Upcoming Concerts 2018 Past Concerts

Total Page:16

File Type:pdf, Size:1020Kb

Upcoming Concerts 2018 Past Concerts 6/29/2018 Schedule - Mantra Percussion (/) About (/about.html) Concerts (http://www.mantrapercussion.org/schedule.html) Media (http://www.mantrapercussion.org/video) Education (/education.html) Support (/support.html) MantraMart (http://www.mantrapercussion.org/recordings.html) Cart (­) Upcoming Concerts 2018 Date: May 6th, 2018 Location: National Sawdust (https://nationalsawdust.org/event/experiments­in­opera­and­here­we­are/) Brooklyn, NY Program: Matthew Welch ­­ And Here We Are (performed with Blarvuster (https://blarvuster.com/)) Past Concerts 2018 Date: March 29, 2018 Location: Merkin Hall, Ecstatic Music Festival (http://www.kaufmanmusiccenter.org/mch/series/ecstatic­music­ festival/) New York, NY Program: collaboration with Bent Knee (https://www.bentkneemusic.com/) (Boston, MA) Date: March 22, 2018 Location: Oz Arts (http://www.ozartsnashville.org/rushes­mantra/) Nashville, TN Program: Michael Gordon ­­ Timber Date: February 17, 2018 Location: Kent State University Vanguard Series (https://www.kent.edu/music/new­music) Kent, OH Program: Michael Gordon ­­ Timber; Aaron Siegel ­­ A Great Many https://www.mantrapercussion.org/schedule.html 1/11 6/29/2018 Schedule - Mantra Percussion Date: February 19, 2018 Location: Bowling Green State University, MidAmerican Center for Contemporary Music (http://calendar.bgsu.edu/cal/event/showEventMore.rdo;jsessionid=4C DB0F43DF27CC87C1D5CA4BBEE8A110), with support from the Foundation for Contemporary Arts Emergency Grant (https://www.foundationforcontemporaryarts.org/grants/emergency­ grants) Bowling Green, OH Program: Lesley Flanigan ­­ Hedera; Tristan Perich ­­ Moment of Inertia; Aaron Siegel ­­ A Great Many; Michael Fiday ­­ It Shakes My Teeth Date: February 21, 2018 Location: Johnstone Fund for New Music (http://www.johnstonefund.org/) Columbus, OH Program: Michael Gordon ­­ Timber Tristan Perich Date: February 22, 2018 Location: Cincinnati Conservatory of Music (http://ccm.uc.edu/about/villagenews/faculty/michael­fiday­ commissions.html) Cincinnati, OH Program: Michael Gordon ­­ Timber; Preview of new work by Michael Fiday Date: February 23, 2018 Location: Cleveland Museum of Art ­­ Transformer Station (http://www.clevelandart.org/events/music­and­performances/mantra­ percussion) Cleveland, OH Program: Michael Gordon ­­ Timber 2017 Date: November 19, 2017 Location: National Gallery of Art Lesley Flanigan (https://www.nga.gov/content/ngaweb/calendar/concerts/seventy­ sixth/mantra­percussion.html) Washington, DC Program: Michael Gordon ­­ Timber Date: October 1, 2017 Location: Sacrum Profanum Festival (http://sacrumprofanum.com/program/46) Krakow, Poland Program: Repercussions ­­ Reich and Ghanaian drumming, featuring Gideon Alorwoyie and his ensemble Date: April 8, 2017 Location: Vancouver New Music (http://newmusic.org/mantra­ percussion­april­8­2017/) Vancouver, BC, Canada Program: Lesley Flanigan ­­ Hedera; Tristan Perich ­­ Moment of Inertia, Paul Dolden ­­ new work; Aaron Siegel ­­ A Great Many (commissioned by Chamber Music America) Date: April 7, 2017 Location: Western Washington University (https://www.nwperc.org/2017/) Daniel Wohl (photo by Nathan Lee Bush ) Bellingham, WA Program: Tristan Perich ­­ Moment of Inertia, Aaron Siegel ­­ A Great Many (commissioned by Chamber Music America) 2016 https://www.mantrapercussion.org/schedule.html 2/11 6/29/2018 Schedule - Mantra Percussion Date: December 15, 2016 Location: Experiments in Opera (http://experimentsinopera.com/) Merkin Hall, NYC Program: Matthew Welch ­­ And Here We Are Date: December 14, 2016 Location: (le) poisson rouge (http://lpr.com/lpr_events/shobaleader­ one­december­14th­2016/) NY, NY Program: Michael Gordon's Timber (excerpt) with Shobaleader One (Squarepusher) Date: December 10, 2016 Location: National Sawdust (https://nationalsawdust.org/event/folk­ world­music­institute­presents­steve­reich­tribute/) Brooklyn, NY Program: Steve Reich Celebration: Repercussion with Gideon Alorwoyie (Ghana) Date: December 4, 2016 Location: The Dither Extravaganza with David Grubbs (Gastr del Sol) Matthew Welch (https://www.newmusicusa.org/projects/the­dither­extravaganza­ 2016/) Brooklyn, NY Program: excerpts from Prismrose Date: April 29­30, 2016 Location: Right Now Music (http://hellolara.com/?tribe_events=right­ now­music­2016­mantra­percussion­flux­quarter­ %ED%99%A9%EB%B3%91%EA%B8%B0­ %EB%B0%95%EA%B2%BD%EC%86%8C­ %EC%8B%AC%EC%84%B1%EB%9D%BD­ %EA%B3%A0%EC%83%81%EC%A7%80%EB%B0%B4%EB%93% 9C­%EB%B0%95&ckattempt=1) Seoul, South Korea Program: Michael Gordon's Timber; Mathew Rosenblum's Ostatnia Runda Date: April 22­23, 2016 Location: Duke Performances (https://dukeperformances.duke.edu/calendar/michael­gordon­ %E2%80%A2­timber­rushes) Durham, NC Program: Michael Gordon's Timber Date: February 27, 2016 Location: Redcat/Broad Museum (http://www.redcat.org/event/callings­out­context­tyondai­braxton­ daniel­wohl) Los Angeles, CA Program: Daniel Wohl's Holographic Date: February 11, 2016 Location: Saint Paul Chamber Orchestra /Liquid Music series (https://content.thespco.org/events/daniel­wohl­holographic/) St. Paul, MN Program: Daniel Wohl's Holographic Date: February 6, 2016 Location: Indianapolis Museum of Art Bang on a Can Marathon (http://www.imamuseum.org/performance/daniel­wohl­holographic) 6/22/14 Indianapolis, IN Program: Daniel Wohl's Holographic Date: February 5, 2016 Location: Philadelphia Fringe Arts (http://fringearts.com/event/holographic/) Philadelphia, PA https://www.mantrapercussion.org/schedule.html 3/11 6/29/2018 Schedule - Mantra Percussion Program: Daniel Wohl's Holographic Date: January 21, 2016 Location: Baryshnikov Arts Center (http://bacnyc.org/performances/performance/daniel­wohl) New York, NY Program: Daniel Wohl's Holographic Date: January 10­17, 2016 Location: Massachusetts Museum of Contemporary Art Residency (http://www.massmoca.org/event_details.php?id=1049) North Adams, MA Program: Daniel Wohl's Holographic 2015 Date: December 12, 2015 Location: The Stone (http://thestonenyc.com/calendar.php?month=2) New York, NY Program: Matthew Welch’s And Here We Are with Blarvuster, Mantra Percussion and Kate Maroney (mezzo­soprano), Daniel Neer (baritone), Ben Holmes (trumpet) (clarinet), Emily Manzo (piano), Ian Riggs (bass guitar), Brian Chase (drums), Matthew Welch (conductor) Date: December 6, 2015 Location: Wesleyan University Memorial Chapel (http://www.wesleyan.edu/cfa/events/2015/12­2015/12062015new­ works­for­mantra­percussion.html) Middletown, CT Program: Graduate Student Composers' Concert Date: November 4, 2015 Location: New Museum (http://www.newmuseum.org/calendar) New York, NY Program: Steve Reich's Drumming (excerpt) Fast Forward Austin 4/12/14 Date: September 14, 2015 Location: Wesleyan University (http://www.wesleyan.edu/cfa/events/2015/12­2015/12062015new­ works­for­mantra­percussion.html) Middletown, CT Program: Lecture Series: "A Hitchhiker's Guide to Writing for Percussion" Date: April 2, 2015 Location: Ecstatic Music Festival (http://www.kaufmanmusiccenter.org/mch/series/ecstatic­music­ festival) New York, NY Program: 3Nights (/3nights.html) new work with Xiu Xiu (http://xiuxiu.org/) Date: March 1, 2015 Location: Music on the Edge (http://www.music.pitt.edu/events/beyond­microtonal­music­ festival140827) Pittsburgh, PA Paula Matthusen's "So Much of Any Year is Flammable" Program: Mathew Rosenblum Wesleyan University 10/26/13 (http://www.music.pitt.edu/faculty/rosenblum) new work Ostatnia Runda with Flux Quartet (http://www.fluxquartet.com/) Date: February 28, 2015 Location: Music on the Edge (http://www.music.pitt.edu/events/beyond­microtonal­music­ festival140827) Pittsburgh, PA https://www.mantrapercussion.org/schedule.html 4/11 6/29/2018 Schedule - Mantra Percussion Program: Michael Gordon's Timber Date: February 27, 2015 Location: Avant Media Festival (http://avantmedia.org/what/avant­ music­festival/2015) New York, N Program: Paula Matthusen (http://www.paulamatthusen.com/) new work (created for Rome Prize) Date: January 15 & 16, 2015 Location: Arts Brookfield ­ Winter Garden (http://artsbrookfield.com/venue/brookfield­place­new­ york/#.U_QFsby95Qw) co­presented with Ecstatic Music Festival (http://www.kaufmanmusiccenter.org/mch/series/ecstatic­music­ festival) New York, NY Program: 3Nights (/3nights.html) January 15: new work with Ian Williams (http://bttls.com/) (guitarist River to River Festival: ECSTATIC® Summer 2013 from Battles) January 16: new works by Wet Ink (http://www.wetink.org/) composers (Alex Mincek, Sam Pluta, Eric Wubbels) with choreographer Deborah Lohse (http://www.deborahlohse.com/) 2014 Date: September 18, 2014 Location: So Percussion Studio (http://sopercussion.com/) Brooklyn, NY Program: selections of new works from 3Nights (/3nights.html) (Wet Ink, Ian Williams) Date: September 12, 2014 Location: Third Angle (http://thirdangle.org/) Portland, OR Program: Michael Gordon's Timber Date: June 22, 2014 Location: Bang on a Can Marathon (http://bangonacan.org/bang_on_a_can_marathon) New York, NY Program: Michael Gordon's Timber at Newgrange prehistoric monument; Louth, Ireland May 2013 Date: May 28, 2014 Location: Mutek Festival (http://www.mutek.org/) Montreal, QB Program: Michael Gordon's Timber Date: May 24, 2014 Location: The Stone (http://www.thestonenyc.com/calendar.php? month=1) New York, NY Program: Susie Ibarra and Brian Chase Date: May 2­3, 2014 Location: Experiments in Opera (http://experimentsinopera.com/? p=873), Abrons Arts Center New York, NY Program: Aaron Siegel's opera, Brother Brother Date: April 21, 2014 Mantra @ BAM's Fisher Center under
Recommended publications
  • Bang on a Can Live – Vol
    NWCR646 Bang on a Can Live – Vol. 2 Gary Trosclair, trumpet; Mark Stewart, electric guitar; Alan Moverman, piano and synthesizer; Tigger Benford, percussion Jeffrey Brooks 3. Composition for Two Pianos (1992) ................... (8:55) (Bang on a Can 1992) Piano Duo – Cees van Zeeland & Gerard Bouwhuis Elizabeth Brown 4. Migration – in memory of Julie Farrell (1992) .... (11:44) (Bang on a Can 1992) Elizabeth Brown, shakuhachi; Mayuki Fukuhara, violin; Sarah Clarke, viola; Theodore Mook, cello David Lang 5. The Anvil Chorus (1991) ..................................... (7:00) (Bang on a Can 1991) Steve Schick, percussion Jeffrey Mumford 6. a pond within the drifting dusk (1989) ................ (9:22) (Bang on a Can 1989) Laura Gilbert, alto flute; Joshua Gordon, cello; Victoria Drake, harp Phil Kline Shelley Hirsch/David Weinstein 7. Bachman’s Warbler (1992) ................................. (16:34) 1. Haiku Lingo (excerpt) (1990) ............................. (8:15) (Bang on a Can 1992) Phil Kline, harmonica and (Bang on a Can 1990) Shelley Hirsch, voice; boomboxes David Weinstein, electronics Total playing time: 74:53 Lois V. Vierk 2. Red Shift IV (1991) ............................................. (12:25) Ê & © 1993 Composers Recordings, Inc. (Bang on a Can 1991) A Cloud Nine Consort: © 2007 Anthology of Recorded Music, Inc. Notes Bang on a Can is among the most inclusive and hospitable of introductions are cursory, a bit nervous and wonderfully all new music festivals. Its ambiance is informal. When the illuminating—an introduction to the person, not the concept, venues allow it, audiences can come and go during annual all- behind the music. When John Cage stepped on stage to kick day marathon concerts, sit up close and listen, or casually off the 1992 edition of the festival, which began with his stand in the back with a beer or an apple cider.
    [Show full text]
  • Presidency Cultural Programme in Kraków
    Presidency Cultural Programme in Kraków 2011-08-23 4th “Divine Comedy” International Theatre Festival December 2011 The Divine Comedy festival is not just a competition, but also an opportunity to see the top shows by young Polish directors and the chance to compare opinions of Polish theatre with critics from all over Europe. The selection of productions is made by the most prominent Polish critics, journalists, and reviewers, while the decision on who walks away with the figurine of the Divine Comedian is made by an independent international jury. The festival is divided into three blocks. In the Inferno section – the contest for the best Polish productions of the previous season – the maestros of Polish theatre and their students compete for the award. Paradiso is the section of the festival devoted to the work of young, but already acclaimed, directors. The Purgatorio block includes accompanying events. It should be emphasised that this year the festival has changed its formula – traditionally the competition section and culmination of accompanying events fall in December, while the international section takes place all year round – every month excluding the summer holidays. Organiser: Krakow Festival Office www.boskakomedia.pl Opera Rara: A. Vivaldi – L’Oracolo in Messenia 8 December 2011 December’s performance in the Opera Rara cycle perfectly achieves the goals set by originator Filip Berkowicz when he began the project in 2009 – to present above all works which are rarely played or which have been restored to the repertoire after centuries of absence in concert halls. This will be the world première of the opera written by Antonio Vivaldi in the last years of his life, published just after his death and then lost for a very long time.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008).
    [Show full text]
  • PDF Transition
    ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:” ! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN PERICH! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! A Dissertation! Presented to the Faculty of the Graduate School! of Cornell University! in Partial Fulfillment of the Requirements for the Degree of! Doctor of Musical! Arts! ! ! by! David Benjamin Friend! May 2019! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2019 David Benjamin! Friend! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! “FINGERS GLITTERING ABOVE A KEYBOARD:”! THE KEYBOARD WORKS AND HYBRID CREATIVE PRACTICES OF ! TRISTAN! PERICH! ! David Benjamin Friend, D.M.A.! Cornell University,! 2019! ! !This dissertation examines the life and work of Tristan Perich, with a focus on his works for keyboard instruments. Developing an understanding of his creative practices and a familiarity with his aesthetic entails both a review of his personal narrative as well as its intersection with relevant musical, cultural, technological, and generational discourses. This study examines relevant groupings in music, art, and technology articulated to Perich and his body of work including dorkbot and the New Music Community, a term established to describe the generationally-inflected structural shifts! in the field of contemporary music that emerged in New York City in the first several years of the twenty-first century. Perich’s one-bit electronics practice is explored, and its impact on his musical and artistic work is traced across multiple disciplines and a number of aesthetic, theoretical, and technical parameters. This dissertation also substantiates the centrality of the piano to Perich’s compositional process and to his broader aesthetic cosmology. A selection of his works for keyboard instruments are analyzed, and his unique approach to keyboard technique is contextualized in relation to traditional Minimalist piano techniques and his one-bit electronics practice." ! ! BIOGRAPHICAL! SKETCH! ! !! !David Friend (b.
    [Show full text]
  • Bang on a Can Announces Onebeat Marathon #2 Live Online! Sunday, May 2, 2021 from 12PM - 4PM EDT
    FOR IMMEDIATE RELEASE Press contact: Maggie Stapleton, Jensen Artists 646.536.7864 x2, [email protected] Bang on a Can Announces OneBeat Marathon #2 Live Online! Sunday, May 2, 2021 from 12PM - 4PM EDT A Global Music Celebration curated and hosted by Found Sound Nation. Four Hours of LIVE Music at live.bangonacan.org Note: An embed code for the OneBeat Marathon livestream will be available to press upon request, to allow for hosting the livestream on your site. The OneBeat Virtual Marathon is back! OneBeat, a singular global music exchange led by our Found Sound Nation team, employs collaborative original music as a potent new form of cultural diplomacy. We are thrilled to present this second virtual event, showcasing creative musicians who come together to make music, not war. The OneBeat Marathon brings together disparate musical communities, offering virtuosic creators a space to share their work. These spectacular musicians join us from across the globe, from a wide range of musical traditions. They illuminate our world, open our ears, and break through the barriers that keep us apart. - Julia Wolfe, Bang on a Can co-founder and co-artistic director Brooklyn, NY — Bang on a Can is excited to present the second OneBeat Marathon – Live Online – on Sunday, May 2, 2021 from 12PM - 4PM ET, curated by Found Sound Nation, its social practice and global collaboration wing. Over four hours the OneBeat Marathon will share the power of music and tap into the most urgent and essential sounds of our time. From the Kyrgyz three-stringed komuz played on the high steppe, to the tranceful marimba de chonta of Colombia's pacific shore, to the Algerian Amazigh highlands and to the trippy organic beats of Bombay’s underground scene – OneBeat finds a unifying possibility of sound that ties us all together.
    [Show full text]
  • Muzyka Centrum Ensemble
    Muzyka Centrum koncerty 1977 - 2018 1977 13.06.1977. Klub Na Kotłowem Hans Ulrich Engelmann: Mini-Music To Siegfried Palm na wiolonczelę Toru Takemitsu: Vocalism AI Roman Haubenstock-Ramati: Multiple 5 na obój i kontrabas Myriam Marbe: Sonata pentru dua viole na dwie altówki Karlheinz Stockhausen: Studie II Bogusław Schaeffer: Algorithms Marek Chołoniewski - taśma Marcin Krzyżanowski - wiolonczela Mariusz Pędziałek - obój, rożek angielski, trabka Kazimierz Pyzik - akordeon, kontrabas Zdzisław Siadlak - dyrygent Ryszard Łukowski - aktor Marek Wilczyński - instrumenty perkusyjne Bogusława Hubisz i Barbara Kaczmarczyk - altówka 30.09.1977. Galeria Krzysztofory Hans Ulrich Engelmann: Mini-Music To Siegfried Palm na wiolonczelę Roman Haubenstock-Ramati: Multiple 5 Myriam Marbe: Sonata pentru dua viole Bogusław Schaeffer: Algorithms Bogusława Hubisz i Barbara Kaczmarczyk - altówka Marek Chołoniewski - taśma Marcin Krzyżanowski - wiolonczela Tomasz Lida - dyrygent Mariusz Pędziałek - obój, rożek angielski, trąbka Krzysztof Pieczyński - aktor Kazimierz Pyzik - kontrabas Marek Wilczyński - instrumenty perkusyjne 13.10. 1977. Galeria Krzysztofory Edison Denisow: Sonata na klarnet solo Andrzej Godek - klarnet Luc Ferrari: Visage V Jürgen Beurle: Variable Realisationen (1 wersja) Marek Chołoniewski – taśma Marcin Krzyżanowski - wiolonczela Krzysztof Pieczyński - aktor Maria Szpineter: Tro d'Archi na skrzypce, altówkę i wiolonczelę Tomasz Lida - skrzypce Barbara Kaczmarczyk - altówka Marcin Krzyżanowski - wiolonczela John Cage: Solos for Voice 2 Jürgen
    [Show full text]
  • A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century
    A SCENE WITHOUT A NAME: INDIE CLASSICAL AND AMERICAN NEW MUSIC IN THE TWENTY-FIRST CENTURY William Robin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2016 Approved by: Mark Katz Andrea Bohlman Mark Evan Bonds Tim Carter Benjamin Piekut © 2016 William Robin ALL RIGHTS RESERVED ii ABSTRACT WILLIAM ROBIN: A Scene Without a Name: Indie Classical and American New Music in the Twenty-First Century (Under the direction of Mark Katz) This dissertation represents the first study of indie classical, a significant subset of new music in the twenty-first century United States. The definition of “indie classical” has been a point of controversy among musicians: I thus examine the phrase in its multiplicity, providing a framework to understand its many meanings and practices. Indie classical offers a lens through which to study the social: the web of relations through which new music is structured, comprised in a heterogeneous array of actors, from composers and performers to journalists and publicists to blog posts and music venues. This study reveals the mechanisms through which a musical movement establishes itself in American cultural life; demonstrates how intermediaries such as performers, administrators, critics, and publicists fundamentally shape artistic discourses; and offers a model for analyzing institutional identity and understanding the essential role of institutions in new music. Three chapters each consider indie classical through a different set of practices: as a young generation of musicians that constructed itself in shared institutional backgrounds and performative acts of grouping; as an identity for New Amsterdam Records that powerfully shaped the record label’s music and its dissemination; and as a collaboration between the ensemble yMusic and Duke University that sheds light on the twenty-first century status of the new-music ensemble and the composition PhD program.
    [Show full text]
  • Field Recordings
    Photo by Stephanie Berger Bang on a Can All-Stars Field Recordings PROGRAM Sun, Oct 25 at 7pm Bang on a Can All-Stars Royce Hall Ashley Bathgate Cello Robert Black Bass Vicky Chow Piano and keyboard David Cossin Percussion Mark Stewart Electric guitar Ken Thomson Clarinets Andrew Cotton Sound engineer RUNNING TIME FIELD RECORDINGS Approximately 90 minutes; no intermission Julia Wolfe Reeling Florent Ghys An Open Cage Michael Gordon Gene Takes a Drink (with film by Bill Morrison) Christian Marclay Fade to Slide (with film) David Lang unused swan Tyondai Braxton Casino Trem Jóhann Jóhannsson Hz (with film) Todd Reynolds Seven Sundays Steve Reich The Cave of Machpelah (excerpt from The Cave) MEDIA SPONSOR: (arr. Michael Gordon) Bryce Dessner Maximus to Gloucester, Letter 27 [withheld] (with film) Anna Clyne A Wonderful Day PROGRAM NOTES MESSAGE FROM THE CENTER: For 135 years recorded sound has permeated every corner of our For almost 25 years, the phrase Bang On A Can All-Stars lives, changing music along with everything else. Bartok and Kodaly has been synonymous with innovation in the world of took recording devices into the hills of central Europe and modern contemporary music. While the performer lineup may music was never the same; rock and roll’s lineage comes from change periodically, the symbiotic relationship between artists revealed to the world by the Lomaxes, the Seegers, and other musicians and modern composers remains staunchly and archivists. Hip-hop culture democratized sampling: popular music illuminatingly in place. today is a form of musique concrète, the voices & rhythms of the past mixing with the sound of machinery and electronics.
    [Show full text]
  • Bang on a Can Marathon Live Online – Maerzmusik Edition Presented by Berliner Festspiele Sunday, March 21, 2021 from 3Pm-7Pm E
    FOR IMMEDIATE RELEASE Press contact: Maggie Stapleton, Jensen Artists 646.536.7864 x2, [email protected] Bang on a Can Marathon Live Online – MaerzMusik Edition Presented by Berliner Festspiele Sunday, March 21, 2021 from 3pm-7pm EDT | 8pm-12am CET Full Lineup and Hourly Schedule Announced Four Hours of LIVE Music Bang on a Can streaming at: live.bangonacan.org MaerzMusik streaming at: www.berlinerfestspiele.de/maerzmusik-ondemand-en Note: An embed code for the Bang on a Can Marathon livestream will be available to press upon request, to allow for hosting the livestream on your site. Brooklyn, NY / Berlin, Germany — Bang on a Can announces the lineup and full schedule for the Bang on a Can Marathon Live Online – MaerzMusik Edition presented by Berliner Festspiele on Sunday, March 21, 2021 from 3pm-7pm ET / 8pm-12am CET. For MaerzMusik 2021, Bang on a Can has curated a special edition of its online Bang on a Can Marathon – four hours of live performances from both sides of the Atlantic, reflecting the diversity and breadth of the Bang on a Can community. The show is free to watch, but viewers are encouraged to consider purchasing a ticket. Doing so helps Bang on a Can and MaerzMusik to pay more players, commission more composers, and make more music. Hello Berlin! Hello New York! It's been a year since we've seen a live audience and we miss everyone very much! Since the beginning of COVID Bang on a Can has been presenting our marathons live - commissioning composers, paying performers, streaming their collaborations all over the internet.
    [Show full text]
  • PICA Concert 1 Musicfromadarkspace
    Decibel New Music Ensemble in partnership with TURA New Music and PICA Presents A VOICE FROM THE DARK SPACE Monday, 28 March, 2011, 8pm, Main Gallery Space, PICA. 1. Lindsay Vickery: Night Fragments (2011) for mezzo soprano, flute/alto flute, clarinet/bass clarinet, cello, keyboard and electronics [world premiere]. 2. Julian Day: Beginning to Collapse (2008) for alto flute, Bb clarinet, guitar, keyboard, cymbal, cello and backing track [WA premiere]. 3. Malcolm Riddoch: Variations on Electroacoustic Feedback (2010) for multiband EQ filter, alto flute and cello. 4. Cornelius Cardew: The Tigers Mind ‘Night Piece’ (1967) for voice, bass guitar, cello, bass clarinet, percussion and electronics. [WA premiere]. [Interval] 5. Alan Lamb: Musicians Coping with Infinity (2011) for infinity machine and mezzo soprano [world premiere]. 6. Adam Trainer: Drone Mosaic (2010) for alto flute, bass clarinet, guitar and cello and four backing tracks [world premiere]. 7. Cat Hope: Longing (2011) for voice, viola, cello, bass clarinet, percussion and electronics [world premiere]. 8. Ennio Morricone/Joan Baez: The Ballad of Sacco and Vanzetti (1971) arranged by Decibel for mezzo soprano, choir, bass clarinet, bass guitar, guitar, keyboard, drum set, viola and cello. Welcome to the first of three concerts at PICA in 2011. Decibel has deliberately chosen the gallery space to stage these concerts to engage with music that is not necessarily tied up with ‘concert’ conventions or specifications. Composers and installation artists have continued to explore different states in art, using the architectural qualities of music and sound to sculpt environments. Whether it is the feeling of a landscape, the sounds produced by the landscape, the effect of the room our environment is crucial to our understanding of music and sound.
    [Show full text]
  • 2007 Chapman Percussion Symposium
    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 2007 2007 Chapman Percussion Symposium Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation "2007 Chapman Percussion Symposium" (2007). Printed Performance Programs (PDF Format). Paper 1252. http://digitalcommons.chapman.edu/music_programs/1252 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. 2007 ca~i~~ PERCUSSION SYMPOSIUM THE 2007 PERCUSSION FIND A SCHEDULE OF EVENTS, ,,THE DAY'S ACTIVITIES THE SYMPOSIUM'S FEATURED NEW PERCUSSION ARTISTS & ,,..,,,..,,,,..,,:,:,,!'--'.i...J_._.. FRIENDS. MY STAFF AND I ATMOSPHERE. FEEL FREE TO PLEASE BE AWARE OF ONGOING LIMIT YOUR CONVERSATION AND ROOM (OH 101D, JUST A TO EXPLORE THE NEW PERCUSSION SCORE ''PETTING l2:£f,L 2 :;:~~,:i~:t,l,~ EVERY SCORE FROM THE DAY'S PERFORMANCES (AND MANY, MANY MORE) WILL BE DISPLAYED. MANY OF THE PUBLISHERS AND COMPOSERS WILL BE PRESENT THROUGHOUT THE DAY, AND WOULD BE HAPPY TO SPEAK WITH YOU ABOUT THEIR PRINTED & RECORDED MUSIC. THANK YOU FOR BEING A PART OF OUR FIRST PERCUSSION SYMPOSIUM. PLEASE SHARE YOUR THOUGHTS ON THE DAY'S ACTIVITIES WITH A STAFF :MEMBER, OR TAKE TIME TO WRITE DOWN YOUR THOUGHTS & IDEAS ON THE SYMPOSIUM FEEDBACK FORM INCLUDED IN THIS FOLDER. Srnyrr, Y,/1 CNfCK~J:Ji-=~----~ 'TERRY, SYMPOSIUM HOST PERCUSSION FACULTY, CHAPMAN CONSERVATORY OF MUSIC "New Music Ross Karre: Video&~; Social Hour (refreshments s Vessels Brothers, steel- Dinner Break 6:00 - 8:00 PM Third Coast Percussion Quartet S:OOPM Salmon Recital Hall 2007 CHAPMAN PERCUSSION SYMPOSIUM SYMPOSIUM HOST Percussionist Nicholas Terry has achieved critical acclaim as both a soloist and ensemble player of wildly diverse styles of music.
    [Show full text]
  • New York City Electroacoustic Music Festival – April 2–6, 2013 –
    NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL – APRIL 2–6, 2013 – nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 FESTIVAL SCHEDULE 6 COMMITTEE & STAFF 8 PROGRAMS & NOTES 9 INSTALLATIONS 43 COMPOSERS & PERFORMERS 45 SUPPORT 72 ACKNOWLEDGEMENTS – Special thanks to the Doctoral Student Council of Graduate Center CUNY for their support. Additional thanks to: 4 DIRECTOR’s WELCOME Welcome to NYCEMF 2013! On behalf of the Steering Committee, it is my great pleasure to welcome you to the New York City Electroacoustic Music Festival this year. We have planned an exciting program of 21 concerts in many different locations throughout New York City, and we hope that you will enjoy all of them. I would like first to acknowledge the assistance and support of the many people who have helped make this event possible: – Dr. David Olan, Executive Director of the Ph.D./D.M.A. programs in Music at the City University Graduate Center, and Kelli Kathman, manager of the concert office, for their assistance in organizing our use of Elebash and Segal Halls. – Brian Fennelly, Louis Karchin, and Elizabeth Hoffman of New York University, for the inclusion of our first concert as part of their Washington Square Contemporary Music series. – Fractured Atlas/RocketHub for their support in our fund-raising program, and all the donors who contributed to our campaign. – The Doctoral Students’ Council of the Graduate Center, for their support in contributing to the printing of the program book. – The Steering Committee, who met for many hours in planning the events and who single-handedly selected all the music for the festival.
    [Show full text]