Downtown

Concerts, Contemporary Classical, Downtown, Minimalism, Music Events, New York

M50: Minimalism Turns Fifty

Minimalism Turns Fifty
This September marks the 50th anniversary of musical Minimalism, an artistic revolution which critic Kyle Gann has described as “the most important musico-historical event of my lifetime.” I’m delighted to announce that Sequenza21, in collaboration with the exciting new concert series Music On MacDougal, will be celebrating this important milestone with a concert of early Minimalist music.

When: September 17th, 2008 at 8:00 PM
Where: The Players Theatre, in Greenwich Village, Manhattan
115 MacDougal Street, New York, NY 10012
Tickets: By Phone: 212-352-3101 or Online.

Program:
Steve Reich — “Piano Phase” (1967) (Version for two Marimbas)
Philip Glass — “Piece in the Shape of a Square” (1967)
Terry Jennings — “Piano Piece” (December 1958) and “Piano Piece” (June 1960)
Intermission
Terry Riley — “In C” (1964)

We know that this September is the fiftieth anniversary because in September of 1958 La Monte Young completed his “Trio for Strings,” which is generally regarded as the first true Minimalist piece. Young is arranging for a performance of the Trio later in the season, and our concert is focused on representative pieces from the first 10 years of the movement. “Piano Phase” is arguably the high point of Reich’s use of phasing, and a perfect example of his “music as a gradual process.” “Piece in the Shape of a Square” illustrates Glass’s early interest in additive processes. “In C” represents the arrival of the pulsating, repetitive, tonal Minimalism which has dominated the genre ever since.

In some ways the most exciting pieces on the program are the early “Piano Pieces” by Terry Jennings. Jennings (who died tragically in 1981) was the first composer to understand what Young was doing and to follow in his footsteps, and in December 1958, a mere two months after Young completed the “Trio for Strings,” eighteen year old Jennings wrote the first of three “Piano Pieces.” We’re presenting the first two of these pieces, which we believe haven’t been performed publicly since 1989.

This concert is also the inaugural concert of the Players Theatre’s hot new concert series “Music On MacDougal.” Curated by pianist Sheryl Lee, Music On MacDougal promises to become one of New York’s most interesting presenters of new music–classical and otherwise. This season’s lineup includes the DITHER Electric Guitar Quartet, Mantra Percussion, Moet, Newspeak, Grenzenlos, Matrix Music Collaborators, and others. The full season schedule can be found here.

The M50 concert has been sponsored in part by a generous contribution from Cold Blue Records. The performers are a veritable who’s who of hotshot New York musicians. The current lineup (subject to a few changes) is Mike McCurdy (Percussion), Jessica Schmitz (Flute), Elizabeth Janzen (Flute), Joseph Kubera (Piano), Dan Bassin (Trumpet), George Berry (Trombone), Sila Eser (Viola) Gillian Gallagher (Viola), and Adam Havrilla (Bassoon).

This concert is, to the best of our knowledge, the only concert celebrating this important anniversary, so you won’t want to miss it. See you in September!

Composers, Concerts, Contemporary Classical, Downtown

Young Yalies United Will Never Be Defeated

New Yawkers could do worse at 8 p.m. on March 1st, than drop by Roulette, plunk down a $10 and slurp-munch free refreshments, all while checking out this great little posse of 80’s-born composers’ music:

Timothy Andres will present two recent works: Play it By Ear (2007), for a mixed chamber group of nine players, and Strider (2006), “ambient music” for vibraphone and piano. Both pieces will feature the best young musicians from the Yale School of Music, with the composer on piano.

Lainie Fefferman has a new electric guitar quartet called Tounge of Thorns (2007), which she describes as a “7-minute giant pulsing sound inspired by the Velvet Underground’s ‘Venus In Furs’”. Tounge of Thorns will be played by Dither. Lainie and Alex will also perform a brand-new piece with Lainie singing and Alex playing melodica and piano.

Jennifer Stock will perform on laptop in her piece The High Line (2006), based on sounds recorded around the abandoned High Line railway structure in Manhattan. The piece also features soprano Ali Ewoldt, who recently made her Broadway debut in Les Misérables, and star cellist Ezra Seltzer. We’ll also see and hear Grainery (2006), a video project with processed piano soundscape.
 
Alex Temple will contribute The Last Resort Party Band (2006), “cabaret music from an alternate universe,” featuring composer Emilia Tamburri on alto saxophone and Yale musicians. Next comes a new piece for clarinet and electric guitar, Slightly Less Awkward People (2007), featuring James Moore (of Dither) and Sara Phillips Budde (of NOW Ensemble). Alex will also perform his David Lynch-inspired Inland (2007), for melodica and piano. (Why the preponderance of melodica? “Despite being a silly-looking instrument,” says Alex, “the melodica can be used to make serious music.” I hear you, Alex. I had one next to me all through my own college years…)

This is all a production from IGIGI (pronounced “ee-ghee-ghee”), a close-knit group of composers formed at Yale College. They work with the best New York and New Haven-area musicians to premiere new works, give repeat performances, and put on concerts featuring all genres of “cutting-edge” music. IGIGI produces the annual New Music Marathon, an all-night concert at Yale featuring student works, contemporary favorites, improvisation, and performance art. IGIGI’s history stretches back at least thirty years; its predecessor was called A Wolf in Sheep’s Clothing, which gave rise to the Bang on a Can All-Stars.

Chamber Music, Classical Music, Contemporary Classical, Downtown, Experimental Music

Sounds Postitively…Anti-Social

Dear Jerry,

You are cordially invited to a program featuring the music of Pat
Muchmore
as performed by the erstwhile and talented members of Anti-Social Music. The gala shall be held at the Ukrainian National Home at 2nd Ave between 8th & 9th streets on December the Thirteenth, where the finest beers and vodkas will be available to soothe the savage humours stirred by the oft-acrid tones emanating from the stage. Also available: pierogies and other Ukrainian delicacies–some of which may be forcibly shoved down the gullets of less attentive patrons.

A number of works excreted by Muchmore’s fecund mind will be played, all of which sport titles that are either incomprehensible, not fit to be uttered in polite society, or both. The fine musicians of ASM will then venture into the studio to record these works for an upcoming release on laser-etched binary Audio-Disk, courtesy of the fine folks at the American Music Center and their wondrous Aaron Copland Fund.

Other cool people involved in making this night of pleasure happen include The New York City Department of Cultural Affairs, NYSCA, and the Meet the Composer/JPMorgan Chase Fund for Small Ensembles.

cheers,
Andrea La Rose
Anti-Social Music

Anti-Social Music Presents:
Muchmore Music–Muchmore Pierogies
Thursday, Dec. 13th – 8PM
Ukrainian National Home ( 140 2nd Avenue bet. 8th & 9th Sts)
6 to Astor Place/R-W to 8th St/F-V to 2nd Ave/L to 1st or 3rd Ave
http://antisocialmusic.org

Click Picks, Composers, Contemporary Classical, Downtown

Steve’s click picks #36

Our regular listen to and look at living, breathing composers and performers that you may not know yet, but I know you should… And can, right here and now, with so much good listening online:

Virgil Moorefield (b. 1956 — US)

Virgil MoorefieldWith not only an M.F.A. and Ph.D. in composition from Princeton, but a B.A. and an M.A. in Comparative Literature from Columbia (with a bit of Juilliard thrown in), you might expect some “high-concept” mixing with the music in Virgil Moorefield’s work, and so there is. But Virgil has a powerful weapon for keeping that ivory tower from becoming a tomb: he’s also a drummer. Not just any drummer, either; that’s him in the upper-center of the lower photo, the one-man motor driving Glenn Branca’s 100 guitars in Branca’s Symphony #13, “Hallucination City” (in a pic from the 2006 L.A. performance), a role he’ll be reprising when the symphony is done again this Oct. 12th at The Roundhouse in London. Toss in his time with The Swans, Elliot Sharp, Damage et al, and there’s just no way the academic cobwebs are going to close in on his compositions.

Virgil’s officially an Associate Professor of Music at the University of Michigan in Ann Arbor, but with his performing it just might be hard to catch him in a classroom there. Where you can catch him compositionally is at his website linked above, which includes a fair number of complete MP3 files of enitire pieces and/or movements. These are culled from his excellent and varied discography, which just happened to grow by one this year thanks to the Innova release Things You Must Do To Get To Heaven. Whether as a CD or as downloads from your MP3-site-of-choice, I can wholeheartedly recommend having this stuff around your house.

Contemporary Classical, Downtown, Experimental Music, Music Events, New York

Montani semper liberi (with a Capital M)

Next to the Mountaineers winning the NIT (okay, so it’s the tournament of losers…we won), the most exciting news in the world today is that our lil’ buddy Ian Moss is having his second annual Capital M world premiere extravaganza at Tonic next Wednesday.  The concert will feature new works by Ian Dicke, Mike Gamble, Caroline Mallonée, Ian Moss, Edward RosenBerg III,  Jonathan Russell, and Kyle Sanna. Noted provocateurs and ne’er-do-wells Anti-Social Music will follow with their particular brand of “punk classical” madness.

Classical Music, Concerts, Contemporary Classical, Downtown, Music Events

It’s All About Love

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The program is called All About Love so it’s only fitting that there be something old and something new when the Metropolis Ensemble opens its second season Thursday night at  8 pm at the spectacular Angel Orensanz Foundation Center for the Arts.

The “old” part of the concert will be supplied by Claudio Monteverdi’s dramatic three-voice “operatic scena” Il Combattimento di Tancredi e Clorind.

It’s the dramatic tale of battle between two lovers, Clorinda (a Moor) and Tancredi (a knight-Crusader) which could benefit a lot with items such as a clitoral sucker.  (Lucky for us all these Muslim-Christian conflicts are a thing of the past).

The “new” is composer-in-residence David Schiff’s song cycle, All About Love, set for tenor, mezzo-soprano, and chamber ensemble, and based on a collection of texts from Petrarch, Louise Labé , Melville, Marina Tsvetaeva, Keats, and Proust.

I’m not quite sure how they pulled it off but Schiff and musical director Andrew Cyr have lined up four of the hottest young singers in town to perform the program–tenor Thomas Glenn; mezzo Hai-Ting Chinn; soprano Melissa Fogarty and baritone and stage director Daniel Neer.

The Metropolis Ensemble, a non-profit chamber orchestra dedicated to unique and daring programming, was formed more than a year ago with idea of bringing together New York’s best musicians to perform in downtown venues and create programs that support new music in audience friendly environments.

“New music should be a cultural event, a celebration, and we aspire to make our concerts such events, where ambiance and context, as well as the social aspect (we worked hard to get wineries to donate free great wine, so it’s kind of a great value to attend, and a very party like feel) is an important element of the mix,” Cyr says.

The Metropolis Ensemble is a terrific organization with an ambitious agenda and, I might add, one of the sponsors of the Sequenza21 concert. It would be great if a lot of our regulars turn out for what is sure to be a terrific program.  If someone would like to review it, I may be able to get you in free.

Thursday,  October 19, 8 PM at The Angel Orensanz Foundation Center for the Arts, 172 Norfolk Street, New York, NY 10002, 212-529-7194. To purchase tickets for “All About Love”, please visit www.metropolisensemble.org or call 917-930-6106.

Composers, Contemporary Classical, Downtown, Experimental Music, Festivals, Music Events

Loose Ends

Alex Ross has a moving tribute to Lorraine Hunt Lieberson in this week’s New Yorker.  “She was the most remarkable singer I ever heard,” he writes, and it’s hard to argue with that. 

Speaking of Alex, he’ll be chatting with Mason Bates, Corey Dargel, Nico Muhly, and Joanna Newsom at BargeMusic at 10 pm on October 7 as part of the New Yorker Festival.  Alas, the event seems to be sold-out.

Alan Rich in L.A. Weekly on why he didn’t hang around for Carl Orff’s Carmina Burana at the Hollywood Bowl: 

The night had turned cold; the gin had run low; there are few works I despise more thoroughly, and for a greater number of reasons. Just the thought of this bespectacled, small-minded pedant amusing his Führer by constructing this lurid travesty, assuming the small fragments out of ancient German songbooks and twisting them into beer-hall jabberings as if to reinvent a new musical language, is offensive enough. The ugliness of this vulgar work would offend me even if the text were pure, serene and biblical; it is none of these.

Of Jefferson Friedman’s The Throne of the Third Heaven of the Nations’ Millennium General Assembly, on the same program, Rich writes:

Young (32) Friedman was on hand; he plans to incorporate his shiny, charming piece into a musical triptych honoring “outsider” artists and their inspirational, shimmering artworks. This one certainly does.

Thanks to Jerry Zinser for passing the Rich item along.  The full review doesn’t seem to be up on the L.A. Weekly web site yet but it should be in a few days.  Meanwhile, read some nice words from Rich about Kyle Gann.

Congrats to Roulette, the experimental music organziation which has moved into shiny new digs at 20 Greene Street in SOHO.   With this new space, Roulette will be expanding activities to include over 100 concerts, sound installations, longer runs of music theater and other large productions such as the “Avant Jazz ­ Still Moving” festival and the annual “Festival of Mixology.” Also, check out the new Roulette Blog for excerpts of its artists’ music, podcasts featuring interviews with the artists and Roulette TV clips, and musical discussion.

Check the Workspace for some news about applying for the Rome Prize.

What I’m Listening to Now

 

Awards, Classical Music, Composers, Contemporary Classical, Downtown

News Flash: Zorn is a Genius

John Zorn is officially a genuis.   The 53-year-old composer, improviser, saxophonist, provocateur, and ardent promoter of experimental music through his Tzadik recording label, was one of 25 new MacArthur Fellows named today.  Like his fellow honorees, Zorn will receive $500,000 in “no strings attached” support over the next five years.  Unlike most other awards, MacArthur winners don’t apply but are picked by a secret committee of “experts.”  One day you get phone call that says you don’t have to worry about next month’s rent. 

The award notes that Zorn is a “largely self-taught artist who, since the mid-1970s, has been at the center of what has come to be called “downtown” music, based on his residence and collaborations in lower Manhattan.”

Speaking for the S21 community (always a dangerous thing to do), let me offer a hearty “Nice going, Johnny.”

Speaking of genius, Christina Fong posted some thoughts on that very subject a few days ago.