NYCEMFJune5The New York City Electroacoustic Music Festival (NYCEMF) will take place from June 2 through June 8, 2014, with all programs presented at Abrons Arts Center, 466 Grand Street in Manhattan.

NYCEMF 2014 will showcase electroacoustic music and video art from around the world in New York City through this multi-day festival, with several events each day. The festival will include presentations of electroacoustic music recorded alone in up to sixteen channels, works involving live electronics, works combining musical instruments or voices with recorded or live electronics, video and multimedia works, and audio and video installations.

More than 200 composers from around the world will be presented, representing the full international range of electroacoustic music, including works by Monty Adkins (UK), Andreas Bergsland (Norway), Joao Pedro Oliveira (Portugal), Maurice Wright (USA), Takayuki Rai (Japan/Germany), Kenneth Gaburo (USA), Clarence Barlow (India/USA), George Brunner (USA), Paul Koonce (USA) and James Dashow (USA/Italy).

Performers include Francesco Prode, pianist (Italy), Mari Kimura, violinist (Japan/USA), Madeleine Shapiro, cellist (USA) and Esther Lamneck, clarinetist (USA).

NYCEMFJune2See a complete list of programs at

Tickets for the New York City Electroacoustic Music Festival are $18 ($12 students and seniors) for 8 PM concerts, $15 ($10 students and seniors) for day and late-night concerts and $30 ($20 students and seniors) for a day pass (all concerts on one day), available at 212-352-3101 or For more information call Abrons Arts Center at 212-598-0400.

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Today, Friday May 30, 2014 at 2pm EST – a live internet broadcast of the semi-staged concert performance of Elodie Lauten’s opera, Waking in New York, from the libretto by Allen Ginsberg, broadcast from the National Opera Center, New York City –

Kenneth Hamrick conducts the American Virtuosi orchestra, with baritone Mark Duer in the lead role of Ginsberg, and sopranos Meredith Borden, Catherine Rothrock and Mary Hurlbut, with the Gospel-Blues Choir of St Mark’s Church in the Bowery.

Waking in New York debuts in semi-staged concert, on Sunday, June 1st at 3pm at St. Mark’s Church in-the-Bowery, 2nd Ave at 10th Street in Manhattan. Info and tickets at


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Eyal_Maoz_by_Peter_Gannushkin-1What: Eyal Maoz Concert Residency

When: Tuesday 7.15 – Sunday 7.20 at 8:00pm + 10:00pm nightly

Where: The Stone, Corner of Avenue C/2nd Street, NYC, Train: F/J/M/Z at Delancey-Essex

Tickets: $15/Students $10. No advanced ticket sales. For more information, visit

John Zorn’s renowned THE STONE presents a weeklong residency performed and curated by mesmerizing guitarist and composer Eyal Maoz. A mainstay of the NYC downtown music scene, Maoz is notoriously known as the bad (and crazy) boy of the progressive jazz guitar world. For six nights, he brings his new works evoking both cutting edge rock-jazz-Jewish extravaganza noise and chamber grace. Residency includes sets with his iconic bands: Middle-Eastern meets pop and Downtown music of Edom featuring Shanir Blumenkranz (7.18); The X guitar and contemporary classical string quartet premiering new works (7.15); acoustic Jewish project Dimyon (7.16); eccentric, electric Collapse Guitar Quartet (7.17); jazz-based trio 9 Volt featuring Rick Parker and Tim Berne (7.17); the Jewish rock sounds of John Zorn’s Abraxas (7.19); experimental group Hypercolor featuring Lukas Ligeti (7.20); and more.


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New York, NYLower East Side Performing Arts (LESPA) and St. Mark’s Church present Waking in New York, the opera by Elodie Lauten and Allen Ginsberg, to be performed on Sunday, June 1 at 3:00 PM at St. Mark’s Church-in-the-Bowery, 2nd Avenue and 10th Street in Manhattan. A YouTube webcast of the opera will be recorded and simulcast from the National Opera Center on Friday, May 30 at 2pm at and will remain available online.

This final version of the opera is for 9 singers and 10 musicians, conducted by music director Kenneth Hamrick, with baritone Mark Duer in the lead role, sopranos Meredith Borden, Catherine Rothrock and Mary Hurlbut, flutist Andrew Bolotowsky, Mat Fieldes, on contrabass, Afro-Cuban percussionist Mustafa Ahmed, members of the American Virtuosi Orchestra, and the St Mark’s Church Chorus with Jeannine Otis.

In Lauten’s unique operatic setting, Ginsberg’s stream of consciousness weaves his introspection, observations, sensations, emotions, sexuality, humanity and spirituality into a New York City moment. Each scene is full of stories, characters and dramatic flashes deeply related to the very fabric of the city and painting a complex portrait of Ginsberg, culminating in his prayer for humanity: “That all beggars be fed, all dying medicined, all the loveless tomorrow be loved”. Characters include Allen and his muses, Freedom 1, Freedom 2 and Compassion, joined at the end by a chorus.

Tickets are $15 /$10 Seniors/Students. For more information or reservations, call 212-388-0202 or visit or to order tickets online. This concert is ADA accessible.

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New York, NY – On June 5 & 6, TRANSIT New Music’s DoubleBill Festival returns for a 6th season presenting recent music by emerging composers from Berlin and Sweden alongside the work of NYC composers. The DoubleBill Festival allows New York audiences to sample a variety of the latest international developments in new music, an experience that might otherwise require air travel. Both concerts take place at the beautiful Dimenna Center in Manhattan and are performed by the TRANSIT’s resident ensemble, whose playing has been described as ‘fantastic’ (Chicago Reader), ‘exquisite’ (NPR), and ‘deliciously lovely’ (NY Times).

Berlin / NYC:
June 5, 7:30 PM
Sweden / NYC:
June 6, 7:30 PM
DiMenna Center for Classical Music
450 W. 37th St. (btw 9th & 10th Ave.)
NYC 10018
MAP + travel info HERE

$12, $10 student/senior
tickets available for purchase
at door; cash only
TRANSIT pic (CE roulette performance shot)

P r o g r a m I n f o

Jun 5: Berlin / NYC

Sarah Nemtsov: Deconstructions ; Nils Frahm: Sheets (selected pieces) ; Sebastian Elikowski-Winkler: …Bis als letzter der Zeugen Das Gedächtnis verstummt.

Caleb Burhans: Time to Spare ; Daniel Wohl: One Piece ; Jeff Myers: Makassar Strait

Jun 6: Sweden / NYC

Adrian Knight: Trio ; Caroline Shaw: in manus tuas ; Missy Mazzoli: Still Life With Avalanche

Tomas Hulenvik: Rondo ; Marcus Fjellström: Odboy and Erordog (episode 2) ; Fabian Svensson: Two Sides


TRANSIT New Music is the fresh face of new music. For too long, musicians have been isolated from each other into narrow categories that have diminishing relevance to a digital society in a quickly globalizing world. Taking their cues from the slapdash diversity of the city around them, the artists of TRANSIT seek to create bridges between and among the various schools and styles of music being written and performed today, while embracing innovative projects that are relevant to contemporary culture. Their goal is not to achieve an international style or to promote a particular “sound.” Rather, they champion experimental music from a wide range of influences with the conviction that the music of today is inherently meaningful to audiences and vital to social progress. Paired with superior artistry, shrewd programming, and radically open ears, this determination keeps TRANSIT firmly rooted at the cutting edge of new music.

TRANSIT is Daniel Wohl (composer), David Friend (piano), Joe Bergen (percussion), Andie Springer (violin), Evelyn Wadkins (cello), and Sara Budde (clarinet).

TRANSIT New Music is supported by:

Cary Fund for New Music
New Music USA
Performing Artservices

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Grant Gershon, Music Direcgtor, Los Angeles Master Chorale,

Grant Gershon, Music Direcgtor, Los Angeles Master Chorale,

The Los Angeles Master Chorale (LAMC) has announced that eminent Music Director Grant Gershon will continue his key leadership role at the choir’s helm through the 2019-2020 season, which will be his 19th season with the chorus, with the new title of Artistic Director effective July 1, 2014, according to LAMC Chair David Gindler. Gershon’s title change from Music Director to Artistic Director, a significant part of his five-year contract extension that begins in the 2015-16 season, reflects the highly regarded conductor’s expanded vision to redefine the choral experience. Widely lauded by critics for elevating the Chorale’s musical excellence to new heights since he joined the chorus in 2001, Gershon will reimagine how, why and where the chorus explores and presents choral music, from its concerts and educational programs to its online presence, marketing, strategic planning and every other area guided by the Chorale’s artistry.

“We are extremely pleased that Grant is not only extending his outstanding leadership of the Los Angeles Master Chorale but is dedicated to doing so in such a meaningful way,” says Gindler. “It will definitely not be business as usual. Grant is deeply committed to changing the face of choral music through his work with the Chorale. His desire to create a completely immersive environment for the audience has ignited incredible passion in the singers, the staff and our board. We are fully committed to supporting his vision to break barriers in choral music and redefine the concert experience. Grant’s expanded artistic vision will help the Los Angeles Master Chorale’s light shine so much brighter than it already does.”

“I am very excited to have the opportunity to take our work with the Chorale to a new level and am deeply grateful to the Board of Directors for embracing this enhanced vision and for committing to provide the resources to make it feasible,” says Gershon. “We are in a remarkable position to redefine what is possible for a choral organization. The Los Angeles Master Chorale is a tremendously strong and extremely well respected institution with a rich history and tradition. Our singers have achieved a phenomenally high level of artistry and refinement together in recent years. I’m therefore making this decisive commitment to rededicate myself to this amazing organization and its very bright future. The length of this contract extension is somewhat unusual, and I think that it should be seen as a sign that we are making an extraordinary commitment together for the artistic future of the institution as we strive to reach the Chorale’s full potential. By extending my leadership of the Chorale through the 2019-2020 season, we will be able to plan strategically in an unprecedented way. This will allow us to dream big and use our imaginations to create the most impactful organization possible.”

Explaining the significance of his title change to Artistic Director and how it will shape his role with the chorus, Gershon says, “It speaks to my strong commitment to the overall artistic profile and direction of the Chorale and my desire to be more involved with all aspects of the organization that touch on our artistic mission, including our education programs, community engagement, marketing/messaging, strategic planning and enhanced production values. It also suggests that there is more than just the music alone that defines our artistic profile. The look and feel of each concert is also vitally important, so we will explore all ways to open up the concert experience to maximize the impact of the music we love.”

There are several long-range projects and initiatives currently in the planning stages that will be announced at a later date. As an example of the kind of broader over-arching themes that the Chorale will explore, Gershon points to the unifying “triple Passion” concept that he crafted for the upcoming 2014-15 season, which features, in three separate concerts, J.S. Bach’s Passion According to St. Matthew, the Chorale’s reprise of Tan Dun’s extraordinary Water Passion After St. Matthew and the Disney Hall debut of Richard Einhorn’s “brilliantly effective” (Washington Post) 1994 work Voices of Light/The Passion of Joan of Arc, inspired by and performed with the 1928 silent film.

In addition, with the Master Chorale’s subscription concerts at Walt Disney Concert Hall generally attracting capacity audiences for more than a decade, Gershon will explore expanding the chorus’s performance offerings into smaller venues, with concerts that provide fresh and unique artistic opportunities to showcase new repertoire with the talents of LAMC’s gifted singers, achieving LAMC’s goal of attracting even broader audiences while creating the most satisfying artistic experience possible for the singers. “Not all music is best served in a venue like Disney Hall,” explains Gershon. Alternate performance opportunities will also provide Gershon with more opportunities to tap the long list of composers with whom he would like to work. Additionally, there are a number of prominent and emerging directors, video artists and other arts organizations with whom he and the Chorale would like to engage in collaborative projects.

Gershon is reimagining the look and feel of the chorus’s artistic presentations to make concerts an “all in” experience for the audience by expanding such production elements as lighting, staging, video, singers’ attire and movement. “Incorporating these kinds of values into our concerts in a meaningful and thoughtful manner will further enhance our concerts and maximize the impact of the music, which is our ultimate goal,” explains Gershon.

Making the Chorale’s highly successful education programs more targeted and far-reaching and imagining new ways to engage the community and introduce people to the art form of choral music are also key components of Gershon’s vision. Additionally, he wants to reach new audiences in greater numbers with recordings, a more substantial social media presence and special projects that are marketable to presenting organizations in other regions.

“Bottom line, it’s all about reaching towards the Chorale’s full potential,” he says. “The Los Angeles Master Chorale is one of the strongest and most vibrant choral organizations in the world. We want to celebrate this by adopting best practices in all areas that will allow choral music to evolve in a way that is compelling and relevant for today’s world and beyond. I am so excited about the opportunities ahead and for the chance to make our vision a reality.”

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C4: The Choral Composer/Conductor Collective will present Upward: Exploring the Spiritual, the third concerts of its Innovate/Elevate 2013-14 New York season on Thursday, May 29 at 8:00 PM in Engelman Recital Hall in Baruch Performing Arts Center, 55 Lexington Avenue and May 31, again at 8:00 PM at Church of St. Luke in the Fields, 487 Hudson Street in Manhattan.

Upward: Exploring the Spiritual will feature performances of Eric Banks’ Sarasvati (a hymn to the goddess), Abbie Betinis’ Bar Xizam (Upward I Rise), C4 founder Ian David Moss’s We Kindle This Fire This Day, Thomas Stumpf’s season of sorrow and Perry Townsend’s Two Devotions and a Heresy (with Elizabeth Derham, violin and David Wozniak, saxophone). The program will also include works by Hayes Biggs (C4), Elizabeth Hanna (C4), David Hurd, Bruce Saylor, Fahad Siadat (C4), and Steven Stucky.

Tickets for the May 29 and 31 concerts are $15 advance / $25 day of event/ with 10 $4 “Rush” admissions 30 minutes advance at the door. A reception will follow the Saturday evening performance. Tickets can be ordered at For more concert information, call 516-586-3433 or email

All C4 concerts are ADA accessible.

C4 has received the 2014 Chorus America/ASCAP Award for Adventurous Programming. This is the first time they have received this honor. Their first CD release, Volume 1: Uncaged (, is on the 4Tay label. Visit them at

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JoelleWJoelle Wallach’s When Lost in the Forest will be performed by the Chorus of the Turtle Bay Music School, conducted by Alison Davy with accompanist Gene Rohrer, on Wednesday, May 28 – 7:00 PM in Em Lee Concert Hall of Turtle Bay Music School,244 East 52nd Street in New York, NY.

Her The Cloths of Heaven will also be performed by singer Alison Davy and pianist Gene Rohrer on the same program.

When Lost in the Forest is one of Wallach’s Spiritual Speculations, a series of short choral works exploring the dilemmas of conscience in a flawed world. The piece is based on a poem by David Wagoner and reflects the Pacific Northwest Indians’ reliance on the wisdom of nature, on stillness and silence.

The Cloths of Heaven is derived from the gestures and moods of Irish speech and song. The Yeats poem that is the basis of this song is an invitation to a personal world of dreams and imagination. It is an invitation into the world of Wallach’s songs which are her own dreams. It’s also part of Spiritual Speculations.

This performance is free and open to the public. For more information, call 212-753-8811 or visit

The 4Tay label has released two CDs of Joelle Wallach’s music – The Door Standing Open – a collection of songs and chamber works (CD 4034) – and The Nightwatch – more songs and solo piano works (CD 4035) – More about her at

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The Chamber Orchestra of New York, Salvatore Di Vittorio, Music Director, will present To English Masters, a concert on Thursday, May 29 – 7:30 PM at Weill Recital Hall at Carnegie Hall, 57th Street at Seventh Avenue in Manhattan.

CONY will perform two U.S. Premieres of rediscovered, early works of English composer Ralph Vaughan Williams: Serenade in A Minor, and Harnham Down. The evening is also dedicated to fellow English master William Walton’s rare works, such as Portsmouth Point Overture and Two Pieces for strings from the film Henry V. Benjamin Britten’s Simple Symphony will also be presented, in celebration of his centennial anniversary. More about this concert at

Tickets are $40 and $30 general admission and can be purchased online at, by calling CarnegieCharge at 212-247-7800 or by visiting the box office at 57th Street and 7th Avenue.

U.S. Premieres of rediscovered early works of Ralph Vaughan Williams are presented in collaboration with publisher Oxford University Press, and by support of The Vaughan Williams Charitable Trust.

Chamber Orchestra of New York was founded in honor of Ottorino Respighi – the preeminent early twentieth century Italian composer whose compositions bridge the classical and modern traditions. The orchestra’s programming presents great works of the 20th and 21st centuries, including film scores and rarely performed gems, alongside ancient music. For more about them, visit

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The Los Angeles Master Chorale (LAMC) concludes its year long 50th Anniversary Season celebration on Sunday, June 8, 2014, 7 pm, at Walt Disney Concert Hall, with “Today, Tomorrow & Beyond,” a forward-looking program conducted by Music Director Grant Gershon featuring the world premieres of three works commissioned by the acclaimed choir in honor of its 50th jubilee. They include Iri da iri (“Rainbow by rainbow”), a piece commissioned by the singers themselves from eminent composer Esa-Pekka Salonen, with whom the Chorale has shared a rich history both in his capacity as a composer and Conductor Laureate of the Los Angeles Philharmonic; the national anthems, by Pulitzer Prize-winning composer David Lang, which features the masterful Calder Quartet; and Inscapes by LAMC Swan Family Composer in Residence Shawn Kirchner. The Chorale, joined by the 80-member LAMC High School Choir Festival Honor Choir, reprises Es Tu Tiempo by MacArthur Fellow Francisco Núñez led by the composer himself. Additionally, the Chorale reprises Gabriela Lena Frank’s Los Cantores de las Montañas (“The Singing Mountaineers”) performed with the innovative Latin American folk ensemble Huayucaltia and conducted by Associate Conductor Lesley Leighton. It was premiered by the Chorale in April 2012 and is the fifth work in the LAMC’s highly regarded LA is the World commissioning project, conceived by Gershon as a collaboration among American composers, master musicians and the choir to expand the choral repertoire with works that mirror LA’s vibrant multi-cultural fabric.

Salonen’s new work, Iri da iri, for a cappella chorus, is based on Dante’s Paradiso, the final section of Dante’s epic poem The Divine Comedy. Drawn to the universal perspective in the poem’s conclusion, Salonen says, “It goes beyond the religious. At the end Dante has to admit that the only thing he knows is that love is what makes the planets and stars, the whole cosmos work.” Salonen took musical cues from the poem’s meter and three-line stanzas, which provided an inherent structure at times linear and others “densely contrapuntal.” He also says that, given his strong ties with Gershon and the Chorale, the commission, “is very personal for me — more so than usual.” The Chorale has sung under Salonen’s baton in more than 200 concerts. Additionally, the Chorale gave the US premiere of his choral works Two Songs to Poems of Ann Jäderlund (later retitled Two Songs from Kalendar Röd), of which the chorus also made the world premiere recording (RCM 2003) that earned a coveted four-star rating from the Philadelphia Inquirer and was hailed by critics as “razor sharp” (Daily News) and “ethereal and impelling” (Los Angeles Times).

Lang has set the national anthems to excerpts from national anthems worldwide. He describes the piece, composed for a large choir and string quartet, as a “meta-anthem of all the hopes and dreams that everyone in the world has in common.” With its range of just over one octave – consistent with the range of most anthems for relative ease of singing – Lang says it is “something that everyone can conceivably sing, from start to finish.” The piece was commissioned through the generous support of Lenore and Bernard Greenberg. The Calder Quartet, which is featured on this work, has been hailed as “superb” (The New York Times) and “one of America’s most satisfying – and most enterprising – quartets” (Los Angeles Times). Winner of the 2014 Avery Fisher Career Grant, the group continues to work and collaborate with artists across musical genres, spanning the classical and contemporary music world, as well as rock, and visual arts; and in venues ranging from art galleries and rock clubs to Carnegie and Walt Disney concert halls.

Núñez, founder and artistic director of the renowned Young People’s Chorus of New York City, is acclaimed for seamlessly fusing a wide range of cultural and musical idioms. In keeping with the closing concert’s forward-looking theme, the Honor Choir from LAMC’s Annual High School Choir Festival – the next generation of singers – for whom Es Tu Tiempo was commissioned on the occasion of the 25th Festival in May 2014, reprises it with the Chorale members. Composed for mixed chorus, piano, percussion and electric bass, Núñez wrote the lyrics specifically for students about the milestone of transitioning from a youth in high school to adulthood. While there is a sense of loss about experiences that will never happen again, it also offers comfort to those to come that all will be fine, regardless of the path that journey takes. The piece was underwritten by Judi and Bryant Danner.

Kirchner’s Inscapes is an a cappella work for double choir set to the poetry of Gerard Manley Hopkins, considered “a nature mystic” and one the Victorian era’s greatest poets. A longtime tenor in the Chorale, Kirchner describes the cycle of four settings of Hopkins’s poetry as “a grand and celebratory choral symphony that calls for the Chorale’s exulting voice.” Wishing to stay true to the poetry and the poet’s intent, he says, “I’m trying to connect with that level of awe in perceiving a part of nature, a tree or a kingfisher. These aren’t just pretty pictures of nature; they’re all part of the ‘royal perception’ of the intrinsic patterns of being.” Named the Los Angeles Master Chorale’s Swan Family Composer in Residence in July 2012, he is only the second Composer in Residence in the Chorale’s history, succeeding Morten Lauridsen. Kirchner’s works have been performed around the globe, including his popular arrangement of the Kenyan folksong Wana Baraka, which was performed at the Diamond Jubilee Pageant at Windsor Castle celebrating the 60-year reign of Queen Elizabeth II.

Frank, who is based in California but whose family tree spreads from South America to China, set Los Cantores de las Montañas (“The Singing Mountaineers”) to the poetry of José María Argueda. The Los Angeles Times describes it as “fond, alluring music that sounds like a vivid memory of a place that doesn’t exist.” One of the most sought-after classical composers in the country, the Latin Grammy Award-winning composer has “clearly emerged as a major composer” (San Francisco Classical Voice). She has collaborated with Yo-Yo Ma and the Silk Road Ensemble, Kronos Quartet, soprano Dawn Upshaw and Chanticleer, among others. Born in Berkeley, California, to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. She has traveled extensively throughout South America, and her pieces blend Latin-American folklore, poetry, mythology and native musical styles into a Western classical framework that is uniquely her own. Huayucaltia, LA’s innovative Latin American folk jazz ensemble, is featured with the Chorale. Formed in 1985, the instrumental group, rooted in the ideals of Latin America’s nueva cancion (new song) movement of the 1970’s, skillfully fuses Andean, Afro-Peruvian, jazz, rock and classical influences. The piece was funded by The James Irvine Foundation.

Tickets range from $29 – $129. Group rates are available. For tickets and information, please call (213) 972-7282, or visit (Tickets cannot be purchased at the Walt Disney Concert Hall Box Office except on concert days starting 2 hours prior to the performance.) The Walt Disney Concert Hall is located at 111 South Grand Avenue at First Street in downtown Los Angeles.

Los Angeles Master Chorale

Los Angeles Master Chorale

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