Posts Tagged “SEM”

Music by György Ligeti, John Cage, Luca Francesconi, Petr Kotik, Carolyn Chen, and Alex Mincek

With pianists Daan Vanderwalle and Joseph Kubera and virtuoso violinist Hana Kotková

A program of rarely-performed 20th-century classics as well as exciting world premieres by up-and-coming composers.

The evening will feature:
* György Ligeti‘s Concerto for Piano with acclaimed Belgian soloist Daan Vanderwalle

* John Cage‘s Concert for Piano with long-time Cage’s collaborator, Joseph Kubera

* N.Y premiere of Luca Francesconi’s Riti neurali with virtuoso Czech violinist Hana Kotková

* World premieres of Carolyn Chen’s Wilder Shores of Love and Alex Mincek’s Pendulum #7

* Petr Kotik’s In Four Parts, 3, 6 & 11 (for John Cage)

Both Petr Kotik and Joseph Kubera worked and performed with Cage several years until his death in 1992, and are considered some of the most “authentic” performers of his music. Kubera is the only pianist alive today who performed with Cage as a member of the Cunningham Dance Company. Kotik’s history with the work began in 1964 when he performed it in Prague with Cage and David Tudor. The Zankel performance will mark a rare occasion the work is performed with full orchestra.

April 13, 2011, 7:30 pm

Judy and Arthur Zankel Hall at Carnegie Hall
881 Seventh avenue, NYC

ONLY $15 Admission / $10 Friends of SEM and students

The Box Office is located at 57th Street and Seventh Avenue
Open Monday-Saturday, 11 a.m.-6 p.m., Sunday, 12 p.m.-6 p.m.
CarnegieCharge: 212-247-7800 from 8 a.m.-8 p.m. /

Call 718-488-7659 or visit

In addition to the Zankel Hall concert, Ostravská banda will celebrate the release of their double CD, Ostravská banda on Tour (Mutable Music Rcords) on Friday, April 15 at 7 p.m. at the Bohemian National Hall (Czech Center, 321 E. 73ed Street, NYC). The event will include a brief presentation of the 2011 Ostrava Days – the biennial new music summer institute where the ensemble was created – followed by works by former and upcoming Ostrava Days residents. For more information, visit or


SEM-Somei Satoh - Petr Kotik

The S.E.M. Ensemble — founded and directed by Petr Kotik and celebrating its 40th anniversary season this year — will give the world premiere of Tokyo-based composer Somei Satoh’s The Passion (2009) this coming Tuesday, March 16 at Paula Cooper Gallery (534 West 21st Street, New York). Thomas Buckner (baritone) and Gregory Purnhagen (baritone) will be be the soloists, along with a chorus and an ensemble led by Kotik.  The program will also feature Kotik’s There is Singularly Nothing (1971-73) for voices and instruments with text by Getrude Stein, as well as Iannis Xenakis’s Mikka “S” — a short and challenging solo violin piece, exploring the use of glissandos and performed by Conrad Harris. The evening is a co-production of SEM and Mutable Music Interpretations 21 series.

About Somei Satoh’s The Passion.

Somei Satoh3

Somei Satoh — considered one of Japan’s most internationally celebrated composers — began his career with “Tone Field,” an experimental, mixed media group based in Tokyo. In 1981, he placed eight speakers approximately one kilometer apart on mountaintops overlooking a huge valley. The sound from the speakers combined with laser beams to move the clouds into various formations.  The Passion — composed in 2009 and to be premiered by the Orchestra of the S.E.M. on March 16 at Paula Cooper Gallery — is one of the rare examples of an Asian approach to the story of Christ and Crucifixion (Satoh’s music is actually deeply anchored in the philosophies of Shinto and Zen Buddhist beliefs).  The composer traveled to New York in February to work with SEM for this premiere, in which each character is represented by a different vocal style including Syomyo and Biwa song, Nagauta from Japan, traditional Western singing and Gregorian chant style singing.  The work was commissioned by Mutable Music Productions and is dedicated to Thomas Buckner.

From Petr Kotik:

In 1969, I landed at JFK on my way from Prague to Buffalo, NY, to complete a fellowship at the Center for the Creative and Performing at SUNY/Buffalo, upon the invitation of directors Lejaren Hiller and Lucas Foss. My decision to relocate permanently in the U.S. was brought about by the 1968 invasion and occupation of my native Czechoslovakia by the Soviet Union, making it impossible for me to continue working there. Shortly after my arrival, I started to compose series of works, based on medical graphs, which I got from Dr. Jan Kucera. There is Singularly Nothing is the first composition in this series (the most well known being Many Many Women). All the works use voices on texts by Getrude Stein and later by R. Buckminster Fuller and are based on the concept of Open Form (no distinct beginning or ending) and the absence of a general score.  In other words, they exist as individual parts that can be combined into various solos and ensembles and are unified into a cohesive ensemble by a common pulse. For the March 16 concert, I created a set of directives regarding entrances, silences, and ensemble overlaps so that There is Singularly Nothing now contains 22 parts, 11 instrumental and 10 for voice. The vocal parts are divided among 3 singers, who will sing them as solos, duos and trios.

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