From Ensemble Dal Niente:
Hommage to Ligeti, Hauer, and Reich
Saturday, February 23, 2013, 5:00pm ($10 general, $5 student; Tickets available on Feburary 1, 2013 at http://www.dalniente.com)
PianoForte Salon in the Fine Arts Building
410 South Michigan Avenue
Georg Friedrich Haas (b.1953): Trois Hommages (1984) for one pianist playing two pianos tuned one quarter-tone apart
I. Hommage à György Ligeti
II. Hommage à Josef Matthias Hauer
III. Hommage à Steve Reich
In the intimate setting of the PianoForte Salon, pianist Mabel Kwan presents a rare performance of Haas’ Trois Hommages, a feat in itself considering one pianist is required to play two pianos simultaneously. While one piano is tuned conventionally, the other is detuned by one quarter-tone in its entire range, creating a palette of 176 pitches played by one musician. Each movement pays tribute to an influential composer who profoundly shaped the course of 20th century music.
As a member of Ensemble Dal Niente, Mabel Kwan is active in performances and education outreach throughout the concert season. She performed with Dal Niente at the 45th International Summer Courses for New Music in Darmstadt, Germany where they received a Kranichstein Stipend Prize, the first ever awarded to an ensemble. She and percussionist Andrew Bliss are founding members of the duo Nothing in Common. The duo has performed at the Intermedia Festival at IUPUI and the SEAMUS conference in Fort Wayne, Indiana, as well as universities and concert venues throughout the Midwest. Mabel has given solo recitals at the Sonic Fusion Festival in Edinburgh, Scotland and the Experimental Piano Series produced by the Chicago Composers Forum and Pianoforte Chicago. She champions the works of artists from her generation and has enjoyed collaborations with Liminal Performance Group and the Poetry Foundation. Born and raised in Austin, Texas, Mabel received performance degrees from Rice University and Northern Illinois University. She currently lives in Chicago, Illinois.
Thursday, February 28, 2013, 7:30pm ($20 general, $10 student)
Ruth Page Center for the Arts
1016 North Dearborn Street
Christopher Trapani (b. 1980): Anyplace Else (2012) for large ensemble*
Georg Friedrich Haas (b. 1953): in vain (2000) for 24 players and lighting design
Haas’s in vain has already earned recognition as one of the most influential and important pieces of music written since 2000. It is the composer’s vehement, long-form response to the far right’s political victories in his native Austria. With a style reminiscent of Ligeti, with its rich, spectrally-derived harmonies and complex interweaving rhythmic matrices, Haas has a dramatic and powerful musical voice. His music is made even more distinct by the lighting effects that his scores call for; certain passages of in vain will be performed in complete darkness, disturbing and transforming the listener’s expectations on this journey through territory in which intense, violent energy and absolute stasis are juxtaposed. There are few ensembles that can pull off a work of this magnitude (it even includes an accordion part!), and Dal Niente is pleased to offer the first Chicago performance of this incredible masterwork.
Also on the program is Chris Trapani’s Anyplace Else, in which melting imaginary landscapes are conjured by the sounds of prepared piano and effects-drenched electric guitar. Dal Niente gave this work its world premiere to high praise at the 2012 Darmstadt Courses, and Chicago audiences will thrill to its savvy mingling of harmonically-rich and formally structured worlds of Grisey or Murail with the deconstructed pop/rock experimentation of contemporary sound artists such as Dirty Beaches. RECOMMENDED IF YOU LIKE: Tortoise, Les espaces acoustiques, The Sea & Cake.
by Dan Coffey
The latest AMM release finds the enigmatic collective stripped down to just two of the long-term collaborators: John Tilbury on piano (occasionally attacking it from the inside), and Eddie Prévost on (mostly bowed) percussion. While guitarist Keith Rowe is missed, the new disc, Two London Concerts, more than makes up for his absence in both its lyricism and astoundingly intense percussive interplay.
As the title drily indicates, the disc is comprised of two performances, each running just over 30 minutes. The first performance opens with several jarringly loud and unsettling chords from Tilbury, eventually followed by Prévost’s equally discomforting metal on metal bowing. The chords are abrupt calls; the bowing is a sustained response that eventually moves into the forefront while Tilbury relaxes a bit and explores the keyboard with less tension. (Although the antithesis of Morton Feldman in terms of sheer volume, one can hear, even more than usual, a stylistic similarity to the music of the late composer in the long spaces between chords that Tilbury employs, perhaps a nod to the interpretations of Feldman’s piano compositions that Tilbury recorded for the London Hall label in 2000.)
The thrilling nightmare of percussive piano and time-stretched percussion continues for fully 10 minutes in the first performance before the two performers change direction. The music is quieter with more attention paid to percussion as a time-keeper than a time-stretcher, and Tilbury’s playing becomes much more lyrical, and less chord-heavy. Relative quiet, not without tension, continues, with all sorts of sonic input from Prévost embellishing Tilbury’s more subdued playing.
The second performance, altogether calmer, and longer, shows Prévost expanding his palette, though there’s still plenty of bowing, and Tilbury, while mostly playing subtly and relatively quietly throughout, nonetheless takes the opportunity to dive into the innards of the piano towards the end of the performance, adding another layer of percussiveness to one of two performances that confound the ear’s perception of what is and isn’t percussive – the instruments that usually mark time end up stretching it. This is one of the most exciting and vital recordings to be released under the AMM name in quite some time.
In news of the odd and highly questionable, Amoeba records has been selling digital copies of out of print LPs. I haven’t found anything in the list that catches my fancy, and certain have mixed feelings about this.
The SuperCoda in New York has an upcoming show this Friday.
On 15th-16th February the British Library will be holding a two day symposium that seeks to open up and explore the practice, art and craft of field recording through a series of panel presentations, listening sessions and screenings.
Taylor Ho Bynum writes about the recently-departed Butch Morris.
From Buenos Aires,su Nueva Musica:
Thu, January 31, 9pm – 11pm
Charizma & No Subject presents ( experimental / free improvisation)
Leandro Barzabal, solo
:: fiesta de 15
Omar Grandoso, trombone & accesoriesSam Nacht, tenor sax / fx
Flor Curci, Drums and batarra eléctrica
Roberto Etcheverry, laptop
::: rave · espinal · kurzmann trio
Ada Rave: tenor & soprano sax
Jorge Espinal, E Guitar
Christof Kurzmann, ppooll
At Casa Mexico 21.oo hs
Fri, February 1, 10:30pm – 11:30pm
YOSHITAKE & KABUSACKI ( experimental )
Yoshitake Expe (Japan) (electric guitar) –
Fernando Kabusacki (electric guitarra & synth)
Virasoro Bar Guatemala 4328 friday 22.30 hs
Pablo Puntoriero Quartet ( free jazz )
P.Puntoriero , saxophones
Enrique Norris, cornet & paino
Lulo Isod , drums
Nico Ojeda, Contrabass
Virasoro Bar , Friday after midnight show
American Jazz musician and composer Mat Maneri. (Photo credit: Wikipedia)
Select shows coming to Baltimore’s An die Musik LIVE:
8, Friday, 8 & 9:30 pm
Pianist-Composer Kris Davis
releases her first quintet album, Capricorn Climber
Tom Rainey, drums
Ingrid Laubrock, sax
Mike Formanek, bass
Mat Maneri, violin
Kris Davis, piano
10, Sunday, 4 pm
Matthew Odell: Tribute to Elliott Carter
22, Friday, 8 & 9:30 pm A MUST-SEE CONCERT EVENT!!
ETHNIC HERITAGE ENSEMBLE
Returns to our stage for their 9th annual Black History Month performance!
Kahil El’Zabar, drums, voice, kalimba
Ernest Khabeer Dawkins, reeds
Corey Wilkes, trumpet
In the words of Bird, “Now is definitely the time!” Tell family and friends that the Ethnic Heritage Ensemble must be seen, heard and experienced like never before. It is your moment and your destiny to say it loud and make the music proud! The EHE has dedicated 35 plus years to the ancient to the future sense of hope. It is their time and you owe it to yourself to experience their groove. It is authentic music of an honest and tenured insight. These three musicians are like no other. They give it to you real; they give it to you serious, while having lots of fun!