Fromm Players at Harvard with ENSEMBLE DAL NIENTE
Friday and Saturday, February 28 and March 1
John Knowles Paine Concert Hall, Harvard University campus, Cambridge, MA (GPS: 1 Oxford St)
The natural | The artificial
Carola Bauckholt Vollmond, unter null
Evan Johnson: die bewegung der augen
Erin Gee: Mouthpiece: Segment of the 4th Letter
Rick Burkhardt: Alban
Wolf Edwards: the road from Mutlaa to Basra (1991) (World Premiere)
Marianthi Papalexandri Yarn (US Premiere)
Aaron Einbond: Without Words
Hans Tutschku: Still Air (World Premiere)
Ming Tsao: Mozart Adagio from the Oboe Quartet in F., K.370/368b / The Book of Virtual Transcriptions (US Premiere)
Enno Poppe: Salz
The concerts are free and open to the public. No tickets are required.
Free parking in the Broadway garage, corner of Felton and Broadway, opposite Broadway Market in Cambridge.
Thursday, March 6, 2014 at 8:00 PM
Carnegie Hall, Stern Auditorium/Perelman Stage
881 Seventh Ave, New York, NY 10019
Beethoven reveals his spiritual views and unparalleled musical innovation in the glorious Missa Solemnis. Sir Roger Norrington, who celebrates his 80th birthday this year, leads OSL and the Oratorio Society of New York in a powerful performance.
Sir Roger Norrington, conductor
Susan Gritton, soprano
Julie Boulianne, mezzo-soprano
Michael Schade, tenor
Nathan Berg, bass-baritone
Oratorio Society of New York
Kent Tritle, conductor
BEETHOVEN Missa Solemnis in D Major, Op. 123
Brooklyn, NY: Roulette is excited to present Ray Anderson & Sarah Weaver, Sunday, February 23, 8pm. They will be performing “The Point Being” featuring Ray Anderson, trombone, voice, Sarah Weaver, conductor, with: Jane Ira Bloom, soprano saxophone; Oliver Lake, alto saxophone; James Zollar, trumpet; Uri Caine, piano; Mark Helias, bass; Gerald Cleaver, drums and for the second set “Slideride” featuring Ray Anderson, Craig Harris, Art Baron, Earl McIntyre, trombones.
In a new dynamic collaboration, Ray Anderson and Sarah Weaver pose the great question, “What is the point of being”? with The Point Being, a large-ensemble piece that explores the primary, universal concern of metaphysics through metaphorical, existential, humorous, emotional, and multidimensional perspectives. Featuring a powerhouse ensemble comprised of some of the finest improvisational performers today, this searching dramatic work aspires to move from inner awareness to inner peace, and on then to a more peaceful world. The Point Being is presented with support from the Faculty in the Arts, Humanities, and Social Sciences (FAHSS) Research Initiatives Fund, Stony Brook University.
In the second set, Slideride, a cooperative trombone quartet first formed in the early 1990’s by Craig Harris and Anderson, return to the stage to present new works and new arrangements from their catalog that fuse the sounds and rhythms of trombone shout bands, New Orleans brass bands, and classic American big bands with the extended techniques of the avant-garde.
Sarah Weaver is a New York-based composer, conductor, and technologist working internationally as a specialist in experimental works for localized and “telematic” large ensembles, or live performances presented via the internet by musicians in different geographic locations. Her recent projects, which incorporate new technology with social and scientific inquiries, include Universal Synchrony Music, Volume 1 in collaboration with NASA Kepler Mission, as part of the Virtual Tour 2013: A Reduced Carbon Footprint Concert Series (San Diego and New York); Cycles of Awakening and Renewal Ringings, premieres at The Stone in NYC 2012; Thresholding 2012: A Telematic Music Event (New York – Seoul); and ResoNations 2009-2013: International Concerts for Peace at international telematic sites in San Diego, Banff, Belfast, South Korea, Beijing, Abu Dhabi, Nairobi, and at local sites in New York, including Iridium Jazz Club, BMCC Tribeca Performing Arts Center, and the United Nations Headquarters. Weaver has collaborated extensively with Mark Dresser since 2007 and with ongoing musicians including Ray Anderson, Jane Ira Bloom, Chris Chafe, Stuart Dempster, Michael Dessen, Robert Dick, Amir ElSaffar, Gerry Hemingway, Oliver Lake, Miya Masaoka, Joe McPhee, Ned Rothenberg, Ursel Schlict, Jen Shyu, Dave Taylor, Doug Van Nort, and Min Xiao-Fen.
Described by critic Gary Giddins as “one of the most compellingly original trombonists,” Ray Anderson is, by turns, a supremely lyrical player and bold texturalist, a warmly natural-sounding soloist and footloose innovator. Broadening the trombone’s sonic scope with his extended techniques, brilliantly unconventional use of the plunger mute and demonstrative vocal-like tones, he has played a major role in reawakening interest in the instrument in the ’80s. Anderson was named five straight years as best trombonist in the Down Beat Critics Poll and declared “the most exciting slide brass player of his generation” by the Penguin Guide to Jazz on CD. He has led or co-led a daunting assortment of tradition-minded and experimental groups, big bands, blues and funk projects and even a trombone quartet, and has demonstrated his special supportive skills on a remarkably wide assortment of albums by Anthony Braxton, David Murray, Charlie Haden’s Liberation Music Orchestra, Dr. John, the George Gruntz Concert Jazz Band, Luther Allison, Bennie Wallace, Henry Threadgill, Barbara Dennerlein, John Scofield, Roscoe Mitchell, the New York Composers Orchestra, and many others. Anderson has received grants from the National Endowment for the Arts, the Fund for U.S. Artists at International Festivals, the Oberon Foundation and Chamber Music America. In 2001 he became a John S. Guggenheim Fellow. Anderson’s recent release, Hear You Say by The Marty Ehrlich, Ray Anderson Quartet (Intuition records, 2010), was selected into the top 10 of the year lists in All About Jazz and The Village Voice.
What: Mixology Festival
When: Saturday, February 8, 2014, 1pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20 / $30 festival pass
Info: www.roulette.org / 917.267.0368
As even consumer electronics move into a “post-PC” era of tablets and smartphones, Roulette’s 2014 Mixology Festival looks at the newest ways electronics are being used to make music. For a while dominated by laptops, the current landscape hold no singular method; co-opting analog and digital synthesizers from the past, exploring the touch screen as a modern performance instrument, and designing open source programming platforms and DIY circuits for personalized music making.
This year’s Mixology will feature performances by Pete Swanson, Outer Space (John Elliott of Emeralds), Ben Vida, M. Geddes Gengras, C. Lavender, Loud Objects (Tristan Perich and Kunal Gupta), and Laraaji – with presentations and workshops by Brian Crabtree and Ezra Buchla on Monome’s Aleph Soundcomputer (http://monome.org/aleph/) and Peter Blasser on his instrument “The Shnth” and it’s programming front end “Fish” (http://shbobo.net). Throughout the two-day festival, a record fair of local electronic music imprints such as Software, RVNG, PAN, Shinkoyo plus the artists’ merchandise will grace Roulette’s lobby.
February 7, 8pm
February 8, 1pm
Roulette Kids: Laraaji
February 8, 8pm
M. Geddes Gengras
Loud Objects with Greg Fox
MIXOLOGY FESTIVAL 2014 PASS – $30
Pass good for one ticket to all workshops and performances in two-day festival. Tickets can be redeemed online or at Roulette’s Box Office. Tickets cannot be split amongst guests for the same performance.
Curated by Matthew Mehlan and Amanda Davis
Brooklyn, NY: Roulette presents critically-acclaimed alto saxophonist and composer Darius Jones as he manifests a bold visionary epic: a large scale, a capella sci-fi work, The Over-Soul Manual, using a language from an alien world, Thursday March 6, 8pm.
This riveting song cycle creates music and art from syntax and speech patterns that are different from ours, expressing the hope and truth that real communication lies beyond the realm of words and the familiar. This work will be performed by the Elizabeth-Caroline Unit, a quartet for which Jones composed this collection of etudes. Comprised of vocalists who are each coming from a very different approach, this combination of singers creates the unique sounds that are a part of the sonic character of The Over-Soul Manual. This work is a dramatic and deeply moving exposition of the birth, growth, spiritual journey, and return of Man’ish Boy, the central character in Jones’ ongoing epic. The Over-Soul Manual is a blending of myth and autobiography in a startlingly original vision of the universe, expressing the power of music to create and transcend.
Darius Jones is an alto saxophonist and composer who joined the New York music community in 2005. Jones has collaborated with Gerald Cleaver’s Black Host, Oliver Lake Big Band, William Parker’s Essence of Ellington, Mara Rosenbloom Quartet, Trevor Dunn’s Proof Readers, James Carter, Fred Ho, Eric Revis, Elliott Sharp, Matthew Shipp, and many more. Nominated in 2013 for Alto Saxophonist of the Year, and for Up and Coming Artist of the Year two years in a row by the Jazz Journalists Association Jazz Awards, Jones made his recording debut as a bandleader in 2009 on AUM Fidelity with the Darius Jones Trios’ Man’ish Boy (A Raw & Beautiful Thing). With visual artist Randal Wilcox, Jones has developed the Man’ish Boy Epic, an ongoing Bildungsroman for the Twenty-First Century that folds Jones’ original, all-encompassing musical quest into a startling science fiction story.
Brooklyn, NY: Roulette presents Shoko Nagai, tAKE’N sHADOWS (KAGEFUMI), Monday, March 10, 8pm, featuring Shoko Nagai, composition, piano, Moog, Todd Reynolds, violin, Jonathan Goldberger, guitar & effects, Stomu Takeishi, electric bass, Jim Black, drums, Luke DuBois, video art.
An adventurous sonic risk-taker, composer, and pianist, Shoko Nagai creates a new ensemble project that explores the mystery and the wonder of what lies at the essence of contemporary music in tAKE’N sHADOWS (KAGEFUMI). From the elements from contemporary western music and experimental electronic music, Nagai has crafted a white-hot sound – searing and abstract – that surrenders to the ebb and flow of time, evoking another realm, a time and a place, and evokes a dramatic new tale of suspense and intrigue.
Born in Nagoya, Japan, composer, pianist, accordionist, and improviser Shoko Nagai has been evolving as a professional musician for more than 15 years. After graduating from Berklee College of Music in 1999 she moved to New York City and quickly established herself in various scenes performing with such renowned artists as John Zorn, Butch Morris, Frank London, Miho Hatori (CiboMatto), Matana Roberts, Satoshi Takeishi, Erik Friedlander, Elliott Sharp to name a few. Nagai has performed in Paris (at Banlieues Bleues, 2012), in Switzerland (at Rote Fabrik 2012), in Holland (at Bimhuis 2012) Germany (Moers jazzfestival 2006), Japan, Switzerland, Brasil (resfest 2007), Canada (Suoni Popolo festival 2008), and the United States (Freihofer’s Jazz festival 2008). She is a winner of grant from NYFA (2010) and Jazz Jaunts (2008). Nagai also composes and performs for film scores: L’AMOURCACHE (2007), directed by Alessandro Capone and conducted by Butch Morris; ANPO, a documentary film directed by Linda Hoaglund (selected 2011 Toronto film festival, Vancouver film festival, Hong Kong film festival, Poland film festival). In 2013, Nagai composed for a Japanese TV network NHK documentary, Things Left Behind, directed by Linda Hoaglund, which was shown in Japan and in DOC NY film festival.
What: Skeletons ( Matt Mehlan & Jason McMahon)
When: Friday, March 21, 8pm
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $20/15, http://roulette.org/events/skeletons/
Info: www.roulette.org / 917.267.0368
Brooklyn, NY: Roulette presents Skeletons, the American entertainment unit led by composer/musicians Matt Mehlan and Jason McMahon, Friday, March 21, 8pm.
For this Jerome Residency event, Skeletons will perform material from their new and yet to be released album – recorded in the Summer of 2013 via Roulette’s Jerome Foundation residency program. The album features new and re-worked orchestral arrangements (some based on Matt’s recent work with the Brooklyn Philharmonic Orchestra), electronic explorations, and collaborative experiments with a band culled from New York’s best, featuring drummers Greg Fox (Guardian Alien, Zs, formerly Liturgy) and Mike Pride (Bacteria to Boys, Drummer’s Corpse), bassist Justin Frye (PC Worship), saxophonists Matt Nelson (tUnE-yArDs, Arts and Sciences) and Nathaniel Morgan (Buckminster), trombonist Sam Kulik (Starring, Talibam!), pianist Mike Gallope (Janka Nabay, Starring), percussionist Sam Sowyrda (Cloud Becomes Your Hand, Dan Deacon Ensemble), and violinist Caley Monahan-Ward (Extra Life).
Canta Libre Chamber Ensemble will be in concert on Sunday, February 9 – 2:00 PM at Temple Isaiah, 1404 Stony Brook Road in Stony Brook, New York. The program is presented by Greater Port Jefferson – Northern Brookhaven Arts Council and Temple Isaiah as part of the Triad Concert Series.
Repertoire for this event will include Between the Dark and the Daylight, revised specifically by composer Adrienne Albert for Canta Libre’s performance, Beth Anderson’s February Swale, commissioned in May of 2013 by Canta Libre, a harp quintet transcription by Jean Francaix of five Scarlatti sonatas, as well as music of Eric Ewazen and Debussy.
Performers will be Sally Shorrock, flute, Francisca Mendoza, violin, Veronica Salas, viola, Bernard Tamosaitis, cello and Karen Lindquist, harp. Much more about them at http://www.cantalibre.org.
Tickets for the February 9 concert are $15 and $12. For more information, call Greater Port Jeff-Northern Brookhaven Arts Council at 631-473-5220 or visit http://www.gpjac.org/music.html.
Jacaranda’s 10th anniversary season continues on Saturday, February 22, 2014 with a dinner break — a break that separates the performances of two 20-movement mid-twentieth-century masterworks by John Cage and Olivier Messiaen. Each cycle is played by an American pianist with whom the music has become synonymous: Adam Tendler and Christopher Taylor, respectively. The consecutive concerts (Tendler at 5:00 p.m. and Taylor at 7:30 p.m.) will take place at First Presbyterian Church of Santa Monica, 1220 Second Street, Santa Monica, CA 90401.
Jacaranda’s first decade gave extensive attention to the centenaries of Messiaen (1908-92) and Cage (1912-89). As a nod to that legacy, artistic director Patrick Scott chose for the 10th anniversary two works for solo piano that link the composers after World War II: Cage’s “Sonatas & Interludes” (1946-48) for prepared piano, and Messiaen’s “Vingt Regards sur l’Enfant Jesus” (1944). Both works were influenced in very different ways by the philosophy and music of India. Cage performed his cycle for Messiaen in Paris in 1949, and Messiaen reciprocated with a performance of his cycle by Yvonne Loriod, the work’s extravagantly talented dedicatee, who would eventually become Messiaen’s wife.
Tendler, described as “an exuberantly expressive pianist” who “vividly displayed his enthusiasm for every phrase” by Los Angeles Times music critic Mark Swed, will perform the 60-minute Cage work at 5 p.m. without pause and from memory. Recognized by the American Pianists Association, Tendler has performed modern American piano music in all of the United States.
After a dinner break, Taylor, bronze medalist at the 1993 Van Cliburn International Piano Competition and called “one of the most impressive young pianists on the horizon today” by the Washington Post, will perform the two-hour Messiaen work from memory at 7:30 p.m. with an intermission. Taylor’s “…blazing performance of Messiaen’s [''Twenty Ways of Looking at the Infant Jesus'']… is likely to stand as a point of reference for many seasons to come,” wrote the Boston Globe.
The massive piano masterpiece has additional significance for Jacaranda. Messiaen’s work was the centerpiece of a one-off, three-concert celebration organized in 2002 by series founders Scott and Mark Alan Hilt to observe the 10th anniversary of the composer’s death. The mini-festival’s location was First Presbyterian Church of Santa Monica, where Hilt would soon be appointed Music Director. The enterprise grabbed the attention of the Los Angeles Times’ Swed, who noted that, while there had been an abundance of Messiaen tributes in the world’s major cities, only the enterprising duo ventured a Southern California tribute. Nine months later, Jacaranda was born.
General admission tickets for either of the February 22 Cage/Tendler or Messiaen/Taylor concerts alone are $35; $20 for students. Admission to both concerts is $60; $30 for students. For tickets and a restaurant guide, as well as special Jacaranda food and beverage discounts, go to jacarandamusic.org. Tickets are sold online or at the door. Information: (213) 483-0216.
March 8, 2014: “Continental Harmony” at UCLA’s Schoenberg Hall:
Jacaranda’s next concert, on March 8, will be held at UCLA’s Schoenberg Hall, which is waiving admission to honor Jacaranda’s 10th anniversary. This “Continental Harmony” concert will be entirely devoted to the 20th-century American string quartet repertoire, to be played by the Lyris Quartet. Lyris will open with Quartet No. 2 by Charles Ives followed by a Jacaranda signature work, Quartet No. 4, “Amazing Grace,” by Ben Johnston. Quartet No. 5 by Philip Glass, a Lyris specialty, will be followed with Quartet No. 3 by Erich Wolfgang Korngold.
The UCLA Music Library will host this free concert, underwritten by the UCLA Music Library’s Hugo Davise Fund for Contemporary Music, at UCLA’s Schoenberg Hall, 445 Charles E. Young Drive East, Los Angeles, CA 90024.
About Jacaranda: Jacaranda, with the motto of “music at the edge,” is a series of intimate concert adventures into the realm of new and rarely heard classical music designed to awaken curiosity, passion and discovery in diverse audiences. Founded in 2003 by arts impresario Patrick Scott and conductor/organist Mark Alan Hilt, Jacaranda produces a series (eight concerts this season) that features current and rising stars in the world of classical music performance. Celebrating its 10th anniversary, Jacaranda’s full 2013-14 season information is available at jacarandamusic.org. Most concerts are at First Presbyterian Church of Santa Monica, 1220 Second Street, Santa Monica, CA 90401. For information or to purchase tickets go to jacarandamusic.org.
February 6 & 7 at Czech Center New York
C a s s a n d r a
by Michael Jarrell
U.S. Premiere of the illustrated production created by Nimrod Opera Zurich and Czech video artist Dalibor Pys
Performed by Argento Ensemble led by conductor Michel Galante and featuring actress Anna Clementi
|On February 6 & 7 at 7:00 PM, Actress Anna Clementi, conductor Michel Galante, and the Argento Chamber Ensemble perform Swiss composer Michael Jarrell’s opera Cassandra, at Bohemian National Hall, 321 E. 73rd Street in New York City. The performances are free, and are presented by the Czech Center New York in collaboration with the Consulate General of Switzerland in New York and the Swiss Society in New York, with support from the Swiss Cultural Foundation “Pro Helvetia.” The work will be performed in English.
Composer Michael Jarrell
Cassandra’s libretto, based on Christa Wolf’s 1984 novel of the same name, follows the Trojan priestess as she straddles past and present events in an internal monologue. The protagonist is the daughter of King Priam, ruler of Troy, during the era of its destruction at the hands of the Greeks. She foretells Troy’s destruction, and is forced to helplessly watch its fall, as no one will believe her premonitions
This production is the US premiere of Pamela Hunter’s live-camera illustration of Jarrell’s monodrama for actress, electronics, and 18-piece chamber orchestra. With a unique use of film and live-camera video, the images in the mind of the prophetess Cassandra appear in flashback, intercut with paintings by the Belgian symbolist, Paul Delvaux, as well as scenes of the story line performed by the contemporary dance ensemble of Nimrod Opera Zurich. The production features the work of Czech video artist Dalibor Pys.
Hunter’s production was proclaimed the highlight of Berlin’s MaerzMusik Festival last year, with praise from the media as it “ideally complemented the diverse, vehement sound visions of Jarrell’s exceptional score. … Michael Jarrell could hardly have wished for a more ideally suited interpretation than Pamela Hunter’s visualisation.” (Dietrich Bretz of Der Neuer Merker). Performance details are below. More information is at argentomusic.org.
|Join this event on Facebook for February 6 and February 7.
(Performed in English)
Monodrama for actress and instrumental ensemble with electronics (1993/1997)
after the epic novel by Christa Wolf in the adaptation by Gerhard Wolf.
Czech Center New York – Bohemian National Hall
321 East 73rd Street, New York NY 10021
February 6 & 7, 2014 at 7:00 pm
Argento Chamber Ensemble
Nimrod Opera Zurich