Posts Tagged “contemporary music”
Concerts on the Slope presents the world premiere of Composer-in-Residence Robert Sirota’s Spindrift. Sandbox Percussion, the visually and aurally stunning percussion quartet that commissioned Spindrift, will be performing the piece, as well as works by ensemble members Jonathan Allen and Victor Caccesse, plus works by David Crowell, Thomas Kotcheff, Natalie Dieterrich, Jason Treuting, and Lukas Ligeti. Concerts on the Slope performances are open to the public and no tickets are required; a free will donation is suggested. Sandbox Percussion is Jonathan Allen, Victor Caccese, Ian Rosenbaum, and Terry Sweeney.
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Posted by s21concerts in Concert Announcement, tags: chamber music, classical music, composition, contemporary music, Music of the Spheres, New York, piano, sara Davis Buechner, Stephanie Chase, Stewart Pollens, violin, Zimbalist
The Music of the Spheres Society welcomes back the acclaimed pianist Sara Davis Buechner for a program of music by and associated with famed violinist Efrem Zimbalist and his son, actor Efrem Zimbalist, Jr.The concert will take place at Christ & St. Stephen’s Church near Lincoln Center. The Society’s artistic director, violinist Stephanie Chase, is also featured. The esteemed musical instrument expert Stewart Pollens will give a pre-concert talk at 7:30 PM, included in concert admission, on “The Violin and Bad Science.”
Efrem Zimbalist (1890-1985) was among the premiere violinists of the early 20th century. At 12 he became a student of the world renowned teacher Leopold Auer, and made successful debuts with major orchestras – including the Berlin Philharmonic and London Symphony – before his early 20’s. His first wife was a world-famous soprano, Alma Gluck, with whom he made a number of recordings. An avid music arranger, Zimbalist added violin parts to a number of songs and was a champion of “early” music, often using his own arrangements of works in his recitals, in addition to composing original music for violin and piano. In 1928 he began teaching violin at the esteemed Curtis Institute and was its director between 1941 and 1968.
Although remembered today for his acting roles, especially in television’s “77 Sunset Strip” and “The F.B.I.,” his son Efrem Zimbalist Jr. (1918-2014) also studied music seriously as a youth. He had already encountered success as an actor and producer on Broadway when the death of his first wife , from cancer at only 30, led him to retreat from acting. His father was then director of the Curtis Institute and encouraged Efrem Jr. to join him at Curtis in Philadelphia, where for a few years Efrem Jr. took on duties that at one point included Dean of Students. It was during this period of recovery that he composed his violin sonata – a work that his father featured on his own retirement recital in 1964.
This concert features rarely heard music either composed or arranged by both Efrems – including the virtuosic Fantasy on music by Rimsky-Korsakov – plus a favorite concert work for Efrem Sr., the Violin Sonata in D Minor by Johannes Brahms.
Selections from “Impressions for Piano” – Efrem Zimbalist, Sr.
Sonata for Violin and Piano – Efrem Zimbalist, Jr.
Fantasy from “Le Coq d’Or” – Nikolai Rimsky-Korsakov, arr. by Efrem Zimbalist, Jr.
Sonata No. 3, Op. 108 – Johannes Brahms
DATE: Friday, March 20, 2015; 8:15 PM
Christ & St. Stephen’s Church
120 West 69th Street, New York City
ADMISSION: $30, students and seniors: $20. Advance tickets are available at Brown Paper Tickets, http://www.brownpapertickets.com/event/895261.
ABOUT THE ARTISTS:
Sara Davis Buechner is praised on four continents as a musician of “intelligence, integrity and all-encompassing technical prowess” (New York Times) and “thoughtful artistry in the full service of music” (Washington Post). Ms. Buechner has appeared as soloist with many of the world’s prominent orchestras – including New York, Philadelphia, Cleveland, Saint Louis, San Francisco, and Montréal – and enjoys wide success throughout Asia, where she tours annually.
“One of the violin greats of our era” (Newhouse News), Stephanie Chase enjoys an international career with concert performances in twenty-five countries. As soloist, Ms. Chase has appeared with over 170 orchestras worldwide, among them the New York Philharmonic, Chicago Symphony, London Symphony, American Classical Orchestra, National Symphony (Mexico), Hanover Band, San Francisco Symphony, and Hong Kong Philharmonic.
“The Violin and Bad Science” by Stewart Pollens
In recent years, scientists have attempted to discover the “secrets” of Stradivari and other important musical instruments makers. In a number of studies, faulty scientific methods and dubious experimental techniques have been employed; in others, legitimate double-blind evaluations of tonal qualities, acoustical measurements and dendrochronology have yielded results that have been misrepresented or fancifully interpreted.
Stewart Pollens is the former conservator of musical instruments at the Metropolitan Museum of Art (1974-2006) and the author of books including “The Early Pianoforte,” “Stradivari,” and the forthcoming “The Manual of Musical Instrument Conservation,” all published by Cambridge University Press.
The Music of the Spheres Society is now in its 14th year of “exploring the links between music, philosophy and the sciences” (New Yorker). Inspired by the Neo-Platonic academies of 16th and 17th-century Italy, which combined discourse with musical presentations, it was co-founded by Artistic Director Stephanie Chase with the mission of promoting classical music through innovative chamber music concerts and pre-concert lectures which illuminate music’s historical, philosophical and scientific foundations, in order to give greater context for music to the average audience member. For more information about the Society, visit www.musicofthespheres.org.
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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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Music of the Americas is thrilled to present São Paulo-based new music group Camerata Aberta for the third time in concert at Americas Society featuring new pieces by Brazilian composers. Their debut album Espelho D’Água (Reflecting Pool, SESC, 2012) won “Prêmio Bravo!” in the Best Classical Music CD category.
|Luis Afonso Montanha
About the ensemble
Made up of sixteen professors from the Escola de Música do Estado de São Paulo – Tom Jobim, Camerata Aberta is dedicated to twentieth- and twenty-first-century repertoire. They are committed to not only Brazilian contemporary music but also the perpetuation of newly composed works and the performance of standard contemporary repertoire. The ensemble has performed in major concert halls throughout the world, including the Amsterdam Concertgebouw, the Sala Cecilia Meireles (Rio de Janeiro, Brazil), and the Campos do Jordao Festival. In 2010, they were awarded the APCA prize for excellence in contemporary music.
Admission: FREE for Americas Society Members; $20 for non-members. No additional fees will be charged when purchasing online. $10 student tickets will be available for purchase at the door with ID on the night of the performance.
For more information, visit the event webpage: http://www.as-coa.org/events/concert-brazils-camerata-aberta
Image Courtesy of Heloísa Bortz
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Posted by s21concerts in Concert Announcement, tags: Aleck Karis, ayano kataoka, border issues, chamber music, classical music, concert, contemporary music, Cuatro Corridos, Downtown Los Angeles, human rights, human trafficking, LAFLA, legal aid foundation, new music, Pablo Gomez, Pasadena, Santa Monica, Susan Narucki, UCSD, US Mexico border
On Friday, August 8, 2014, the Legal Aid Foundation of Los Angeles (LAFLA) will present Cuatro Corridos, a chamber opera addressing one of the most critical human rights issues of our time: human trafficking. Based on true events, the one-hour production tells the stories of women trapped in a cycle of prostitution and slavery in and around the San Diego/Tijuana border region and represents an unprecedented collaboration between internationally acclaimed Mexican and US-based creative artists.
The benefit event will take place at 7:30 p.m. at The Colburn School’s Zipper Hall in downtown Los Angeles. Ticket price for the benefit is $100 and includes general admission to the performance and to the post performance reception. $75 of the ticket price is a tax-deductible contribution to LAFLA and will help support its services to victims of human trafficking who are forced to work in the sex trade, sweatshops, fields and even private homes under exploitative and abusive conditions and for meager or non-existent wages.
Celebrating its 85th anniversary as Los Angeles’ frontline law firm for poor and low-income people and communities, LAFLA’s services include a range of specialized legal services to aid and empower human trafficking victims to escape exploitation and pursue their legal rights. LAFLA’s Executive Director Silvia R. Argueta says of the event, “We feel that Cuatro Corridos is a beautiful, engaging, and innovative way for LAFLA to draw attention to this critical issue and rally support to help fight against this form of modern-day slavery and a humanitarian crisis that affects those most vulnerable among us.”
Led by Grammy Award winning soprano Susan Narucki and noted Mexican author Jorge Volpi, Cuatro Corridos features original music by composers Hilda Paredes, Arlene Sierra, Lei Liang and Hebert Vázquez. Three distinguished performers of new music, percussionist Ayano Kataoka, pianist Aleck Karis, and guitarist Pablo Gomez, accompany Narucki in sharing the compelling stories of four women whose lives are scarred by human trafficking.
Cuatro Corridos had its first performance at the Conrad Prebys Music Center at the University of California, San Diego in May, 2013, with subsequent performances in Tijuana, Dallas, and Albuquerque. The innovative project seeks to heighten public awareness about human trafficking by offering public forums in conjunction with performances. Cuatro Corridos has been the recipient of support from the MAP Fund for the Performing Arts/Doris Duke Charitable Foundation, UC MEXUS, and most recently, by the National Endowment for the Arts.
Tickets are available through Eventbrite.com
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Resonances from East & West
Music from Asia and the Americas
DANIEL BLAKE Resonances
MAY HOWLETT The Invisible Lake
MAX LIFCHITZ Yellow Ribbons No. 50
CARLETON MACY Douce Dame
WONG CHUN WAI Lament from the Forest
Laura Nichols, mezzo-soprano
Max Lifchitz, conductor
The North/South Consonance Ensemble
Tuesday, June 10 at 8 PM
Christ and St Stephen’s Church
120 West 69th St (bet Bway & Columbus)
New York, NY 10023
On Tuesday evening June 10, the North/South Consonance Ensemble under the direction of Max Lifchitz will present a special concert featuring premieres of recent works for large mixed ensembles by composers hailing from Australia, China and the US.
The event – part of the 34th consecutive season of free-admission concerts sponsored by North/South Consonance, Inc –will start at 8 PM and end approximately at 9:30 PM. It will be held at the intimate but acoustically superior auditorium of Christ & St Stephen’s Church (120 West 69th St – between Broadway and Columbus) on Manhattan’s Upper West Side. The auditorium is ADA accessible. Admission is free – no tickets needed.
The exciting program will feature premieres of works by the Brooklyn-based saxophonist/composer Daniel Blake and the Minneapolis-based Carleton Macy the Carleton College faculty member.
It will also introduce New York audiences to the music of Australian composer May Howlett and Hong Kong based Wong Chun-Wai. A work by Max Lifchitz — the Mexican-born musician who is the ensemble’s director – will round off the program.
Soloist for the occasion will be Laura Nichols, the Minneapolis based mezzo-soprano and dedicatee of Macy’s work.
The composers will be present at the concert to introduce their works and meet with the audience.
Performers and composers are available for media events and interviews and may be contacted through the North/South Office at firstname.lastname@example.org.
Since its inception in 1980, North/South Consonance has brought to the attention of the New York City public over 1,000 recent works by composers representing a wide spectrum of aesthetic views. It activities are made possible in part, with public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs.
For the complete concert series schedule please visit
To stream, download and/or purchase the more than 60 compact discs
released under the North/South Recordings label please go to
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Join American Composers Orchestra (ACO) for its 23rd annual Underwood New Music Readings and look behind the scenes at the process involved in bringing brand new orchestral music to life. The Readings will feature new, stylistically diverse music from seven composers at the early stages of their careers: Andy Akiho (Tarnished Mirrors), Melody Eötvös (Beetles, Dragons, and Dreamers), Robert Honstein (Rise), Jared Miller (Contrasted Perspectives – Two Surrealist Portraits), Kyle Rotolo (Apophis), Harry Stafylakis (Brittle Fracture), and Wang A-Mao (Characters in Theatre).
ACO Music Director George Manahan leads the Readings, along with mentor composers ACO Artistic Director Derek Bermel, Robert Beaser, Olly Wilson, and Julia Wolfe. One composer will be chosen to receive a $15,000 commission to write a new piece for ACO to be premiered during the orchestra’s 2015-2016 season. In addition, audience members will have the opportunity to vote for their favorite pieces, and the composer chosen as the “Audience Choice” winner will be commissioned to compose an original mobile phone ringtone, available for everyone who votes.
FREE and open to the public. Part of the inaugural NY PHIL BIENNIAL.
American Composers Orchestra’s 23rd Annual Underwood New Music Readings
The DiMenna Center for Classical Music
450 West 37th Street, NYC
Friday, June 6, 2014, 10am – Working Rehearsal
Saturday, June 7, 2014, 10am-4pm – Career Development Seminar
Saturday, June 7, 2014, 7:30pm – Run-Through
George Manahan, conductor
American Composers Orchestra
Andy Akiho: Tarnished Mirrors
Melody Eötvös: Beetles, Dragons, and Dreamers
Robert Honstein: Rise
Jared Miller: Contrasted Perspectives – Two Surrealist Portraits
Kyle Rotolo: Apophis
Harry Stafylakis: Brittle Fracture
Wang A-Mao: Characters in Theatre
ACO’s Underwood New Music Readings Ticket Information:
Admission to ACO’s Underwood New Music Readings is free, but reservations are required. The cost for the Career Development Seminar is $25, which includes lunch. Reservations for the Readings and the Seminar can be made at www.americancomposers.org/tickets.
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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.
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Posted by s21concerts in Concert Announcement, tags: choral music, Chorale Concert, classical, classical music, concert, contemporary music, Holiday, new music, New York, new york city, New York City Master Chorale, nyc, Vocal Music
On Friday, December 13, 2013 at 8 pm, the New York City Master Chorale, under the direction of Artistic Director Thea Kano, opens its eighth season with a “Holiday Concert,” featuring Camille Saint-Saëns’ Christmas Oratorio and the New York City premiere of Paul Leavitt’s Magnificat. The concert, to be held at the Church of Saint Ignatius of Antioch (552 West End Avenue at 87th Street), features organist James Kennerley and phenomenal soloists from the Chorale. Tickets are $35 (general admission) or $25 (student/senior) and can be purchased atwww.nycmasterchorale.org or at the door, space permitting.
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Posted by s21concerts in Concert Announcement, Uncategorized, tags: choral music, christopher bono, classical, contemporary, contemporary music, harold rosenbaum, new choral music, new music, New York, new york city, new york virtuoso singers, silas brown
Digital Download & 7” Vinyl Release Date: October 15, 2013
Vinyl Available Exclusively at: www.christopherbono.com
VIDEO: The Inspiration Behind Unity & The Unexcelled Mantra
On October 15, 2013, composer Christopher Bono releases two new singles, Unity and The Unexcelled Mantra, performed by The New York Virtuoso Singers led by music director Harold Rosenbaum. These choral works will be available on Bono’s label Our Silent Canvas, distributed digitally by Naxos and released on limited edition 7” vinyl. The recordings were made at the American Academy of Arts and Letters in New York by Grammy-winning producer Silas Brown.
Visual artist DZO Olivier has created original illustrations for the cover art for Unity and The Unexcelled Mantra recordings, intimately influenced by Bono’s music and the concepts it explores. Videos inspired by these works created by film artists Tobias Stretch (Radiohead, Deftones) and Ingibjörg Birgisdóttir (Sigur Rós) will be released on November 5, 2013.
Bono describes Unity and The Unexcelled Mantra as contemplating the search for a modern form of spirituality. He says, “Both works explore a path to transcendence or ‘true being’ through union with the cosmos – The Unexcelled Mantra from a Mahayana Buddhist point of view and Unity from the Western philosophical tradition of Plato.”
Unity is a choral piece based on some of the musical and philosophical concepts of Plato’s Republic. The chosen text was taken from a section of the Republic in which Plato discusses the power of mathematics, but Bono immediately saw it could also be viewed as a metaphor for the phenomenon of meditation. He says, “This multi-dimensional observation was a key inspiration for me when writing the work, both considering the mathematical qualities of music and the esoteric concepts of achieving union with the All.” In addition, Bono experimented with the power Plato claimed existed in the Dorian and Phrygian modes. According to Plato, the Dorian would “fittingly imitate the utterances and accents of a brave man who is engaged in warfare,” while the Phrygian was suitable “for a man engaged in works of peace.”
The Unexcelled Mantra is a setting of text from the Heart Sutra, a sacred text in Mahayana Buddhism on understanding Shunyata, or Emptiness, in order to realize Nirvana. The mantra reads “gaté gaté paragaté parasamgaté bodhi svaha,” which can be translated as “Go, go, go beyond, go totally beyond, be rooted in the ground of enlightenment.”
The release of Unity and The Unexcelled Mantra follows Bono’s first classical album, Invocations, a chamber music collection released in fall 2012 and on vinyl in August 2013. The originality and inventiveness of Invocations was noted by composer and writer Frank Oteri in NewMusicBox, who wrote, “While much of 21st-century contemporary composition is not beholden to any rules, to the extent that I could probably claim everyone to be an ‘outsider’ in some ways, Bono’s music sounds as though everything he writes is something he is discovering for the very first time, even if there are clear reference points throughout to the sound worlds of other composers from both our own time and other eras.”
Christopher Bono entered the world of classical music much later than most of his contemporaries. He spent his childhood and teenage years devoted to baseball; in 1999 he was drafted by the Seattle Mariners but an injury kept him from playing. Filling the void left by the end of his athletic endeavors, Bono began playing the guitar when he was 21, and for several years he toured, recorded, and performed in an alternative roots-rock style. In his mid-20s, he made the choice to learn classical composition techniques in order to more fully realize his music. For seven years, in nearly hermetic isolation, he taught himself to read music, and studied composition independently with Juilliard professor Kendall Briggs and at La Scola Cantorum in Paris.
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