National Sawdust, 80 North 6th Street, Brooklyn
New York

LL pic by Kava Gorna photo

Lukas Ligeti’s innovative compositional voice is featured in an evening highlighting his work from 1988 to 2016. The evening also points to the lasting and profound influence of the Bauhaus movement on his artistic process. At the same time, it marks the beginning of Ligeti’s curatorial activities at National Sawdust.

The event is the finale of the Hungarian Cultural Center’s Modernity X Hungary — a festival focusing on the legacy of the great artist/designer László Moholy-Nagy — and coincides with the exhibition Moholy-Nagy: Future Present, on view at the Solomon R. Guggenheim Museum this summer.

The acclaimed ensemble Contemporaneous, conducted by David Bloom, soprano Ariadne Greif and marimba virtuoso Ji Hye Jung will perform a program including the world premiere of a quintet for soprano and four musicians, reflecting on Moholy-Nagy’s legacy; a 30-minute tour de force for marimba; and works for chamber orchestra combining European modernism and African polyrhythms with the spirit of an American maverick experimentalist.

For more details or to order tickets, call (646) 779-8455 or visit

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Los Angeles Children’s Chorus (LACC) is holding auditions for middle school- and high school-aged boys with changing or changed voices for its Young Men’s Ensemble on Tuesday, August 23, 2016, at Pasadena Presbyterian Church, with appointments available from 4 to 7 pm. Candidates must prepare one solo art or folk song and will also be gauged on their ability to sing as part of an ensemble.  Those interested in auditioning should be proficient in the fundamentals of music theory and musicianship.  The audition also includes a written music theory test and a sight-singing evaluation.
LACC’s Young Men’s Ensemble is one of only a few choirs in the country to serve young male vocalists with changing voices.  Led by Dr. Steven Kronauer, it offers quality vocal and choral training, providing boys with essential tools to help them sing through their vocal transition and a forum where they can learn more about the healthy development of their maturing voices at their own pace in a fun, understanding and encouraging environment.


Kronauer notes that one of the fundamental considerations for working with the choir is adjusting to the needs of each individual voice to ensure that each boy sings in a range that is healthy for him.


Established in 2009, Young Men’s Ensemble holds rehearsals weekly on Sunday evenings (5:30 – 7:15 pm) and features a specially tailored musicianship course and individualized vocal coaching sessions that adhere to LACC’s exceptionally high standards.


Among numerous highlights, YME has toured to Cuba, Germany, Austria and Italy as well as Alaska and the East Coast; performed with Cuba’s celebrated choir Sine Nomine, the Harvard Glee Club, U.S Army Chorus and University of Michigan Men’s Glee Club.  YME has also participated in seminars with counter-tenor David Daniels, tenor Ben Hepner and such choral educators as Dr. Andrew Clark (Harvard University), James Taylor (Yale University), Patrick Gardner (Rutgers University) and Thea Kano (New York City Master Chorale).

Auditions will be held at Pasadena Presbyterian Church, located at 585 East Colorado Boulevard in Pasadena, California 91101.  For more information or to make an audition appointment, please call (626) 793-4231 or visit

L.A. Children's Chorus Men's Ensemble

L.A. Children’s Chorus Men’s Ensemble

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Friday, August 26, 2016 at 5pm to 10pm

Bryant Park
40th St at Sixth Ave
New York, NY 10018

Free and open to the public
More information


Cellist Inbal Segev, known for her “warm, pure and beautiful tone” (Strings Magazine), opens Bryant Park Presents IN/TER\SECT’s Breaking Boundaries, a FREE, five-hour outdoor concert from 5-10pm. Inbal Segev will open with J.S. Bach’s popular Cello Suite No. 1 in G Major, followed by Iranian-American Gity Razaz’s Legend of Sigh for cello and electronics, which was written for Segev last year. Segev’s set will be followed by performances by harpist Bridget Kibbey, violinist Kristin Lee, percussionist John Hadfield, the Patrick Zimmerli Quintet, the Kenari Quartet, and the Dan Tepfer Trio and String Quartet.

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10405362_10203433846185421_6718199439641759198_nThe Santa Monica Public Library is proud to present Canadian-born composer-pianist Dana Reason on Wednesday August 17 at 7:30PM in the Main Library’s Martin Luther King Jr. Auditorium at 601 Santa Monica Blvd. Santa Monica, CA, 90401.

This concert features new works, improvisations, and compositions from her acclaimed CDs. Reason’s music has been described as “largely delicate and contemplative” (Joe Tangari, Downbeat) and her work explores poetic, filmic, and expressive templates that move fluidly between minimalist and maximalist musical tendencies; contemporary classical and improvisatory frameworks; song forms and post-1960s jazz topographies. In 2014, Reason was long-listed for Grammy consideration as an arranger, composer, and pianist. She is part of the faculty of music at Oregon State University.

Reason will be joined by Peter Valsamis (drums) and Jeff Schwartz (bass). Jeff Schwartz is an adept performer of classical, jazz, and experimental music, as well as a member of the library staff and the curator of this concert series. Peter Valsamis is a dynamic drummer, composer, and sound designer, who “exercises supple strength with sticks and […] acts as a crafty coloring agent (Derek Taylor, All About Jazz).

Learn more about the Soundwaves concert series at

This event is free and open to the public. Seating is limited and on a first-arrival basis. The Santa Monica Public Library is wheelchair accessible. For special disabled services, call Library Administration at (310) 458-8606 at least one week prior to event. For more information, visit or contact the Santa Monica Public Library at (310) 458-8600.

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Patrick Zimmerli-55 (Copier)On September 10, 2016, at 7:00 p.m. at Le Poisson Rouge, the Patrick Zimmerli Quartet, featuring Ethan Iverson, Chris Tordini, and John Hollenbeck, will present “Clockworks,” the conclusion of a compositional arc that began 25 years ago with the recording of Shores Against Silence by Zimmerli’s original quartet.

What: Patrick Zimmerli Quartet featuring Ethan Iverson, Chris Tordini, and John Hollenbeck
Where: Le Poisson Rouge, 158 Bleecker Street, NYC, Train: A/B/C/D/E/F/M West 4th Street
When: Saturday, September 10, 2016 at 7:00 p.m.
Tickets: $15. To purchase, contact Le Poisson Rouge at 212.505.3474, or visit

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Sunday, August 14, 2016 at 3-4pm
The Noguchi Museum
9-01 33rd Road (at Vernon Boulevard)
Long Island City, NY 11106


Bang on a Can and The Noguchi Museum continue their monthly summer concert series with “contemporary music dynamos” (NPR) the American Contemporary Music Ensemble (ACME). ACME will perform Philip Glass’ luminous String Quartet No. 5 from 1991 and Meredith Monk’s only string quartet Stringsongs from 2005, which the group recently recorded for Q2 Music’s Meet the Composer Series. ACME Artistic Director Clarice Jensen will also give the world premiere of ACME member Caleb Burhans’ brand new solo cello piece Anything You Say Is Going To Sound Like Goodbye, written for her. All concerts are free with museum admission.

Information on the Noguchi Museum website

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Wednesday, August 3, 2016 at 6:30pm

Hearst Plaza at Lincoln Center
10 Lincoln Center Plaza
New York, NY 10023

Free concert
More info

Screen Shot 2016-07-18 at 4.46.07 PM

International Contemporary Ensemble (ICE) members tenor Peter Tantsits and harpist Megan Conley perform the world premiere of Anna Thorvaldsdottir’s “For it will never return” in a free micro-concert at Hearst Plaza, part of Lincoln Center’s Mostly Mozart Festival. “For it will never return” was commissioned by ICE through their First Page Commissioning project and is part of Mostly Mozart Festival’s effort to showcase contemporary music; the new work is one of 50 to be premiered by ICE during the 2016 festival.

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The San Francisco Opera invites families and the community to a free movie screening of the Barber of Seville. Prepared to be charmed by Figaro, Seville’s famed barber, as he helps two friends find their happily-ever-after. Join them in a series of disguises, tricks and comic twists and turns. The screening includes a live introduction by a teaching artist from San Francisco Opera.

This program is recommended for ages 5 and up.

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 “Quotations and Homages”

Nadia Shpachenko, piano

Art Share LA
801 E 4th Place
Los Angeles CA 90013
July 23 • Saturday, 3:30 pm Buy Tickets Now
Tickets: $15.00 Online / $20.00 At the Door
Sound and Fury Series

On July 23, 2016 at 3:30 pm at Art Share LA Multiple GRAMMY® nominated pianist Nadia Shpachenko will present a program of new and recent works, including the World Premiere of Igor to Please (one pianist version) by Tom Flaherty. The recital, titled Quotations and Homages, will feature newly-written works inspired by a variety of earlier composers and pieces, from Mozart to Brahms to Messiaen to Carter to Gubaidulina to The Velvet Underground. In a program both serious and lighthearted, older works will be brought to new light through piano, electronics and multimedia by contemporary composers Stephen Cohn, Daniel Felsenfeld, Tom Flaherty, Vera Ivanova, Missy Mazzoli, Nick Norton, Peter Yates, and Adam Borecki.


Stephen Cohn: Close Ups (Through Tiny Eyes) (2016)
Daniel Felsenfeld: Down to You is Up (1998, rev. 2015)
Tom Flaherty: Igor to Please (2016) World Premiere
Tom Flaherty: Rainbow Tangle (2015)
Vera Ivanova: 6 Fugitive Memories (2015)
Missy Mazzoli: Bolts of Loving Thunder (2013, rev. 2016)
Nick Norton: Piano Piece for Mr. Carter’s 100th Birthday (2008)
Peter Yates: Epitaphs and Youngsters (2015)
Adam Borecki: Accidental Mozart (2014)

Multiple GRAMMY® nominated pianist Nadia Shpachenko enjoys bringing into the world things that are outside the box – powerful pieces that often possess unusual sonic qualities or instrumentation. Described by critics as a “truly inspiring and brilliant pianist… spellbinding in sensitivity and mastery of technique,” she performs on piano, toy piano, harpsichord, and percussion in concerts that often also feature recitation, electronics and multimedia. Nadia’s concert highlights include solo recitals at Concertgebouw, Carnegie Hall, Bargemusic, the Phillips Collection, and REDCAT @ Disney Hall, as well as numerous appearances as a soloist with orchestras in Europe and the Americas.

An enthusiastic promoter of contemporary music, Nadia has given world and national premieres of more than 50 works by Elliott Carter, George Crumb, Daniel Felsenfeld, Tom Flaherty, Annie Gosfield, Vera Ivanova, Leon Kirchner, Amy Beth Kirsten, Hannah Lash, James Matheson, Missy Mazzoli, Harold Meltzer, Adam Schoenberg, Lewis Spratlan, Iannis Xenakis, Peter Yates, and others. Described as “an exceptional recording of newly composed piano works,” Nadia’s CD “Woman at the New Piano” was nominated for 58th GRAMMY® Awards in 3 categories: Best Classical Compendium, Best Chamber Music/Small Ensemble Performance by Nadia Shpachenko and Genevieve Feiwen Lee for Tom Flaherty’s “Airdancing” for Toy Piano, Piano and Electronics, and Producer of the Year, Classical for Marina A. Ledin and Victor Ledin. Nadia’s upcoming recording project “Quotations and Homages features newly-written solo and collaborative works for 6 pianists (performed with Ray-Kallay Duo, HOCKET and Genevieve Feiwen Lee) inspired by a variety of earlier composers and pieces, from Beethoven to Brahms to Stravinsky to Messiaen to Carter to Gubaidulina to The Velvet Underground. Nadia’s upcoming recording project “The Poetry of Places” features new solo and collaborative works (performed with pianist Joanne Pearce Martin and percussionists Nick Terry and Ted Atkatz) inspired by diverse buildings.

Nadia Shpachenko is Professor of Music at Cal Poly Pomona University, where she leads the Piano Performance program. She is also on the faculty of Claremont Graduate University, where she teaches Doctoral piano students. Her principal teachers included John Perry, Victor Rosenbaum, and Victor Derevianko. Nadia Shpachenko is a Steinway Artist and a Schoenhut Toy Piano Artist.


More information
Contact: Ullanta MusicWorks or 323-807-0795

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Group_Wall_croppedGeorge Hurd and The Hurd Ensemble are coming to New York and D.C., seamlessly blending percussive, kaleidoscopic electronics with evocative, traditionally-composed classical music. They will perform record-release shows at Spectrum in NYC on Sat July 23rd, leading up to their Mon July 25 show at the Kennedy Center’s Millennium Stage. The only event taking place at Spectrum in July and August, they will be playing music from Hurd’s album Navigation Without Numbers (Innova, 2016) which has received national and international praise for its adventurous, genre-bending take on classical composition, including multiple features on WNYC’s New Sounds, WFMT, All About Jazz and BBC Radio 3.

Hurd is coming to the Millennium Stage by special request of celebrated
Kennedy Center composer-in-residence Mason Bates. “George and I share
a passion for electro-acoustic classical music,” said Bates, a fellow Bay Area
composer whose Stereo Is King came out on Innova in 2014. “I have very much enjoyed the powerful and unique works he has created with his own ensemble. These pieces integrate electronic sounds and classical instruments in creative and visceral ways.”

Opening the show at Spectrum will be Kills to Kisses – solo bass/vocal/electronics act by Australian double-bass pioneer Lisa Dowling (Concert Black). Praised as “Bjork-like” and “innovative” by the New York Times, Lisa has been a influential force in the NY post-classical scene for years. Hurd will be closing out the Spectrum show, performing electronics within his group, comprised of violin, cello, upright bass and piano.

More information available at George Hurd’s website:

• Saturday July 23rd – 8pm with Kills to Kisses
Spectrum – 121 Ludlow St., NY, NY
$15 sliding scale

• Monday July 25th – 5:30 doors, 6pm show
Kennedy Center, Millennium Stage – 2700 F Street, NW Washington, DC

“With Navigation Without Numbers, Hurd treats electronics as organic components of the overall interpretation of his compositions. There are points where the electronic beat is primal in the face of chamber style strings and the contrast is riveting. Hurd successfully closes any preconceived gaps between electronics and traditionally composed music and what the listener is left with is sometimes warm, sometimes angular but always accessible.” — All About Jazz

“An interesting marriage of so many different kinds of musical styles intermingling with the contemporary classical world… some of these tracks [from Navigation Without Numbers] would not be out of place in a club.” — Soundward with Q2’s Phil Kline, from Relevant Tones, WFMT

George Hurd is a San Francisco-based composer whose work focuses on chamber music, electronic music, and the fascinating world where they intersect. He heads The Hurd Ensemble, an electro- acoustic chamber group made up of some of the Bay Area’s finest musicians, dedicated to performing his compositions for chamber ensemble and electronics. His work often fixates on the role of memory in music, using electronic sounds that are made entirely by him, recorded from his life and on his travels, each encapsulating a memory from the place and time they were recorded. He has composed well over a dozen electro-acoustic pieces for other groups and musicians, many acoustic chamber music pieces, and a sprawling catalog of works for solo electronics. His debut album with The Hurd Ensemble, Navigation Without Numbers, is out on Innova Recordings and includes a composition for violin and electronics written for and performed by acclaimed violinist/composer Carla Kihlstedt.

Performing original music by composer George Hurd, The Hurd Ensemble unifies the worlds of electronic and classical music with their instrumentation of violin, cello, upright bass, piano and electronics (as well as regular use of viola, flute, bass clarinet, baritone sax, vibraphone and harp). Hurd’s music is both wildly, intricately rhythmic and aglow with shimmering harmonies and melodies. Accessible and daring, its percussive yet lyrical qualities make it at home in both concert halls and nightclubs.

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