Archive for the “Events” Category
Posted by Chris McGovern in Concerts, Contemporary Classical, Events, Music Events, Piano, tags: Clarice Assad, Cornelia St. Cafe, Inna Faliks, Irina Mashinski, Samantha Malk, Schoenberg
Music/Words, an interdisciplinary series founded and curated by NYC-based pianist Inna Faliks, continues its fourth season on Sunday, April 22, 2012, at 6 PM with a performance at New York’s Cornelia Street Cafe featuring Faliks and guest pianist Clarice Assad at the piano along with soprano Samantha Malk and poet Irina Mashinski. The program will explore the sensuousness of early Schoenberg (with the Stefan Georgy poetry used in the songs), along with the passion of Mashinski’s poetry and Assad’s Brazilian music. The program includes Schoenberg’s Drei Klavierstucke, opus 11, his songs from Book of Hanging Gardens, and various improvisations by Ms. Assad based on Brazilian piano music. Read the rest of this entry »
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Posted by Chris McGovern in Concerts, Contemporary Classical, Events, New York, Piano, tags: Ashley Wang, Inhyun Kim, Jenny Q. Chai, Ligeti, Piano, prepared piano
New music pianist Jenny Q. Chai is making a special appearance at Carnegie Hall’s Zankel Hall on April 19th at 7:30 PM playing some great pieces by
Ligeti, Marco Stroppa, György Kurtág, Messiaen, and even Schumann (guess they’re trying to make him sound young again) as well as two world-premiere pieces by composers Ashley Fu-Tsun Wang and Inhyun Kim.
She had some time to talk with me about that upcoming show and her musical path. Read the rest of this entry »
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New York, New York – Get Classical will be launching their first program on May 6th, 6 pm at the Rose Bar at the Gramercy Park Hotel at 2 Lexington Avenue.
An alternative experience as a welcomed addition to its traditional presentation, Get Classical invites many new fans to the classical genre, launching its first event on May 6th. at the tastefully styled, eclectic Rose Bar.
Get Classical’s vision of an intimate presentation of classical concerts and commentary amid the Gramercy Park Hotel’s stylish Rose Bar brings the grandeur of the 19th-century salon to the 21st-century lounge.
Presenting a new alternative to listening to classical music in its formal concert hall venue, Get Classical integrates classical into the mainstream, and sophisticated, music night life.
In the hope of bringing newcomers and aficionados alike to this generation’s vital, ever-expanding classical music scene, Get Classical aims to benefit a genre that is always looking to reinvent itself but seldom reaches out of its own comfort zone.
These salon-type concerts, where people can sit back with an aperitif, are planned as a monthly Sunday series and will include CD-release and signing events, presenting seasoned as well as up-and-coming young artists to New Yorker audiences.
Inspired by interviews, interactions and friendships with great musicians, Ilona Oltuski founded the music blog GetClassical and her website http://getclassical.org in 2009. Featuring intimate portraits of classical performers and their stories, written by a blogger who, herself a lay musician, gets it, GetClassical prides itself on peering into the inner world of the artist and some of the developing trends within the business of music.
Get Classical at the Rose Bar hopes to bring its sensitivity towards cultural shifts into the actual performance realm, picking up on the notion of new efforts to promote a classical scene in new environments. An extension of both the cool generation’s craving for style and the happening night life scene at Rose Bar can potentially emulate a highly attractive version of the ideal, traditional classical forum.
The May 6th. program features avid performers, classical pianists Marika Bournaki, Vassily Primakov, Natalia Lavrova and David Aladashvili, who will also engage in a conversation with music journalist Ilona Oltuski, Get Classical’s Founder and host of the series’ launch at the Rose Bar. Get Classical’s intimate and “salon like” program will hopefully revitalize this very important part of our city’s culture.” Entrance is free, with a one-drink minimum. Attendees must book at GetClassicalRoseBar@gmail.com to be included on the guest list by April 14th.Many thanks go to the Gramercy Park Hotel and the Rose Bar, for their personal support and for their willingness to take part in Get Classical’s launch.
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We had just seen John Cage recite his mesostic/theater work, James Joyce, Marcel Duchamp, Erik Satie: An Alphabet. My composition teacher, a tenured faculty member who had won many awards including a Pulitzer Prize, told us, “Everyone should see John Cage once.”
And then, as if to underscore the idea that one only needed to see Cage once, the Pulitzer Prize-winning composer added, “But of course, his ideas are much more important than his music.” At that time (the early 1980s), there weren’t many recordings of Cage’s music available, and I rarely encountered any performances of his music, so my professor’s utterance was a reasonable statement for many.
Three decades later, there are 279 recordings featuring one or more works by John Cage available on arkivmusic.com; my old teacher has under 30 listed. It isn’t just that Cage is the most-recorded member of the postwar avant-garde—he has more recordings than plenty of conservative composers. Here’s a list of the top 10 recorded composers born in the 20th century at arkivmusic.com
1. Shostakovich 1449
2. Britten 958
3. Bernstein 632
4. Barber 541
5. Rodrigo 461 (and 103 of those are the Concierto de Aranjuez)
6. Messiaen 431
7. Walton 413
8. Khachaturian 357 (138 of those are the Sabre Dance)
9. Cage 279
10. Arvo Part 239
Clearly, Cage’s compositions, as well as his ideas, are very important in the classical music industry. This year you’ll be hearing a lot of his music, as various cities and organizations celebrate the 100th anniversary of John Cage’s birth. The John Cage trust is a useful web site to learn about upcoming performances, but if you live in Southern California, you’ll want to consult this list I compiled for the LA Weekly of Cage events this year.
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Posted by Chris McGovern in Electro-Acoustic, Events, Experimental Music, New York, Performers, Review, tags: Amy X Neuburg, Composer/performers, Cory Smythe, looping, multimedia, performance art, Piano, Roulette
Cory Smythe and Amy X Neuburg; Photos courtesy of Glenn Cornett
Amy X Neuburg/Cory Smythe
Dec. 13, 2011
It’s East Meets West…coast, that is.
On the stage of the old-school charming Roulette in Brooklyn was yet another creatively edgy program, put on this time by the pairing of West-coast avant-cabaret artist Amy X Neuburg and New York’s own pianist-composer, ICE’s Cory Smythe. Presented without an intermission, the show was almost entirely electronic or electro-acoustic in nature (with the exception of a refreshing burst of Fats Waller’s “Handful of Keys” from Mr. Smythe), and most of the pieces were composed and/or arranged by both of them. Read the rest of this entry »
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Posted by Chris McGovern in Composers, Concert review, Contemporary Classical, Electro-Acoustic, Events, Experimental Music, Festivals, tags: Dafna Naphtali, Gelsey Bell, Iva Bittova, Judith Berkson, Paul Pinto, Socorpo, Toby Twining Music
Judith Berkson performing “Vor an Sicht” (Photo courtesy of Elizabeth Reddin)
Vital Vox: A Vocal Festival (Vital Vox 2011)
Sat, Nov 5 & Sun, Nov 6, 2011
I guess there was no better way to kick off the Vital Vox Festival than with a primal scream. Gelsey Bell and her partner for this performance, composer/performer Paul Pinto, actually gave us several of them separate and together at the start of the song cycle Scaling, and they seemed to be the sound that signified both the power of vocal performance and the experimental nature of the festival as well.
In general, the festival is a huge emphasis on artists that recognize the human voice as an instrument, an instrument that has just as much range and capability as any great violin, piano or guitar, and works wonderfully as a duet with other instruments or other voices. These artists are all equally gifted as vocalists as they are composers or musicians of other instruments, and they all put on compelling performances. Read the rest of this entry »
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Posted by Chris McGovern in Choral Music, Composers, Concerts, Contemporary Classical, Events, Experimental Music, Festivals, tags: choral, Iva Bittova, Toby Twining Music, Violin, Vital Vox Festival
The following are extended versions of the interviews I had with Toby Twining and Iva Bittova, who are both appearing at the 2011 Vital Vox Festival (Both will be performing on Night 2: Vocals + Strings)
First up, Toby Twining talks about his beginnings and inspiration as well as the new and current material.
CM: How did you go from roots in country-swing to rock to the other-worldly music you’ve been making for various instruments, including voices and chamber ensemble?
TT: This is a long story—I’ll attempt a Reader’s Digest version.
I grew up in Houston and my maternal grandparents were both pro musicians—grandad played guitar, pedal steel, string bass; grandmother played gospel piano like Liberace/Debussy mix. As a teenager, I played guitars, bass, and keys in rock bands. All the kids played Texas blues as well. Read the rest of this entry »
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Last year, saxophonist Trygve Seim and pianist Andreas Utnem collaborated on Purcor, a recording for the ECM imprint (Seim’s sixth as leader). Drawing on material from a wide range of sources, including settings of the Mass, folk music, and Seim’s own compositions, it was among the recordings in frequent rotation when I got home from the hospital this past November. Needing a calm environment in which to regenerate and reflect, I found Purcor to be the perfect listening to accompany a healing respite.
Meditative yet soulful, earnest yet elegant, gently articulated yet substantively thoughtful, Seim and Utnem craft a series of duets that are spellbinding. Consistently succor supplying and diverse in mood and musical approach, the compositions on Purcor inhabit both jazz and an ecumenical kind of musical liturgy.
Given what they’ve crafted on the recording, I have no doubt that Seim and Utnem will provide an affecting evening of music this Sunday. Those seeking solace in artistic expression during this weekend’s commemoration of the September 11, 2001 attacks have many options from which to choose, including a marathon we’ve also mentioned as an excellent option. Seim and Utnem will doubtless provide calm in the midst of storms of media frenzy, terror alerts, and turbulent memories. Recommended.
Trygve Seim / Andreas Utnem
September 11th, 7pm
Norwegian Seamen’s Church
317 East 52nd Street
New York, NY 10022-6302
Free of charge
Trygve Seim: tenor and soprano saxophones
Andreas Utnem: piano, harmonium
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[vimeo]http://vimeo.com/28274561[/vimeo]On September 11, 2011 the United States marks a decade since the deadliest terrorist attack on our soil, one that has left an indelible mark on the nation’s psyche as a whole. A number of musical tributes, from modest concerts to widely publicized record releases, will be taking place. One of the most unique and interesting is the marathon concert being curated/organized by composers Eleonor Sandresky and Daniel Felsenfeld at Joyce Soho, 155 Mercer Street in Manhattan. Music After, as the event is called, will begin at 8:46 a.m. on Sunday, September 11, 2011 and extend till just after midnight and will feature music by composers who were living in downtown Manhattan on September 11, 2001, a veritable “who’s-who” of the international new music scene including Philip Glass, Laurie Anderson, Joan LaBarbara, Phil Niblock, Michael Gordon, Phil Kline, Nico Muhly, Judd Greenstein, Morton Subotnick and Rosanne Cash, among many others.
Music After is as much a commemoration of community as it is a memorial for those lost on that morning ten years ago. “So many people I spoke with (after 9/11),” says Sandresky, “talked about how important it had been for them to join in their community and help out. It was definitely something that I had wanted to do as well but couldn’t. Living as I did then with the “pile”–as it was known–literally just around the corner, it was too overwhelming for me, but there were many that did volunteer.
“On the first anniversary [of 9/11],” adds Felsenfeld, “when so many large-scale memorials and commemorations were laid out, I remember thinking that the best way to actually acknowledge the event musically had less to do with ‘requiems’ and ‘threnodies’ and more to do with people. I was a few blocks from the World Trade Center that morning, I saw (and smelled and felt) everything. And I was certainly not alone. So I imagined a LONG concert where every composer or songwriter we could locate who either lived there or happened to be there would be represented with a short and modest work. Then the event becomes not about the fallen or the horror of the day, but about the sheer scope of composers–different kinds of composers, many of whom define what we think of in terms of various musical “scenes”–who were in the thick of the morning.” “This event,” says Sandresky, “is about bringing our community together to stand and sing and play together on this day. And we are coming together as a community and reaching out to our greater community with music.”
Felsenfeld adds that “it is the scope of the concert that makes its point: that so many were affected so directly. Even a four-hour concert would require us to leave out people, and we didn’t want to have to do that. Besides–and I will speak for myself here but suspect I’m not the only one who feels this way–every year September 11 is a difficult day to get through, and we liked the idea that there was a place where, from 8.46am, the moment the first plane hit, until the earliest moments of September 12, there would be somewhere for people in our own community to go. Even if they don’t come,–even if none of them come–it is just a good thing to have as an option.”
In this spirit of community, Music After is a completely grass-roots organized, produced and funded event. There are no corporate or institutional sponsors. Sandresky and Felsenfeld are, therefore, relying on the new music community to rally together to make this event happen, providing yet another avenue for participation for those of us who may not have been directly affected by the events of September 11, 2001 (because we did not live in New York or Washington) but who still bear the scars of this national tragedy. To that end, there are a number of ways to contribute: you can give to Music After’s IndieGoGo campaign or if you have a PayPal account and would like to contribute using that service, you can visit the event’s web site and click on the “give” tab; for large donations, please contact Eleonor Sandresky and/or Daniel Felsenfeld directly via firstname.lastname@example.org for further information on how to make your contribution. “As far as giving goes,” says Felsenfeld, “both Eleonor and myself are strictly volunteers–nothing is going directly to us–and the Joyce SoHo has generously donated their space for the day. All the money we need is going to pay for the people who are going to make the event happen that day: the performers, the crew, the tech, as well as the rental of the equipment. Almost everyone is working at a reduced rate, but with eighteen hours of music, over 50 composers, and somewhere around 75 performers as well as a full staff, you can see that we’ll need your help.”
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Composers Daniel Felsenfeld and Eleanor Sandresky are organizing a free music marathon to commemorate the tenth anniversary of September 11, 2001. Music After will include a veritable who’s who of the New York new music scene, featuring performers and composers who were affected (and are still affected) by the terrorist attacks in Lower Manhattan on 9/11; see a list of some of the included composers below. The event will be at Joyce SoHo on September 11, 2011 from 8:46 AM until past midnight.
The organizers (and many of the participants) are donating their time; but it’s still proving a challenge to fund an event of this size. If you’d like to help out with a contribution of any amount, we’ve included some information below to facilitate that process.
1) Click here to give a small amount (even $2 or 3 helps)
2) Visit www.musicafter.com to give through Vision Into Art, who have generously offered to be our 510(c)3 fiscal conduit. This is done through PayPal.
3) If you want to give a more substantial amount, send a check (made out to Vision Into Art) to: Music After, 336 Park Place #3, Brooklyn, NY 11238
Music After Composers: Annie Gosfield, Carter Burwell, Charles Waters, Dafna Naphtali, Daniel Felsenfeld, David Bowie, David Byrne, David Del Tredici, David First, David Lang, David Linton, David Soldier, Don Byron, Eleonor Sandresky, Elliott Carter, Elliot Sharp, Eve Beglarian, Hans Tammen, Harold Meltzer, Joan LaBarbara, Joanne Brackeen, John King, Jon Gibson, Judd Greenstein, Judy Nylon, Julia Heyward, Julia Wolfe, Julie Harrison, Justin V. Bond, LaMonte Young, Laurie Anderson, Laurie Spiegel, Lou Reed, Matthew Shipp, Meredith Monk, Michael Friedman, Michael Gordon, Mohammed Fairouz, Morton Subotnik, Nico Muhly, Patti Smith, Phil Kline, Philip Glass, Phill Niblock, Robert Ashley, Rosanne Cash, Rufus Wainright, Sarah Kirkland Snider, Steve Bull, Steve Reich, Steven Trask, Stewart Wallace, Sxip Shirey, Tim Mukherjee
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