Central to the new-music experience in New York.
– Time Out NY
Central to the new-music experience in New York.
– Time Out NY
Photo by Walter Wlodarczyk
FRIDAY, DEC 22 - ca. 9:00pm
Phill Niblock 90th Birthday Winter Solstice: 24 Hours of Music and Film
TILT Brass members CJM & hornist Nicolee Kuester perform inside PN’s Exploratory (Rhine version, “Looking for Daniel”) (2019)
Roulette Intermedium
509 Atlantic Ave, Brooklyn
This event run from noon to midnight on both THU, DEC 21 & FRI, DEC 22
Roulette Event Page
SUNDAY, DEC 17 - 5:00pm
Christmas in Nickyland 2023: The Return
Curated and Hosted by Nicky Paraiso
CJM performing with Yoshiko Chuma & School of Hard Knocks
including Jason Kao Hwang, Tim Clifford, and Ri Tornello
The Club at La MaMa
74A East 4th Street, East Village
La Mama Event Page
ISSUE Project Room 20th Anniversary
An Improvisational Synphony: Coordinated by Suzane Langille
First Unitarian Congregational Society
119 Pierrepont St, Brooklyn, NY
IPR event page
Saturday, December 16th at 8pm, a diverse array of twenty artists come together in An Improvisational Symphony to close ISSUE's 20th Anniversary Season, coordinated by vocalist and longtime ISSUE friend, Suzanne Langille. The celebratory concert will take place at First Unitarian Congregational Society in Downtown Brooklyn. In collaboration with the ISSUE team, Langille has invited a wide range of musicians - many with deep ties to ISSUE’s history - involving numerous master and emerging practitioners. The program is split into four movements, each representing a traditional element that will inspire groups of five musicians to present 20-minutes of improvised sounds. These include:
First movement (Earth): Allegro featuring: Daniel Carter (saxophone & trumpet), Loren Connors (guitar), William Hooker (vocal), Chris McIntyre (trombone) & Lucie Vítková (percussion)
Second movement (Water): Andante or adagio featuring: Che Buford (violin), Madison Greenstone (contrabass clarinet), James Ilgenfritz (bass), Suzanne Langille (voice & maraca) & Joanna Mattrey (viola)
Third movement (Air): Moderato featuring: Ras Moshe Burnett (flute), Nicolee Kuester (french horn), Billy Martin (percussion), Ava Mendoza (guitar) & Aliya Ultan (cello)
Fourth movement (Fire): Finale–allegro featuring: Zoh Amba (saxophone), Nava Dunkelman (percussion), gabby fluke-mogul (violin), Alan Licht (guitar) & Lee Odom (clarinet)
Either/Or presents:
Time | Again
Friday Decemeber 8th, 2023, 8:00pm
University Settlement Speyer Hall
184 Eldridge St, New York, NY 10002
EO Event Page
TICKETS
Either/Or continues its 2023-24 season with a concert of two longform works featuring the world premiere of a newly commissioned piece by rising star composer Victoria Cheah, and Henning Christiansen’s classic 1970 Fluxus “tape piece” Requiem of Art (fluxum organum II) Opus 50, realized for ensemble by UK artist Anton Lukoszevieze.
PROGRAM
Victoria Cheah new work (2023) [world premiere]
for violin, cello, trombone, electronics
Henning Christiansen Requiem of Art (NYC) (fluxorum organum II) (1970/2014)
Score realization & soundtrack by Anton Lukoszevieze
LPR event page
Personnel: Billy Martin, drums; Nels Cline, guitar; Henry Fraser, bass; Zach Layton, 17-string bass; Eszter Balint, violin; Pauline Harris, violin; Conrad Harris, violin; Jessica Pavone, viola; Joanna Mattrey, viola; Alex Waterman, cello; Matana Roberts, saxophone; Lea Bertucci, saxophone; Matt Bauder, saxophone; Catherine Sikora, saxophone; Samantha Kochis, flute; Laura Cocks, flute; Katie Porter, clarinet; Kyra Sims, French horn; Ben Neill, trumpet; Chris Williams, trumpet; Chris McIntyre, trombone; Pauline Roberts, percussion; Ben Vida, synthesizer; Cecilia Lopez, synthesizer; Marina Rosenfeld, keyboard; shahzad ismaily, synthesizer; Yuka Honda, electronics; Dafna Naphtali, voice; Nick Hallett, voice; Nicky Paraiso, voice; Shara Lunon, voice; Natalie Greffel, voice
Detail from Joanna Ward's London plane tree hid me from the sun (2022)
Either/Or presents:
Sowings & Affinities
Wednesday, November 15th, 2023, 8:00pm
University Settlement Speyer Hall
184 Eldridge St, New York, NY 10002
EO Event Page
TICKETS
On November 15th, Either/Or returns to University Settlement’s historic Speyer Hall with an expansive program of works created by an international group of individual compositional voices. Comprised primarily of pieces written since 2000, the concert introduces new voices to the EO fold (Hannah Kendall, Leroy Jenkins), deepens several recently established relationships (Inga Chinilina, Joanna Ward, Jō Kondō), and pays homage to the great Kaija Saariaho. This event also features a special guest appearance by Downtown legend Kathleen Supové.
PROGRAM
Hannah Kendall Tuxedo: Crown; Sun King (2021) violin solo
Jō Kondō Forme semée (1982)* trombone & piano
Inga Chinilina Wear And Tear (2020) percussion solo
Kaija Saariaho Dolce Tormento (2004) piccolo solo
Leroy Jenkins Thar He (2002) violin & piano
Joanna Ward A London plane tree hid me from the sun (2022)* tutti
* US Premieres
PERFORMERS
Jennifer Choi, violin; Russell Greenberg, percussion; Christopher McIntyre, trombone; John Popham, cello; Special guest - Kathleen Supové, piano
THE QUEST: EPIC JOURNEYS
November 9, 2023, 7:30pm
Zankel Hall, Carnegie Hall
Vimbayi Kaziboni, conductor
Sidney Outlaw, baritone
Luke Dubois, video design
Augusta Read Thomas: Sun Dance—In memoriam Oliver Knussen (NY Premiere) 6’
George Lewis: Weathering (World Premiere/ACO Commission) 15’
Jack Hughes: Three Ways of Getting There (World Premiere/ACO Underwood commission) 10-12’
Guillermo Klein: The Kingdom (CoLABoratory/World Premiere) 10’
Nina C. Young: Out of whose womb came the ice (World Premiere, Carnegie Hall/ACO Co-commission) 28’
FOREST SONG
Conceived/Originated by John Hastings
Saturday, October 14, 2023: 2pm & 4pm
Sunday, October 15, 2023: 1pm & 3pm
Each performance approx. 60 minutes
Inwood Hill Park, Manhattan, New York:
A to Inwood / 207 or 1 to 215th St. Enter at Shorakkopoch Rock [map]
Forest Song is a free music performance that takes place in the last, original site of Pre-Columbian Mannahatta: Inwood Hill Park. Nestled within a valley, near ancient glacial potholes, caves, and cold springs, musicians are spread throughout the forest, performing a variety of sonic materials. Harmonies are reflected, words appear, and the melodies from revolutionary hymns are re-cycled, all conjuring a human and arboreal conversation. A Forest Song gathers everyone together over distance, a unitary statement that underscores the fundamental relationships that foster all our existences in this world. Over the course of an hour performance, the audience is free to wander the park, to hear the musicians at a distance, while also observing them close-by.
Myths and stories swirl around our forests, some of them fanciful and fantastic, others feed into age-old tropes of colonial settlement. They have been many things to humans: a source of fuel, shelter, fear. They are a place of mystery and repose. Forest Song takes these many iterations of human conception of the forest to fashion a poly-narrative: a Native American home, a European folk drama, a technocratic “shelterbelt”, and now a conserved piece of our future. Forests are a mirror for humans: the reflection of our wants and desires throughout our years of existence.
Featuring:
TILT Brass: Christopher McIntyre - trombone, James Rogers - trombone, Nicolee Kuester - horn, Blair Hamrick - horn, Rebecca Steinberg - trumpet, Jonathan Finlayson, trumpet
with
Iván Barenboim - clarinet, Katie Porter - clarinet, Jessica Schmitz - flute, Eva Ding - flute, Casey Anderson - saxophone
The Team:
John P. Hastings - originator; Aaron Meicht - music director, trumpet; Carolina Gomez - costuming; Benjamin Mayock - design; Shannon Sindelar - producer; Michelle Tabnick - PR
Forest Song is made possible in part with funds from Creative Engagement , a regrant program supported by The New York City Department of Cultural Affairs (DCLA) in partnership with the City Council ,and administered by LMCC. This project is made possible in part with funds from UMEZ Arts Engagement, a regrant program supported by the Upper Manhattan Empowerment Zone (UMEZ), and administered by LMCC.
FOREST SONG
Conceived/Originated by John Hastings
Saturday, October 14, 2023: 2pm & 4pm
Sunday, October 15, 2023: 1pm & 3pm
Each performance approx. 60 minutes
Inwood Hill Park, Manhattan, New York:
A to Inwood / 207 or 1 to 215th St. Enter at Shorakkopoch Rock [map]
Forest Song is a free music performance that takes place in the last, original site of Pre-Columbian Mannahatta: Inwood Hill Park. Nestled within a valley, near ancient glacial potholes, caves, and cold springs, musicians are spread throughout the forest, performing a variety of sonic materials. Harmonies are reflected, words appear, and the melodies from revolutionary hymns are re-cycled, all conjuring a human and arboreal conversation. A Forest Song gathers everyone together over distance, a unitary statement that underscores the fundamental relationships that foster all our existences in this world. Over the course of an hour performance, the audience is free to wander the park, to hear the musicians at a distance, while also observing them close-by.
Myths and stories swirl around our forests, some of them fanciful and fantastic, others feed into age-old tropes of colonial settlement. They have been many things to humans: a source of fuel, shelter, fear. They are a place of mystery and repose. Forest Song takes these many iterations of human conception of the forest to fashion a poly-narrative: a Native American home, a European folk drama, a technocratic “shelterbelt”, and now a conserved piece of our future. Forests are a mirror for humans: the reflection of our wants and desires throughout our years of existence.
Featuring:
TILT Brass: Christopher McIntyre - trombone, James Rogers - trombone, Nicolee Kuester - horn, Blair Hamrick - horn, Rebecca Steinberg - trumpet, Jonathan Finlayson, trumpet
with
Iván Barenboim - clarinet, Katie Porter - clarinet, Jessica Schmitz - flute, Eva Ding - flute, Casey Anderson - saxophone
The Team:
John P. Hastings - originator; Aaron Meicht - music director, trumpet; Carolina Gomez - costuming; Benjamin Mayock - design; Shannon Sindelar - producer; Michelle Tabnick - PR
Forest Song is made possible in part with funds from Creative Engagement , a regrant program supported by The New York City Department of Cultural Affairs (DCLA) in partnership with the City Council ,and administered by LMCC. This project is made possible in part with funds from UMEZ Arts Engagement, a regrant program supported by the Upper Manhattan Empowerment Zone (UMEZ), and administered by LMCC.
EarShot Readings: 2023 ACO’s Public Readings in NYC at New School Tishman Auditorium
ACO | SONiC Fest Event Page
Program:
Younje Cho – Feast of Particles
Henry Dorn – …i forgot to say good morning today
Brittany J. Green – Rencontres for orchestra
Oswald Huỳnh – Gia Đình
Amy Nam – Mimi’s Song
Daniel Reza Sabzghabaei – (گر آتش بارد به پیکرم) Hommage à Khāleqī
American Composers Orchestra
Tito Muñoz, conductor
EarShot: ACO’s 2023 Working Rehearsal at New School Tishman Auditorium
ACO | SONiC Fest Event Page
Jun 1, 2023 - Jun 11, 2023
Shockwave Delay
Yoshiko Chuma and the School of Hard Knocks
La Mama Ellen Stewart Theatre
66 East 4th Street, 2nd floor New York, NY 10003
La Mama Event Page
>>CJM performance dates June 1, 4, 8, 10<<
Either/Or Ensemble presents Perspectives and Disclosures, an evening of solo, duo, and ensemble music assembled by EO Curator and trombonist Chris McIntyre at historic Speyer Hall at University Settlement House in Manhattan’s Lower East Side. Works by Toshi Ichiyangi, George E. Lewis, Dorothy Rudd Moore, Mendi+Keith Odabike, Diderik Wagenaar, and Joanna Ward.
Either/Or Event Page
Ticket Purchase
Program
Toshi Ichiyangi Perspectives (1986)
for solo violin
Diderik Wagenaar La Caccia (1996)
for trombone solo
Dorothy Rudd Moore Moods (1969/2020)
for viola & cello
Paula Matthusen forgiveness anthems (2010)
for solo flute & fixed media
Mendi+Keith Odabike Selections from Big House/Disclosure (2007)
tutti
Joanna Ward I AM HOPING I DON'T MISS YOU (2020)
tutti
Personnel
Pala Garcia - violin
Margaret Lancaster - flute
Christopher McIntyre - trombone, synth, curator
John Popham - cello
Kal Sugatski - viola
From Roulette's Event Page:
"This is a collective celebration of Mort Subotnick’s 90th birthday, from friends, family, former students, and those who have been significantly influenced by his music and innovations. Mort’s music and ideas are central to all that will be presented, including excerpts from his compositions and music from his seminal works (Silver Apples, Butterfly series, Wild Bull, etc.). Subotnick is one of the pioneers in the development of electronic music and multi-media performance and an innovator in works involving instruments and other media.
performing live:
SooJin Anjou
David Behrman
Shelley Burgon
Miguel Frasconi
Earl Howard
John King
Joan La Barbara
Chris McIntyre
Ikue Mori
David Simons
speaking live:
Jill Fraser
George Lewis
Hunter Ochs
in-lobby sound installation:
John Morton
video tributes:
Rhys Chatham
Suzanne Ciani
Mark Coniglio
Peter Grenader & Jill Fraser
Ralph Grierson
Charlemagne Palestine
Curtis Roads
David Rosenboom
Ramon Sender
Carl Stone
Lois V Vierk
Willie Winant/Zeena Parkins/Brendan Glasson
A livestream will be available free of charge at 8pm on the day of the performance and archived for future viewing. Watch below or on YouTube.
Talea Ensemble & Harlem Chamber Players
Julius Eastman's "Femenine"
Kenneth C. Griffin Sidewalk Studio at David Geffin Hall
Part of NY Philharmonic's Artist Spotlight series
NY Philharmonic event page
Tickets
Talea & HCP rehearsing in Oct. 2021
Phill Niblock: 6 Hours of Music and Film
Wednesday, December 21, 2022
6:00 pm
Roulette event page
As the longest night of the year unfolds and the journey of our planet nears the point when Winter commences in the Northern Hemisphere, Phill Niblock stages his annual Winter Solstice concert. Starting at 6pm, the performance will comprise six sublime hours of acoustic and electronic music and mixed media film and video in a live procession that charts the movement of our planet and the progress of ourselves through art and performance at its maximal best.
Niblock’s minimalistic drone approach to composition and music was inspired by the musical and artistic activities of New York in the 1960s, from the art of Mark Rothko, Carl Andre, Sol LeWitt, Donald Judd, and Robert Morris to the music of John Cage and Morton Feldman. Niblock’s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations.
EO plays Infrequent Seams Festival
Monday, December 19, 2022
8:00 PM 9:00 PM
Roulette event page
Either/Or folds into the evening-length Infrequent Seams Festival at Roulette with Profiles, a wide ranging program of works by a multi-generational group of composers. Its set includes chamber music rarities by Talib Rasul Hakim (1940-88) and Jō Kondō, a recent solo cello work by James Díaz, and an evocative graphic score by Kathernine Yo.
PROGRAM
Talib Rasul Hakim - Duo (1963) for flute & clarinet
James Díaz - en tiempos de voz pasiva (2019) for cello & elec.
Jo Kondo - A Scribe (1985) for flute, trombone, piano, perc
Talib Rasul Hakim - Profiles (1964) for clarinet, trumpet, trombone, cello
Katherine Young - For Autonauts, For Travelers (2012) - tutti
PERSONNEL
Richard Carrick - piano; Jonthan Finlayson - trumpet; Madison Greenstone - clarinet; Margaret Lancaster - flute; Chris McIntyre - trombone; Chris Nappi - percussion; John Popham - cello
Third Eye Orchestra 15th Anniversary Concert
Sunday, December 11, 2022⋅8:00pm
Roulette event page
As part of the Third Eye Orchestra’s 15th Anniversary the ensemble performs Hans Tammen’s RODINIA, a one-hour work that revisits some of his compositional strategies and ideas from the last 15 years. Borrowing from Charles Ives’ polytonality, Steve Coleman’s rhythmic complexity, Karlheinz Stockhausen’s organization of sounds, and Earle Brown’s approach to form, the music of the Third Eye Orchestra is continuously shifting, with different layers floating into the foreground while others disappear.
The ensemble is organized in groups combining a variety of instrumental sonorities, i.e. horns, strings, and keyboards. Occasionally groups are trading phrases in a way to allow the music to flow from left to right and vice versa.
Performers:
Shelley Hirsch – voice
SECTION I:
Sarah Bernstein – violin
Dafna Naphtali – soprano / live sound processing
Sarah Manning – alto sax
Tomas Ullrich – cello
Ursel Schlicht & Denman Maroney – piano
SECTION II:
Jason Hwang – violin
Nick Didkovsky – guitar
Briggan Krauss – alto sax, baritone sax
Michael Schumacher – fender rhodes
Ned Rothenberg – clarinet, bassclarinet
SECTION: III:
Stephanie Griffin – viola
Chris McIntyre – trombone
Brian Landrus – bass saxophone
Gordon Beeferman – organ
Michael Lytle – clarinet, bassclarinet
SECTION IV:
Shoko Nagai – moog bass
Satoshi Takeishi – percussion
Hans Tammen – composition, binary conducting
Intimacy of Detail: The Music of Chiyoko Szlavnics
WEDNESDAY, NOV. 2 AT 9:00PM
TENRI CULTURAL INSTITUTE OF NEW YORK
43A WEST 13TH STREET NEW YORK, NY, 10011
On Wednesday, November 2, 2022, at Tenri Cultural Institute, Either/Or presents Intimacy of Detail, a special performance centered on the singular sound world of Canadian-born, Berlin-based composer Chiyoko Szlavnics. The program retrospectively focuses on Szlavnics’ work from the mid-Aughts forward. From the year 2000 onward, she “developed a compositional approach based on self-generated drawings. The drawings enabled her to conceive and realise a kind of music, which promotes the perception of certain psychoacoustic phenomena (beating and combination tones), through her sensitive setting of ratio-related pitch material in sustains and extended glissandi, and her careful orchestration.” The string quartet Gradients Of Detail (2005/6) is a prime example of this method of transliteration which the stellar string players of Either/Or will bring to life within the assiduously close listening space of Tenri. Paired with the larger ensemble work (a)long lines… (2004/rev. 2017) and Constellations I-III (2011) for piano & sine tones, EO’s local audience will gain meaningful access to Szlavnics' involving aural environments.
PROGRAM
Chiyoko Szlavnics, composer
(a)long lines: we'll draw our own lines (2004/rev. 2017)
flute, trombone, violin, violoncello, percussion, sine tones
Constellations I-III (2011)
piano and sine tones
Gradients Of Detail (2005/6)
string quartet
PERSONNEL
Richard Carrick - piano (EO Director); Jennifer Choi - violin; Pala Garcia - violin; Margaret Lancaster - flute; Hannah Levinson - viola; Alex Lough - electronics & sound; Chris McIntyre - trombone (curator); Chris Nappi - percussion; John Popham - cello
GRADIENT OF DETAIL (2005) - DRAWINGS BY THE COMPOSER
Pioneer Works: False Harmonics #12
TILT Brass & Zeena Parkins
7:00p Doors
8:00p Performance
$20 adv. $25 day-of
PW Event Page
Performing music by Julius Eastman, Phill Niblock, and Zeena Parkins
Featuring compositions & solo set by Ms. Parkins (harp)
Special guests James Fei (analog electronics) and Josh Henderson (violin)
Brooklyn’s own TILT Brass presents a program of works by legendary New York composers including the premiere of a new transcription of Julius Eastman’s brutalist If You’re So Smart, Why Aren’t You Rich? (1977) for a 13 piece orchestra of brass, strings, and chimes (featuring violinist Josh Henderson), the premiere of TILT’s massed brass version of Phill Niblock’s Exploratory (2019), and Zeena Parkins’ Whistling in the Dark Wind (2019) for TILT Brass sextet and two improvisers (Parkins on harp & polymath musician James Fei on analog electronics.) Ms. Parkins will also present a solo harp set of two new works, one of her own creation, the other by her Mills College composer colleague John Bischoff.
Images: TILT Brass by Stefan Rudata; Zeena Parkins by Jeff Preiss; Julius Eastman by ©David Oliver; Phill Niblock by Ramin Talaie; Josh Henderson by Kristofer Bergman
Tipping Utopia Toward Kazuko Miyamoto
Japan Society
Saturday, July 16, 2pm and 5pm
This newly commissioned performance brings to life the works on view in Kazuko Miyamoto: To perform a line (exhibition now extended through July 24). Yoshiko Chuma, conceptual performing artist, dancer, choreographer and director of The School of Hard Knocks, combines movement and improvised music, erasing the boundaries between onstage and backstage, and between artistic practices. In 1979, Chuma performed among Miyamoto’s string constructions installed as part of the artist’s solo exhibition at A.I.R. Gallery (Yoshiko Chuma in Kazuko Miyamoto: A Girl on Trail Dinosaur). Now, Chuma reconnects with Miyamoto through this event, which runs throughout the entire gallery space. The performance also features three musicians: double bassist Robert Black, viola and violinist Jason Kao Hwang and trombonist Christopher McIntyre.
Concept and direction by Yoshiko Chuma, Artistic Director of The School of Hard Knocks.
Minimalistic classic by the late queer afro-american composer Julius Eastman, who is currently experiencing a posthumous renaissance. Femenine is performed by New York-based Talea Ensemble.
TALEA ENSEMBLE
Barry Crawford, flute
Marianne Gythfeldt, clarinet
Adrian Morejon, bassoon
David Friend, piano
Mike Truesdell, percussion
Emilie-Anne Gendron, violin
Carrie Frey, viola
Chris Gross, cello
Chris McIntyre, syntethizator, conductor
Greg Chudzik, bass
"This season’s Sounds & Stories series draws to a close on June 28 with an account of Femenine, an improvisatory tour de force by the late Julius Eastman, who strove to be “Black to the fullest, a musician to the fullest, [and] a homosexual to the fullest,” and whose take on minimalism was “idiosyncratic and perhaps ahead of its time” (New York Times)."
Event page
VIOLIN
Conrad Harris
VIOLA
Dana Kelley
BASS
John Feeney
ALTO SAXOPHONE
Lino Gomez
BASSOON
William Hestand
PERCUSSION
Maya Gunji
PIANO
Margaret Kampmeier
SYNTHESIZER
Christopher McIntyre
On Thursday May 19, 2022 at 8:30pm in Tenri Cultural Institute (new time and location!), EO presents Variegates & Reactivities, a program of solos, duos, and ensemble works from an expansive group of creative perspectives. This cohort of composers represents continuing musical dialogs (Grisey, Hakim, and Chacon) and newly initiated investigations (Bland, Da Costa, and Lou) for the group.
Featuring EO flutist Margaret Lancaster and stellar guest performer Madison Greenstone on clarinet, Talib Rasul Hakim’s (1940-88) Duo is a special addition to EO’s growing TRH repertoire (initiated in Nov ‘21). This work introduced Hakim’s music (then Stephen A. Chambers) to the NYC music community during a Music In Our Time concert at Town Hall in 1965. Greenstone’s learned performance of Gérard Grisey’s classic Deux Pièces pour Clarinette Contrebasse builds on previous EO presentations from the Frenchman’s oeuvre including "Solo pour Deux" (1981) and Périodes (1974). In December ‘21, EO took its initial step into the idiosyncratic creative world of composer, performer, and current Whitney Biennial artist, Raven Chacon with Whisper Trio, a brief, barely audible recitation in Diné (Chacon is a citizen of the Navajo Nation.) In the program note for his 2004 graphic score …lahgo adil’i… (the full title translates to “acting differently in the presence of strangers'') Chacon says the piece is “a reaction to some listeners (or performers of my early works) believing that they should be hearing some kind of ‘Native American influence’ in my music. Whatever that meant (to them). So this piece puts that burden into the hands of white performers, as that is who is the majority in music institutions in this country.” For EO’s realization, Chacon will visually guide the group through the score while the individual players consider their own interpretive paths.
Each of the three composers on the program that are new to the EO fold use very personal, distinctive languages in their compositions. Noel Da Costa (1929-2002) was a Jamaican-American artist and educator born in Nigeria. In 1967, Da Costa co-founded the Society for Black Composers with Mr. Hakim and a number of others. He was also deeply involved in the important Symphony for the New World as a performer, composer, and organizer. Trombonist and event Curator *Chris McIntyre* recently retrieved Da Costa’s 4 Preludes from the Library of Congress and he’ll be joined by EO’s Director Richard Carrick on piano in its first performance in decades. Ed Bland’s (1926-2013) career was also quite diverse, straddling the various worlds of concert music, literary criticism, filmmaking, film and TV composing, and beyond. He made a number of flute pieces, of which For Flute (to be performed by Ms. Lancaster) is the most virtuosic and visceral. Finally, EO delves into the singular realm of 2018 Rome Prize winner Michelle Lou’s music. Lou’s bio states that her work “studies the possibilities of how strange form(s), functioning as behavior/as odd containers of strange objects/material can shape experiential time.” Outlines for bass flute (Lancaster), bass clarinet (Greenstone), and horn (Nicolee Kuester) articulates these preoccupations by using audio phone apps, tone generators, wine glasses, and more to alter and skew static instrumental sounds, along with time and listening itself.
PROGRAM
Talib Rasul Hakim Duo (1963) for Flute and Clarinet
Gérard Grisey Deux Pièces pour Clarinette Contrebasse (1983)
Ed Bland For Flute (1980)
Noel Da Costa 4 Preludes (1973) for Trombone and Piano
Michelle Lou Outlines (2017, rev. '22) for Bass Flute, Bass Clarinet and Horn
Raven Chacon …lahgo adil’i dine dooyeehosinilgii yidaaghi (2004) open instrumentation
PERFORMERS
Margaret Lancaster - Flutes
Madison Greenstone - Clarinets
Nicolee Kuester - Horn
Christopher McIntyre - Trombone
Richard Carrick - Piano
Raven Chacon - conductor
Sunday, May 15 at 6pm ET
A live outdoor performance at Prospect Park's Concert Grove Pavilion featuring work by The School of Hard Knocks (Yoshiko Chuma + Chris McIntyre), Maria Bauman, Xan Burley + Alex Springer, Sofia Engelman + Em Papineau, and Dancewave Youth Company/Rena Butler.
To attend from afar, tune in on Instagram Live.
DIRECTIONS:
Prospect Park's Concert Grove Pavilion (Brooklyn, NY // Lenapehoking)
Program
Performance
Talea Ensemble and Copland Ensemble
May 9th, 2022, 7:30 p.m., LeFrak Concert Hall
Femenine (1974)
Julius Eastman (1940-1990)
Talea Ensemble:
Christopher McIntyre, synthesizer (Music Director)
Matthew Gold, vibraphone
Greg Chudzik, electric bass
David Adamcyk, sound engineer
Copland Ensemble:
Grace Na, piano
Elliott Brown, trombone Dylan Ofrias, percussion Alphonso Valentin, percussion Sara Strozzo, cello Victoria Arsenicos, violin Diana Pipa, violin Theodore Froelich, viola Sarah Kadtke, flute
Jee Youn Kang, flute
Eric Juneau, oboe Natalie Olivieri, French horn Juney Li, soprano
Julius Eastman’s Femenine (1974) is of its time and timeless, a challenging and comfortable live music experience. It possesses qualities found in much of the experimental music he was performing at the moment of its creation, by composers such as Frederic Rzewski and Jon Gibson (among many others), which he encountered as a Creative Associate (a performance fellowship at Univ. of Buffalo’s Center of the Creative and Performing Arts) and as a member of the still-extant NYC-based group SEM Ensemble. These qualities include a continuous pulse with which various types of material are in dialog, a euphonious harmonic profile, and non-hierarchical ensemble organization. He absorbed and synthesized these elements, using them as tools in his own idiosyncratic musical world making. The experiential aims of this constellation of qualities provide the timelessness of the music, including reposed mindfulness over long durations and a sort of relinquishment to sonic and interactive flow. Many of the students participating in this performance were previously unfamiliar with the type of music making Femenine represents. The hope is that through the process of learning about it together, by playing and thinking through what is requested of all its participants, and with the mentorship of the Talea Ensemble artists, this epochal work will be joyfully brought into the immediate present for performer and listener alike.
– Christopher McIntyre
Yvonne Rainer, CJM, David Behrman
YVONNE RAINER’S "REMEMBERING AND DISMEMBERING TRIO A" WITH BRITTANY BAILEY / DAVID BEHRMAN’S "OPEN SPACE WITH BRASS" WITH ED BEAR & ENSEMBLE
Wed 06 Apr, 2022, 8pm
The Flamboyán Theater at The Clemente
IPR Event Page
L-to-R: Aliya Ultan, Alexandria Smith, Madison Greenstone, CJM
Wednesday, April 6th, ISSUE & The Clemente present an evening of pioneering work from choreographer and filmmaker Yvonne Rainer and composer David Behrman. Highlighting the artists’ work interpreted and presented by a new generation of artists, the evening features choreographer and performer Brittany Bailey performing Remembering and Dismembering Trio A (1966 - 2020), with excerpts from Peter Schjeldahl’s “77 Sunset Me.”
The program also features David Behrman’s Open Space with Brass, performed by Ed Bear and an ensemble under the direction of Chris McIntyre. The piece was originally commissioned for the final performances of the Merce Cunningham Dance Company (performed with TILT Brass) at the Park Avenue Armory in December, 2011.
Remembering and Dismembering Trio A (1966 - 2020), with excerpts from Peter Schjeldahl’s “77 Sunset Me,” is choreographed by Yvonne Rainer and performed by Brittany Bailey. Rainer choreographed Trio A in 1966, and performed it for the camera in 1978. Written for a solo performer, it incorporates no music and features a seamless flow of everyday movements like toe tapping, walking, and kneeling. In an interview with Lyn Blumenthal, Rainer describes “[It] would be about a kind of pacing where a pose is never struck [...] There would be no dramatic changes, like leaps. There was a kind of folky step that had a rhythm to it, and I worked a long time to get the syncopation out of it.” Trio A positioned Rainer as a leader among the dancers, composers, and visual artists who were involved in the Judson Dance Theater (which she co-founded in 1962), an avant-garde collaborative that ushered in an era of contemporary dance through stripped-down choreography and casual and spontaneous performances.
David Behrman’s Open Space with Brass follows in the tradition of electroacoustic sound supported throughout the history of Merce Cunningham Dance Company. The piece also refers to the antiphonal music that Giovanni Gabrieli created for the Basilica di San Marco in Venice at the turn of the 17th Century. Gabrieli’s work made such specific use of the cathedral’s acoustics that groups of brass instruments situated in opposing choir lofts could be heard with clarity at distant points. Interactive music software, originally made for the site-specific 15-channel sound system that was in use at the Park Avenue Armory, linked the acoustic and electronic elements of Open Space: a 6-piece ensemble of trumpets and trombones filling the enormous Armory Drill Hall space with live and digitally processed sound. Behrman has recently reorganized elements of this software to be more accessible for other musicians to play. Ed Bear, who returns to ISSUE after an ambitious re-staging of John Cage's Variations VII in 2016, manipulates the software, while trombonist Chris McIntyre leads an ensemble of cello (Aliya Ultan), bass clarinet (Madison Greenstone), and trumpet (Alexandria Smith).
The evening will conclude with a Q&A with Yvonne Rainer & David Behrman moderated by Chris McIntyre. They will discuss the history, transition, and legacy of their work as well as the process of teaching, learning, and presenting the pieces.
Choreographer and filmmaker Yvonne Rainer trained with Martha Graham and Merce Cunningham as a dancer, and was a co-founding member of the Judson Dance Theater in 1962. She sought to blur the lines between performers and non-performers, and incorporated gestures and pedestrian movements, as well as classical dance steps and theatricality into her choreography. Her body of work has spanned multiple disciplines and movements including dance, film, minimalism, conceptual art, and postmodernism. In 1972, Rainer transitioned to filmmaking following a fifteen-year career as a choreographer and dancer from 1960 to 1975. After making seven experimental feature-length films, she returned to dance in 2000 via a commission from the Baryshnikov Dance Foundation (“After Many a Summer Dies the Swan”). Her dances and films have been seen throughout the U.S., Europe, and Asia in concert halls and museum retrospectives. Her publications include “Feelings Are Facts: a Life,” "Work: 1961-73," "The Films of Yvonne Rainer," "A Woman Who…: Essays, Interviews, Scripts,” “Moving and Being Moved,” and “Poetry.”
Brittany Bailey has trained with Merce Cunningham as well as whirled with the dervishes of the Mevlevi Order. Bailey has performed at MoMA with Yvonne Rainer in the exhibition, Judson Dance Theater: The Work Is Never Done (2018) and in Marina Abramović’s retrospective, The Artist is Present (2010). In 2011, Bailey was a member of the Michael Clark Company for performances at the Tate Modern. Bailey currently studies at Columbia University.
David Behrman is a composer and artist active since the 1960s. Over the years he has made sound and multimedia installations for gallery spaces as well as musical compositions for performance in concerts. Most of his pieces feature exible structures and the use of technology in personal ways; compositions rely on interactive real-time relationships with imaginative performers. Together with Robert Ashley, Alvin Lucier and Gordon Mumma, Behrman founded the Sonic Arts Union in 1966. He had a long association with the Merce Cunningham Dance Company as composer and performer, created music for several of the Company’s repertory pieces, and was a member of the Company’s Music Committee during its last years. Behrman has received grants from the NEA, NYSCA, NYFA, the Japan-United States Friendship Commission, the D.A.A.D., the Foundation for Contemporary Arts and the Henry Cowell Foundation. He was a fellow at the American Academy in Berlin in 2016. Audio recordings of his works are on the XI, Lovely Music, Pogus, New World, WERGO, Black Truffle and Alga Marghen labels.
Ed Bear is an American interdisciplinary artist, musician, and engineer. Their work with robotics, sound, video, transmission, and collective improvisation recalibrates social relationships with material technology and waste. As an educator and designer committed to an equitable, open source world, they research material reuse as social practice. Bear has been awarded several competitive residences, fellowships and grants. They completed artist/technology residencies at Pioneer Works (2019), Harvest Works (2017), Signal Culture (2017), Until 11 (2016), Wave Farm (2015), LMCC Swing Space (2012), Free 103.9 AIRtime Fellow (2010) and received a Roulette Emerging Composer Commission (2008). They have shown work at various galleries and institutions internationally. Bear has toured extensively in North America and Europe as a performer and teacher, working with organizations including: The London School of Economics, IXDA, Museo Tamayo, The Mattress Factory, The Montreal Pop Festival, Moogfest, and Oberlin Conservatory of Music. Their music is available on Peira, Azul Discographica, Ever/Never, Roar Tapes, and several other record labels. In 2009 and 2010, Bear received NSF and other funds to study e-waste streams as educational resources, software defined radio, and novel energy harvesting, utilizing ionic polymer metal composites. As a research specialist at the Lighting Research Center (2012-2013), funded by the Environmental Protection Agency, they developed control solutions for emerging solid-state lighting systems. Until 2019, they worked with littleBits, Inc. developing gender-neutral, modular electronics for education. Bear recently founded Kin Circuits, a platform to elevate maintenance, care, repair, and reuse in the face of unsustainable consumption and alienating technologies.
Christopher McIntyre performs on trombone and electronics in various musical contexts within the protean NYC community. He also composes for various media and instrumental forces, experimenting with recorded and synthesized sound and using transformational structures to create a narrative of evolving sonic states. He is Director and Co-Founder of TILT Brass, programming curator for Either/Or Ensemble, independent curator for venues including ISSUE Project Room and The Kitchen, teacher at Mannes School of Music at The New School, and frequent performer in groups such as TILT, Either/Or, SEM and Talea Ensembles, among many others. cmcintyre.com
Praised by The New York Times for her “appealingly melancholic sound” and “entertaining array of distortion effects,” Alexandria Smith is a trumpeter, composer/multimedia artist, curator, and recording engineer studying at the University of California San Diego. Her current projects focus on the use of biofeedback as an interfacing tool for musicians, interactive media (audio and visual), and performance based research. Previous engagements include her week (curation) at the Stone, performances at the La Semana Internacional de Improvisación, trumpet and electronics Luminous Tubes Concert at the FONT Festival 2019, performing as a soloist in the Martha Graham Dance Company 90th Anniversary Concert, John Zorn's Improv Night at the Stone, and as an ensemble member of Lorin Maazel's Castleton Festival.
Aliya Ultan is a composer, improviser, cellist, and vocalist from Brooklyn, NY. Born into a family of artists and musicians, Ultan was immersed in a variety of creative mediums and environments from a young age. Ultan primarily performs as a singer-cellist, using both instruments to contort pitch centers and embrace a kind of noise based maximalism within the constraints of a purely acoustic set-up. This approach has led to the development of techniques such as particular ways of detuning the cello to expand its range, allowing it to cross instrumental bounds. In addition to her sound focused research, Ultan has created works for film that involve breaking, burying, and submerging cellos underwater.
Madison Greenstone is a clarinetist currently based between New York City and San Diego. She has performed as a featured artist of the Darmstadt Ferienkurse für Neue Musik and the Lucerne Festival Academy. Notable performances have been as a soloist presented by ISSUE Project Room, as part of the Merce Cunningham Centennial Night of 100 Solos in Los Angeles, in recital at the Vigeland Mausoleum (Oslo) and at the Fondation Abbaye Royaumont. Madison is the clarinetist of TAK Ensemble, and a founding member of the [Switch~ Ensemble]. She can be heard on Wandelweiser Editions, Another Timbre, and on the TAK Editions Podcast. Madison develops collaborative works that explore brend-based awareness in Hermetic Art Party with Anthony Vine (guitar and objects) and Katy Gilmore (projections). She works closely on creative projects and large-scale low-clarinets works with Michelle Lou. Further ongoing collaborations are with Timothy McCormack, John McCowen, members of the Harvard Group for New Music, and DAD (T.J. Borden and Michael Matsuno). Madison is a doctoral candidate at UC San Diego, where she learns greatly from the mentorship of Anthony Burr and Charles Curtis. She holds a Bachelor’s degree from the Eastman School of Music. Madison performed at ISSUE Project Room in December 2018 in support of, and alongside, Mary Margaret O'Hara as well as Artist-In-Residence John McCowen in 2020.
Talea performs works written for the ensemble by Alican Çamcı, Natacha Diels, Sam Yulsman, Mary Kouyoumdjian, and Tyshawn Sorey
About this event
Program Details:
Join us for an evening of works by Alican Çamcı, Natacha Diels, Sam Yulsman, Mary Kouyoumdjian, and Tyshawn Sorey! Many of these works, including 3 world premieres, for written for the ensemble.
alican çamcı: lovedeath karaoke (2021) *world premiere
Natacha Diels: OK Fantastic! (2022) *world premiere
Sam Yulsman: Voided Sky / Endless Bay(2022) *world premiere
Mary Kouyoumdjian: The Vanishing Dark (2017)
Tyshawn Sorey: Movement for Solo Piano
Talea Ensemble
James Baker, conductor
Jessie Cox, drums
Sam Yulsman, electric keyboards
Steven Beck, piano
The new works by Sam Yulsman and Natacha Diels were commissioned by the Fromm Foundation for the Talea Ensemble. Alican Çamci was commissioned by the Talea Ensemble’s 2020 Emerging Composers Commissioning Program.
Strange Tales
Works by Wang Lu, inti figgis-vizueta, and Alvin Lucier
December 11, 2021 at 7:30pm
FREE Admission
Join Talea for a free, immersive program featuring inti figgis-vizueta's Primavera crown, Alvin Lucier's Music for Cello & One or More Amplified Vases, and the world premiere of Wang Lu's November Airs.
Inspired loosely by the ancient Chinese mythological anthology, Strange Tales from a Chinese Studio, Wang Lu's November Airs explores the process of passing on historical memory through musical, spatial, and visual forms while delving into themes of humanity, compassion, and healing in mythology and storytelling. November Airs features live video projections created especially for this performance by contemporary visual artist Polly Apfelbaum. Talea performs the world premiere of November Airs.
inti figgis-vizueta's Primavera crown is a vibrant ensemble work that, in the composer's words, explores the encounter of "the role of individual imagination and expressive possibility against the large canvas of chamber orchestra." Finally, Alvin Lucier's Music for Cello with One or More Amplified Vases presents a meditative and interactive duo between a single cello and its resonances via a series of amplified glass vases.
Wang Lu's November Airs was commissioned by the Fromm Music Foundation for the Talea Ensemble. This world premiere production of November Airs is supported in part by a generous grant from the Cafe Royal Foundation. This performance is also made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
PROGRAM:
Alvin Lucier: Music for Cello with One or More Amplified Vases (1993) Christopher Gross, cello
inti figgis-vizueta: Primavera crown (2020)
Wang Lu: November Airs (2021) *World Premiere
Polly Apfelbaum, video projection
Talea Ensemble
James Baker, conductor
Eithere/Or is proud to present Process and Potentiality, a celebration of new and historic works exploring the limits of interpretation, notation, and musical communication.
The program includes the world premieres Wereds for solo flute (2019) by Jessie Cox (with whom E/O premiered his experimental opera As a Song of the World in 2020), and Graphic Series:Lead Sheets #50 by Artistic Director Richard Carrick. In addition, EO presents performances of works by Katherine Young, Raven Chacon, Roman Haubenstock-Ramati, Roland Kayn, and Tom Johnson.
Performers
Richard Carrick - piano; Jennifer Choi - violin; Margaret Lancaster - flute; Chris McIntyre - trombone; John Popham - cello
Program
Jessie Cox Wereds - solo bass/piccolo flute (2019)
World Premiere
Tom Johnson Sequenza Minimalista (1992)
> CJM solo trombone
Richard Carrick Graphic Series: Lead Sheets Selections (2019)
World Premiere
Raven Chacon Whisper Trio (2008)
Roland Kayn Inerziali (1964)
Katherine Young For Astronauts, For Travelers (2012)
Roman Haubenstock-Romati Konstellationen, selections (1971)
Roland Kayn, detail from Inerziali (1964)