Archive for the “Chamber Music” Category
Dan Graser, the soprano saxophonist of the award-winning Donald Sinta Saxophone Quartet, asked me to help announce the group’s 2014 Composition Competition. This looks like a very exciting opportunity!
Here are the basic facts (taken from the group’s online posting):
Eligibility: All student composers enrolled in the United States as of Spring 2014.
Piece requirements: An un-premiered work for SATB saxophone quartet, 6-10 minutes in length.
Application fee: None!
Prize(s): One first-prize winner will receive $500 and have their piece premiered at the quartet’s Carnegie Hall recital in November, 2014.
Five composers receiving honorable mention will have their works premiered at an all-world-premiere recital in December, 2014 at the Kerrytown Concert House in Ann Arbor, MI.
All winning works will receive a live recording by the Donald Sinta Quartet and be added to the group’s repertoire for the 2014-15 season.
Submission Process: E-mail a bio, CV, and PDFs of the work’s score and parts to firstname.lastname@example.org
Deadline: Submissions must be received by August 1, 2014.
You can verify and double-check all this information here, on the quartet’s website.
Good luck to all those who apply!
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On Friday the Washington Square Winds present their third annual THEY’RE ALIVE! concert, which focuses exclusively on work by living composers. This year, they are unveiling two new works, Whirlwind, by Nicholas Hall & The People’s Park by Rex Isenberg, commissioned by WSW. Also on the program are composers Brooks Frederickson and William Wheeler.
Stay for the reception to meet the composers and performers.
Friday, April 25
Church St. School for Music and Art
74 Warren St. Frnt A, NYC
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Posted by Chris Becker in Chamber Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Houston, tags: Avant Garden, Eric Fegan, Houston, Houston Composers Salon, Hsaio-Lan Wang, Hsin-Jung Tsai, Ryan Gagnon, Stephen Yip, Thomas Helton
(Composer Hsiao-Lan Wang)
(Houston, TX) On Sunday, April 27, 2014 the Houston Composers Salon presents its Spring Concert, featuring works by Houston-based composers Hsaio-Lan Wang, Stephen Yip, Ryan Gagnon, and Eric Fegan. All four composers will be in attendance to introduce their compositions and answer questions from the audience. The concert takes place at 6:00 PM at 14 Pews, a popular venue for independent film screenings, visual art, and experimental and contemporary music performances.
The eclectic and provocative program includes Wang’s Houston Duet, a collaboration with video artist Daniel Zajicek with an electro-acoustic score by Wang, Gagnon’s Three Duets for flute and vibraphone, Fegan’s Coexist and Separate for violin and bass, and Stephen Yip’s Tide and Time for trombone and percussion. 14 Pews’ cozy atmosphere and great acoustics are ideal for playing and listening to this kind of music.
Formerly known as the Houston Composers Alliance and founded in 1986 by the then Houston Symphony Composer-in-Resdience Tobias Picker, the Houston Composers Salon was renamed in 2013 and held its first concert at Avant-Garden, a popular Montrose bar that also hosts performances by Classical Revolution Houston and Da Camera. That first concert featured works by Houston Composers Salon president Thomas Helton performed by pianist, composer and improviser Hsin-Jung Tsai, who co-leads the organization with Helton. The organization’s goal is to provide an intimate, supportive environment for local and international composers to have their work performed.
Houston Composers Salon Spring Concert, Sunday, April 27, 2014, 6:00 PM, at 14 Pews, 800 Aurora Street, $5 suggested donation.
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Posted by Chris Becker in Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Flute, Houston, Improv, Interviews, jazz, Performers, tags: Houston Friends of Chamber Music, Imani Winds, improvisation, Jeff Scott, maqam, maqamat, Simon Shaheen, Wayne Shorter, wind quintet
Imani Winds: Jeff Scott, Toyin Spellman-Diaz, Valerie Coleman, Monica Ellis, and Mariam Adam. (Photo by Matthew Murphy)
(Houston, TX) Since the group’s inception in 1997, the Imani Winds have continued to expand the relatively small-sized repertoire for wind quintet by commissioning several works by such forward-thinking composers as Alvin Singleton, Roberto Sierra, Stefon Harris, Daniel Perez, Mohammed Fairouz, and Houston’s own Jason Moran. Moran’s four-movement work Cane, Moran’s first composition for wind quintet, appears on the Imani Winds’ 2010 album Terra Incognita, along with pieces by two other jazz masters, Paquito D’Rivera and Wayne Shorter. (The Imani Winds appear on Shorter’s critically acclaimed 2013 live quartet album Without A Net in a scorching performance of his 23-minute through-composed work Pegasus.) Imani Winds members Valerie Coleman (flute) and Jeff Scott (horn) also compose and arrange for the quintet. In concert, the Imani Winds present traditional classical fare alongside new works that explore African, Latin American, and the Middle Eastern musical idioms and performance techniques.
On Tuesday, October 15, 2013, the Imani Winds make their Houston Friends Of Chamber Music debut at Rice University’s Shepherd School of Music, performing arrangements of classic works by Ravel and Mendelssohn, Jonathan Russell’s powerful wind quintet arrangement of Stravinsky’s The Rite Of Spring, and Scott’s arrangement of Palestinian-American oud and violin virtuoso Simon Shaheen’s composition Dance Mediterranea, a piece that requires the quintet to play and improvise with Arabic scales or maqamat.
I spoke with Jeff Scott about the challenges of arranging Shaheen’s piece for the quintet as well as what it means to be a chamber wind ensemble in the 21st century.
Chris Becker: What are some challenges you faced in arranging Simon Shaheen’s music for the Imani Winds?
Jeff Scott: I listened to Shaheen’s piece over and over and over again so I could learn what I could do in the different section to offset it. We are an ensemble with five completely different sounding instruments that can create many different colors. So I listened to each section and thought, “Who could play the bass here? Who would sound great playing the solo line here? Who could really do something percussive on their instrument there to make it sound like an authentic version of the song?”
CB: There’s improvisation in your arrangement? Is that correct?
CB: Can you talk a little bit about the improvisation in the piece? Are you and your fellow winds improvising with scales? Are you improvising over some kind of harmony? Or is it even freer than that?
JS: It’s definitely structured. In that part of the world, the scale is called a maqam. This piece deals with three different maqamat. So for the solo sections, I only wrote out a rhythmic figure for whoever is playing the bass and the scale itself for whoever is playing the solo. The stuff in the middle is fleshed out completely and gives the top and bottom players guidelines they can follow.
In preparation for this piece, we had workshop rehearsals for learning the different maqamat and how to play inflect on our respective instruments the quarter tones and semitones that exist in those scales, so we wouldn’t just be playing a diatonic scale with two half steps and then calling that a maqam. That’s not it at all. The challenge was getting that g half flat just so! (laughs)
What separates people who play with those different scales and people who play Western music and diatonic scales, is that our ears are adjusted. We know when someone is playing a flat seventh, you know? But to be able to play it as part of a scale and know whether or not you’re just flat enough? (laughs) That’s a different thing! We played these scales in workshops for Shaheen almost like we were auditioning for him. We’d play, and he would say, “No, no, no…” and then play the scale with us and show us exactly where they fit. It’s a thing you just constantly have to work on because it’s not a part of our pedagogue. It’s not part of our training.
Before playing this piece, we’ll have our set of rehearsals the week before, and we’ll go through the shed of practicing those scales and testing one another.
CB: Is improvisation a part of your background? Or is it something new that you and the other members of the Imani Winds have explored since coming together as an ensemble?
JS: I’d say for the most part it’s new. Improvising wasn’t a part of our formal training. We all went to either the Manhattan School of Music or Juilliard. And it just wasn’t asked of you, it just wasn’t. Now, post-school? Yeah. You realize that in the 21st century commercial world, if you’re going to survive, regardless of what your training is, you have to be flexible enough to improvise. It was definitely harder for us coming into it, but more schools are requiring it these days. I think that’s really wonderful. The language of music from other countries is now filtering its way into the Western chronicles and as a musician, you have to be able to speak the different dialects. We have embraced it and really went out there and grabbed every possible challenge we could.
CB: What you say about conservatories in the U.S., that more programs are including improvisation and music from around the globe, is something I’m hearing about more and more in my interviews with younger musicians.
JS: It used to be shunned. When I was at the Manhattan School of Music, back in the 80s, I wrote this piece for horn and percussion that I wanted to play on one of my recitals. I remember playing the piece for my teacher and him not wanting me to do it because most of my part wasn’t written down and he couldn’t work with me on it. It wasn’t because the it sounded “bad” or “good,” he just didn’t know how to work with me on it as an improvised piece of music. And that said a whole lot about the institution and my training in general! (laughs) It speaks volumes!
CB: Tell me about the Imani Winds’ collaboration with saxophonist and composer Wayne Shorter.
JS: We were asked to come and perform with him at the Hollywood Bowl on his 80th birthday along with Esperanza Spaulding, Herbie Hancock, Dave Douglas and all of these incredible musicians. We performed a piece that Shorter composed and arranged called Pegasus. It’s a symphony! The piece is written for his and wind quintet. It’s a symphony! It’s a mammoth, epic journey with improvisation from everyone involved, a through-composed piece with many different moods.
The whole thing started when the La Jolla Music Society in California commissioned Shorter to compose a piece for us, which he titled Terra Incognita. It was just for wind quintet, and it was the first piece he’d composed that didn’t involve him as a performer. He’d never written something for someone else that he didn’t intend to perform.
So he wrote this wind quintet and it was way out (laughs) with just as much room to improvise as you could possibly want. We didn’t know what the heck to do with it. So we learned everything note by note, and then played it for him. And he smiled and said, “That’s great. But promise me you’ll never play it like that again. I want you play it different every time. I want you to start from the end. I want you to leave out some parts. You can start in the middle. Just use the piece as a point of departure.”
CB: That’s so great.
JS: It says a whole lot about him. But it also says a whole lot about where I think classical music in general is going when it comes to chamber music and accepting improvisation, jazz and all of the world’s music, and having musicians who are flexible enough and open enough to at least experiment. It’s the only way we’re going to get the patrons of chamber music societies to have that openness and expectation when it comes to who they decide to put on their series. I mean, if we don’t start doing it, they’re going to continually only want the Haydn cycles. (laughs)
So we have to not only accept it, we have to become nimble at it. You have to be able to deliver a good product so the patrons say, “You know what? I want more of that!”
And besides, as a wind quintet, we don’t have the Haydn cycles! (laughs) They just don’t exist. We occasionally play the old stalwarts of the wind quintet, but that stuff runs out in about two weeks. You’ve got to play new stuff and push the envelope a bit, and improvisation is just a normal step along the way for expanding the repertoire for the wind quintet.
Houston Friends of Chamber Music present the Imani Winds, Tuesday, October 15, 7:30 p.m. at Stude Concert Hall, Shepherd School of Music, Rice University, performing works by Valerie Coleman, Mendelssohn, Ravel, Simon Shaheen, and Stravinsky’s The Rite Of Spring arranged by Jonathan Russell.
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Posted by Chris Becker in Austin, Cello, Chamber Music, Classical Music, Concerts, Contemporary Classical, Houston, Strings, tags: Beethoven, Houston Friends of Chamber Music, Miro Quartet, Philip Glass, Schubert, String Quartet
(The Miró Quartet)
(Houston, TX) As a way of acknowledging the impact composers such as Terry Riley, Meredith Monk, Steve Reich, and Philip Glass made on him in his formative years, composer John Zorn has described himself as a “child of minimalism” and said that the influence of the minimalist school “is somewhere in almost everything I do.”
Cellist Joshua Gindele, a founding member of the Austin-based Miró Quartet, probably wouldn’t describe himself as a child or even a grandchild of minimalism, since Glass’s repertoire, as well as the repertoire of several of the composers we’ve come to associate with the “M” word, has since found a home among the standards that any self-respecting classical chamber ensemble plays. Along with performing traditional string quartet music, including works by Beethoven, Brahms, and Schubert, the Miró Quartet has commissioned and performed several new works by composers, including Brent Michael Davids, Chan Ka Nin, Leonardo Balada, and Gunter Schuller. On Tuesday, September 17, 7:30 PM at Rice University’s Shepherd School of Music, the Quartet performs a program of works by Schubert and Beethoven as well as Philip Glass’s String Quartet No. 5.
Although Glass is still finding ways to surprise listeners and reboot the very musical language he began articulating back in 1966 with Read the rest of this entry »
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Since no one listens to contemporary classical music, and it doesn’t get put on concert programs, to have a new work not only recorded but recorded again, by different musicians, is an impossible dream. But that’s what happens when you’re John Adams, America’s leading composer. And deservedly so, because he’s a deeply skilled and intelligent composer with serious things to say and the aesthetic to say them clearly, expressively and winningly without pandering to or patronizing his audience.
But he is a busy man, and some of his recent work, like Absolute Jest and The Gospel According to the Other Mary seems more assembled from parts of pieces he (or, in the case of the former, Beethoven) has already made than thought through and composed. That’s been particulary frustrating, since his String Quartet, which I saw premiered in 2009, is not only a terrific piece but one that seemed to have opened the door to a new, late style.
The St. Lawrence Quartet was the original dedicatee, the ensemble that played it in public and recorded it first. Their intense, nervous energy was exactly right for the sinewy, restless music. Now they’ve been followed by the Attacca Quartet, with a Fellow Traveller, a new CD of Adam’s complete works for String Quartet. Their manner with the piece is very different, and that’s a strength of the recording that also serves the quality of the composition.
What is most interesting about the String Quartet is how Adams, who is fundamentally a Neo-Romantic composer with a great facility for tension, release and powerful expression, uses repetition to create a sensation of agitation, but this time without much resolution. At the Attacca’s enjoyable CD release performance at (le) poisson rouge, Adams spoke about harmony and how he believes that a facility for it is necessary for composers. But the Quartet is one of his least harmonically rich pieces, it subtly reaches back to Minimalist experiments like “Christian Zeal and Activity.” It’s also more closely related to Beethoven, who was of course a magnificent harmonist but whose secret power was always rhythm, especially building and releasing tension by moving the downbeat around to different parts of measures while maintaining the same meter.
That’s what Adams does in the Quartet, plays around with the rhythmic possibilities of short phrases, different lengths, different pulses. There’s a lot of chattering interplay that add to the overall dynamism and the whole builds to an evocative and enigmatic payoff. The Attacca plays this with less muscular vigor than the Borromeo but with more thoughtfulness, more introversion, and so bring out the internal mysteries of the music, and the swing a little bit more. They also are a more lyrical ensemble, and they pay more attention to phrasing than attack and articulation, and the results are not only expressive but place the music directly in the long history of Western classical music. I can hear the Haydn and Beethoven that is part of their memories.
That approach also pays off in John’s Book of Alleged Dances, which is both amusing in intent and seriously well-made. This is extroverted music, and the Attacca plays it that way, which adds to the impression that larger piece gives. Dances is not first-rate Adams, but especially in person, the Attacca give it a first-rate performance.
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Kevin Noe performing Kieren MacMillan’s Drunken Moon with the Pittsburgh New Music Ensemble
Last Tuesday, April 16, I trekked to Snyder Hall on the campus of Michigan State University in East Lansing, MI to see a performance by the Musique 21 ensemble, an immersive ‘Theatre of Music’ Production entitled Drunken Moon. The piece was conceived and created by conductor Kevin Noe and composer Kieren MacMillan, and features the merger of MacMillan’s eponymous monodrama for two voices with an English version of Arnold Schoenberg’s legendary Pierrot Lunaire.
Drunken Moon is more than a concert performance, it is a theatrical unfolding where the music and storyline are deeply intertwined and overlap on many occasions. I chose the descriptor ‘immersive’ deliberately, because Drunken Moon is more inviting to its audience than standard chamber operas. This is the touch of Kevin Noe, who has become renowned for his innovative programming with the Pittsburgh New Music Ensemble. In fact, Drunken Moon began as a PNME production, one of that group’s many fully staged programs, which push the boundaries of traditional concert presentation to create an audience experience that is undeniably memorable and powerfully meaningful.
Even though he was armed with students from MSU’s College of Music, Maestro Noe’s designs hit their mark Tuesday night. The show began immediately as the audience entered the theatre, in that the performers and actors were dancing, drinking and chitchatting in an imagined bar, ‘La fin bleu’, set up on the stage. Walking in on the onstage commotion like this set a refreshing and relaxing tone, at least compared to the prescribed ceremony of most Classical or Contemporary music concerts. Although the ‘Fourth Wall’ was not manipulated to any extreme, the attitude of the performance made observing Drunken Moon feel like being a part of it in some small way.
The intimate audience experience I enjoyed Tuesday night was not only a product of the small theater, sets, costumes, lighting and music. My compatriots in the audience and I were drawn into the performance by the stellar acting and singing of soprano Lindsay Kesselman and baritone Robert Peavler who brilliantly portray the main characters in Drunken Moon – dubbed only “she” and “he”. The couple’s interaction is the focal point of the performance’s narrative and the link that connects MacMillan’s Drunken Moon with Pierrot Lunaire.
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Posted by Chris Becker in Chamber Music, Composers, Concerts, Contemporary Classical, Guitar, Houston, tags: 14 Pews, David Lang, George Heathco, guitar, Liminal Space Contemporary Ensemble, Luke Hubley, marimba
(Houston, TX) Liminal Space Contemporary Music Ensemble is continuing what has become a welcome and well-received series of innovatively staged and programmed concerts of contemporary music. Featuring the core duo of composer George Heathco on electric guitar and Luke Hubley on percussion, Liminal Space has presented concert tributes to the music of John Cage and Frederic Rzewski, composed and performed music for a puppet show realization of H.P. Lovecraft’s “Cthulhu,” and participated in the Houston Fringe Festival. This Sunday at 14 Pews, they will present an evening of music by Pulitzer prize-winning composer David Lang. Works on the program include how to pray, lend/lease, string of pearls, warmth, and arrangements of selections from memory pieces.
Heathco (who, by the way, is an excellent composer as well) confirms that Lang’s music present a set of unique challenges to the performer.
Composer guitarist George Heathco (photo by David DeHoyos)
“One thing that seems to run central to performing Lang’s music is the amount of concentration and mental stamina required to just get through a piece,” says Heathco. “He gives the performer very little opportunity to let up, mentally. On top of that, some of the pieces we are performing are also technically challenging. Works like lend/lease or string of pearls have an element of subtle virtuosity. They don’t immediately sound flashy or technically demanding to the listener, but from the performer’s point of view it is a whole other story!”
The majority of the works by Lang on Sunday’s program have been re-arranged for various combinations of marimba, electric guitars, cello, and keyboards.
“We have arranged several of Lang’s memory pieces, originally for solo piano, to be played by marimba and electric guitar,” says Heathco. “We are also adapting lend/lease, originally for piccolo and woodblocks, to fit our ensemble. In lend/lease, there is only a single melodic line that is to be played in unison, with one of the instruments being largely unpitched. We wanted to bring out the beauty of Lang’s melody, and so rather than woodblocks, Luke will be performing the line on marimba, doubling the electric guitar.”
Percussionist Luke Hubley (photo by David DeHoyos)
The new music scene in Houston continues to grow and expand into ever more intriguing permutations, stretching beyond the cozy confines of its universities and on into the clubs, galleries, and alternative performance spaces that fill the city’s un-zoned citiscape.
An evening of David Lang’s music performed in what used to be a church? Perfect. Lang performed by Heathco, Hubley, and a selection of amazing guest musicians? Even better.
Liminal Space Contemporary Music Ensemble presents The Music of David Lang, Sunday, March 24, 7:30 p.m. at 14 Pews, 800 Aurora Street, featuring George Heathco (guitar) and Luke Hubley (percussion) with guests cellist Daniel Saenz, pianist Mark Buller, keyboardist Jeremy Nuncio, and guitarist Chapman Welch. Tickets are $11 online, $15 at the door.
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Posted by Chris Becker in Cello, Chamber Music, Classical Music, Composers, Concerts, Contemporary Classical, Houston, Piano, Strings, Violin, tags: Gryphon Trio, Houston Friends of Chamber Music, Leonard Cohen, Ottawa Chamberfest, Patricia O'Callaghan, piano trio
The Gryphon Trio
(Houston, TX) Next week here in Houston, contemporary music rears its terrifying head in the form of Canada’s Gryphon Trio on two very different concerts presented by the Houston Friends of Chamber Music. On Sunday, February 10, the Trio and special guest soprano Patricia O’Callaghan present and evening of contemporary cabaret music in support of their recent CD collaboration Broken Hearts and Madmen, which includes stunning arrangements of songs by Laurie Anderson, Leonard Cohen, Nick Drake, Astor Piazzolla, and Elvis Costello. On Tuesday, February 12, the Trio performs a program of piano trio music at Rice University, including contemporary works by Christos Hatzis and Valentin Silvestrov, accompanied by projected visuals by artist Stephen Hutchings.
From its inception the Trio, Annalee Patipatanakoon (violin), Roman Borys (cello), and Jamie Parker (piano), has been committed to playing and programming concerts that equally combine classical and contemporary repertoire.
“Although the very first piece we played together was Beethoven’s Opus 70, No. 1, the ‘ghost’ trio,” says Borys, “it wasn’t long after that that we gave our first world premier. There was never any sort of aversion to contemporary music. That kind of resistance to contemporary music is such a thing of the past. We knew many composers as friends and were very keen to work with them and have them write pieces for us.”
The trio’s name was chosen to signal their interest in all of the arts, not just classical music.
“We wanted to be careful to choose a name that allowed for artistic diversification,” says Borys. “We enjoyed the fact that this creature, the gryphon, was the guardian of treasures and a combination of cosmic energies.”
Hutchings, who previously created a series of paintings for the Trio’s performances of Olivier Messiaen’s Quartet for the End of Time, is one of several artists who collaborate with the trio to create their symbiotic presentations of visuals and sound.
“He has an incredible sense of what’s out there in the contemporary music world and is very curious,” says Borys of Hutchings. “His practice as a visual artist is very much tied to and inspired by music. He almost always listens to contemporary music when he’s painting.”
Soprano Patricia O’Callaghan
“People are so led by what they see,” Borys continues. “Visuals are such a powerful thing in general. When we create these pieces with visuals, we’re very conscious of that. We’re trying to create a visual environment that stimulates the person having the experience in such a way that it leads to their hearing the piece in a more intense way.”
O’Callaghan, who has performed with the Trio on several projects, occupies a unique place in the world of contemporary song performance. She initially began her career thinking she would sing opera.
Says O’Callaghan, “I did my degree, I got a grant, and went to study in Austria and began auditioning for opera houses. And I thought that that was what I was going to do, live in Europe and be an opera singer. But I really felt like I didn’t fit into that world. I really felt like an outsider, and even a little bit hemmed in by it.”
O’Callaghan then began a transition out of classical and operatic singing into a style better suited for the repertoire that was truly resonating with her, including songs by Kurt Weill, songs made famous by the great Edith Piaf, and the aforementioned Cohen, who she pays tribute to on her album MATADOR: The Songs of Leonard Cohen.
“It’s a completely different way of singing,” says O’Callaghan of her particular brand of contemporary cabaret. “Since I sang in rock bands before my classical days, I guess I could sort of reverse. But that kind of (classical) training just doesn’t disappear. It really gets in to your body.”
“A lot of the experimentation with singing happened for me in the recording studio,” she continues. “I would hear something, and then play it back and go, ‘No, I’ve gotta do something more laid back, more subtle.’ It’s been a really long learning process, trying to figure out how to sing the repertoire in a way that is natural. It’s about finding your own voice.”
Both Borys, who also directs Canada’s long-running Ottawa Chamberfest, and O’Callaghan agree that in the world of post-music conservatory performance, in concert halls and clubs across the world, the walls between classical performance and other idioms are coming down.
“It’s not an easy thing to do, to bridge genres,” says O’Callaghan. “Every genre has its strengths and weaknesses in terms of training as a musician. But I just find you can learn so much if you do bridge genres, if you do work with musicians from different disciplines. But not everyone can do it, and not everyone can do it well.”
“I would still say that we are on the cutting edge,” O’Callaghan concludes. “But I do feel like there is a trend to doing this more and more in the world today.”
Houston Friends of Chamber Music present The Gryphon Trio, Sunday, February 10, 7:30 p.m. at the Main Street Theater, Chelsea Market, 4617 Blvd. with special guest Patricia O’Callaghan, performing songs by Nick Drake, Leonard Cohen, Elvis Costello and others, and February 12, 7:30 p.m. at Stude Concert Hall, Shepherd School of Music at Rice University, performing chamber music of Valentin Silvestrov, Christos Hatzis, Antonín Dvořák, and Joseph Haydn.
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Le Train Bleu, conducted by Ransom Wilson, will present Toy Stories, a concert on Wednesday, February 6 – 7:00 PM at DROM, 85 Avenue A (between 5th and 6th) in New York, N.Y.
The evening will feature the World Premiere of Lawrence Dillon’s Seven Stories for soprano and eight instruments. The piece was composed to an original text. The composer writes, “A stuffed animal falls from an apartment window. As it falls, it peers into each passing window, trying to create stories from what it sees.” Read his recent blog post about it at http://www.sequenza21.com/dillon/?p=1962. The new work will be sung by soprano Mary Mackenzie. Visit Lawrence Dillon at http://www.lawrencedillon.com/.
Toy Stories explores mankind’s endless variety of play and playthings. The concert will also include Thomas Ades’ Living Toys, a journey through the fantasies of a child, for 14 instruments, accompanied by a new video by Adam Kendall, Matt Marks’ Sex Objects, a set of three songs about unique characters and their intimate relationships with inanimate objects, with vocal performances by Mary Mackenzie, Matt Marks, and Jeff Gavett, and the World Premiere of Eric Nathan’s Toying, a virtuoso exploration of the full range of possible sounds and techniques produced by the trumpet, played by Le Train Bleu’s Hugo Moreno.
Visit Thomas Ades at http://thomasades.com/. Matt Marks is at http://mattmarksmusic.com/ and Eric Nathan at http://www.ericnathanmusic.com/Home.html.
Tickets for the February 6 event are $20, and are available at http://www.ticketfly.com/event/205653. For more information, call 212-777-1157 or visit http://www.dromnyc.com/.
Le Train Bleu is a musical collective formed by conductor and flutist Ransom Wilson. The musicians are among the most exciting young players in New York, and are chosen for their brilliance as well as their expressive qualities. Recently named a resident ensemble of the Galapagos Art Space, the ensemble continues plans to present performances of new and interesting music. The New York Times said of their debut performance: “Under Mr. Wilson’s baton, the Train Bleu ensemble was both incisive and joyous in execution.” In the 2011-12 season, the ensemble presented a 4-concert series at the Galapagos Art Space, as well as collaborating with the Lar Lubovitch Dance Company in a 2-week season at the Baryshnikov Arts Center. They also participated in a 15-month creative residency at the Park Avenue Armory, along with soprano Lauren Flanigan. Visit them at http://letrainbleu.org/.
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