Ensemble Pi is an unusual new-music collective, in that all its concerts have a socially-conscious bent and feature composers whose work seeks to open a dialogue between ideas and music on some of the world’s current and critical issues. The ensemble’s Dancer on a Tightrope will take place at The Cooper Union’s Great Hall on Saturday, March 13 at 8 p.m. Cooper Union is located at 7 East 7th Street at Third Avenue, NYC. Tickets are $15 ($10 for students and seniors). For more information, call (212) 362-4745 or visit their website. We asked for a little background on the
Read moreBack last December the New York Times highlighted the Stanford Mobile Phone Orchestra. The first link goes to the NYT video of the ensemble, but here’s a nicely quiet work from the actual concert: [youtube]http://www.youtube.com/watch?v=uBo4JH-CPPM[/youtube] But that’s not quite the earliest reference to this new ‘instrument’ and kind of ensemble. Michigan actually brought their own Mobile Phone Ensemble to last November’s SEAMUS proceedings, and there’s a video of (admittedly much less musical) a group of London tech geeks taking on the theme from Dr. Who much earlier in the year, at the Yahoo Open Hack Day. Not that you need
Read moreMaking the classical aspects of the burgeoning indie classical movement abundantly clear, crossover albums are now crossover marketing musical scores. Via his website, composer Owen Pallett has released a limited edition score for the music on Heartland, his latest Domino recording. Joined by the Czech Symphony Orchestra and a host of guests (including composer Nico Muhly) Pallette has crafted his most consistently engaging music to date. In some critical circles, indie classical has, rightly or wrongly, been under the microscope for making pop into a ‘longhair’ genre, robbing it of its immediacy in favor of overt sophistication. I’d submit that
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Composers, Concerts, Contemporary Classical, Festivals, Interviews, Music Events, Other Minds, Premieres, San Francisco
The 15th Other Minds Festival kicks off this evening, offering San Francisco a three-day immersion in contemporary music from around the world. One of the locals headlining this year is Gyan Riley, who’ll premiere his new quartet work commissioned by Other Minds, entitled When Heron Sings Blue. Equally well known as a classical guitar virtuoso and as a composer, Gyan will take on his own guitar part in the quartet on the third festival night, joined by his Gyan Riley Trio bandmates Timb Harris (violin & viola) and Scott Amendola (percussion). Electric bassist Michael Manring will complete the quartet.
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Composers, Concerts, Contemporary Classical, Events, Festivals, Interviews, Other Minds, San Francisco, Violin, Women composers
2009 Frederic A. Juilliard/Walter Damrosch Rome Prize winner Lisa Bielawa has returned to her hometown of San Francisco to take part in the 2010 Other Minds festival. Her piece, Kafka Songs, will close the first night of the festival on Thursday, March 4th. Violinist, vocalist and rock star Carla Kihlstedt, for whom Kafka Songs was written, will perform. OM 15 takes place at the Jewish Community Center of San Francisco, and tickets can be purchased online here. Despite her whirlwind schedule leading up to the festival, Lisa was able to take time out to answer a few of my questions.
Read moreComposer, arts administrator, educator, and now, festival curator, Laura Kaminsky is exactly the type of advocate contemporary music needs to ensure its survival. Until recently a dean at the Conservatory of Music at Purchase College/SUNY (she remains on the faculty), she’s currently Associate Artistic Director at Symphony Space. Since her arrival, Kaminsky has done a great deal to enhance the music programming at the venue. “Symphony Space has long been known for its literary events. But in recent years we’ve been hard at work to create an increased role for music in our programming: both in terms of performances and
Read moreHi Jerry, Wanted to share two recent interviews: 1. Paul York, cellist and professor at the University of Louisville, has a new CD (Cello Vision – Centaur 2989) featuring new music by Stefan Freund, Aaron J. Kernis, Steve Rouse, Frederick Speck, Paul Brink and Marc Satterwhite. The Kernis is a world-premiere recording of Ballad for solo cello and seven cellos. Freund’s Toccata is also a premiere recording. The interview is here. 2. George Tsontakis was in town last week for a world premiere with the Louisville Orchestra. Impetuous was commissioned for the LO by a fellow Yaddo board member, Nana
Read moreI really enjoyed Q2’s broadcast tonight of New Sounds Live, a concert at Merkin Hall by the Bang on a Can All Stars that featured works by Nik Bartsch, Oscar Bettison, Christine Southworth, Michael Nyman, and David Longstreth. The first in a hopefully ongoing series of collaborations between Q2 and Merkin Hall, it was also a featured event in this week’s Composers Now festival. I particularly enjoyed the Bettison work, The Afflicted Girl, in part because it’s quite affecting; but it also helps that I was able to study in advance and follow along with a perusal score sent over by
Read moreSure, the recession has caused for cutbacks in the arts. But composers are a resilient bunch. This week, New York City will be the site for the first Composers Now festival. Coordinated by Symphony Space Associate Artistic Director Laura Kaminsky and composer Tania León, the festival involves a host of area venues and organizations. The activities start Monday morning with a panel discussion and a marathon concert from 12-6. Tonight alone, there are events at Symphony Space, the Schomburg Center, the Morgan Library, the Jazz Gallery, and the Flushing Branch of the Queens Library. Composers Now will run throughout the
Read moreThere was a fair amount of buzz a couple years ago (including here at s21), when composer Michael Hersch‘s enormous piano canvas The Vanishing Pavilions was released on CD. What the New York Times has written about Hersch’s work in general seems to apply quite well to this two-hour-plus piece: “If the symmetries and proportions of Mr. Hersch’s music evoke the grounded fixity of architecture, its dynamism and spontaneous evolution are those of the natural world. Its somber eloquence sings of truths that are personal yet not confessional… Within the sober palette, the expressive power and range are vast.” Turns
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