Archive for the “ACO” Category

My article today in Musical America reviews the NY Philharmonic’s Contact! Concert on 12/16 at the Met Museum. While I enjoyed the music – hearing HK Gruber perform Frankenstein!! was a particular treat –  I took issue with the announcement at the event of Alan Gilbert being awarded Columbia University’s Ditson Prize, which recognizes a conductor for his advocacy for American composers. This season, the Contact! series includes only one American: Elliott Carter. It’s a far cry from their inaugural season just two years ago, when they featured Sean Shepherd, Nico Muhly, Arlene Sierra, and others. Perhaps Maestro Gilbert will take the opportunity of being acknowledged for past programming decisions to reinvest future seasons of Contact! with a commitment to emerging American composers.

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From October 14-22 in various locations in New York City, the American Composers Orchestra hosts SONiC, a new music festival co-curated by Derek Bermel and Stephen Gosling. ACO asked me to write an essay for the program booklet, which they’ve kindly let me share with Sequenza 21 readers as a preview of the concerts

Trying to sum up the diverse array of compositional styles and performing traditions that comprise contemporary classical music’s many “scenes” is a daunting task. One can scarcely imagine distilling its essence, even over the course of several evenings. But during SONiC: Sounds of the New Century, the American Composers Orchestra aims to do just that. With curatorial assistance from pianist Stephen Gosling and composer Derek Bermel, ACO has organized an ambitious series of programs, enlisting many topflight ensembles and spotlighting composers under forty. The orchestra’s first free concert at the World Financial Center, a new music marathon, late night jam sessions, and several premieres are all part of the festivities.

JACK Quartet. Photo: Stephen Poff.

During late summer, I had a chance to speak with some of the composers and performers featured on SONiC, a small but representative sampling of the diverse array of participants. While one would need as many essays as there are participants to tell all of the stories of SONiC, we hope that what follows provides an idea of the variety of ways that new music is being created for these events.

JACK Quartet is an important presence at SONiC, hosting the Extended Play marathon at Miller Theatre on October 16. Along with harpist Yolanda Kondonassis, the quartet is premiering Filigree in Textile, a work commissioned from Hannah Lash by the Fromm Foundation. (Lash had a piece read by ACO in 2010 on the Underwood New Music Readings). While Filigree in Textile is inspired by Flemish tapestry – its movements are titled “Gold,” “Silver,” and “Silk” – two other “threads” run through its genesis: Lash’s own background as a harpist, and her frequent collaborations with JACK, dating back to their student days at the Eastman School of Music in Rochester, New York.

Hannah Lash. Photo Noah Fowler.

Lash says, “I know the harp very well, so when I write for it, I feel that I can exploit a lot of that instrument’s possibilities without overextending the player in a way that would be uncomfortable. I notice that when I write for an ensemble that has harp in it, I feel very comfortable and excited to make the most of its presence.”

She continues, “As an undergraduate, I wrote quite a few string quartets, and at least three members of JACK Quartet played pretty much all those quartets over our years at Eastman on the Composer Forums.  These players were wonderful, and always completely fearless.  I remember one piece in particular that I wrote for them when I was a junior: it took me literally three weeks just to copy the score and make parts because the notation was so detailed.  It was such a great experience to give it to these amazing players and have them learn it and play it so enthusiastically and elegantly. In fact, I was completely spoiled, because the summer after that year, I took this piece to a festival where a professional quartet was supposed to play it; they had one rehearsal and then told me I had written something completely unplayable.  I did not mention the fact that it had only taken my friends at school a week to learn the piece and put it together.”

Currently, Lash focuses her energies on composing (and writing her own libretti); performing as a harpist has, for now, largely fallen by the wayside. Other composers in this era subscribe to the DIY aesthetic: performing their own music and forming their own ensembles. SONiC curator Derek Bermel is an acclaimed clarinetist.

Composer/pianist Anthony Cheung helped to form the Talea Ensemble, a group that has fast become one of the most formidable interpreters of the most daunting repertoire in contemporary music. These pieces are often categorized as works of the New Complexity movement or the Second Modernity. They return music to an aesthetic that revels in detail and is intricately constructed. Scores by New Complexity composers are abundantly virtuosic avant-garde fare.

On SONiC, Cheung will play his Roundabouts, a piece written in 2010 for pianist Ueli Wiget of Ensemble Modern. (Cheung is another composer familiar to ACO: he participated in the 2004 edition of the Underwood Readings.) There’s a long tradition of composer-performers, particularly pianists. One can look at great figures from the classical music canon, such as Mozart, Liszt, and Rachmaninoff; more recently, composers such as Thomas Ades and Philip Glass continue this tradition, championing their own music from the keyboard. Cheung feels that being an active performer informs his work as a composer. He says, “It’s definitely a huge benefit, but one that needs to be carefully considered. Getting inside a composer’s head and extrapolating a personal language from a score, while adding a unique interpretative angle if appropriate for the music, is as good as any analysis or score study. And while analysis can approach the minutiae of each moment and attempt to dissect intentionality, being part of the real-time re-creation of a work is a direct window into a composer’s experience of time and form. These things seep into your consciousness and make you more open to creative possibilities of your own. The danger is also to one’s advantage: falling back into a comfort-zone with your instrument, where idiomatic fluency can lead to a kind of repetition of received practice and prevent you from considering possibilities outside of them.”

Kenji Bunch is another composer/performer, active as a violist. He will perform as soloist (on an amplified viola) with the ACO in his concerto The Devil’s Box, a piece inspired by the many legends that associate fiddles and fiddle playing with diabolical influences and pursuits. It’s also a chance for the classically trained Bunch to demonstrate his mettle in the realm of bluegrass and folk music.

Bunch says, “Back in the mid-nineties, I spent a few summers teaching composition in Kentucky, and was exposed to some wonderful bluegrass bands.  I had long been interested in improvisation and non-classical approaches to string playing, and at the time had been doing some work with a rock fusion band on electric violin.  I was somewhat dissatisfied with what I was contributing in that context, and felt I was trying too hard to be an electric guitar.  In this sense, bluegrass was a revelation.  Here was an ensemble of all acoustic string instruments in which the fiddle was an essential, organic member. Further trips to Virginia, North Carolina, Tennessee, and Alabama helped to shape my understanding of the music and its history.  Perhaps most significant to my study of American roots music was a chance acquaintance with master fiddler, composer, and educator Mark O’Connor, whose friendship and encouragement has given me an exposure to all kinds of string traditions well beyond bluegrass fiddle.”

He continues, “It was after teaching at one of Mark’s fiddle camps that I began to incorporate elements of American folk music into my compositions.  Incidentally, before I started doing this, I had never performed my own music!  For some reason, I had kept my parallel careers as a violist and composer as separate as possible.  I think I started performing my own work out of convenience; the inflections and articulations are hard to notate, and it was easier just to do it myself.  When I realized how rewarding it was, I started working on a repertoire of works I could perform.  Today, most of the playing I do is my own music.”

Traditional instruments, even repurposed ones like Bunch’s amplified viola/fiddle, are one way to go in new music. Another is to find or create new instruments altogether. Such is often the pathway of composer Oscar Bettison. He enjoys incorporating unconventional instruments, such as those made from found objects or junk metal, into his scores.

Bettison says, “This was all a result of moving to Holland to study in the early 2000s. Before that, I had written a lot of music for traditional forces and I wanted to get away from that: to stretch myself as a composer. So, I started to play around with things, even going as far as to build some instruments; percussion mostly, but later on I branched out into radically detuning stringed instruments – there’s some of that in the guitar part of O Death. These things I called “Cinderella instruments: the kind of things that shouldn’t be ‘musical’ but I do my best to make them sing. And I suppose as a counterpoint to that, I shunned traditional instruments for a long time.”

Cinderella instruments, as well as references to popular music of many varieties, are signatures found in his work O Death, which will be played on SONiC October 19 by the Dutch Ensemble Klang.

Of O Death, Bettison says, “It was written for Ensemble Klang between 2005-7 and is my longest piece to date. It’s about 65 minutes long and I wrote it very much in collaboration with the group. We were lucky enough to have a situation in which I was able to try things out on the group over a long period. This was very important in writing it. The piece is in seven movements and is a kind of instrumental requiem, which references popular music elements (especially blues) and kind of grafts them on to the requiem structure. It’s something that I fell into quite naturally.  This I think is tied to my idea of ‘Cinderella instruments:’ eschewing the “classical” tradition somewhat.”

Bettison continues, “The thing that a lot of people don’t know about me is that I come from a very strict classical background. I was a violinist; indeed I went to a specialist music school in London as a violinist from the age of 10. My rebellion to being in a hot-house classical music environment was getting into metal, playing the drums and listening to avant-garde classical music that was seen as outside the ‘canon’ and I think that carried on into my music. So, to psychoanalyze myself for a minute, I think I’ve done both things in a response (quite a delayed response!) to the classical tradition precisely because I feel so at home in that tradition.”

Whether it’s a gesture of critical response or one of inquisitive exploration, crossover between musical traditions is nothing new per se. But today, genre bending, such as Bettison’s references to blues, metal, et cetera, is celebrated. True, there was a time when a gulf existed between “high” and “low” art, at least in some people’s minds (particularly those of the parochial and/or polemical bent). Increasingly in recent years, genres are blurring. Classical composers frequently incorporate materials from pop, jazz, and ethnic musical traditions. Correspondingly, a number of musicians primarily known as pop artists are exploring concert music, creating hybridized works from their own particular vantage point. And musicians like Bryce Dessner, who have significant pedigree in both genres, prove such distinctions largely meaningless today. Dessner is probably best known as the guitarist for the rock band The National. But he also has a Master’s degree in Classical Guitar Performance from the Yale School of Music and performs regularly with the “indie classical” ensemble Clogs. As a guitarist, he performed at the recent Steve Reich celebration at Carnegie Hall, joining members of Bang on a Can for their performance of Reich’s recent foray into rock instrumentation: “2×5.”

Bryce Dessner. Photo: Keith Klenowski.

Dessner says, “I think my electric guitar-playing has informed my composing and my classical training has in turn benefited my work with the National. I don’t consider my activities to be two separate pursuits; they’re both aspects of the same goal: to make creative music that pays attention to detail.”

Most of Dessner’s own instrumental compositions have an extra-musical source of inspiration, from visual art, mythology, or literature. St. Carolyn by the Sea is inspired by a section of Jack Kerouac’s 1962 novel Big Sur. Big Sur has this sense of sweep and variety of mood shifts that evokes, in a way, a kind of orchestration. I’ve created a work that employs the entire ACO but, at their suggestion, also incorporates two electric guitar parts: these will be played by my brother Aaron and me. I want to stress that our role is really as members of the ensemble: this is not a guitar concerto. We have little solo passages here and there, but then so do many other players in the orchestra.”

“I’ve been fortunate to have the opportunity to write for chamber orchestras in the past, but this work for the ACO will be the first time that I’m getting the chance to write for a full orchestra. It’s such a rare opportunity. Even today, it’s still challenging to get orchestras to program new music. And, of course, it’s very expensive to rehearse and present a new piece. What the ACO does in presenting so many composers’ work is truly an unusual situation.”

It’s heartening that so many composers and performers are going to be included in the “unusual situation” that is SONiC. Despite their disparate backgrounds, they are brought together by a fascination with sound and a determination to make the concert hall an adventurous and engaging place to be: one filled with a fresh sense of discovery.

Composer Christian Carey is Senior Editor at Sequenza 21 and teaches at Rider University in Lawrenceville, New Jersey.

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Too Many Concerts and Cloning is Still Illegal!

Tricentric Orchestra. Photo: Kyoko Kitamura

October in New York is becoming an embarrassment of riches in the new music world. So many wonderful concerts to hear in town! But the plethora of notable events can be a source of frustration too: sometimes you wish you could be in two places at once. (I have a sneaking suspicion that Steve Smith has figured out a way to do this!) So, while we won’t get to review everything, there’s nothing saying we can’t preview as many events as possible! What follows are some, but rest assured not all, of the excellent upcoming goings on.

–        Starting Wednesday evening (Oct. 5) running through October 8 at Roulette is one of the biggest festivals celebrating the music of Anthony Braxton yet seen in the United States.  It includes performances by the Tricentric Orchestra, the US debut of the Diamond Curtain Wall Trio – Anthony Braxton (reeds, electronics), Taylor Ho Bynum (brass), and Mary Halvorson (guitar) – and two world premieres. The first, Pine Top Arial Music, is an interdisciplinary work integrating music and dance. The second, which is the culmination of the festival, is a concert reading of Acts One and Two of Trillium E, Braxton’s first opera. Those who can’t make the festival, or who want ample Braxton at home as well as live, can enjoy two new recordings of his music. The first is a freebie: a Braxton sampler featuring a diverse array of pieces (including an excerpt of the opera) that’s available for download via the Tricentric Foundation. The second is a recording of Trillium E in its entirety, available from Tricentric on October 11 as a download or 4 CD set.

–        On October 6, Ekmeles, everybody’s favorite New York group of experimentally inclined youngster vocalists, shares a triple bill with Ireland’s Ergodos and Holland’s Ascoli Ensemble at Issue Project Room’s new 110 Livingstone location (details here). Ekmeles will perform Kaija Saariaho’s Sylvia Plath setting From the Grammar of Dreams, two short pieces by James Tenney, and two US premieres. The first, Madrigali a Dio by Johannes Schöllhorn, incorporates singing, spoken word, and even boisterous shouts in a vocal work that explores counterpoints between pitched and un-pitched vocalizations.  Peter Ablinger’s Studien nach der Natur explores a plethora of sounds from the natural world as well as manmade noises: mosquitoes, quartz watches, the Autobahn, smoking, electric hums – all replicated by the human voice. Mr. Ablinger was kind enough to allow us to share a small score excerpt below.

–        Also on Thursday, October 6 (drat it to Hades!) is the premiere of the Five Borough Songbook at Galapagos. Twenty composers were asked by Five Boroughs Music Festival to each contribute a single work to this project. Participants include Daron Hagen, Tom Cipullo, Lisa Bielawa, and other heavyweights in the songwriting biz.

–        On October 8 at 7 PM at the Tenri Cultural Institute (ticket info here), the Mimesis Ensemble is doing a program of “Young Voices,” featuring three youngish composers who specialize in vocal music.  It’s a program that’s a bit more traditional in approach than is, say, Ekmeles’ wont, but it presents some noteworthy repertoire. Thomas Adès’ Three Eliot Landscapes and Gabriel Kahane’s current events inflected Craigslistlieder are featured alongside several works by Mohammed Fairouz.

–         On October 9 at 7:30 PM, Sequenza 21’s own Armando Bayolo will make his Carnegie Hall debut (as the kids say, whoot!). Armando’s Lullabies, a newly commissioned work, will be premiered at Weill Recital Hall by Trio Montage (more information here).

–        Just around the corner is the ACO’s SONiC festival, Ekmeles’ concert on 10/21 at Columbia (a humdinger of a program!), Bridge Records’ Anniversary Concert at NYPL, and, yes, the Sequenza 21/MNMP Concert at the newly revivified Joe’s Pub on 10/25. But those previews will have to wait for another post! In the meantime, there are pieces to compose, papers to grade, and both my wife’s and my birthdays this weekend. October is the month that keeps on giving: it’s good to be busy, right?

Peter Ablinger's Studien Natur (a wee excerpt)

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George Manahan

The American Composers Orchestra has been holding annual reading sessions for twenty years now: quite a milestone!

This weekend will see composers of concert music hearing their works read by the ACO, conducted by George Manahan, with one of the composers being awarded a $15,000 commission.

For the first time, there will also be sessions devoted to jazz composers.

The New Music Readings’ (June 3 & 4) participating composers are Janet Jieru Chen, Mukai Kôhei, Michael Djupstrom, Narong Prangcharoen, Jordan Kuspa, and Kate Soper.

The Jazz Composers Orchestra Institute Readings’ (June 5 & 6) participating composers are Harris Eisenstadt, Mark Helias, Adam Jenkins, Erica Lindsay, Nicole Margaret Mitchell, Rufus Reid, Jacob Sacks, and Marianne Trudel.

Rufus Reid

20th Annual Underwood New Music Readings

Friday, June 3 at 10am (working rehearsal) & Saturday, June 4 at 7:30pm (run-through)
One Composer to Win $15,000 Commission, Another to Win Audience Choice Award

Jazz Composers Orchestra Institute Readings
Sunday, June 5 at 2pm (working rehearsal) & Monday, June 6 at 7:30pm (run-through)
Presented with The Center for Jazz Studies at Columbia University
Featuring Eight Jazz Composers Selected from the 2010 JCOI Intensive

Conducted by ACO Music Director George Manahan

All events free & open to the public, reservations:
Miller Theatre | Columbia University | Broadway at 116th, NYC
More information: 212.977.8495 or

Listen to audio samples from Underwood New Music Readings participants here.

Listen to audio samples from the JCOI Readings participants here.

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This Friday, December 3rd, is the second concert of the season by the American Composers Orchestra at Zankel Hall.  This concert “explores composers’ reactions to specific moments, pinpointed and analyzed, which have inspired them to create something entirely new.”

The program is titled A Time & Place and includes four world premieres commissioned by ACO.  There is a new piece by Douglas J. Cuomo entitled Black Diamond Express Train to Hell that features cellist Maya Beiser as soloist.  The Fire at 4 a.m. is Jerome Kitzke’s homage to both the creative and ceremonial fires he has tended.  Christopher Trapani explores the concept of “the West” through country guitar timbres, West African music, and psychedelic California rock in his piece, Westering.  And Ryan Francis rounds out the new ACO commissions with High Line, winner of the ACO/LVMH “A Greener New York City” commission, which was inspired by New York City’s newest park.

Speaking of the High Line, you can submit your favorite photo of the High Line Park to win two free tickets to the concert.  There is more information about the contest here and here but the deadline it 11Pm Monday, November 29th (sorry for the late notice!).

The orchestra will also perform another piece inspired by New York’s iconic landscape: Charles Ives’ Central Park in the Dark, which depicts what one might hear on a summer night in the park.

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There are a few more concerts happening in New York this week that you should know about, and then I’ll give the concert updates a rest for a while.  Promise.

Tonight (Tuesday, October 12), is your last chance to see the New York premiere of Kraft by Magnus Lindberg.  7:30pm, New York Philharmonic, Avery Fisher Hall.  If you somehow haven’t heard about this, you can read the s21 posts about it here, here, and here; the New York Times articles and videos here, and here.  You can even find some info over at Huffington Post.  Check on ticket availability here, and see you tonight!

Thursday (October 14), like most nights here, is full of fantastic concerts to check out.  Here are two that I strongly recommend: Option #1, Transit presents So Percussion, Tristan Perich, and Corps Exquis (a collaboration between Daniel Wohl and six video artists) at Galapagos (8pm).  Option #2, Talea Ensemble is presenting a concert called KINETICS (also at 8pm at the Rose Studio at Lincoln Center); they will perform music by Philippe Leroux, Luciano Berio, Frank Denyer, Manfred Stahnke, and a world premiere by Alexandre Lunsqui appropriately titled Kineticstudies.  Good luck choosing!

Friday (October 15) is the season opener for the American Composers Orchestra (7:30pm. Zankel Hall).  Their program is called “Mystics & Magic” and they will present John Luther Adams, Jacob Druckman, Wang Jie (winner of ACO’s 2009 Underwood New Music Readings Commission), Alvin Singleton, and Claude Vivier.  And they will also be welcome two truly amazing soloists: soprano Susan Narucki (for Claude’s piece), and pianist Ursula Oppens (for Alvin’s piece).

Saturday (October 16) I’ll be checking out A House in Bali over at BAM.  Of course, this is actually being presented the 14-16th, so take your pick.  There’s no need to go into details about it here, you can read my earlier post for more information.

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My two most recent posts have been about orchestras that specialize in performing contemporary music, ACO and BMOP.  In keeping with that theme, I thought I should also say a few things about the new contemporary music series by the New York Philharmonic, called CONTACT! (I know, I know – that concert was a couple months ago – what can I say, I’m a slacker.) In Music Director Alan Gilbert’s first press conference, he highlighted his plans for a New York Philharmonic new music ensemble this season, and as it turns out, this isn’t just a new music ensemble playing the past century’s greatest hits: they are performing seven pieces by seven composers, all of which are world premieres.  Not bad, Mr. Gilbert.  Not bad at all.

Strictly speaking, the December CONTACT! concert was not a full orchestra performance, but more of the Sinfonietta variety.  Basically one of every instrument represented on most pieces.  I don’t really want to talk about the pieces, but you can find out more about the program and the upcoming April concert here.  I really just want to give a tip-of-the-hat to the New York Philharmonic and other established orchestral organizations like the San Francisco Symphony, St. Louis Symphony, and I’m sure others, for not just recognizing the importance of bringing bloggers in to the concert hall, but also for realizing that blogs are not going away and are worth their attention.  This CONTACT! concert was the first time the New York Philharmonic invited bloggers to a performance and hopefully they will continue to do it in the future.  It goes without saying that they should do this again for the next CONTACT! performance, but it would be great to see the Philharmonic begin inviting bloggers to regular subscription concerts as well.  Here is a link to all of the other blog entries that were written following the December concert by twelve people who were obviously NOT slackers.

Finally, I love that the New York Philharmonic New Music Ensemble (is that really their name or can the ensemble have a shorter, snappier name?) is performing in some different locations around town.  Each of these CONTACT! concerts are being performed once at the Metropolitan Museum of Art and once at Symphony Space.  I have to wonder, though, if there is a better location than Symphony Space.  I appreciate that they may be making an effort to get away from the Lincoln Center campus, but if the renovated Alice Tully Hall is cool enough and hip enough for Alarm Will Sound, ICE, the Bang on a Can All-Stars and the Ensemble Intercontemporain, then isn’t it cool enough and hip enough for the Philharmonic New Music Ensemble?  And, wouldn’t the sound be so much better there?

In the end I think that the Philharmonic, Alan Gilbert, and composer-in-residence Magnus Lindberg should be congratulated on this new (and I’m sure somewhat scary or uncertain) venture.  I look forward to the April performance and especially to what they have in mind for the ’10-’11 season.

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nextatlantiswebWe heard from Christian Carey last week that the American Composers Orchestra has brought on George Manahan as their new Music Director but that’s not until next season.  Fortunately you don’t have to wait until next season to hear the orchestra – they are performing THIS weekend in New York (Friday, January 29th – Zankel Hall. 7:30pm) and Philadelphia (Saturday, January 30th – Annenberg Center. 7:30pm) with Conductor Anne Manson.  I was able to get her on the phone for a few minutes last night to talk about the program, you can listen to our short conversation here.

The program includes two world premieres: Sebastian Currier’s Next Atlantis, inspired by New Orleans and written for string orchestra and pre-recorded sound, with video by Pawel Wojtasik; and Roger Zare’s Time Lapse, a piece for orchestra influenced by photographic techniques, commissioned by ACO as part of its Underwood Composers Readings for Emerging Composers.

Latin jazz innovator Paquito D’Rivera’s Conversations with Cachao is the centerpiece of the program, and receives its New York City and Philadelphia premieres in these performances. A tribute to Israel “Cachao” López, the Havana bass player who made Cuban Mambo a worldwide phenomenon, the piece is a double concerto featuring D’Rivera’s clarinet and alto sax in dialogue with the double bass, played by Robert Black.

I was also able to spend some time talking with Robert Black last spring about working with composers.  It has nothing to do with the ACO concert this weekend, but if you want to listen to him talk about some of his experiences working with composers you can get the audio here.

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Big news in the orchestra world. Starting next season (2010-’11), George Manahan will become the American Composers Orchestra’s Music Director. He will continue as Music Director at the New York City Opera.

George Manahan

George Manahan

In my view, this is good news indeed. Manahan is a superlative musician; he’s conducted some excellent performances of contemporary fare at NYCO. One hopes that his name will entice new audience members to check out the ACO.

Kudos as well to outgoing director Steven Sloane, who’s done an admirable job with the ensemble since 2002.

Thoughts on the shakeup? The comments section is open below!

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deChellywebDoes anyone remember the early August announcement that the American Composers Orchestra was going to begin a partnership with LVMH Moët Hennessy Louis Vuitton to “Commission and Premiere New Music by Emerging American Composers”?  Well, whether you can wrap your head around that pairing or not, the first concert is happening on Monday night (November 30th) in Zankel Hall with Erin Gee’s Mouthpiece XIII: Mathilde of Loci, Part 1. Erin is the lucky recipient of the first commission through this new partnership.

There are two other world premieres on the program:

1)    Donal Fox: Peace Out for Improvised Piano and Orchestra.  Mr. Fox was the first African-American composer-in-residence with the St. Louis Symphony Orchestra and he will perform as soloist, improvising his part along with a fully composed score for the orchestra.
2)    Curt Cacioppo: When the Orchard Dances Ceased. The work includes parts for Native American folk voice and percussion instruments, both of which will be performed by the composer.

And, of course, there’s more… there will also be two New York premieres:

1)    Huang Ruo’s piece, Leaving Sao, is written for soprano or high male voice in folk style and chamber orchestra in memory of his grandmother. Sao in Chinese means sorrowful predicament.  I’m not totally sure, but I think he will also be the one singing this vocal part.
2)    Charles Ives: Tone Roads Nos. 1 & 3.  It looks like this will be the only piece on the program in which the composer is not also performing.  Couldn’t the ACO find a way to get Charles there as well?!

You can also find lots of video and audio content about all of these works here.

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