ETHEL, America's Premier Post-Classical String Quartet, Announces
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Amjad Ali Khan & Sharon Isbin
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. -
Contemporary Music Ensemble
Suffolk County Community College • Music Department • Ammerman Campus Presents Contemporary Music Ensemble Spring Concert May 12, 2001 7:30 pm Islip Arts Building, Shea Theatre Contemporary Music Ensemble William Ryan, Director ________________________________________________ Premonition (1997) Phil Kline for many boomboxes (b. 1953) Vanessa Bonet Malachy Gately Lauren Kohler Jamie Carrillo David Greenberg Anne McInerney Lisa Casal Duane Haynes Corin Misiano Chris Ciccone Ryan Himpler Michelle Orabona Mike Clark William Jantz Rachel Rodgers Anne Dekenipp Colin Kasprowicz Gerry Rulon-Maxwell Virginia Dimiceli Andrew Keegan Michael Sarling Jason Dobranski Melanie Scalice Jessica Drozd Pete Stumme Joe Fogarazzo Naomi Volkel New York Counterpoint (1985) Steve Reich for clarinet and tape (b. 1936) Joseph Iannetto, clarinet Evan Ziporyn, recorded clarinets Elvis Everywhere (1987) Michael Daugherty for string quartet and tape (b. 1954) Lisa Casal, violin Malachy Gately, violin Vanessa Bonet, viola Jason Dobranski, cello A Change of Hearts (2001) Phil Kline for chamber ensemble and boomboxes (b. 1953) World Premiere Commissioned by the SCCC Contemporary Music Ensemble Melanie Scalice, flute Joseph Iannetto, clarinet Lauren Kohler, clarinet David Greenberg, trumpet Lisa Casal, violin Malachy Gately, violin Vanessa Bonet, viola Jamie Carrillo, viola Jason Dobranski, cello Colin Kasprowicz, keyboard Rachel Rodgers, electric bass Joe Fogarazzo, electric guitar Gerry Rulon-Maxwell, guitar Program Notes Premonition was written as a fanfare for the Bang On A Can Festival’s 10th Birthday Party. It is scored for an imaginary orchestra of 1000 strings or, (let’s get this right,) a real orchestra of 1000 virtual (computer- midi) strings. -Phil Kline New York Counterpoint is one of a series of works for soloist accompanied by pre-recorded layers of themselves. -
Lenguajes Artísticos Y Vanguardias En La No Wave
UNIVERSIDAD DE LA LAGUNA. GRADO EN HISTORIA DEL ARTE. Lenguajes artísticos y vanguardias en la No Wave Trabajo Fin de Grado Adriana García Benítez 23/09/2014 Tutor del trabajo: Dr. Pompeyo Pérez Díaz. ÍNDICE 1. Metodología y objetivos. Pág. 3 2. Introducción a la No Wave . Pág. 5 a. Influencias de la No Wave . b. New Wave y No Wave . c. Donde se produce el encuentro: The Mudd Club. d. Fanzines. 3. La música de la No Wave . Pág. 19 4. El cine y los directores ( filmmakers ) de la No Wave : Pág. 24 a. Vivienne Dick. b. Beth B c. Susan Seidelman. d. Jim Jarmusch. e. Paul Auster. 5. No solo pintura: Pág. 35 a. Jean Michael Basquiat. b. Robert Longo. 6. Conclusiones. Pág. 40 7. Bibliografía. Pág. 44 2 METODOLOGÍA Y OBJETIVOS. Con el presente trabajo se pretende realizar una inmersión a las manifestaciones artísticas que se dan en el entorno No Wave de Nueva York entre los años 70 y 80. El objetivo principal es estudiar las relaciones que existen entre las figuras más relevantes tanto en artes plásticas como en música y cine. El título “Lenguajes artísticos y vanguardias” responde a una intención de establecer las colaboraciones y cruces entre las artes, ya que al tratarse de un movimiento heterogéneo, se puede y se busca estudiar diferentes artistas y objetos artísticos. Este aspecto, a nivel personal, es otro de los que nos convencieron para abordar este tema, ya que nos permite indagar en varias manifestaciones en lugar de centrarnos en una única expresión, así como en los artistas clave del momento y como encajan todos los elementos en un lugar y momento determinados. -
Concerts from the Library of Congress 2012-2013
Concerts from the Library of Congress 2012-2013 LIBRARY LATE ACME & yMusic Friday, November 30, 2012 9:30 in the evening sprenger theater Atlas performing arts center The McKim Fund in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson; the fund supports the commissioning and performance of chamber music for violin and piano. Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. Please take note: UNAUTHORIZED USE OF PHOTOGRAPHIC AND SOUND RECORDING EQUIPMENT IS STRICTLY PROHIBITED. PATRONS ARE REQUESTED TO TURN OFF THEIR CELLULAR PHONES, ALARM WATCHES, OR OTHER NOISE-MAKING DEVICES THAT WOULD DISRUPT THE PERFORMANCE. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. THE LIBRARY OF CONGRESS Atlas Performing Arts Center FRIDAY, NOVEMBER 30, 2012, at 9:30 p.m. THE mckim Fund In the Library of Congress American Contemporary Music Ensemble Rob Moose and Caleb Burhans, violin Nadia Sirota, viola Clarice Jensen, cello Timothy Andres, piano CAROLINE ADELAIDE SHAW Limestone and Felt, for viola and cello DON BYRON Spin, for violin and piano (McKim Fund Commission) JOHN CAGE (1912-1992) String Quartet in Four Parts (1950) Quietly Flowing Along Slowly Rocking Nearly Stationary Quodlibet MICK BARR ACMED, for violin, viola and cello Intermission *Meet the Artists* yMusic Alex Sopp, flutes Hideaki Aomori, clarinets C.J. -
The Jewish Museum and Bang on a Can Present ETHEL Performing the String Quartets of Julia Wolfe
The Jewish Museum and Bang on a Can Present ETHEL Performing the String Quartets of Julia Wolfe Photos by Matthew Murphy (ETHEL) and Peter Serling (Julia Wolfe) Thursday, February 28, 2019 at 7:30pm Scheuer Auditorium at the Jewish Museum 1109 5th Ave at 92nd St | New York, NY Tickets: $20 General; $16 Students and Seniors; $12 Jewish Museum Members Available at www.thejewishmuseum.org. Includes museum admission. New York, NY – Bang on a Can and the Jewish Museum’s 2018-2019 concert season, pairing innovative music with the Museum’s exhibitions and showcasing leading female performers and composers, continues on Thursday, February 28, 2019 at 7:30pm. The acclaimed string quartet ETHEL performs the complete string quartets of Pulitzer Prize-winning composer Julia Wolfe: Dig Deep, Early that Summer, Four Marys, and Blue Dress. This is the first performance of all of Wolfe's string quartets at one time, on one stage. Julia Wolfe's string quartets, as described by The New Yorker, "combine the violent forward drive of rock music with an aura of minimalist serenity [using] the four instruments as a big guitar, whipping psychedelic states of mind into frenzied and ecstatic climaxes." This performance is presented in conjunction with the exhibition of fellow New York City cultural icon Martha Rosler: Irrespective. Established in New York City in 1998, ETHEL quickly earned a reputation as one of America’s most adventurous string quartets. Twenty years later, the band continues to set the standard for contemporary concert music. ETHEL is Ralph Farris (viola), Kip Jones (violin), Dorothy Lawson (cello), and Corin Lee (violin). -
Volume I (Final) Proofread
UCLA UCLA Electronic Theses and Dissertations Title The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly Permalink https://escholarship.org/uc/item/5h4626dd Author Lee, Hyunjong Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly A dissertation submitted in partial satisfaction of the requirements for the degree Doctoral of Philosophy in Music by Hyunjong Lee 2014 © copyright by Hyunjong Lee 2014 ABSTRACT OF THE DISSERTATION The Influence of Pop Music in the Works of Three Contemporary American Composers: Steven Mackey, Julia Wolfe and Nico Muhly by Hyunjong Lee Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes in this dissertation: the first is a monograph, and the second a musical composition, both of which are described below. Volume I These days, labels such as classical, rock and pop mean less and less since young musicians frequently blur boundaries between genres. These young musicians have built an alternative musical universe. I construct five different categories to explore this universe. They are 1) circuits of alternate concert venues, 2) cross-genre collaborations, 3) alternative modes of musical groups, 4) new compositional trends in classical chamber music, and 5) new ensembles and record labels. ii In this dissertation, I aim to explore these five categories, connecting them to recent cultural trends in New York. -
Robert Wilson & Jim Jarmusch
100 Flatbush Avenue 2nd Floor Brooklyn, NY 11217 718-330-0313 x 1 issueprojectroom.org Press Contact: Nick Scavo [email protected] ISSUE Winter Benefit: Robert Wilson & Jim Jarmusch / Lucie Vítková Wednesday, February 6th, 2019 - 8pm | ISSUE Project Room 22 Boerum, Brooklyn, NY 11201 $100 / $50 ISSUE Members / $250 After December 31st, 2018 Photo Credits: Yiorgos Kaplanidis, Amos Perrine Wednesday, February 6th, ISSUE is thrilled to present a collaborative performance between two of America’s most renowned experimental artists, and members of ISSUE’s Advisory Council, theater director and visual artist Robert Wilson and film director, screenwriter, actor, and musician Jim Jarmusch. In a benefit concert supporting ISSUE Project Room, the two will stage a new collaboration featuring Wilson reading John Cage’s Lecture on Nothing alongside ISSUE Winter Benefit: Robert Wilson & Jim Jarmusch | February 6th, 2019 | ISSUE Project Room improvised musical accompaniment by Jarmusch. The evening opens with a performance from Czech composer, improviser and performer Lucie Vítková, an emerging artist who presents work with an experimental approach to accordion, hichiriki, harmonica, voice, and tap dance. ISSUE hosts this benefit in order to raise funds for ISSUE’s Artists-In-Residence (AIR) program. Entering its 13th year, the AIR program is a core part of ISSUE’s mission to be a cultural incubator for artistic innovation and inspire a diverse array of artists to take creative risks, commissioning and premiering numerous works that have expanded our understanding of the meaning and potential for art and performance. ISSUE is encouraged by Wilson and Jarmusch’s support of innovative work in their respective fields and proud to have their advocacy in promoting this mission. -
News Release
news release FOR IMMEDIATE RELEASE PRESS CONTACT: Maggie Stapleton, Jensen Artists September 25, 2019 646.536.7864 x2; [email protected] American Composers Orchestra Announces 2019-2020 Season Derek Bermel, Artistic Director & George Manahan, Music Director Two Concerts presented by Carnegie Hall New England Echoes on November 13, 2019 & The Natural Order on April 2, 2020 at Zankel Hall Premieres by Mark Adamo, John Luther Adams, Matthew Aucoin, Hilary Purrington, & Nina C. Young Featuring soloists Jamie Barton, mezzo-soprano; JIJI, guitar; David Tinervia, baritone & Jeffrey Zeigler, cello The 29th Annual Underwood New Music Readings March 12 & 13, 2020 at Aaron Davis Hall at The City College of New York ACO’s annual roundup of the country’s brightest young and emerging composers EarShot Readings January 28 & 29, 2020 with Buffalo Philharmonic Orchestra May 5 & 6, 2020 with Houston Symphony Third Annual Commission Club with composer Mark Adamo to support the creation of Last Year ACO Gala 2020 honoring Anthony Roth Constanzo, Jesse Rosen, & Yolanda Wyns March 4, 2020 at Bryant Park Grill www.americancomposers.org New York, NY – American Composers Orchestra (ACO) announces its full 2019-2020 season of performances and engagements, under the leadership of Artistic Director Derek Bermel, Music Director George Manahan, and President Edward Yim. ACO continues its commitment to the creation, performance, preservation, and promotion of music by 1 American Composers Orchestra – 2019-2020 Season Overview American composers with programming that sparks curiosity and reflects geographic, stylistic, racial and gender diversity. ACO’s concerts at Carnegie Hall on November 13, 2019 and April 2, 2020 include major premieres by 2015 Rome Prize winner Mark Adamo, 2014 Pulitzer Prize winner John Luther Adams, 2018 MacArthur Fellow Matthew Aucoin, 2017 ACO Underwood Commission winner Hilary Purrington, and 2013 ACO Underwood Audience Choice Award winner Nina C. -
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. -
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. -
ACME Biography
Bernstein Artists, Inc. 282 Flatbush Avenue, Suite 101; Brooklyn, NY 11217 ph 718.623.1214 - fx 718.638.6110 - www.bernsarts.com American Contemporary Music Ensemble (ACME) Led by artistic director and cellist Clarice Jensen, American Contemporary Music Ensemble (ACME) is dedicated to the outstanding performance of masterworks from the 20th and 21st centuries. The ensemble presents cutting-edge literature by living composers alongside the “classics” of the contemporary. ACME’s dedication to new music extends across genres, and has earned them a reputation among both classical and rock crowds. Time Out New York calls them “one of New York’s brightest new music indie-bands.” ACME has performed at Le Poisson Rouge, Carnegie Hall, BAM, The Kitchen, Whitney Museum, Guggenheim, Columbia’s Miller Theatre, All Tomorrow’s Parties in the UK, and Stanford Lively Arts, among others. ACME's instrumentation is flexible and includes some of New York's most sought after, engaging musicians. Since its first concert season in 2004, the ensemble has performed works by John Adams, Louis Andriessen, Gavin Bryars, Caleb Burhans, John Cage, Elliott Carter, George Crumb, Jacob Druckman, Jefferson Friedman, Philip Glass, Charles Ives, Olivier Messiaen, Nico Muhly, Michael Nyman, Steve Reich, Terry Riley, Frederic Rzewski, Arnold Schoenberg, Kevin Volans, Charles Wuorinen, Iannis Xenakis, and more. Highlights of ACME’s current season include a performance of the complete string quartets of Steve Reich at Le Poisson Rouge in September; a three-night run in October as part of BAM’s Next Wave Festival performing the world premiere of Phil Kline's Out Cold with vocalist Theo Bleckmann; plus concerts presented by the Library of Congress and The Morgan Library. -
A Festival of Unexpected New Music February 28March 1St, 2014 Sfjazz Center
SFJAZZ CENTER SFJAZZ MINDS OTHER OTHER 19 MARCH 1ST, 2014 1ST, MARCH A FESTIVAL FEBRUARY 28 FEBRUARY OF UNEXPECTED NEW MUSIC Find Left of the Dial in print or online at sfbg.com WELCOME A FESTIVAL OF UNEXPECTED TO OTHER MINDS 19 NEW MUSIC The 19th Other Minds Festival is 2 Message from the Executive & Artistic Director presented by Other Minds in association 4 Exhibition & Silent Auction with the Djerassi Resident Artists Program and SFJazz Center 11 Opening Night Gala 13 Concert 1 All festival concerts take place in Robert N. Miner Auditorium in the new SFJAZZ Center. 14 Concert 1 Program Notes Congratulations to Randall Kline and SFJAZZ 17 Concert 2 on the successful launch of their new home 19 Concert 2 Program Notes venue. This year, for the fi rst time, the Other Minds Festival focuses exclusively on compos- 20 Other Minds 18 Performers ers from Northern California. 26 Other Minds 18 Composers 35 About Other Minds 36 Festival Supporters 40 About The Festival This booklet © 2014 Other Minds. All rights reserved. Thanks to Adah Bakalinsky for underwriting the printing of our OM 19 program booklet. MESSAGE FROM THE ARTISTIC DIRECTOR WELCOME TO OTHER MINDS 19 Ever since the dawn of “modern music” in the U.S., the San Francisco Bay Area has been a leading force in exploring new territory. In 1914 it was Henry Cowell leading the way with his tone clusters and strumming directly on the strings of the concert grand, then his students Lou Harrison and John Cage in the 30s with their percussion revolution, and the protégés of Robert Erickson in the Fifties with their focus on graphic scores and improvisation, and the SF Tape Music Center’s live electronic pioneers Subotnick, Oliveros, Sender, and others in the Sixties, alongside Terry Riley, Steve Reich and La Monte Young and their new minimalism.