Posts Tagged “new music”
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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Posted by s21concerts in Concert Announcement, tags: classical music, composition, concert, contemporary music, DiMenna Center, Free, Michael Hersch, new music, New York, The Sudden Pianist
A concert of works by renowned American composer Michael Hersch will be presented at the DiMenna Center for the Arts in New York City on the evening of October 19.
Photograph by Richard Anderson.
Also regarded as one of today’s more formidable pianists, Hersch is the subject of a new documentary film, The Sudden Pianist, which focuses on his life and his work for the piano. At the Oct 19 concert, Hersch will perform some of the music featured in the film: selections from his 2 and a half-hour solo piano work, The Vanishing Pavilions. (A screening of the film, which was released earlier in 2013 and has already garnered significant festival interest, will take place at the Producers’ Club on the morning of the concert; more information about the film can be found at thesuddenpianist.com.) This concert marks Hersch’s only second public appearance as a pianist in New York in the last ten years.
Also on the October 19 all-Hersch program will be “in the snowy margins” for unaccompanied violin; the New York premiere of “of ages manifest” for unaccompanied alto saxophone; Five Fragments for unaccompanied violin; and the New York premiere of How Far the Cradle for soprano and piano. Artists joining the composer on the program are violinist Miranda Cuckson, saxophonist Gary Louie, soprano Ah Young Hong, and pianist Michael Sheppard.
Saturday, October 19 at 8pm
The DiMenna Center for Classical Music
Mary Flagler Cary Hall
450 West 37th Street
New York, NY 10018
Free admission. No reservations required.
For more information, visit here.
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Posted by s21concerts in Concert Announcement, tags: Batterie-en-Valise, brooklyn, Duchamp, Eric Farber, found objects, Heidegger, kinetic art, new music, percussion, sonic sculpture, The Question Concerning Technology, Tigue Percussion Trio
Batterie-en-Valise — The Xylotrunk (shot by Dani Leventhal)
Kinetic Ontology presents an evening of original percussion works
Batterie-en-Valise: music for two percussionists and five suitcases
“…this performance is sure to astound and confound.” -Classicalite
Part found-object sonic sculpture, part new music performance, and part interactive conversation about human relationships with objects, Batterie-en-Valise is currently presenting a suite of five original compositions entitled, “The Question Concerning Technology.” Recent performances include HERE Arts Center and Barbès; coming soon to World Maker Faire, 2013.
Five gutted-out vintage suitcases – each housing a collection of carefully curated found objects – transform into a cacophonous jungle gym of repurposed harmonic assemblages and other dangling curiosities.
Created by Brooklyn-based found-percussionist Eric Farber, featuring Dylan Thurston, the music juxtaposes a long history of traditional rhythms with hyper-contemporary breakbeats and object-oriented “samples.”
TIGUE Percussion Trio
TIGUE Percussion Trio is the latest project from Matt Evans, Amy Garapic, and Carson Moody. Founded in early 2012, TIGUE presents contemporary music of friends, contemporaries, and themselves through a lens of percussion elements. TIGUE has recently presented at The Stone, The Color Field Festival and The Beethoven Festival.
Batterie-en-Valise — The Snakeskin Sample Case (shot by Dani Leventhal)
Saturday, October 5th, 2013, 7:30pm
The Great Room at South Oxford Space
138 S. Oxford St. (bet Fulton & Atlantic)
$10 suggested donation
(an evening of 100% UN-amplified percussion)
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The Manhattan Choral Ensemble will premiere three newly-commissioned works about New York City, followed by favorite folksongs, partsongs and madrigals. At intermission the audience will select its favorite piece, to receive the grand prize and an encore performance.
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Posted by s21concerts in Concert Announcement, tags: Aleck Karis, Arlene Sierra, California, Chamber Opera, collaboration, Doris Duke, Experimental Theater, Guitar, Hebert Vázquez, Hilda Paredes, human rights, human trafficking, International, Jorge Volpi, Lei Liang, MAP fund, Mexico, new music, Pablo Gomez, piano, San Diego, soprano, Steven Schick, Susan Narucki, UC MEXUS, UCSD, University of California, Voice, West Coast, woman, Yellow Barn
INTERNATIONAL NEW MUSIC COLLABORATION TO SHED LIGHT ON HUMAN SUFFERING
May 8, 10, 11 2013 @7PM at Conrady Prebys Music Center – Experimental Theater
University of California, San Diego
A chamber opera addressing human trafficking along the San Diego border to premiere at University of California, San Diego at the Conrad Prebys Music Center.
Based on true events, Cuatro Corridos tells the story of four women whose lives are scarred by human trafficking and represents an unprecedented collaboration between internationally acclaimed creative artists.
Led by Grammy Award winning soprano Susan Narucki and noted Mexican author Jorge Volpi, the fully- staged production features original music by four distinguished composers. Each gives voice to one of the four female characters by presenting one act in the hour-long drama.
Cuatro Corridos received generous support from UC MEXUS, the MAP Fund for the Performing Arts (Doris Duke Charitable Foundation), Yellow Barn Music Festival, and the Department of Music at UCSD.
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Posted by s21concerts in Concert Announcement, tags: chamber music, classical music, concert, contemporary music, Manhattan new music project, new music, new york city, nyc, Rite of Spring, world premiere
The Pit Stop Players, a thirteen-member instrumental ensemble composed of veteran Broadway pit musicians, will conclude their fourth season with special guest Cynthia Nixon narrating a new work, plus a newly commissioned chamber arrangement of Igor Stravinsky’s towering masterpiece, “The Rite of Spring.” The concert will take place on Monday, May 6, 2013 at 8:00 pm at Peter Norton Symphony Space, 2537 Broadway at 95th Street, New York City. Tickets range from $20-$35 and can be purchased online at Symphony Space Events or (212) 864-5400.
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Posted by s21concerts in Concert Announcement, tags: adda kridler, Center for Jewish History, chamber music, classical, classical music, composition, contemporary, contemporary music, copland, david glaser, Emilie-Anne Gendron, Michael Haas, milhaud, momenta, Music, new music, nyc, piano, quartet, Stephanie Griffin, timothy beyer, wolpe, Yeshiva University’s Stern College
On Monday, April 22, 2013 at 7:30 PM, the critically acclaimed Momenta Quartet (Emilie-Anne Gendron and Adda Kridler, violins; Stephanie Griffin, viola; Michael Haas, cello) will join pianist Molly Morkoski in a concert celebrating a diverse array of works by Jewish composers at the Center for Jewish History (15 West 16th Street, New York, NY 10011; www.cjh.org).
Tickets: $15 general, $10 for seniors, students, and CJH/AJHS/YUM members with ID. Available at the door or online through http://www.cjh.org/event/2216.
The program, which features Momenta members in a range of collaborative capacities, underlines the quartet’s core tradition of championing living composers. “Sirius” (2012), a new piano quartet by Yeshiva faculty member David Glaser, will receive its New York premiere. Momenta members will be joined by pianist Molly Morkoski, whose playing has been critically hailed as “outstanding” by The Boston Globe and “exhilarating” by the American Record Guide. Momenta violist Stephanie Griffin will take the stage in “Malekhamoves” (2009), a solo work by the Cleveland-based composer Timothy Beyer.
The program also highlights an eclectic assortment of underrepresented 20th-century works. Momenta will draw from its unique personal repertoire for the evening’s featured string quartet selection, Stefan Wolpe’s aphoristic “Twelve Pieces for String Quartet” (1950). Seldom performed today, this ephemeral collection of character pieces totals less than 7 minutes. In contrast, Morkoski and Momenta violinist Emilie-Anne Gendron will present Aaron Copland’s lush and expansive Violin Sonata (1944), composed as a wartime memorial piece. Rounding out the program is Darius Milhaud’s jazz-infused piano-quintet suite “La création du monde,” op.81b (1922-23), a musical souvenir of the French composer’s trip to New York at the height of the Jazz Age.
This concert marks Momenta’s 5th concert appearance at the Center for Jewish History and its 4th year as the Bernice Diener Ensemble-in-Residence at Yeshiva University’s Stern College for Women.
For more information, contact Emilie-Anne Gendron at email@example.com.
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Posted by s21concerts in Concert Announcement, tags: adda kridler, Cello, chamber music, composition, contemporary, contemporary music, Emilie-Anne Gendron, gordon beeferman, Michael Haas, Momenta Quartet, Music, new music, new york city, NYU, quartet, Stephanie Griffin, viola, violin, world premiere
On Saturday, March 30, 2013 at 6:00 PM, the critically acclaimed Momenta Quartet–recently praised by the New York Times for their diligence, curiosity and excellence” and the Washington Post for “an extraordinary musical experience”–will present five new pieces by NYU graduate composers at New York University’s Silver Center For Arts and Science, Room 220 (31 Washington Place, New York, NY 10003; between Greene Street and Washington Square East). Admission is free.
The concert features works by Gordon Beeferman, Adele Fournet, Moon Young Ha, Friedrich Heinrich Kern, and Jue Wang, all current Ph.D. students at NYU’s Graduate School of Arts and Science. The pieces—four world premieres and one New York premiere, all written for Momenta—reflect each composer’s unique compositional interests, while exploring various unorthodox possibilities of staging, sonority, and collaboration.
The Momenta violinists will be highlighted in Friedrich Heinrich Kern’s duet “Les Adieux” (2013), and will be joined by their quartet colleagues in Moon Young Ha’s “…until that time I may…” (2013) and Jue Wang’s “Life in Stillness” (2013) for string quartet. Adele Fournet’s diptych “on death” (2013) will feature Momenta in collaboration with electric guitarist Felipe Wurst. Joined by guest dancer Stephanie Sleeper and composer Gordon Beeferman as pianist, Momenta will conclude with the New York premiere of “QUADRILLE” (2012) for string quartet, piano, and dancer: a theatrical work in which the musicians are fully integrated into Ms. Sleeper’s inventive choreography. This concert marks the continuation of Momenta and Beeferman’s longstanding collaboration, which originated in 2009 with the New York premiere of Beeferman’s String Quartet, followed by the world premiere of “QUADRILLE” at the Music at Gretna Festival in 2012.
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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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