolai Massenkoff as Celebrant, present Rachmaninoff’s sublime
Liturgy of St. John Chrysostom. This magnificent work captures the
transcendent spirit of Orthodox and Byzantine worship, and transforms
the Orthodox liturgy into a hauntingly lovely set of melodies,
unsurpassed in sheer choral beauty.
Dates and times:
Mar. 16 – Friday 8:00 p.m.
Mar. 17 – Saturday 8:00 p.m.
Mar. 18 – Sunday 7:30 p.m.
St Gregory of Nyssa, 500 De Haro, San Francisco 94107
St. Mark’s Episcopal Church, 600 Colorado, Palo Alto 94306
St. John’s Presbyterian Church, 2727 College Ave., Berkeley 94705
Email for info:
$25 General, $20 Seniors, $6 Students
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The Boston Modern Orchestra Project Presents French Counterpoints; An Evening of All-French Composers
As Part of BMOP’s 10th Anniversary Season
Boston, MA— The Boston Modern Orchestra Project (BMOP), the nation’s only orchestra dedicated to performing, commissioning, and recording new music, devotes the entire evening of Friday, March 9, 2007 @ 8pm, at Boston’s Jordan Hall (30 Gainsborough Street) to performing new and recent works from three contemporary French composers. With the support of The French-American Fund for Contemporary Music, French Counterpoints includes the world premiere of Jour B (B Day), a BMOP commission by Betsy Jolas, created in honor of BMOP’s Anniversary season and the composer’s 80th birthday; the performance of two works by composer Pascal Dusapin entitled Coda (1992) and Galim (1998), and of Bruno Mantovani’s nine-movement Le Sette Chiese (2002); and the special guest appearance of flutist Alicia DiDonato.
This marks BMOP’s first all-French program. Gil Rose, founding Artistic Director of BMOP, says, “I cannot think of a better program for our first foray into contemporary French repertoire. These composers represent three generations, and three unique voices, that demonstrate France’s long history of contributing important works to the orchestral canon. It is a particular pleasure to welcome Betsy Jolas, an old friend, back to Boston, and to have this opportunity for a joint celebration. That combined with the opportunity to work with Bruno Mantovani, an important new voice, on his extraordinary opus La Sette Chiese makes this program a personal highlight of our 10th season.”
Serving as a dedication to BMOP’s 10th anniversary as well as the composer’s birthday herself, Jour B (B Day) premieres as a 16-minute long, single-movement celebration of sorts. According to composer Betsy Jolas, the audience shouldn’t be surprised to encounter a party-like atmosphere of unordinary sounds. “This is a big Boston birthday celebration; a rather unconventional set of variations on the well known â€˜Happy Birthday’ song,” she explains. Known for her fine sense of timbre and early love for the voice, Jolas finds inspiration in the great Renaissance. A Paris native, she studied under the great Olivier Messiaen at the Paris Conservatoire, and has been teaching there as his successor since 1995.
Also on the program are works by French composers of two later generations. Pascal Dusapin (B. 1955) and Bruno Mantovani (b. 1974), both of whose styles bear the experience of the music of Jolas and her contemporaries. Born in Nancy, France, Pascal Dusapin studied at the Sorbonne and the Schola Cantorum Ã¡ Paris. Unlike Jolas, Dusapin walked away from Messiaen’s course at the Conservatoire with a strong distaste. Instead, the foundation of his musical career was built on his studies with mentors André Boucourechliev, Franco Donatoni, and Iannis Xenakis. Ranging from solos and orchestral works to big theater pieces, Dunapis has produced a catalog of nearly 100 works. Galim (1998), meaning “wave” in Hebrew, was written for flute and string orchestra, in memory of his stepmother. Like the ebb and flow of a wave, Galim oscillates between two pitches a whole-tone apart. The program’s other Dusapin piece Coda (1992) is quite different in that it’s spiky and exciting with ever-changing textures. As a single movement 13-member chamber ensemble, Coda is often perceived as an offspring of such early modernist large chamber-ensemble works as Stravinsky’s Symphonies of Wind Instruments and Varèse’s Octandre.
Rounding out the evening is the 37-minute, nine-movement work Le Sette Chiese (2002) by Bruno Mantovani. Translated to “The Seven Churches”, Le Sette Chiese was influenced by the architectural originality, as well as the religious function of the “Seven Churches”- a destination for Christian religious pilgrims in Bologna, Italy. Compartmentalized into nine contrasting movements within four parts, Le Sette Chiese uses space and dimensions to help provide a means of giving rhythm to the form. Four different spatial instrumental groups are positioned throughout the theater in a layout specified in the score. Mantovani describes this extraordinary work as “a vast fresco meant to enlarge his range of expression, like an experimental plot of land in which he could open up new avenues into his work.”
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.”
Alicia DiDonato, a native of Stoneham, MA, is the flutist for Boston Musica Viva, Radius Ensemble, NotaRiotous (Boston Microtonal Society’s chamber ensemble), and Prana (a soprano/flute duo with acclaimed singer Jennifer Ashe). She performs with the Boston Modern Orchestra Project, Opera Boston, and Firebird Ensemble, and has performed repeatedly with the Boston Symphony Orchestra and Boston Pops. She gives a “drop-dead performance,” according to The Boston Globe. The New York Times calls her rendering of Boulez “beautiful.” Known for her versatility, vibrancy, and exuberantly fluent playing, DiDonato enjoys a varied career as a solo, chamber, and orchestral musician. She is consistently praised for her distinctive takes on modern classics and her command of extended technique.
Tickets range from $21 – $42. Special pricing for students $10. Seniors receive a 10% discount. 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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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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