ZT Wall credit Irina Mednik

An atypical combination of instruments (clarinet, violin and piano) the Zodiac Trio formed in 2006 at the Manhattan School of Music, before becoming the first American group to be accepted to the Paris Conservatory’s chamber music program with the Ysaÿe Quartet. Since, the trio became the new image of the clarinet-violin-piano instrumentation, and maintains a consistently international touring schedule. The Zodiac Trio is paving the way for new generations of compositions for this unusual grouping by commissioning and performing new works, with over 100 works written for the ensemble.

 
The program at Spectrum on March 26 features the world premiere of John McDonald’s Trio about Smoking, written especially for the trio. Cast in three brief movements, the piece is both an ode to musician/smokers’ stress-relief potential and a health warning.

Also on the program are the New York premieres of Andrew List’s Dreams from the Aboriginal Dreamtime, a composition inspired by the creation legends of the Australian Aboriginals; Zodiac: Across the Universe, a series of one-minute miniatures by twelve different composers each describing a sign of the zodiac; and Guillaume Connesson’s Techno Parade, a whimsical whirlwind of a piece transcribed for the Zodiac Trio by the group’s violinist Vanessa Mollard.

The concert is on Saturday, March 26 at 7 pm at Spectrum, 121 Ludlow St, NY, NY. Tickets are $15 general admission, $10 students/seniors, and are available at the door. For more information, visit zodiactrio.com.

The Zodiac Trio is Kliment Krylovskiy, clarinet; Vanessa Mollard, violin and Riko Higuma, piano.

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Los Angeles Chamber Orchestra Concertmaster Margaret Batjer

Los Angeles Chamber Orchestra Concertmaster Margaret Batjer

Los Angeles Chamber Orchestra (LACO) explores innate vs. learned creativity tied to masterworks by Mozart and Mendelssohn, whose extraordinary talent was evident in their earliest compositions, during the second program of Westside Connections, a chamber music series with a twist, on Thursday, April 7, 2016, 7:30 pm, at the Moss Theater in Santa Monica.  Curated and hosted by LACO Concertmaster Margaret Batjer, Westside Connections’ 2015-16 season features LACO musicians and cutting-edge neuroscientists exploring “Music and the Mind” through performance and conversation, followed by Q&A with audiences.  Among ideas probed during the three-concert series are how music moves us (and why), the possibility of pinpointing the location of creativity in the brain, and where the next wave in brain management research may to take us.

 

During the evening, special guest Dr. Susan Bookheimer, Professor of Cognitive Neuroscience, UCLA, discusses her study of remarkably gifted children, and she is joined by special guest Dr. Robert Bilder, Professor of Psychiatry & Biobehavioral Sciences and Professor of Psychology, UCLA, to reveal findings from the “Big C Project,” their fascinating joint research collaboration exploring exceptionally creative people in the arts and sciences.  The conversation is set against a performance of Mozart’s Quintet in E-flat major for Piano and Winds, which the composer himself called “the best thing I have so far written in my life,” featuring LACO Music Director Jeffrey Kahane, piano; LACO Principals Allan Vogel, oboe, Kenneth Munday, bassoon, Joshua Ranz, clarinet, and Andrew Shulman, cello; and LACO horn Kristy McArthur Morrell.  Guest violinist Cho-Liang Lin joins Kahane and Shulman for Mendelssohn’s Piano Trio in D minor, considered his most beloved and popular chamber work.  After hearing it, Schumann declared Mendelssohn “the Mozart of the 19th century.”

 

Dr. Bilder holds the Michael Tennenbaum Family Chair in Creativity Research in the Department of Psychiatry & Biobehavioral Sciences, David Geffen School of Medicine at UCLA.  In addition to his NIH-sponsored research on brain and behavior, he directs the Tennenbaum Center for the Biology of Creativity, and is now studying the brains of “Big C” (exceptionally creative) artists and scientists, with support from the John Templeton Foundation.  Bilder also directs the UCLA Healthy Campus Initiative’s Mind Well program, which aims to help promote well-being and creative achievement throughout the UCLA campus community.

 

Dr. Bookheimer, holds the Joaquin Fuster Endowed Chair in Cognitive Neuroscience and is a Professor in the Deptartment of Psychiatry and Biobehavioral Sciences, David Geffen School of Medicine at UCLA and the Department of Psychology.  She is a pioneer in brain mapping research using functional mag­netic resonance imaging (fMRI), which examines human brain activity in real time.  Her research focuses on language, memory and social cognition in health and in neurologic and psychiatric disorders from early development to aging.  Her clinical practice includes mapping brain function prior to surgery with fMRI, and mapping critical functions including language and music during awake neurosurgery using direct electrical stimulation of the brain.  Bookheimer’s recent work studies how the brain works dynami­cally to solve problems and integrate information in highly gifted and creative individuals.  This work aims to understand the unique­ness of each brain and the many different cognitive styles used by exceptional children and adults.

 

With a 30-year career spanning the globe, Lin has appeared as a soloist with an array of ensembles including the Detroit, Toronto and Dallas symphony orchestras; the Houston, Nashville and Singapore symphonies; the Bergen, Munich and Hong Kong philharmonics; and the Los Angeles and English cham­ber orchestras.  An avid chamber musician, he is music director of La Jolla Music Society’s SummerFest.  Lin has commissioned works from Tan Dun, John Harbison and Esa-Pekka Salonen.  In 2000, Musical America named him Instrumentalist of the Year.  Currently, Lin, who began his studies at five in Taiwan, is a professor of violin at Juilliard and Rice University.  He plays the 1715 ”Titian“ Stradivarius.

 

Each year, LACO’s trademark three-part Westside Connections, now in its eight season, steps outside the proverbial “music “box” to illustrate with fascinating intellectual discourse and superb artistry the myriad ways music is woven into society and our lives.  The 2015-16 Westside Connections series concludes May 5 when the evening centers on breathtaking songs by Schumann and Ravel, each of whom suffered severe mental collapse, with LACO musicians joined by special guest Dr. Linda Liau, Neurosurgeon, Professor and Director of the UCLA Brain Tumor Program, and guest artists Heidi Grant Murphy, soprano, and Robert Thies, piano.  In previous seasons, Westside Connections has explored connections between music and such disparate topics as architecture, the culinary arts, poetry, stories and the influences of Los Angeles on creativity.

 

Los Angeles Chamber Orchestra is considered one of the world’s premier chamber orchestras as well as a pacesetter in presenting wide-ranging repertoire and adventurous commissions.  Its 2015-16 season, features a compelling mix of beloved masterpieces and genre-defying premieres from firmly established as well as notable up-and-coming composers programmed by Jeffrey Kahane, one of the world’s foremost conductors and pianists, who marks his 19th season as LACO’s music director.

 

Tickets (beginning at $65) 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.  Student rush tickets ($12), based on availability, may be purchased at the box office one hour before the concert.  Also available for college students is the $30 “Campus to Concert Hall All Access Pass” – good for LACO’s three Westside Connections concerts at the Moss Theater, seven Orchestral Series concerts at either the Alex Theatre or UCLA’s Royce Hall and Discover Bach’s Cantata “Sleepers Awake” at Ambassador Auditorium.  Discounted tickets are also available by phone for groups of 12 or more.  The Moss Theater at New Roads School is located at 3131 Olympic Boulevard, Santa Monica, CA, 90404.

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Los Angeles Chamber Orchestra Principal Oboe Allan Vogel

Los Angeles Chamber Orchestra Principal Oboe Allan Vogel

The third concert in Los Angeles Chamber Orchestra’s (LACO) engaging Baroque Conversations series highlights esteemed LACO Principal Oboe Allan Vogel, who is retiring at season’s end after 44 years with the Orchestra, on Bach’s beloved Brandenburg Concerto No. 2 in F major, on Thursday, March 24, 2016, 7 pm at Zipper Concert Hall in downtown Los Angeles.  Vogel has soloed on the piece a record 19 times during his tenure with the Orchestra.  Featured with him are Principal Trumpet David Washburn, LACO Concertmaster Margaret Batjer and Principal Flute David Shostac, who is also retiring at season’s end after 41 years with the Orchestra and who has been featured 18 times previously with LACO on this Concerto.

 

In celebration of Vogel’s remarkable artistry and as a tribute to his enduring legacy with LACO, the evening also showcases him with Batjer on Bach’s Concerto in C minor for Violin and Oboe, on which Vogel has soloed with LACO 14 times previously and also recorded with violinist Hilary Hahn and LACO for Deutsche Grammophone.

 

Completing the program are two chamber works by Telemann – both of which spotlight Vogel – Essercizii musici: Trio No. 12 in E-flat major, for oboe and two harpsichords; and Quartetto in D major, for two oboes, trumpet, cello and harpsichord continuo, with LACO Music Director Jeffrey Kahane, harpsichord; Principal Keyboard Patricia Mabee, harpsichord; Principal Cello Andrew Shulman; Claire Brazeau, oboe; and Washburn.

 

Vogel, “an aristocrat of his instrument, an oboe virtuoso with few equals” (Los Angeles Times) and “undoubtedly one of the few world masters” (San Diego Union), joined LACO in 1972 and became principal oboe in 1974.  He has performed as guest principal oboe with the Boston Symphony Orchestra, and appeared with the Academy of St. Martin in the Fields, the Orpheus Chamber Orchestra, and the Berlin and Los Angeles philharmonics.  He has been featured at the Marlboro, Santa Fe, Aspen and Mostly Mozart festivals, among others, and performed at the White House during the last state dinner of the Clinton presidency.  Vogel is on the faculty of the California Institute of the Arts, the University of Southern California and the Colburn School Conservatory of Music.

 

The enlightening five-concert Baroque Conversations series provides insight into the genesis of orchestral repertoire from early Baroque schools through the pre-classical period. As host of the evening, Vogel introduces the music from the stage and engages the audience in Q&A to conclude the concert.  A complimentary wine reception for all ticket holders begins at 6 pmAdditional Baroque Conversations performances take place on Thursday, April 21, 2016, 7 pm, at Zipper Hall in downtown Los Angeles; and Saturday, May 21, 2016, 8 pm, at USC’s Bovard Auditorium in partnership with the 2016 Piatigorsky International Cello Festival.  Baroque Conversations is generously sponsored by Carol & Warner Henry, a Friend of LACO and the Ronus Foundation.

 

Los Angeles Chamber Orchestra is considered one of the world’s premier chamber orchestras as well as a pacesetter in presenting wide-ranging repertoire and adventurous commissions.  Its 2015-16 season, features a compelling mix of beloved masterpieces and genre-defying premieres from firmly established as well as notable up-and-coming composers programmed by Jeffrey Kahane, one of the world’s foremost conductors and pianists, who marks his 19th season as LACO’s music director.

 

Tickets, starting at $65, are available online at laco.org, or by calling LACO at 213 622 7001.  Single tickets can also be purchased at the venue box office on the night of the concert, if tickets remain.  Discounted tickets are available by phone for groups of 12 or more.  College students may purchase student rush tickets ($12), based on availability, at the box office an hour before the concert.

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Los Angeles Chamber Orchestra Principal Flute David Shostac and Principal Oboe Allan Vogel

Los Angeles Chamber Orchestra Principal Flute David Shostac
and Principal Oboe Allan Vogel

Los Angeles Chamber Orchestra Music Director Jeffrey Kahane continues the 2015-16 season with the world premiere of Los Angeles-based composer Gernot Wolfgang’s Sinfonia Concertante for Four Winds – “The D.A.R.K. Knights” on Saturday, March 19, 8 pm, Alex Theatre, Glendale, and Sunday, March 20, 7 pm, UCLA’s Royce Hall.  The program also features LACO Principal Clarinet Joshua Ranz on Mozart’s autumnal Clarinet Concerto, written shortly before the composer’s death, and Kahane as both conductor and soloist in Mozart’s turbulent Piano Concerto No. 20 – a compelling feat that is one of the hallmarks of Kahane’s LACO tenure.  Wolfgang’s new work, which features four solo instrument  – flute, oboe, horn and bassoon – was written to honor and showcase the exceptional talents of long-serving LACO principal wind players David Shostac, flute, and Allan Vogel, oboe, both of whom are set to retire at season’s end after 85 combined years with the Orchestra; Kenneth Munday, bassoon, who is celebrating his 40th season with LACO; and former Principal Horn Richard Todd, who played with LACO for 35 years through the 2014-15 season.

 

Wolfgang says, “The composition is in one movement, with the Sinfonia Concertante portions occupying the energetic outer sections.  The lyrical middle part of the piece consists of the succession of mini-concertos. The soloistic parts for each of the featured wind players were inspired by their individual, very specific instrumental sounds, which have become very familiar to me over the years.   I also took into account the special musical abilities of some of these musicians – both David Shostac and Richard Todd, noted jazz artists, too, will get a chance to improvise in selected passages.”

 

Vogel, “an aristocrat of his instrument, an oboe virtuoso with few equals” (Los Angeles Times) and “undoubtedly one of the few world masters” (San Diego Union), joined LACO in 1972 and became principal oboe in 1974.  He has performed as guest principal oboe with the Boston Symphony Orchestra and appeared with the Academy of St. Martin in the Fields, the Orpheus Chamber Orchestra, and the Berlin and Los Angeles philharmonics.  He has been featured at the Marlboro, Santa Fe, Aspen and Mostly Mozart festivals, among others, and performed at the White House during the last state dinner of the Clinton presidency.  Vogel is on the faculty of the California Institute of the Arts, the University of Southern California and the Colburn School Conservatory of Music.

 

Shostac, a “world class musician” (Review Plays) and “stalwart of the Los Angeles Chamber Orchestra” (Orange County Register), was appointed principal flute of the Los Angeles Chamber Orchestra in 1975.  He has also served as principal flute of the St. Louis, Milwaukee and New Orleans symphony orchestras.  Shostac has performed as a solo and orchestral player at the Hol­lywood Bowl and has taken part in the Ojai, Mostly Mozart, Aspen and Oregon Bach festivals, and has appeared with the American Symphony Orchestra, the Boston Symphony and the Los Angeles Philharmonic.  He has taught at USC, UCLA, California Institute of the Arts, the Aspen Music School and the Idyllwild Arts Academy and is a faculty member of CSU Northridge.

 

Ranz won the audition for principal clarinet of the Los Angeles Chamber Orchestra in 2008 after having served as second clarinet since 1999.  He recently performed the Copland Clarinet Concerto with LACO.  Ranz is also principal clarinet of the New West Symphony and has filled in as principal for the LA Opera and Hollywood Bowl orchestras, as well as the Santa Barbara and Santa Monica symphonies.  He is a member of the Pacific Symphony, performs regularly with the Los Angeles Philharmonic and is active in the television and motion picture industry.  He earned a Bachelor’s degree at Harvard College and received a Master of Music at the Yale School of Music.

 

Equally at home at the keyboard or on the podium, Kahane has established an international reputation as a truly versatile artist, recognized around the world for his mastery of diverse repertoire ranging from Bach, Mozart and Beethoven to Gershwin, Golijov and John Adams.  Now in his 19th season as music director of the Los Angeles Chamber Orchestra, he previously served as music director of the Colorado and Santa Rosa symphonies.  He has garnered tremendous critical acclaim for his innovative programming and commitment to education and community involvement and received multiple ASCAP Awards for Adventurous Programming for his work in both Los Angeles and Denver.  He is also a visiting Professor of Keyboard Studies at the University of Southern California Thornton School of Music.

 

Wolfgang, a composer with a “winning sonic arsenal” (Gramophone), was born in Bad Gastein, Austria, but currently lives in Los Angeles.  In addition to LACO’s commission, Wolfgang has written compositions for orchestras, ensembles and individuals around the world.  He is the guitarist for the Austrian jazz ensemble, The QuARTet, with which he has performed throughout Europe.  Wolfgang is a graduate of the film and scoring program at USC and works in film and television as an orchestrator.  He also is associate artistic director of HEAR NOW – A Festival of New Music by Contemporary Los Angeles Composers.

 

Concert Preludes, pre-concert talks held one hour before curtain and free for ticket holders, provide insights into the program’s music and artists.  Director of Artistic Administration Daren Fuster interviews the soloists and discusses with Wolfgang the inspiration and creation of his work.  Following the performance, ticket holders are invited to toast Vogel and Shostac in the lobby at an after-party, which includes complimentary drinks and appetizers.

 

Los Angeles Chamber Orchestra is considered one of the world’s premier chamber orchestras as well as a pacesetter in presenting wide-ranging repertoire and adventurous commissions.  Its 2015-16 season, features a compelling mix of beloved masterpieces and genre-defying premieres from firmly established as well as notable up-and-coming composers programmed by Jeffrey Kahane, one of the world’s foremost conductors and pianists, who marks his 19th season as LACO’s music director.

 

Steinway is the official piano of Los Angeles Chamber Orchestra.

 

Tickets, starting at $27, are on sale now and may be purchased online at laco.org or by calling LACO at 213 622 7001.  Discounted tickets are also available by phone for seniors 65 years of age and older and 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.  Also available for college students is the $30 “Campus to Concert Hall All Access Pass” – good for all seven of LACO’s Orchestral series concerts, Discover Bach’s Cantata “Sleepers Awake” and three Westside Connections concerts.

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Harpist Yolanda Kondonassis

Yolanda Kondonassis is Soloist with the San Diego Symphony
Friday, March 18, 2016 at 8pm
Saturday, March 19 at 8pm
Sunday, March 20 at 2pm
Copley Symphony Hall | 750 B Street | San Diego, CA

PLUS Kondonassis joins Musicians from the Symphony for a Chamber Music Concert, featuring the world premiere of Gary Schocker’s Coasting
Tuesday, March 15 at 7:30pm
The Auditorium at TSRI | 10620 John J Hopkins Dr. | San Diego, CA

Tickets: www.sandiegosymphony.org or 619.235.0804

“Kondonassis’s colorful harp playing is smooth, resourceful, ever-musical.” – Los Angeles Times

On March 15 at The Auditorium at TSRI, internationally acclaimed harpist Yolanda Kondonassis will perform in a concert of chamber music with musicians from the San Diego Symphony which includes the world premiere of Gary Shocker’s Coasting for two harps, Persichetti’s Serenade No. 10 for flute and harp, and Ravel’s Introduction and Allegro for harp, flute, clarinet and string quartet.

On March 18, 19, and 20, Kondonassis joins the San Diego Symphony for three performances of Ginastera’s iconic Harp Concerto at Copley Symphony Hall, led by conductor David Danzmayr. The performances, titled Music in Motion: Dance and The Firebird, also feature Stravinsky’s The Firebird (1945 version) and Malashock Dance in Gabriela Lena Frank’s Five Scenes.

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Tenri Cultural Institute proudly presents Border Crossings, a cultural exchange featuring works by American composer Richard Cameron-Wolfe and Ukrainian composer Volodymyr Runchak on Friday, March 11th at 8pm. World premieres, U.S. premieres, New York premieres and more grace this program performed by trombonist Jen Baker, pianists Gayle Blankenburg (LA) and Irena Portenko, double bassist Ken Filiano, soprano Elisabeth Halliday, saxophonists Daniel Kochersberger, Aaron Patterson, Jay Rattman and Jordan Smith, flutist Rachel Rudich (LA/NY) and bassoonist Sara Schoenbeck with a special guest appearance by actor Kevin Kline as the poet in the premiere of Cameron-Wolfe’s micro-opera A Sound-Shroud for Bill Knott.

 

DSC_5376

Richard Cameron-Wolfe, Composer

Friday, March 11, 2016 8pm
Tenri Cultural Institute
43A West 13th St.
New York
212-645-2800
Subway: F/V/L to 14th St. & 6th Ave.; 1/2/3 to 14th St. & 7th Ave.; N/Q/R/W/4/5/6 to 14th St. Union Square
$30
http://www.brownpapertickets.com/event/2510921

 

Program:

An Inventory of Damaged Goods (2015) by Richard Cameron-Wolfe
NY Premiere
Gayle Blankenburg, piano

Prima Materia (2001) by Richard Cameron-Wolfe
World Premiere
Gayle Blankenburg, piano

IMG_1480-2

Volodymyr Runchak, Composer

Greetings M.K. (Dedicated to Mauricio Kagel) for piano in three movements by Volodymyr Runchak
US Premiere
Irena Portenko, piano

1. Lyric Song Afternoon rest of the mosquito
2. Open form Death of the little hedgehog
3. Variation Repetition of movement 2, as encore a few times

Mute Hand Muse micro-opera for a waking dreamer (2015) by Richard Cameron-Wolfe
NY Premiere
soprano, alto/bass flutes, and piano
Elisabeth Halliday, Rachel Rudich
& Gayle Blankenburg

Homo ludens II for piano (1992) by Volodymyr Runchak
US Premiere
Irena Portenko, piano

INTERMISSION

Contra spem spero (Hopeless, I believe) for 4 saxophones (1990) by Volodymyr Runchak
US Premiere
Manhattan Saxophone Quartet:
Daniel Kochersberger, tenor saxophone, Aaron Patterson, alto saxophone, Jay Rattman, baritone saxophone & Jordan Smith, soprano saxophone

A Sound-Shroud for Bill Knott (2015) by Richard Cameron-Wolfe
World Premiere
actor/bassoon/trombone/double-bass
Kevin Kline, Sara Schoenbeck, Jen Baker & Ken Filiano

Prayer for female voice and tape (2002) by Volodymyr Runchak
US Premiere
Elisabeth Halliday, soprano

Kyrie (Mantra) II for flute and prepared piano (1976) by Richard Cameron-Wolfe
Rachel Rudich & Gayle Blankenburg

SAX (tête-à-tête) for two alto saxophones (2006) by Volodymyr Runchak
US Premiere
2 saxes, Epoch Duo: Jordan Smith/Dan Kochersberger

 

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FLAMBLAM_15001500_72

Fiuczynski opened the Pandora’s Box on non-Western tuning on his 2012 RareNoise Records debut, Planet MicroJam. He pushes the envelope even further on his latest microtonal project, Flam! Blam! Pan-Asian MicroJam! Jointly dedicated to 20th century classical composer Olivier Messiaen and innovative hip-hop record producer J Dilla, this ambitious venture has the guitarist-composer pursuing his passion for the notes that fall between the cracks with his intrepid microtonal crew.

The seven movements that comprise Flam! instigated by Fiuczynski receiving a 2011 Guggenheim Fellowship, show the connections between exotic bird calls and J Dilla’s famous ‘flam beats’ while also referencing the colors of Messiaen’s music, Gagaku, the ancient court music of Japan, and other Pan-Asian ingredients. The three extra tracks that comprise Blam! feature special guest Rudresh Mahanthappa on alto saxophone. Fiuczynski is joined on both portions of his latest release by former Microjam Institute students Utar Artun on microtonal keyboard, Yazhi Guo on suona (Chinese oboe) and percussion, Helen Sherrah-Davies on violin, Jack Sherman on microtonal keyboard, Justin Schornstein on bass and Alex Bailey on drums.

After first hinting at a non-tempered vocabulary through his whammy bar articulations and fretless guitar playing with his band Screaming Headless Torsos during the ‘80s and ‘90s, guitarist-educator Dave “Fuze” Fiuczynski now finds himself knee-deep in the exotic world of microtones. As a guitar professor at the Berklee College of Music and director of its Planet MicroJam Institute, which engages in the study of microtonal harmonies that go beyond the 12-tone Western chromatic scale, the acclaimed guitarist and sonic adventurer maintains that 12-tones to an octave is just a suggestion. As he tells his students:

“There are other opportunities, things you can do. And when it comes to groove music, in terms of microtonality, you can really be a musical Captain Kirk and go where no man has gone before. The field is wide open.”

Throughout FLAM!, Fuze utilizes field recordings of five bird calls (the Common Loon, the Carolina Chickadee, the Northern Nightingale, the Blackface Solitaire and the Brazilian Uirapuru) and transcribes them to be played by the various instruments in his microtonal ensemble.

On the opening “Loon-Y Tunes,” he employed the calls of the Common Loon and the Carolina Chickadee, then transposed the calls note-for-note onto fretless guitar, violin and microtonal keyboard. Pan-Asian aspects come into play in Fiuczynski’s Indian-flavored slide guitar solo on this first track. The call of the Northern Nightingale is used on “Flam” while “Q&A Solitaire,” a stunning showcase for violinist Sherrah-Davies, employs the call of the Blackfaced Solitaire. “Oiseaux JDillique” incorporates JDilla’s flam beats, Pan-Asian motifs and the call of the Nightingale while “Gagaku Chord Candy,” which contains elements of free jazz, has Fuze emulating an ancient Gagaku orchestra on his fretless guitar while utilizing some of Messiaen’s chords. And the final piece of FLAM!, “Waldstimmen” (“Forest Voices”) reprises all the bird calls together for a fitting conclusion.

The three additional tracks feature fire-breathing saxophonist Rudresh Mahanthappa on “Uira Happy Jam,” which is entirely based on the song of that sonorous Brazilian bird, the sparse “Organ Wren,” and the intense closer “Loon-ly Solitaire,” which has Fuze screaming with distortion-laced delight on his fretless guitar.

TRACKS
1. Loon-Y Tunes
2. Dance Of The UiraPuru
3. Flam
4. Q&A Solitaire
5. Oiseaux JDillique
6. Gagaku Chord Candy
7. Waldstimmen
8. Uira Happy Jam
9. Organ Wren
10. Loon-Ly Solitaire

CD PERSONNEL
David Fiuczynski – guitars, keybards, percussion
Helen Sherrah-Davies – violin
Yazhi Guo – suona (Chinese oboe) and percussion
Utar Artun – microtonal keyboards, fender rhodes
Jake Sherman – microtonal keyboards, fender rhodes, piano
Justin Schornstein – electric bass
Alex ‘BisQuiT’ Bailey – drums and percussion
Rudresh Mahanthappa – alto sax (on tracks 8/9/10)

VIDEO
https://www.youtube.com/watch?v=5iYvTjIbTTY

ABOUT THE LABEL – RareNoiseRecords was founded in 2008 by two Italians, entrepreneur Giacomo Bruzzo and music producer Eraldo Bernocchi. Located in London, the label’s mission is to detect and amplify contemporary trends in progressive music, by highlighting their relation to the history of the art-form, while choosing not to be bound by pre-conceptions of genre. It seeks to become a guiding light for all those enamoured by exciting, adventurous and progressive sounds. www.rarenoiserecords.com

CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON MARCH 25, 2016 AND THROUGH WWW.RARENOISERECORDS.COM.

CD RELEASE EVENT AT SHAPESHIFTER LAB IN BROOKLYN ON APRIL 14, 2016.

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Friday, April 1, 2016 at 7:30pm

 

Carnegie Hall’s Zankel Hall | 57th & 7th Ave. | NYC
Tickets: $43 & 50 at www.carnegiehall.org, 212-247-7800, or the Carnegie Hall Box Office (154 West 57th Street, NYC)

For more information: www.americancomposers.org

American Composers Orchestra continues its 39th season with a program titled Eastern Wind, bringing five works with Middle Eastern and Indian influence to Carnegie Hall’s Zankel Hall. World premieres include Mehmet Ali Sanlikol’s “Harabat – The Intoxicated,” which uses classical Ottoman composition techniques and features Mehmet singing and playing the Ud; Saad Haddad’s “Manarah,” combining electronics and traditional performance practices of Arabic musicians; and Reena Esmail’s “Avartan,” a multimedia work with video by Neeraj Jain. In Matthias Pintscher’s “songs from Solomon’s garden,” the composer reflects on his time spent in Israel as he creates a musical dialogue of the voices in Solomon’s Song of Songs. Gity Razaz’s The Metamorphosis of Narcissus takes its name and inspiration from Salvador Dali’s painting.

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KRAKAUER_CHECKPPOINT_300DPI_COVERDavid Krakauer is considered to be one of the most singular clarinet virtuosos on the planet. But beyond that he brings a point of view to the table that is uniquely his own. Continuing on a path of constant self discovery, Krakauer introduces the music of his latest CD Checkpoint (Table Pounding Records), on two consecutive nights, April 7 and 8, at Brooklyn’s newest hot spot, National Sawdust.

Krakauer, a category-defying instrumentalist, uses his cultural heritage as a powerful inspiration for his music, informing and enabling his stylistically compelling projects. His is a singular vision, encompassing the diverse worlds of classical, klezmer, avant jazz, funk and electronica.

For the past 25 years Krakauer has been on a musical journey tracing his Eastern European roots. This voyage has found him revisiting his “ancestral homeland,” from where his Russian/Polish grandparents and great-grandparents immigrated at the end of the 19th century. Traveling east through Berlin before the Wall came down, the checkpoint experiences became momentous creative touchstones for Krakauer.

Like a travel guide on a literal and metaphorical search, on Checkpoint he bears witness to the deep, joyous, human encounters he experienced. With his long-time band members of Ancestral Groove, he reveals the next step in his musical evolution – sharing with us all stories about the human condition.

Ancestral Groove, with Sheryl Bailey on electric guitar, Jerome Harris on electric bass, Michael Sarin on drums/percussion, and Keepalive on electronics, creates a bridge between Krakauer’s singular take on jazz and world music, and guides us to another musical adventure. His three special guests on the CD Rob Curto, John Medeski and Marc Ribot add their own signatures to the mix.

Here’s Krakauer remixing Krakauer, hitting the road with his unmistakable sound, new arrangements and an electrifying 4-piece band.‎

Born and raised in New York City, Krakauer experienced early exposure to diverse cultural influences. He earned his reputation as a Klezmer specialist, then showcased his formidable talents in other musical arenas, such as classical music, electronica and jazz. He has shared stages as a group member and soloist with a wide array of artists, string quartets, chamber ensembles and symphony orchestras – among them, the Klezmatics, John Zorn, Fred Wesley, Dawn Upshaw, Itzhak Perlman, Osvaldo Golijov, Eiko and Koma, Leonard Slatkin, Iva Bitova, Kronos Quartet, Tokyo, the Emerson Quartet, the Orchestre de Lyon, the Orquestra Sinfonica de Madrid, the Phoenix Symphony, the Brooklyn Philharmonic, the Dresdener Philharmonie and the Detroit Symphony. http://davidkrakauer.com

TRACKS

1. Kickin’ It For You, 5:33
2. Krakowsky Boulevard, 5:00
3. Tribe Number Thirteen, 5:37
4. Checkpoint Lounge, 5:42
5. Elijah Walks In, 5:37
6. Moldavian Voyage, 4:42
7. Synagogue Wail, 3:30
8. Border Town Pinball Machine, 4:10
9. Tandal, 5:23
10. Tribe Number Thirteen, 5:12

 

MUSIC AVAILABLE IN STORES AND ONLINE APRIL 8, 2016.

 

CD PERSONNEL

David Krakauer – Clarinet
Sheryl Bailey – Electric Guitar
Jerome Harris – Electric Bass
Michael Sarin – Drums
Jeremy Flower aka Keepalive – Sampler

SPECIAL GUESTS
Rob Curto – Accordion
John Medeski – Organ
Marc Ribot – Electric Guitar

 

TWO NIGHTS AT NATIONAL SAWDUST

DATES
PRE-RELEASE PERFORMANCE
THURSDAY, APRIL 7, 2016 AT 9.30 PM

CD RELEASE EVENT
FRIDAY, APRIL 8, 2016 AT 7 PM

ADDRESS
NATIONAL SAWDUST
80 NORTH 6TH ST
BROOKLYN, NY 11249
(646) 779-8455
http://nationalsawdust.org

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CV_April21

The Composer’s Voice Concert Series presents a concert of music by Stony Brook composers on Thursday, April 21 at 7:30 pm at The Firehouse Space. The concert will feature music by Stony Brook University faculty, students, and alumni representing the unique and diverse musical voices that have come out of the Stony Brook Department of Music.

The concert is curated by Joseph Bohigian and features works by Matthew Barnson, Daria Semegen, Joseph Bohigian, Alan Hankers, Andrew Conklin, Robert Voisey, Ryan Carter, João Pedro Oliveira, and Philip Schuessler performed by sTem (Meagan Amelia Brus, Eric Umble, and Adrian Blanco), Fly String Quartet (Jaram Kim, Andrew Minguez, Alison Rowe, and Brendan Shea), soprano Beth Griffith, clarinetist Ford Fourqurean, pianists Shiau-uen Ding, Yumi Suehiro, and Niloufar Nourbakhsh, and percussionists Joseph Bohigian, Ross Aftel, and Brian Smith.

The Composer’s Voice Concert Series is an opportunity for contemporary composers to express their aesthetic and personal voice. Founded in 2001 by Robert Voisey, Composer’s Voice has presented hundreds of concerts in New York City. The series has premiered thousands of works from living composers from around the world. Works are chosen from a wide range of contemporary composers of different styles, aesthetics, and genre and performed by dedicated musicians devoted to new music.

Composer’s Voice Concert Series
Stony Brook Composers
Thursday, April 21, 2016 at 7:30 pm
The Firehouse Space
246 Frost St, Brooklyn, NY 11211
$10 admission
Facebook Event

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