Archive for the “Experimental Music” Category
Posted by Christian Hertzog in Chamber Music, Composers, Concerts, Contemporary Classical, Experimental Music, Festivals, Performers, Premieres, tags: Christopher Adler, David Toub, Ferneyhough, Frank Cox, Matthew Burtner, noise, soundON, Stuart Saunders Smith, World Premiere
Full disclosure: I co-founded San Diego New Music in 1994, served as its first Executive Director, and have been a board member since 2000. This isn’t a review or a comprehensive report so much as some of my impressions and observations about what’s going on at The Athenaeum in La Jolla, California, this weekend. If you think I overlooked anything, please feel free to contribute more in the comments section below.
After core members of NOISE, the resident ensemble of San Diego New Music, dispersed across the continent (flutist/director Lisa Cella to Baltimore; percussionist Morris Palter to Fairbanks), it became more and more expensive and time-consuming to do an entire season with the ensemble in San Diego. The ingenious solution NOISE came up with was to do an annual festival in June.
This year’s installment is the 5th year of San Diego New Music’s festival, soundON. From the beginning, it’s been impressive for the wide range of musical styles represented on the festival and for the high caliber of their commissions and score submitted through a semi-annual call. Unlike other competitions, there’s no entry fee. The musicians themselves wade through the entries and determine which scores they want to play on the festival.
Last night, the first of the festival, had impressive commissions and nice finds through the calls for scores. Several of the composers in attendance this year have been composers with whom NOISE has developed a relationship over the years: Christopher Adler (who doubles as the Executive Director of San Diego New Music), Stuart Sanders Smith, Matthew Burtner, Madelyn Byrne, and Sidney Marquez Boquiren.
Madelyn Byrne is represented by a video installation by Lily Glass, to which Byrne supplied a soundtrack. I can’t comment on it now, as I spent most of the last night catching up with old friends, but the lovely sounds I did manage to overhear and the colorful still or slow-moving abstractions on the screen invite further exploration tonight and tomorrow. (Update: turns out I heard this two years ago at a new music conference. It’s included on a DVD of works by lesbian composers, Sounding Out. Yes, it is worth experiencing again.).
Time Comes Full Circle, for violin and cello, struck me as completely unique in the output of Stuart Saunders Smith. Framed by an opening and closing spoken dialogue between the instruments the work begins with a mournful modal lament for both instruments, a prismatic minor key duet somewhat reminiscent of Pärt or Schnittke; I’ve never heard anything like this before in Smith’s music. This first section continues exploring this haunting music, only to abandon it for an extensive middle section which is in a vein more typical for Smith: independent, thorny harmonic and rhythmic counterpoint, marked by striking moments where the violin and cello come together in unisons—one, an A 5 spaces above the treble clef. It’s not a perfect unison—at times one instrument drops out and the other takes over, or a heterophonic melody splinters away. The minor-key lament returns in the final section, splintered in new combinations.
Any critic describing Smith’s music is in trouble searching for an easy category in which to pigeonhole him. If he belongs to any school, it’s probably the individualist, intuitive New England branch of experimentalism begun by Ives and Ruggles, later branching off in an intellectually rigorous way by Elliott Carter. Smith’s music, though, strikes me as highly intuitive, seasoned with the acceptance of sounds and free forms of the New York School composers Cage and Brown. Invoking any of these names tells you, only in the vaguest, broadest sense, what his music resembles. He is sui generis. What I can report is that this is an expansive work, a significant contribution to the infrequently explored combination of violin and cello. It was given a wonderful performance by cellist Franklin Cox and violinist Mark Menzies, and Smith seemed genuinely delighted with their interpretation.
A recent solo flute work by Nicolas Tzortzis, Incompatibles III, was dropped from the concert. The program notes are intriguing: “The whole work is based on the idea of ‘going towards something else,’ coming back each time, leaving again, and so on, before reaching the moment of the revelation.” Tzortzis was represented by a frenetic ensemble piece last year which appeared to ring some new changes on the New Complexity style (a distinguishing feature was the amount of repetition and return in the work). I hadn’t encountered his music at all before the Festival last year, and I was looking forward to hearing more. Alas, in its place was Berio’s Sequenza I, given a sharply delineated reading by Lisa Cella. I know it’s a major landmark in flute repertory, and yet taken in the context of all of Berio’s Sequenzas, it is the most dated, the least interesting to 21st century ears. The later Sequenzas developed a modern manner of prolonging dissonant harmonies through a solo instrument; today Sequenza I seems more caught up in the rapid turnover of all 12 tones, as many European composers strove to do in the 1950s.
Christopher Adler is my favorite San Diego composer after Chinary Ung. Aeneas in the Underworld, Act I: The Caves of Cumae suggests a new direction in his music—a music theatre work for reciting guitarist. Chris has two consistent strains in his music, the ethnomusicological (he’s an expert on Thai music) and the mathematical, and Aeneas appears to lean towards the latter. In four “scenes,” guitarist Colin McAllister recites Virgil’s poetry in Latin, while playing a prepared guitar. Like Cage’s prepared piano music, the guitar is more of a percussion instrument here than a melodic/harmonic device, so the focus in the music is on expanding and contracting rhythmic patterns. Over these regimented rhythms, McAllister orates with what I assume is a more natural spoken delivery.
I heard the premiere a month or two back, and was frustrated by the inability to read the text in the dimly lit hall. The music, in general terms, delineates the broad themes of the poetry. Last night’s performance was far more assured, the rhythms crisper, the declamation more confident, and it was greatly helpful to be able to read a translation of Virgil’s text as McAllister recited.
You may have seen this cartoon going around—it’s pretty much an inside joke by Christopher Adler part describing the work to an incredulous guitarist, although in broader terms the interaction between composer and performer is rather true, if cloaked in humorous exaggeration.
A surprise event had been announced for the festival, and after a brief intermission Frank Cox was plunked down in a chair front and center facing the performance area, and serenaded with seven compositions dedicated to him by Claus-Steffen Mahnkopf, Stuart Saunders Smith, Colin Holter, Steven Kazuo Takasugi, Sidney Corbett, John Fonville, and Brian Ferneyhough. The real surprise was Ferneyhough’s piece, titled Paraphrase on Antonin Artaud’s “Les Cenci,” unusual for being the only purely electronic work by Ferneyhough anyone present could recall. It appeared to be constructed entirely from samples, and yet the densities and microtones distinguished it from the average MIDI composition.
SoundON in the past has done “Chill-Out” concerts, which are what you might expect them to be: performances of more meditative, quiet, and/or serene works. Tension Studies I by Samuel Carl Adams, a West Coast composer still in his 20s generating lots of buzz, was scheduled for a Chill-Out performance, yet was withdrawn. In its place was a lovely electroacoustic composition by Matthew Burtner, whose title I do not now recall, composed for Colin McAllister. McAllister is a mountaineer, and recorded sounds of his ascent up the tallest volcano in Mexico; Burtner used these sounds and slowly-changing diatonic harmonies to supply an acoustic foundation over which McAllister played gently oscillating notes, ringing harmonics, and melodies which sounded quasi-improvised. Many folks commented later on how beautiful this work was, and I agree. I had heard it previously, and hearing it for a second time was a pleasant experience.
David Toub will be known to Sequenza21 readers. He submitted a trio for violin, cello, and vibraphone to the call for scores. Christopher Adler, in a preconcert talk, described how Toub’s score—dharmachakramudra—leapt out from all the others, in its being a more austere form of minimalism, a style Adler did not see at all in any of the other 400+ submissions. It is a quiet piece, featuring chords in the violin and cello rocking back and forth with four-note vibraphone chords. If you can imagine Morton Feldman writing a rhythmically regular and shorter piece, or Steve Reich writing a dissonant, slow work, that might give you an idea of the piece.
The concert ended with the ocean inside by Frances White, another composer new to San Diegans. Her work was composed for Eighth Blackbird, and incorporated a tape part. It was consonant, lyrical, and a lovely way to end the evening.
And the performances? First class, throughout the night. These performers take their commitment to the music of our time extremely seriously. Doing this festival is a labor of love, and the concern and passion is always evident in everything they play.
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Tomorrow from 2-8 PM in Philadelphia Episcopal Cathedral, FLUX Quartet plays Morton Feldman’s String Quartet No. 2. The concert is the last event in American Sublime, a two week long series that has spotlighted Feldman’s late music.
FLUX has been performing the piece since 1999, and their rendition runs around six hours. Feldman himself suggested that the piece could run anywhere from 3 1/2 to 5 hours. But one senses that FLUX’s more expansive time frame doesn’t contravene his intentions.
String Quartet No. 2, like many of Feldman’s late works, is about breaking past the boundaries of form and instead shaping music in terms of scale: as in, LARGE scale. Not only are these pieces long, they are often cast in a single, mammoth movement. They move slowly, often speaking quietly, unspooling fragments of subtly varied material at a gradual pace. But listening to them, and indeed playing them, is anything but a leisurely exercise.
String Quartet #2 is as demanding in its own way as a marathon. But, as I found out this week while listening to FLUX’s recording (available on the Mode imprint as either a single DVD or multiple CDs), it’s well worth the endurance test for both one’s attention and bladder to persevere.
The way that I listened to the piece changed over the course of its duration. At first, I found myself expecting the familiar signposts of formal arrival points; I became impatient with the gradualness of the proceedings. But, slowly, my vantage point shifted from one of expectation of arrival to one of acceptance of each passing moment in the work. It was as if Feldman was retuning my listening capabilities, extending my attention span, and urging me to revel in each detail rather than worry about how much time had passed.
When Feldman was crafting these late pieces, in the 1970s and 80s, people’s attention spans were already dwindling at an alarming rate. In the era of jet engines and color television, who had time to listen to a piece for six solid hours? By exhorting people to stop and listen, just by the very strength and captivating character of his music, Feldman dared to arrest our engagement with a world of ceaseless distractions. In short, he sought to change us.
In our current era, attention spans have dwindled exponentially further still. Multitasking, social media, cell phones, and all manner of other devices have distracted us seemingly to the limits our psyches can handle. Sometimes further, and with dangerous results – texting while driving anyone? Perhaps Feldman’s String Quartet No. 2 is an even tougher exercise for post-millenial listeners. But it might just be more necessary than ever to let this work reset our listening patterns and demand our attention.
Mode's Feldman Vol. 6: FLUX plays SQ 2
FLUX Quartet plays Feldman String Quartet No. 2
Sun. June 11, 2-8 PM
Philadelphia Episcopal Cathedral
3723 Chestnut Street
Philadelphia, PA 19104
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Locrian Chamber Players
As we gallop towards the end of the concert season proper (and towards the bevy of summer music festivals), it’s shaping up to be a busy time here in New York. Case in point, in the evening on Thursday June 2nd, there are two events that would suit many a new music aficionado’s fancy.
Locrian Chamber Players are performing at Riverside Church at 8 PM. The program includes John Adams’ String Quartet (a work that also appears, with different performers, on the new Adams Nonesuch disc), a piece by Manhattan School of Music faculty member Reiko Füting and world premieres by Raul Quines and Robert Cohen. Can’t beat the price: it’s free.
loadbang in rehearsal
Also at 8 PM, at Brooklyn’s Issue Project Room (for a cool $10), loadbang and duo Pygmy Jerboa perform Alvin Lucier’s Queen of the South. Andy Kozar of loadbang says that listeners can expect the following:
“lattices, networks, labyrinths, flows, currents, rotations, bridges, streams, beams, heaps, eddies, dunes, honeycombs, imbrications, cells, textures, turbulences, vortices, layers, figure-eights, lemniscates, spirals, rings, rivulets, trees…”
All that for a sawbuck?
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Daniel Wolf’s appreciation is better than anything I need to muster, so I’ll just say Happy Birthday Alvin Lucier, wonderful milestone, and thanks for some of the most beautifully pure musical and sonic revelations ever conceived.
Update: While I still don’t have much to add, I will point you to this wonderful discovery… In 1972-3, When (now long & well-established) experimental composer/performer Nicolas Collins was a fresh-faced freshman in college, he took Lucier’s Introduction to Electronic Music class. Good student he was, Collins also took copious notes on what Lucier taught them during those two semesters. Collins has gone ahead and scanned this unedited notebook to PDF files, and he shares it on a special page at his website. As Collins writes, “I am no Ned Rorem — this notebook does not reflect a particularly interesting life — but I think it provides a rare window into Lucier’s teaching and the musical culture of the day, both of which are very interesting indeed, and — secondarily — it documents my gradual conversion from student to acolyte.“
Virtually thumbing through this document is definitely worth any composer’s time.
Posted by Polly Moller in Chamber Music, Composers, Concerts, Electro-Acoustic, Events, Experimental Music, Festivals, Improv, Music Events, News, Premieres, San Francisco, Sound Art, Women composers
Once upon a time in 2000, there was a brand-new underground music collective in the San Francisco Bay Area, presenting a monthly concert series named “Static Illusion/Methodical Madness”. The SIMM series is still going strong today, and its parent organization, Outsound Presents, now additionally puts on the weekly Luggage Store Gallery concert series and the Outsound New Music Summit.
Outsound acquired a Board of Directors and incorporated its bad self in 2009. Now with a 501(c)(3) IRS determination in hand, it’s a stalwart provider of experimental music, sound art, found sounds, improvisation, noise, musique concrete, minimalism, and any other kind of sound that is too weird for a mainstream gig in the Bay Area.
The upcoming 2011 Outsound New Music Summit is the 10th annual, running from July 17-23, 2011. All events will take place at the San Francisco Community Music Center, 344 Capp Street, San Francisco. Eager listeners can purchase advance tickets online.
Sunday July 17: Touch the Gear Exposition
Outsound’s free opening event allows the public to roam among the Summit’s musicians and sound artists and their sonic inventions, asking questions, making noise and learning how these darn things work.
Monday July 18: Discussion Panel: Elements of non-idiomatic compositional strategies
Another free public event in which composers Krys Bobrowski, Andrew Raffo Dewar, Kanoko Nishi and Gino Robair will discuss the joys and pains of creating new works some of which to be premiered in The Art of Composition. The public is invited to participate in a Q&A session.
Wednesday July 20: FACE MUSIC
This concert is devoted to the voice, the world’s oldest instrument, and artists who expand its horizons: Theresa Wong, Joseph Rosenzweig, Aurora Josephson, and Bran…(POS).
Thursday July 21: The Freedom of Sound
A night of operatic free expression, and power of spontaneous sound from Tri-Cornered Tent Show featuring guest vocalist Dina Emerson, Oluyemi and Ijeoma Thomas’ Positive Knowledge, and Tom Djll’s “lowercase big band”, Grosse Abfahrt with special guest Alfred Harth (A23H).
Friday July 22: The Art of Composition
Gino Robair premieres his Aguascalientes suite based on scenes captured by Jose Guadalupe Posada, Andrew Raffo Dewar’s Interactions Quartet performs Strata (2011) dedicated to Eduardo Serón, Kanoko Nishi premieres her graphic scores along with bassist Tony Dryer, and Krys Bobrowski offers Lift, Loft and Lull, a series of short pieces exploring the sonic properties of metal pipes and plates and the use of balloons as resonators.
Saturday July 23: Sonic Foundry Too!
In a sequel to the first Sonic Foundry performance in 2006, 10 musical instrument inventors are paired up in 5 collaborations: Tom Nunn, Steven Baker, Bob Marsh, Dan Ake, Sung Kim, Walter Funk, Brenda Hutchinson, Sasha Leitman, Bart Hopkins, and Terry Berlier.
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The San Francisco Bay Area is home to a sizable community of sound artists, instrument inventors, and intonation innovators who spend all their time developing original and never-before-heard ways of relating to music and sound. The local scene got a big national nod in 2008 when Walter Kitundu got the mysterious and exhilarating phone call and windfall that is the MacArthur Fellowship.
With such a lively local pool of talent, it’s natural that it has its own festival – Music for People and Thingamajigs — celebrating its 14th year from September 22nd to 25th, 2011. Edward Schocker and Dylan Bolles started it at Mills College in 1997, and it’s grown up to include a non-profit parent organization, Thingamajigs, and a profusion of programs including performances and arts education.
The festival Call for Proposals just went out this week. Artists and composers working with invented instruments and/or alternate tuning systems, and performing ensembles featuring either one or both, are invited to submit proposals. The deadline is June 15, 2011, although proposals which come in on or before May 15, 2011 will be included in festival grant proposals “and will have a greater chance of receiving outside funding,” says founder Schocker.
Proposals should include a bio of the artist/performer/composer(s), a specific description of the work or performance to be considered, and documentation of the submitted work (CD or link to a website). Thingamajigs prefers electronically submitted proposals, sent to email@example.com, but will accept hard copies at Thingamajigs.org, 5000 MarcArthur Blvd PMB 9826, Oakland, CA, 94613, USA.
De Rerum - Matisyahu eat your heart out
Some of you might know Elliot Cole as a composer of concert music, Contributing Editor here at Sequenza 21
, or as a doctoral student at Princeton.
But do you know Cole as a … rapper?
De Rerum, Elliot’s debut EP as a fast-talking MC, under the project moniker Oracle Hysterical, tackles lofty subject matter. According to Cole, “It’s a verse history of the world as I understand it (to c.2000BCE, after which, I discovered, history is mostly redundant), and also a general synthesis of, well, most every (nonfiction) book I’ve read in the last decade.”
The EP is available for free download via his website. If you enjoy this taste of Oracle Hysterical, you can check out their performance of a retelling of the Rake’s Progress alongside the Metropolis Ensemble at the MATA festival in NYC on May 12.
MP3:01 The Angle
Literally. This is Audio Lodge, a collective based in London, Ontario. For more information, check out the Spring issue of Musicworks.
[The latest iteration of the always-stellar Other Minds festival is now done and in the books. We asked our equally-stellar Bay Area musician friend Tom Djll if he'd like to cover a bit of it for us, and he happily sent along his impressions of the second and third concert evenings.]
Other Minds 16
Jewish Community Center, San Francisco
Concert Two, Friday, March 4, 2011
There’s a shard of spotlight on my shoulder. A music stand hovers off the sphere of peripheral vision; under it, the shadow of fingers curl like the violin scroll toward which they crawl, spiderish. The fingers belong to a violinist of the Del Sol String Quartet; on both sides of the audience the quartet and the Left Coast Chamber Ensemble are arrayed up the steps toward the back of the hall. In forward vision is percussionist Andrew Schloss, standing behind a computer and percussion-controller on a table. Over these hover his wired drumsticks, sometimes striking the controller yet often just floating, stirring the atoms above it, sending flocks of musical messages to various slave percussives onstage, offstage, and hung from the ceiling above. The composer is David A. Jaffe, protegé of Henry Brant; the percussion-controller builder, German-born, Seattle-based Trimpin, master of MIDI and commander of solenoid soldiers.
The Space Between Us might be called a “cubistic” composition. The subject is suggested by the title, or “what can be communicated and what remains unsaid,” in the composer’s words, as, with sticks held aloft in a gentle but dramatic gesture, percussionist-conductor Schloss signals yet another beginning, another foray into the problem of separation and identity. Somewhat reminiscent of Ives’ The Unanswered Question, each new attempt answers nothing but only brings more questions to the surface, adding facets to the cubist puzzle in the hearer’s mind. Strings quiver in mournful, canonic dirges in one phase; other times they signal impatience in brusque, un-pretty gestures. Later on, massed plucking is attempted, to better match the percussive chatter. Desperate glissandi from the computer-driven piano onstage are gobbled and hurled back by cello and viola, all to no avail. The space remains and separation seems unbridgeable, yet the sonic discussion has pushed the gloom back for at least a few moments of transcendent, clouds-clearing beauty. The conversation is aptly dedicated to Henry Brant, an Other Minds spiritual father.
Next up was I Wayan Balawan, guitarist/composer of Bali. OM 16 marked the first appearance in the West of this gifted young man of Olympian technique and globe-trotting musical mind. He also possesses an awareness of stagecraft and audience engagement, reflected not only in his pleasing hybrid music but also humorous asides which broke the performer-audience barrier, and a precise approach to costuming. Onstage with him were, from left, Balinese compatriots I Nyoman Suwida and I Nyman Suarsana on gamelan instruments. They were clothed in traditional Balinese musician dress: Nehru-ish jackets, beaked fezzes, sari-like sashes and bare feet. Balawan himself kept the hat but otherwise he and the added rhythm section (Scott Amendola and Dylan Johnson on drums and bass) decked themselves casually. Sort of a stylistic continuum, with Balawan as the mid-point.
All the brilliance of Balinese music was in evidence as the trio launched into the first of three numbers (Amendola and Johnson laid out at first), with Balawan leading on double-neck electric guitar and voice, and xylophone doubling and drum accompanying. Balawan has all the chops and effects of any guitar god you can name, and his lightning-fast melodies were as often hammered out on the fretboards with one or both hands as they were plucked traditionally. Another electric guitar stood ready on a stand; both instruments were routed through various samplers and synths and footpedals. The tunes shone the happy sunlit sound of dissonance-free scales and world-pop beats. Balawan opened the final number with a demonstration of the hocketing melody as laid out by the Balinese players on each side of a metallophone; part by part, slowly, then briskly together, then doubling with guitar at warp speed in the tune’s performance, and the audience slurped it up like Singapore noodles. This kid is going places.
Agata Zubel of Poland opened night two’s second set with Parlando, voice + electronics in a rigorous yet easy-to-digest demonstration of vocal/computer self-accompaniment of the non-looping kind. One might have expected more integration of the hairier side of contemporary vocal extension (Diamanda Galas, Phil Minton, Shelley Hirsch), but Zubel’s range of techniques was focused, precise, and mostly omitted noises in favor of dramatic gestures. The sounds and ambiences immediately brought to mind Cathy Berberian (more on her, later), but then an outbreak of avant-beatboxing shocked one back to this century. Then, after just eight minutes, it was over. (Zubel was given more of a presence on Thursday night.)
Friday night’s ultimate act was the duo of Han Bennink (drums, Holland) and Fred Frith (guitar, devices, Oakland, by way of England). About esteemed Dutch drummer, improviser, and provocateur Han Bennink’s stage presence, one’s first impression is of a pair of malformed albino salami – wait, those are his legs? – revealed via Bennink’s now-patented stage getup of beachcomber’s shorts, teeshirt and headband. All that was missing was the metal detector, although had there been one available there’s no doubt Bennink would have beat some music out of it. As it was, everything within the man-child’s reach was fair game. That reach extended beyond the stage at times – backstage, an unguarded piano was hijacked for a short joyride; then he turned his back to us and set his bum on the drum and wailed away on the wooden stool; later, Bennink took to rattling his sticks on the railings flanking the audience, giving a fair approximation of gamelan, no doubt an intentional nod to the Balinese set that came before. And for a long while, Bennink simply sat spread-legged on the floor and ecstatically pounded it with his palms, generating an insistent beat in nearly every performing permutation. He also had a snare drum onstage for a few demonstrations of his peerless brush technique.
Bennink is one of the few improvisers around who can make Fred Frith look like the conservative guy onstage. Frith surely knew what he was in for, and kept his part well under control and always gorgeously musical. He even drew some laughs of his own, strumming the strings of his lap-held guitar with paint brushes. I’ve seen him drop rice grains on his strings a few times before, and this time the stunt made its beautiful, random plinks fit Bennink’s manic-percussive thrash just right, somehow. These two together, who can turn practically any liminal sound-construction into compelling music without ever suggesting a tune or idiom, could lay claim to being the world’s greatest bad buskers.
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Park Avenue Armory Drill Hall
This week I’m going to be covering the Tune-In Festival at the Park Avenue Armory for Musical America. Earlier this month, the Armory made the news for another high profile arts endeavor. It was announced as the site for the New York Philharmonic’s performance of Karlheinz Stockhausen’s Gruppen during the 2011-’12 season. Just as the venue’s large Drill Hall is ideal for a work such Gruppen – a spatial music extravaganza for three orchestras – it’s also ideal for a number of works on the Tune-In Festival that are conceived for unconventional venues.
Tonight is the premiere of Arco, a symphonic collaboration between Paul Haas, Paul Fowler, and Bora Yoon. Performed by Sympho, New York Polyphony, laptop performers, and baritone Charles Perry Sprawls, it brings together snippets of early music, quotations from Beethoven symphonies, original contemporary classical/electronica sections, and even Arvo Pärt’s Cantus in Memory of Benjamin Britten! This ambitious accumulation of sonic events sounds to me like something that could be very cool or a chaotic mash-up, but I’m eager to hear what they’ve created!
Wednesday February 16 at 7:30pm
The world premiere of ARCO, the Armory-commissioned orchestral work co-composed by Paul Haas, Paul Fowler and Bora Yoon and performed by Sympho.
Thursday, February 17 at 7:30pm
powerFUL confronts listeners with edgy politically-charged music performed by eighth blackbird, red fish blue fish, Newspeak, and guest artists.
Friday, February 18 at 7:30pm
powerLESS celebrates the rich and multifaceted world of “absolute music” that seeks no meaning beyond its notes. Performed by eighth blackbird, Argento Chamber Ensemble, Steve Schick, and guest artists.
Sunday, February 20 at 4:00pm
The New York—and indoor—premiere of John Luther Adams’ Inuksuit, which features more than 70 percussionists moving throughout the Armory’s expansive drill hall during the performance.