Posts Tagged “contemporary classical”
Posted by s21concerts in Concert Announcement, tags: Amy Beth Kirsten, Andrew Norman, contemporary classical, Danny Holt, electronics, Hannah Lash, Harold Meltzer, Jack Van Zandt, Lewis Spratlan, multimedia, Nadia Shpachenko, new music, New Music Concert, piano
Nadia Shpachenko and Danny Holt
Piano Spheres Satellite Artists Concert
Music @ Boston Court
May 20, 2016, Pasadena, CA
$5 off discount code: MusicBC
A program of solo piano (and toy piano) works inspired by buildings and places. Shpachenko performs excerpts from her “Poetry of Places” program, including 3 world premieres by Hannah Lash, Harold Meltzer, and Jack Van Zandt, and new works by Amy Beth Kirsten and Lewis Spratlan. The compositions are inspired by diverse buildings: the Aaron Copland House, Frank Gehry’s IAC Building in Manhattan, Newgrange Ancient Temple in Ireland, the American Visionary Art Museum in Baltimore, and Louis Kahn’s National Assembly Buildings in Bangladesh. Holt’s program explores early 20th century repertoire by Copland, Villa-Lobos, Honegger, and Mosolov: with musical evocations of Mexico, Brasil, the Suisse-Romande, and Turkmenistan.
Nadia Shpachenko will also perform her “Poetry of Places” program (new works by Amy Beth Kirsten, Hannah Lash, Harold Meltzer, Andrew Norman, Lewis Spratlan, and Jack Van Zandt) on May 23 at Cal Poly Pomona (with pianist Joanne Pearce Martin and percussionists Nick Terry and Ted Atkatz), on May 26 at UCLA, on June 15 at MiMoDa Studio.
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 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: American Music of 2013” 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 on the faculty of Cal Poly Pomona and Claremont Graduate Universities. Her principal teachers included John Perry, Victor Rosenbaum, and Victor Derevianko. Nadia Shpachenko is a Steinway Artist and a Schoenhut Toy Piano Artist.
Pianist Danny Holt is one of a new generation of innovative young musicians ushering classical music into the 21st century. Called “phenomenal” by the late music critic Alan Rich (SoIveHeard.com), and hailed as one of the “local heroes” of the Los Angeles music scene (LAcitybeat.com), Holt brings his boundless energy and wit to unique interpretations of new music, 20th-century music, and obscure, unusual, and neglected repertoire.
Among Holt’s ambitious solo projects is The Piano/Percussion Project. Over 20 composers have created new works for Holt’s unique setup in which he plays piano and an array of percussion instruments simultaneously. Holt continues to unveil new versions of The Piano/Percussion Project, and recent performances include appearances at REDCAT (Los Angeles), CNMAT (Berkeley), The Switchboard Festival (San Francisco), Rice University, Princeton University, and CalArts.
In addition to championing the works of emerging composers, Holt has worked with composers such as Steve Reich, Louis Andriessen, Christian Wolff, James Tenney, David Lang, Michael Gordon, Augusta Read Thomas, and many others. Holt’s Fast Jump CD (Innova, 2009) was a featured new release on both WNYC and iTunes, and includes world premiere recordings of works by David Lang (co-founder of Bang on a Can), Caleb Burhans, Lona Kozik, Graham Fitkin, and Jascha Narveson. Gramophone called the disc “a compelling showcase for Holt’s innate virtuosity and gregarious temperament” and Sequenza21.com called Holt’s playing “brilliant”. His subsequent albums include the self- released disc release (2010), Skaller/Holt Duo’s Music of Mark Dresser (pfMENTUM, 2011), and two albums as part of the piano duo 4handsLA: Paris 1913 (2013) and Petrushka (2014). Among Holt’s ambitious solo projects is The Piano/Percussion Project.
He teaches at the Herb Alpert School of Music at California Institute of the Arts (Valencia) and College of the Desert (Palm Desert), and he is the chair of the music program at The Academy of Creative Education at The Oakwood School (North Hollywood).
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Pianist Sarah Cahill. Photo by Marianne La Rochelle
ACCLAIMED PIANIST SARAH CAHILL TAKES UP RESIDENCE IN MUSEUM GALLERIES FOR FIVE DAYS
PERFORMING MAMORU FUJIEDA’S MAGNUM OPUS PATTERNS OF PLANTS THROUGHOUT OPENING HOURS
February 24–28, 2016
Noguchi Museum | 9-01 33rd Road (at Vernon Boulevard)
Long Island City, NY
For one week in February, the chill and grey skies of winter will dissipate for visitors to the Noguchi Museum’s ground-floor galleries, where internationally celebrated pianist Sarah Cahill will take up residence, performing Mamoru Fujieda’s stunning cycle of short pieces titled Patterns of Plants throughout the Museum’s opening hours.
Patterns of Plants represents an extraordinary fusion of nature and technology. To create the piece, Fujieda measured the electrical impulses on the leaves of plants, and converted the data he obtained into sound. He then identified musical patterns within the sound, and used them as the basis for these miniatures.
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Symphony Number One: Façade
BALTIMORE, MD — Symphony Number One will make their concert debut at Carriage House Baltimore on March 7 & 8, 2015 with the world premiere of Trope by James Chu. Led by conductor Jordan Randall Smith, the program will also feature William Walton’s Façade for chamber orchestra and reciter. Symphony Number One is a unique addition to Baltimore’s contemporary music scene. The group will oversee the commission, performance, and promotion of substantial works by emerging composers and program them alongside carefully selected works of the classical canon.
ABOUT THE PROGRAM
Façade is a set of “Entertainments” or short musical numbers written between 1926 and 1938 by English composer Sir William Walton (1902-1983). Walton sets nonsense poetry by Dame Edith Sitwell (1887-1964). Soprano Laura Whittenberger, will recite Edith Sitwell’s whimsical verses and Catarina Farreira will perform Walton’s dauntingly virtuosic solo cello part. Façade is scored for flute, clarinet, saxophone, trumpet, percussion, cello, and reciter.
In the program’s featured World Premiere, tentatively titled Trope, James Chu augments the Walton chamber ensemble with a violin to round out the instrumental/vocal octet. This new work is Chu’s artistic response to Façade and builds on his previous theatrical work at Princeton University and at the Peabody Conservatory. This marks the second collaboration between Chu and Whittenberger; Smith previously conducted Whittenberger in the Peabody Opera Theater‘s 2013 production of Poulenc’s Dialogues des Carmélites.
Saturday, March 7 at 8pm Facebook | Google
Sunday, March 8 at 3pm Facebook | Google
Carriage House Baltimore
2225 Hargrove Street (alley between N. Calvert and St. Paul) Baltimore, MD 21218
Admission is $0-15 (pay what you want) at symphno1.com
VIP admission by contributing to the orchestra’s crowdfunding campaign at Kickstarter.
LATER THIS SPRING
May 8 & 9, 2015: Symphony Number One presents MOZART IN THE [urban] JUNGLE, featuring harpist Jordan Thomas and flutist Raoul Cho. The duo will be joining the orchestra for Mozart’s Concerto for Flute and Harp. The program will open with Anton Webern’s one and only Read the rest of this entry »
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Musical Amoeba presents Washington Square Winds
Musical Amoeba’s final concert of the season, with the Washington Square Winds, will be presented June 10th, at 7:30 pm, at the Church Street School of Music in lower Manhattan.
Music of CUNY Grad composer Austin Shadduck, recent Queens College graduates Gregory J Menillo and William Wheeler, and founder of the blog/magazine “I Care if You Listen” Thomas Deneuville will be presented along side a performance of Leos Janacek’s sextet ‘Mládi’.
Musical Amoeba is a new concert series, now on it’s third official concert, whose focus is to bring new compositions to the world, while also juxtaposing them against the historical canon. In order to bring a diversity of sounds, Musical Amoeba seeks to work with established groups, allowing them to curate part of the program, leading to a wide variety of music. Musical Amoeba has worked with the Samadi-Keene duo, Washington Square Winds, along with premiering its own ensemble in May, STRIA.
The Washington Square Winds, founded in 2009, is a wind quintet which seeks to bring new repertoire to life by collaborating with emerging composers. Their annual series “They’re Alive” has become a hotbed of premiers, with several works specifically written or arranged for it. They have also recently presented “The Fisherman and other stories”, with Oracle Hysterical, blending Brothers Grimm tales with contemporary music.
For more information:
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Through the Magnifying Glass
a surreal exploration of miniature and limitless aural possibilities
February 26, 2013 : 8:00 pm
509 Atlantic Ave, Brooklyn, NY
Seven works bring into focus the seemingly limitless aural possibilities of wood, plastic,
and metal combining in the percieved symbiosis of ‘instruments’. Not just an indexing
of microscopic sound, these aural materials are presented as concise musical objects,
critically demystifying what is often accepted as ‘other’ sounds. By combining the
stability of formal strategy with minutely instable sound material, the music is elevated
beyond the rhetoric of mere instrumental syntax, realizing a wider, more substantial
New and recent works by Alex Sigman, George Lewis, Andrew Greenwald, Natacha Diels, Ivan Naranjo, and Rama Gottfried.
Natacha Diels, flute; Kiku Enomoto, violin; Jessie Marino, cello; David Broome, keys, Maria Stankova, voice; Andrew Greenwald, percussion
ABOUT ENSEMBLE PAMPLEMOUSSE:
“[Theirs is] a style and concept that bridges the gap between the earliest conscious sounds humans made together and the most up to the moment exploration of musical possibilities…the event horizon of each sound describ[es] a moment with infinite possibilities, including infinite duration.” (George Grella, THE BIG CITY)
Founded in 2002 by Natacha Diels and Rama Gottfried as a vehicle for musical exploration, Pamplemousse presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in the classical, improvisational, and electronic realms, the group consistently delivers fresh, exhilarating new concepts in sound. The members’ eagerness for aural discovery has allowed for ample experimentation processes, where boundaries are non-existent, and from which a strong dialogue has emerged. Among the group’s vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other, and as they alternate roles with the composers who are an intrinsic part of the ensemble.
The product, ceaselessly uncompromising and resolutely beautiful, is created by incredibly innovative, yet-to-be-named approaches to performance and composition.
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