So Percussion

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Sō Percussion Through its sensational interpretations of collaborator, Caroline Shaw (with whom modern classics, innovative multi-genre Sō has a new album due this season); original productions, and “exhilarating David Lang’s man made and Lully’s Le blend of precision and anarchy, rigor and Bourgeois gentilhomme with Louis bedlam,” (The New Yorker), Sō Langrée and the Cincinnati Symphony; Percussion has redefined the scope and dates in Paris, Lithuania, and throughout role of the modern percussion ensemble, the US. Sō also collaborated with placing it at the leading edge of 21st- choreographer John Heginbotham on a century music. new ballet, RACECAR, premiered as part of The Washington Ballet’s season- Sō’s repertoire ranges from 20th century opening production, NEXTsteps. works by John Cage, Steve Reich, and Iannis Xenakis, et al, to commissioning This season Sō celebrates its sixth year as and advocating works by contemporary the Edward T. Cone Performers-in- composers such as David Lang, Julia Residence at Princeton University and Wolfe, Steven Mackey, and Caroline welcomes the appointment of flutist, Shaw, to distinctively modern composer, and vocalist Nathalie collaborations with artists who work Joachim as the ensemble’s outside the classical concert hall, inaugural Andrew W. Siegel Composition including Shara Nova, choreographer Fellow. 19/20 also marks the release of Susan Marshall, The National, Bryce album collaborations with Dan Trueman Dessner, and many others. and the JACK Quartet (Songs that are Hard to Sing, from New Amsterdam), and Sō Percussion’s original productions – with indie duo Buke and Gase. including From Out A Darker Sea, Where “Through a mix of consummate (we) Live, and Jason Treuting’s Amid the skill and quirky charm, this Noise – employ a distinctively 21st Valid for use until 1 September 2021 mercurial quartet has helped to century palette of original music, artistic For updated versions please contact [email protected] ignite an explosive new collaboration, theatrical production values and visual art, yielding powerful enthusiasm for percussion music explorations of the human experience. old and new.” The New York Times In December 2019, Sō Percussion made a triumphant return to Carnegie Hall for a sold-out performance of “A Percussion Century,” a sprawling exploration of the modern percussion repertoire including works by composers Cage, Lang, Reich, and Xenakis, as well as works by Carlos Chávez, Johanna Beyer, and the New York premiere of Sō’s newest commission, Forbidden Love, a string quartet by Julia Wolfe. Other 19/20 highlights include a Miller Theatre Composer Portrait of frequent Sō Rayfield Allied Member of the International Artist 9-12 The Stableyard Managers’ Association Broomgrove Road London SW9 9TL Rayfield Allied acts as agent only and can www.rayfieldallied.com accept no responsibility as principal E-mail [email protected] Telephone +44 (0) 20 3176 5500 Facsimile +44 (0) 700 602 4143 .

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PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
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Program Notes (PDF)
July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–30 Stanley H. Kaplan Penthouse S¯o Percussion: Trilogy July 28 Reich, Dessner, Lang July 29 Xenakis, Ergün, Trueman July 30 Cage, Lansky, Mackey S¯o Percussion Eric Cha-Beach Josh Quillen Adam Sliwinski Jason Treuting This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION About S o– Percussion: Trilogy 2016 represents a milestone in defines percussion is not the specific So–Percussion’s work: 15 years of com - nature of instruments and playing exper - missioning new pieces for percussion. In tise, but rather our willingness to be flexi - 2001, we had our first professional season, ble and diverse with what we play. our first concert in New York City at the Bang on a Can Marathon, and the initiation So–’s four festival concerts began with of our first major commission, David Steve Reich’s Drumming at Alice Tully Hall Lang’s the so-called laws of nature. on July 16 as part of Reich/Reverberations, a three-concert series celebrating Reich’s Our history with Lincoln Center Festival 80th birthday. Drumming is the pillar that began in 2007 when we teamed up with supports most of the other works. the electronica duo Matmos for explo - rations of the tonal possibilities of uncom - Happily, it is becoming increasingly chal - mon objects.
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An Analysis and Performance Guide of Steve Reich's Mallet
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 AN ANALYSIS AND PERFORMANCE GUIDE OF STEVE REICH’S MALLET QUARTET Francisco S. Perez University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.050 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Perez, Francisco S., "AN ANALYSIS AND PERFORMANCE GUIDE OF STEVE REICH’S MALLET QUARTET" (2018). Theses and Dissertations--Music. 109. https://uknowledge.uky.edu/music_etds/109 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
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S U M M E R 2 0
SUMMER 2 0 2 1 Contents 2 Welcome to Caramoor / Letter from the CEO and Chairman 3 Summer 2021 Calendar 8 Eat, Drink, & Listen! 9 Playing to Caramoor’s Strengths by Kathy Schuman 12 Meet Caramoor’s new CEO, Edward J. Lewis III 14 Introducing in“C”, Trimpin’s new sound art sculpture 17 Updating the Rosen House for the 2021 Season by Roanne Wilcox PROGRAM PAGES 20 Highlights from Our Recent Special Events 22 Become a Member 24 Thank You to Our Donors 32 Thank You to Our Volunteers 33 Caramoor Leadership 34 Caramoor Staff Cover Photo: Gabe Palacio ©2021 Caramoor Center for Music & the Arts General Information 914.232.5035 149 Girdle Ridge Road Box Office 914.232.1252 PO Box 816 caramoor.org Katonah, NY 10536 Program Magazine Staff Caramoor Grounds & Performance Photos Laura Schiller, Publications Editor Gabe Palacio Photography, Katonah, NY Adam Neumann, aanstudio.com, Design gabepalacio.com Tahra Delfin,Vice President & Chief Marketing Officer Brittany Laughlin, Director of Marketing & Communications Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator Caramoor / 1 Dear Friends, It is with great joy and excitement that we welcome you back to Caramoor for our Summer 2021 season. We are so grateful that you have chosen to join us for the return of live concerts as we reopen our Venetian Theater and beautiful grounds to the public. We are thrilled to present a full summer of 35 live in-person performances – seven weeks of the ‘official’ season followed by two post-season concert series. This season we are proud to showcase our commitment to adventurous programming, including two Caramoor-commissioned world premieres, three U.S.
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Chambermusic
American Masterpieces Chamber Music DavidThe NewNess of Lang by Steven Schick n my student days at the Staatliche “new” in new music, my Freiburg classmates In his percussion music, Hochschule für Musik in Freiburg, I had tripped on one of the principal, and Ifound myself seated behind an older dangerous, conceits of contemporary music: the Bang on a Can woman at a concert of particularly dour that, above all, it must be new. They fell new music by young German composers. into the ultimate trap of newness: excluding co-founder demonstrates She sat through most of the concert until, references to pre-existing music quickly apparently exasperated, she stood suddenly leads to a narrowing path of possibilities and and shouted, “You call this music?” ultimately to a vocabulary of conformism that true innovation My fellow students turned to stare and in which, whatever else the music might be, grumbled their objections. They were right it was not new. Two years earlier, in a 20th- incorporates the past. to take offense. What she should have century analysis class at the University of shouted was, “You call this new?” Iowa, my classmate David Lang sidestepped Through an overly devout reading of the that pothole. He claimed in class that a passage in Wozzeck was not all that different from a section in a new Talking Heads song and that both passages had something in common with Wagner. Our fellow students grumbled their objections. But what David was asserting at that moment was a fresh idea—really new—that connections across the contentiously defined boundaries of history and genre were not to be avoided, but rather embraced.
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October 2011 Percussion News
percussion news The newsletter of the PERCUSSIVE ARTS SOCIETY OCTOBER 2011 IN THIS ISSUE: SocIETy UpdaTE 3 PASIC After Dark pEoplE aNd placES 4 EvEnIng ConCErtS wIll kEEP InDy groovIng IN MEMorIaM: davId SEarcy 5 In less than 60 days, the Indiana Convention Center and Westin Ho- tel–Indianapolis will be bustling with the sounds of percussionists and SUMMEr caMpS aNd drummers from around the world—all celebrating the 50th Anniversary FESTIvalS 16 of the Percussive Arts Society and enjoying the special offerings of PA- PASIc poSTErS 22 SIC 2011. As always, this year’s PASIC will present spectacular concerts 2011 drUM corpS every evening that are sure to intrigue the ears of every attendee. INTErNaTIoNal World cHaMpIoNSHIpS 24 wEDnESDAy EvEnIng (nov. 9) IN MEMorIaM: The star-studded concert presented by the New Music/Research Commit- MarTy HUrlEy 27 tee will feature the best performers of a generation of percussionists focused on INdUSTry NEWS 28 the creation and performance of new music. This retrospective of important works of recent years will include compositions by Iannis Xenakis, Brian Ferneyhough, David Lang, claSSIFIEdS 35 Michael Gordon, and Julia Wolfe, and a tribute to Chinese composers Qu Xiao-song, Tan Dun, and Guo Wen-Jing. Performers will include Steven Schick, Percussion Group Cincinnati, Douglas Perkins, So Percussion and Mantra Percussion. tHUrSDAy EvEnIng (nov. 10) PONTIAC IL PASIC 2011 will present the world premiere of “Concerto No. 2 for Percussion Section, Timpani and Orchestra” by Joseph PERMIT NO. 19 th NON PROFIT ORG. U.S. POSTAGE PAID U.S. POSTAGE Schwantner, in the making since 2006 and specifically written for the Percussive Arts Society’s 50 Anniversary.
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Creative Musical Improvisation in the Development and Formation of Nexus Percussion Ensemble
! ! CREATIVE MUSICAL IMPROVISATION IN THE DEVELOPMENT AND FORMATION OF NEXUS PERCUSSION ENSEMBLE ! ! ! ! Olman Eduardo! Piedra ! ! ! ! ! A Dissertation! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements !for the degree of DOCTOR OF MUSICAL! ARTS May !2014 Committee: Roger B. Schupp, Advisor Gregory A. Rich, Graduate Faculty Representative Katherine L. Meizel John W. Sampen !ii ABSTRACT ! Roger B. Schupp, Advisor ! ! The percussion ensemble is a vital contemporary chamber group that has lead to a substantial body of commissions and premieres of works by many prominent composers of new music. On Saturday May 22nd, 1971, in a concert at Kilbourn Hall at the Eastman School of Music in Rochester, New York, NEXUS percussion ensemble, hailed by many as the world’s premiere percussion ensemble, improvised the entire program of their inaugural, 120 minute concert as a newly formed group, while using non-Western instruments with which the majority of the audience were unfamiliar.! NEXUS percussion ensemble has been inﬂuential in helping create new sounds and repertoire since their formation in 1971. While some scholarly study has focused on new commission for the medium, little attention has been given to the importance and inﬂuence of creative improvised music (not jazz) in the formation of NEXUS and its role in the continued success of the contemporary percussion ensemble.! This study examined the musical and cultural backgrounds of past and current members of NEXUS percussion ensemble, and the musical traditions they represent and recreate. The author conducted and transcribed telephone interviews with members of NEXUS percussion ensemble, examined scholarly research related to drumming traditions of the world and their use of improvisation, researched writings on creative improvisation and its methods, and synthesized !iii the findings of this research into a document that chronicles the presence of creative improvisation in the performance practices of NEXUS percussion ensemble.
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Steve Schick, So Percussion, Doug Perkins & Mantra Percussion
6/28/13 Steve Schick, So Percussion, Doug Perkins & Mantra Percussion perform Gordon/Lang/Wolfe at PASIC Steve Schick, So Percussion, Doug Perkins & Mantra Percussion perform Gordon, Lang & Wolfe @ PASIC 2011 On November 9 and 10, the Percussive Arts Society click below for audio, scores, video and more! International Convention features music of www.redpoppymusic.com/percussion Michael Gordon, David Lang, and Julia Wolfe. Cofounders of the iconic new music organization Bang On A Can, the works of these three influential composers have inspired a generation of musicians. Their solo and ensemble music for percussion continues to be both essential and innovative. On Nocember 9, an allstar cast of musicians performs on the inaugural concert of the convention, which celebrates the Percussive Arts Society's 50th Anniversary and the music that has defined the percussiongenre. Steve Schick, the original percussionist of the Bang On A Can AllStars, plays Lang's solo the anvil chorus. Commissioned and premiered by Schick in 1991, his recording and performances of the work have become legendary. Percussion ensemble extraordinaire So Percussion presents an excerpt from Wolfe's riveting drum set quartet, Dark Full Ride, as well as the second movement from their staple work, Lang's the socalled laws of nature. Doug Perkins (soloist, foundingmember of So Percussion and director of percussion at Dartmouth College) performs his firey version of Gordon's enduranceladen solo, XY. Completing the program, and hot off their critically eblasts.redpoppymusic.com/pasic/pasic.html 1/2 6/28/13 Steve Schick, So Percussion, Doug Perkins & Mantra Percussion perform Gordon/Lang/Wolfe at PASIC acclaimed premiere North American tour, Mantra Percussion performs an excerpt from Gordon's latest work, Timber for six amplified 2x4s.
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SO PERCUSSION DAN TRUEMAN Neither ANVIL Nor PULLEY
- SO PERCUSSION DAN TRUEMAN neither ANVIL nor PULLEY neither Anvil nor Pulley by Dan Trueman Performed by So¯ Percussion Hardanger fiddle: Dan Trueman So¯ Percussion is: Eric Beach, Josh Quillen, Adam Sliwinski, Jason Treuting Produced by Lawson White Recorded by Lawson White and Dave Snyder at Guilford Sound Mixed and Edited by Lawson White at Good Child Music Studios Mastered by Scott Hull at Masterdisk Assistant Engineering by Matt Hall Additional Editing by Julian Domo Published by Good Child Music (ASCAP) / Many Arrows Music (ASCAP). C 2013 Good Child Music, All Rights Reserved. For licensing information, contact [email protected]. For performance materials, visit goodchildmusic.com. Executive Producers: Michael Gordon, David Lang, Kenny Savelson, and Julia Wolfe Label manager: Bill Murphy Cantaloupe sales manager: Adam Cuthbert Art direction and design: Frank Olinsky Photo of So¯ Percussion: Janette Beckman Other photos: Eric Beach So¯ Percussion, Inc. 233 Norman Avenue, Suite 309 Brooklyn, NY 11222 (646) 926-2330 [email protected] Emily Krell, Managing Director For booking inquiries, please contact Alliance Artist Management at allianceartistmanagement.com. So¯ Percussion wishes to thank: Dan Trueman, Dave Snyder, Lawson White, Frank Olinsky, Kyle Dunleavy (pan tuner), Beth, Elsie, Mabel, Cristina, Guille, Yeji, Parsley, The Beach Family, Stephanie, Sasha, Sammy, Chris and Bill, Steve Taylor. Dan Trueman wishes to thank: Monica, Molly and Otto, Mah and Pops, the So¯ Percussion lads, Lawson White, Dave Snyder, Steve Mackey, Paul Lansky, Brad Garton, and everyone at Cantaloupe Music. So¯ Percussion plays Vic Firth sticks, Zildjian cymbals, Pearl/Adams instruments, Remo drum- heads, Black Swamp accessories, and Estey organs.
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1 David Lang's the So
David Lang's The So-Called Laws of Nature: An Analysis with an Emphasis On Compositional Processes Item Type text; Electronic Dissertation Authors Shinbara, Scott Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 14:03:35 Link to Item http://hdl.handle.net/10150/301687 1 DAVID LANG’S THE SO-CALLED LAWS OF NATURE: AN ANALYSIS WITH AN EMPHASIS ON COMPOSITIONAL PROCESSES by Scott Shinbara __________________________ Copyright © Scott Shinbara 2013 A Document Submitted to the FacuLty of the SCHOOL OF MUSIC In PartiaL FuLfiLLment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Scott Shinbara, title David Lang’s The So-Called Laws of Nature: An Analysis with Emphasis on Compositional Processes and recommend that it be accepted as fulfilLing the document requirement for the Degree of Doctor of MusicaL Arts. _______________________________________________________________________ Date: June 25, 2013 Norman Weinberg _______________________________________________________________________ Date: June 25, 2013 Jerry Kirkbride _______________________________________________________________________ Date: June 25, 2013 Kelland Thomas FinaL approvaL and acceptance of this document is contingent upon the candidate’s submission of the finaL copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilLing the document requirement.
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Press Kit and Program Notes for the John Cage Bootlegs Project
The Bootlegs are… • A blank LP with unique cover art. • A sampler CD from one of our Cage @ 100 concerts. • A “dropcard” which provides access to download every bootleg recording we make. • A limited release by Cantaloupe Music: out March 27, 2012. “Music is continuous; only listening is intermittent” -John Cage, after Henry David Thoreau John Cage’s artistic legacy is formidable. His innovations and accomplishments are truly staggering: Cage wrote some the first electric/acoustic hybrid music, the first significant body of percussion music, the first music for turntables, invented the prepared piano, and had a huge impact in the fields of dance, visual art, theater, and critical theory. Somehow Cage’s prolific output seems not to stifle, but rather to spur creativity in others. He certainly deserves surveys, tributes, and portraits during the centenary of his birth. But Sō Percussion wanted to do him honor by allowing his work and spirit to infuse our own. In 2012, we decided to put Cage’s music together with new music created for the occasion. We believe that most of it should not strive towards the “definitive,” but be ever changing and always new. Whether or not that lofty goal is achieved, we’re going to throw up a couple of mics every time we play it and see what happens. 2 Performance Dates and Venues of Bootleg Recordings 2011 Friday, September 9 - 9pm Musikfest Bremen Bremen, Germany Friday, September 16 - 7:30pm Pittsburg State University Pittsburg, KS Monday, October 24 - 7:30pm Friends of Chamber Music Portland, OR Wednesday, October 26 - 8pm Stanford Lively Arts Palo Alto, CA Saturday, October 29 - 8pm; Sunday, October 30 - 2pm The Mondavi Center U.C.
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Chapman Percussion Ensemble Chapman Percussion Ensemble
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 10-27-2015 Chapman Percussion Ensemble Chapman Percussion Ensemble Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Part of the Music Performance Commons, and the Other Music Commons Recommended Citation Chapman Percussion Ensemble, "Chapman Percussion Ensemble" (2015). Printed Performance Programs (PDF Format). 947. http://digitalcommons.chapman.edu/music_programs/947 This Ensemble 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]. Chapman Percussion Ensemble Nicholas Terry, Director October 27, 2015 CHAPMAN UNIVERSITY COLLEGE O P PERFORMING ARTS FALL 2015 calendar highlights CHAPMAN UNIVERSITY september november September 17 November 12-15 Keyboard Conversations® with Eurydice Jeffrey Siegel: The Passionate Love by Sarah Ruhl Music of Robert Schumann Theresa Dudeck, Director Hali-Musco Conservatory of Music october November 13 University Choir & presents the October 1-3, October 8-1 O Women's Choir in Concert Rent Stephen Coker, Conductor Book, Music and Lyrics by Jonathan Larson; Chelsea Dehn, Conductor Loosely based on Puccini's La Boheme; Matthew McCray, Director; Diane King Vann, November 14 Music Direction
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