Concerts

Composers, Concerts, Contemporary Classical, Electro-Acoustic, Orchestral, Orchestras, San Francisco

SF Symphony serves up Mason Bates world premiere

[Ed. note: Polly Moller is not just busy telling you about concerts like the one below — while she’s out there pushing for the other guy, I want to mention the she herself has what looks like a great gig, with Pamela Z and Jane Rigler, May 17th at the Royce Gallery, 2901 Mariposa Street (between Harrison & Alabama), SF. tickets are $10, and you can see more here. Go, Polly! …OK, on with the show…]

Mason BatesSequenza21 readers are a quirky and unpredictable bunch.  But I’m willing to bet that any of them who show up on Wednesday, May 20, Friday, May 22, or Saturday, May 23 at Davies Symphony Hall in San Francisco will not spend the first half fidgeting around, waiting for the marvelous Yuja Wang to take the stage, so they can text their friends about what kind of gown she’s wearing.  No, our readers will be on the edges of their seats ready for the world premiere of The B-Sides by Mason Bates!

The internet got a taste of Bates’ new work on April 15th, when the YouTube Symphony Orchestra, led by San Francisco’s own Michael Tilson Thomas, played the final movement, “Warehouse Medicine”, in Carnegie Hall.  Bates explains in the program notes that his five-movement piece is “informed by the grooves of electronica as well as the modern masters of orchestral sonority, and might also be said to inhabit the ‘flipside’ of the symphonic world – a place where drum-n-bass rhythms meet fluorescent orchestral textures.”

The B-Sides is dedicated to MTT, who commissioned it.  The maestro invited the composer backstage during a concert intermission in November 2007, “between Tchaikovsky and Brahms,” Bates recalls.  “He suggested a collection of five pieces focusing on texture and sonority—perhaps like Schoenberg’s Five Pieces for Orchestra. Since my music had largely gone in the other direction—large works that bathed the listener in immersive experiences—the idea intrigued me. I had often imagined a suite of concise, off-kilter symphonic pieces that would incorporate the grooves and theatrics of electronica in a highly focused manner.”

Something else Sequenza21 readers are likely to do, if they attend the Friday, May 22 show, is stick around for Davies After Hours. It’ll be hard to resist, with Bates morphing into his alter-ego, DJ Masonic, and joining SF Symphony Resident Conductor Benjamin Schwartz to host a hybrid concert/reception they call Mercury Lounge: Mercury Soul Comes to Davies. DJs and chamber ensembles will offer their reflections on the night’s concert…which oh, by the way, includes Sibelius’ Symphony No. 4 in A minor, Opus 63.

Tickets are available online, and also by phone from the San Francisco Symphony Box Office at (415) 864-6000.

by Polly Moller
Chicago, Concerts, Contemporary Classical, Percussion, Performers

These Windy City Kids Are Wicked Good

Since 1995 Chicago’s Percussion Scholarship Program has been shaping all kinds of mallet-whackers from grades 3 through 12. The program, under the direction of CSO percussionist Patricia Dash and Douglas Waddell, percussionist with Lyric Opera of Chicago, with amazing direction and arrangements by Cliff Colnot, has been growing something phenomenal. The kids’ musicianship and commitment seems to me every bit as stunning as Dudamel’s Venezuelan El Sistema stuff everybody’s been going gaga over. Don’t believe me? Just take in our young crew’s monster ride through Colnot’s arrangement of Dimitri Shostakovich’s 10th Symphony:

[youtube]http://www.youtube.com/watch?v=32W2IBkVqUk[/youtube]

Incredible. The group’s big spring concert is coming up again this May 17th, 1:30 pm in Buntrock Hall at the Symphony Center, 220 S. Michigan Avenue. And it’s free, meaning not much better value can be had for a Sunday’s afternoon.

by Steve Layton
Chamber Music, Classical Music, Concerts, Contemporary Classical, File Under?

Sunday and Monday: Donald Hall at Works and Process

Works & Process celebrates Donald Hall this weekend. The 14th U.S. Poet Laureate will read and discuss his work.

New musical settings of Hall’s poetry by Drew Baker, George Lewis, David Del Tredici, Joshua Schmidt and Charles Wuorinen are performed for the first time. Performers include a host of New York’s finest: Mary Nessinger, Tom Meglioranza, Lauren Flanigan, Judith Bettina, James Goldsworthy, Moran Katze, Fred Sherry, Peter Kolkay, David Del Tredici, and Lois Martin.

Musical Premieres – settings of Donald Hall (Works & Process Commission)

DREW BAKER: THE SEA (mezzo-soprano & cello)

DAVID DEL TREDICI: THE POEM &THE MASTER (soprano & piano)

GEORGE LEWIS: THE PAINTED BED (tenor & viola)

JOSHUA SCHMIDT: ROUTINE (baritone & bass clarinet)

CHARLES WUORINEN: MOON CLOCK (baritone & bassoon)

Sun and Mon, May 10 and 11, 7:30 pm

The Peter B. Lewis Theater / Solomon R. Guggenheim Museum

1071 Fifth Avenue at 89th Street

Subway – 4, 5, 6 train to 86th Street / Bus – M1, M2, M3, or M4 bus on Madison or Fifth Avenue

$30 General / $25 Guggenheim Members / $10 Students (25 and under with valid student ID)

(212) 423-3587, M-F, 1–5 PM or visit www.worksandprocess.org

by Christian Carey
Chamber Music, Concerts, Contemporary Classical, San Francisco

All living composers, all the time

Del Sol String Quartet

Or at least it sure seems that way, when you’re dealing with the Del Sol String Quartet. San Francisco’s longtime champions of new music have a drool-worthy concert on tap for this Friday, May 8th, entitled Mestizaje. Of the four contemporary quartets scheduled for the evening, three are new pieces written for Del Sol, and two are world premieres.  Drool away:

  • Tania León (b. 1943, Cuba): [String Quartet No. 1] (2009, world premiere)
  • Paul Yeon Lee (b. 1970, Korea): “Ari, Ari… ari” (2009, world premiere)
  • Philip Glass (b. 1937): String Quartet No. 5 (1991)
  • Linda Catlin Smith (b. 1957, USA): “Gondola” (String Quartet No. 4) (2007)

Composers Tania León and Paul Yeon Lee will be there in person to answer questions at the post-concert reception. You can also meet the Del Sol members – violinists Kate Stenberg and Rick Shinozaki, cellist Hannah D’Addario-Berry, and violist Charlton Lee (who’s known as “hunky Charlton” behind his back, and no, I won’t reveal my sources).

The concert begins at 8 p. m. in the Presidio of San Francisco’s Main Post Chapel, located on Fisher Loop near the Golden Gate Club. There’s free parking, and if you would rather not drive, you can take the Muni 29 Sunset bus. Tickets are $25.00 for adults, $20.00 for seniors, and $12.00 for students and kids, all sold at the door.

by Polly Moller
Big Band, CDs, Concerts, Downtown, New Amsterdam, New York

Not-So-Secret Society

You can only keep a secret society secret so long, and with our old S21 pal Darcy James Argue‘s new CD release that time has come.  Infernal Machines is out now on New Amsterdam Records, and to celebrate the kick-off DJA’s Secret Society will be performing the music from the CD Friday at Galapagos Arts Space (16 Main St. @ Water St., Brooklyn / Door – 9pm, Show – 10pm, $10).

Troy Collins advance-reviewed it at AllAboutJazz.com:

Drawing inspiration from classic stalwarts like the Thad Jones-Mel Lewis Orchestra as well as pioneering post-rock bands like Explosions In The Sky and Tortoise, Argue tastefully incorporates electric guitars, Fender Rhodes and electric bass into traditional big band instrumentation, extending the innovations of such visionaries as Don Ellis, Gil Evans and George Russell.
Straddling the pastoral opulence of Maria Schneider’s Orchestra and the visceral brio of Adam Lane’s Full Throttle Orchestra and Satoko Fujii’s various big bands, Argue has succeeded at creating a magnificent chimera. His harmonically rich blend of contrapuntal horn voicings, atmospheric electronic textures and post-minimalist rhythms surpass the early fusion experiments of his predecessors, yielding a fully integrated sound world as current as it is timeless.
A masterful tunesmith, his dramatic sense of pacing borders on the cinematic, and his instinct for arranging multiple voices into colorful pitch sets exudes kaleidoscopic detail worthy of Ellington.

Drawing inspiration from classic stalwarts like the Thad Jones-Mel Lewis Orchestra as well as pioneering post-rock bands like Explosions In The Sky and Tortoise, Argue tastefully incorporates electric guitars, Fender Rhodes and electric bass into traditional big band instrumentation, extending the innovations of such visionaries as Don Ellis, Gil Evans and George Russell [….] Straddling the pastoral opulence of Maria Schneider’s Orchestra and the visceral brio of Adam Lane’s Full Throttle Orchestra and Satoko Fujii’s various big bands, Argue has succeeded at creating a magnificent chimera. His harmonically rich blend of contrapuntal horn voicings, atmospheric electronic textures and post-minimalist rhythms surpass the early fusion experiments of his predecessors, yielding a fully integrated sound world as current as it is timeless.

If you want to get primed and pumped beforehand, New Amsterdam is letting you stream the whole CD online. The musical cast is stellar, the pieces are grand, the recording immaculate. Way to go Darcy; here’s to many more words like those above, now and in all the Machines to come.

by Steve Layton
Composers, Concerts, Contemporary Classical

Thanks for All the Fish

As stated in Oberlin College’s ‘Oberwiki’:

“…to enter you needed to take a sugar pill with a dot on it…and you rolled the dice, cause 1/3 of the dots were LSD…”

Yep, that’s our (currently) eldest composition teacher speaking of Oberlin’s glory days when he was but a wee lad out of grad school. Randy Coleman is many things, best summed up as “a real post-modern feminist old-time patriarch from Virginia.” He is most feared for his red pen marks on freshperson’s melody assignments and for the fabled “piece-per-day” routine with private students. His music contains much variety, with each new piece vastly different than what had come before. Also, as a result, he takes a long time in writing these pieces.

For the past 15-20 years, every course that Randy has taught has been called “Postmodernism.” He has taught at Oberlin since 1965, placing him as the conservatory professor with the second-longest post at Oberlin, second only to David Boe.

After forty-three years of showing impractical, starry-eyed composition students how it’s really done, Randy Coleman is moving on. A fine appreciation is here; On Friday May 8th at 8pm, The Contemporary Music Ensemble there is giving an all-Coleman farewell concert bash, featuring Bellagio (2007-09), a concerto for piano and large ensemble with Ran Duan, piano; Apparitions (2003) for string ensemble and piano, Tom Fosnocht, piano with videodance by Nusha Martynuk and Carter McAdams;  Soundprint III (1973),  in memoriam Ezra Pound for dancer and percussion, Nusha Martynuk, dancer; The Great Lalula (1988) for voice and chamber ensemble, Molly Netter, voice, with dance choreographed by Nusha Martynuk and performed by Cleveland GroundWorks Dance Company. It’s at Hall Auditorium, Room ID_1 @ 67 North Main Street, Oberlin, OH, and absolutely free.  If you’re close come on by; this composer gave in a big way, and it seems only fair to give back.

by Steve Layton
Chamber Music, Classical Music, Concerts, Contemporary Classical, Experimental Music, File Under?

Vienna’s Ensemble On_Line visits NYC on Monday

THE AUSTRIAN CULTURAL FORUM NEW YORK CONCERTS

ENSEMBLE ON_LINE

MONDAY MAY 4, 7:30 PM
Austrian Cultural Forum NY, 11 East 52nd Street, New York, NY 10022

Also touring to Philadelphia, Washington and Chicago, this program is curated by Karlheinz Essl and Reinhard Fuchs, in cooperation with Soundfield and the Slought Foundation.

PROGRAM

Gene Coleman | Subaugusta (2009) for bassflute, bassclarinet, violin, cello and piano
Karlheinz Essl | Sequitur II (2008/09) for bass clarinet and live-electronics
Simeon Pironkoff | Spiel(t)räume (2006) for piano solo
Gerard Grisey | Talea (1985/86) for flute, clarinet, violin, cello and piano
Leah Muir | i frammenti di desiderio, act four (2009) for clarinet and cello
Beat Furrer | Presto (1997) for flute and piano
Marcel Reuter | Interludio (2007) for clarinet, cello and piano
Gerald Resch | Gesten (2002) for violin and cello

ensemble on_line

Sylvie Lacroix (flute)
Theresia Schmidinger (clarinet)
Johannes Dickbauer (violin)
Martin John Smith (cello)
Mathilde Hoursiangou (piano)
Karlheinz Essl (live-electronics)

RESERVATIONS
Free Admission. Reservations necessary. Call (212) 319 5300 ext. 222 or e-mail reservations@acfny.org

by Christian Carey
Concerts, Contemporary Classical, Music Events, New Amsterdam, New York

All Your Fridays Are Belong To Us!

Almost everyone in and around the New Amsterdam Records scene has been written up by us. Many are good and long-time visitors, contributors and pals of S21. But screw that; the real reason we follow this crew is that they’re an awesome bunch of composers and performers, with a fresh, open and energetic approach to this whole art-music thingy-ma-jingy. They’re proving it again this May, with… Aww, just let the poster tell you:

Makes a nice prelude to the BOAC “oldsters” Marathon, dontcha think?

by Steve Layton
Composers, Concerts, Contemporary Classical, File Under?, Music Events, New York

2+2=5: Christopher O’Riley at Miller Theatre

Christopher O’Riley performs his final recital in the 2+2=5 Series tomorrow night at Miller Theatre. Each of the programs has featured a pairing of a classical composer and O’Riley’s transcriptions of songs by a pop musician.  Thus far, the recitals have featured Shostakovich / Radiohead & Debussy / Nick Drake. Tomorrow’s program pairs Schumann and Elliott Smith.

Yesterday, O’Riley released a digital single on iTunes of his interpretation of Kurt Cobain’s Heart Shaped Box. It’s featured on the iTunes’ “Rock” page! On May 5th the digital single will be widely released to other music download sites. A Heart Shaped Box ring tone can be created at iTunes and will be available through major cellular carriers by May 5th.

O’Riley played HSB as the encore for his Debussy/Nick Drake recital at Miller. He really wails the stuffing out of it!

by Christian Carey
Chamber Music, Classical Music, Concerts, Contemporary Classical, Experimental Music, File Under?, New York, Uncategorized

The 2009 Ditmas Park Concert Series

The Ditmas Park Concert Series is up and running for its second season. Curated by Jody Redhage, there will be five concerts in the series.

Friday, May 1 / 9:00 pm Erica von Kleist Trio, 10:30 pm John Ellis Trio / Sycamore Bar & Flower Shop, 1118 Cortelyou Rd. at Westminster Rd., Brooklyn, NY (Q to Cortelyou Rd) $10

Sunday, May 10 / 4:00 pm Janus / Temple Beth Emeth, 83 Marlborough Rd. at Church Ave., Brooklyn, NY (B/Q to Church Ave) $10

Saturday, May 23 / 9:00 pm Dan Pratt Organ Quartet / Sycamore Bar & Flower Shop, 1118 Cortelyou Rd. at Westminster Rd., Brooklyn, NY (Q to Cortelyou) $10

Saturday, May 30 / 3:00 Botanica String Quartet / PS 217 Auditorium, 1100 Newkirk Ave. at Coney Island Ave., Brooklyn, NY (B/Q to Newkirk Ave.) Free Family Concert

Friday, June 12 / 8:00 pm Gabriel Kahane and Friends / PS 139 Auditorium, 330 Rugby Rd. at Cortelyou Rd., Brooklyn, NY (Q to Cortelyou Rd.) $10

Sponsored by the Brooklyn Arts Council and numerous local businesses, the Ditmas Park Concert Series connects the world class musicians living in the Flatbush neighborhood of Brooklyn with the students and residents of the community. Featuring band leaders who live walking distance from the venues, the DPCS strengthens the community through live creative performance.

by Christian Carey