Wordless Music: 2007-08 Season

An update with new shows from New York’s Wordless Music:

Friday,
July 18, 2008 Deerhoof
Metropolis Ensemble
Performing Stravinsky s Rite of Spring. A free concert.
Co-presented with Celebrate Brooklyn.
Prospect Park Bandshell
Park Slope, Brooklyn

Friday,
June 27, 2008 Times New Viking
ACME
Performing selections from the string quartets of Jefferson Friedman. A free concert. Co-presented with Whitney Live.
The Whitney Museum
Madison Avenue
& East 75th Street

Friday,
June 20, 2008 Prefuse 73
ACME
Performing Chen Yi s Sound of Five, for string quintet, and Kevin Volans She Who Sleeps, for solo percussion.
A free concert. Co-presented with Whitney Live.
The Whitney Museum
Madison Avenue
& East 75th Street

Friday,
June 13, 2008 A Sunny Day in Glasgow
ACME
Performing Ingram Marshall s Entrada and John Adams Shaker Loops, for seven strings. A free concert.
Co-presented with Whitney Live.
The Whitney Museum
Madison Avenue
& East 75th Street

Friday,
June 6, 2008 The Berg Sans Nipple
ACME
Performing selections from Kevin Volans White Man Sleeps and John Adams Book of Alleged Dances. A free concert. Co-presented with Whitney Live.
The Whitney Museum
Madison Avenue
& East 75th Street

Friday,
May 2, 2008 Stars of the Lid w/string quartet & projections
itsnotyouitsme
Face the Music
Face the Music is an NYC new-music ensemble comprising 19 students in grades 4-10 from the Kaufman Center’s Special Music School. They will perform recent chamber music by John Adams Hallelujah Junction , Ira Mowitz Kol Aharon , and Michael Gordon Yo Shakespeare .
Utterly and completely sold out. Sorry.
Good-Shepherd
Faith Church
Amsterdam Avenue
& West 66th Street

Advertisements

High Two Releases New music from Make A Rising and Public Record

From High Two

April 8 is a day that’s been long time coming for High Two. On that day, we issue our two new releases — albums that seem to have taken forever to get to you. Make A Rising’s second album, Infinite Ellipse and Head with Open Fontanel, has been a long three years in the making and we are so excited that is finally here. Likewise, we have been working on Public Record’s debut for over a year and are so excited that we can fianlly make it available to the public. Hear some at hightwo.com/audio. Buy some at hightwo.com/store

New on Atavistic

From Atavistic:

DUE OUT ON APRIL 8:
A tempest of jazz-noise erupts on the Atavistic debut from FIREROOM, a trio project between longtime collaborators KEN VANDERMARK, LASSE MARHAUG & PAAL-LOVE.

As core members of the initial lineup for (((POWERHOUSE SOUND))), as well as numerous other adventurous small & large groups, these cats know each other well. The telepathic vibe necessary to make free music really work is tested & expanded upon throughout, given Marhaug’s penchant for moodier, darker- yet still explosive forays on an array of vintage, contemporary & custom pieces of electronic gear.

Zorn’s Cobra at Roulette

New York’s Roulette will do Zorn’s Cobra.

April 29th at 8:30pm
John Zorn’s COBRA
A Roulette Benefit Concert

All Tickets $20
ROULETTE 20 Greene St (between Canal and Grand St)
TICKETS/RSVP: 212.219.8242
http://www.roulette.org/

John Zorn
Jim Staley
Ikue Mori
Sylvie Courvoisier
Mark Feldman
Okkyung Lee
David Watson
David Weinstein
Zeena Parkins
Shanir Blumenkranz
Kenny Wolleson
Eyal Maoz
Annie Gossfield

Written and premiered in 1984, “Cobra” is a classic in the circles of new
music, having been performed innumerable times. In fact, composer and
“prompter” John Zorn says in the liners that it his most-often-performed
composition — no mean feat considering his prolific output. It is no
wonder, though: There is a mischievous, cartoonish quality to it that
epitomizes Zorn’s style but also makes for continually fascinating
listening. Based on the composer’s secretive “game pieces,” “Cobra” is a
fun-filled, mystical, blindfolded ride down a dark alley that circles back
every few yards. Zorn suggests with ample reason that if he revealed all the
rules of his games, some might try to reproduce the piece with lesser
players and spoil its extraordinary qualities. Almost like a Talmudic
tapestry, the intricate complexities are in full flower here, with
constantly changing snippets, twisted sounds, swirls of ornate and
not-so-ornate clusters, and shimmering beauty. Zorn knows where he is going,
even if the listener does not, but that is all the fun. Some of the
composer’s clues are delineated in written descriptions — a movement of the
hand might indicate a drone, a pointing of the thumb means to stop — but it
is the remarkable selection of players under Zorn’s direction that makes the
difference. Improvisatory strategies are important, but no more so than the
carefully set wild and ecstatic juxtapositions. ~ Steven Loewy, All Music
Guide