Extended Techniques NY Calendar for November

English: John Zorn Français : John Zorn

Source: extended techniques.

NYC Calendar November 2015

Highlights of the month:
John Zorn at The Vanguard, November 3 – November 8
Zeena Parkins residency at The Stone, November 17-22

MONDAY, November 2
8PM Eric Wubbels & Mivos Quartet: “being time”
VENUE: Roulette
ADMISSION: $15/$25

MONDAY, November 2
8PM Nikolaj Hess, piano
Reflecting on the silence, beauty, simplicity and magic of Vilhelm Hammershøi’s poetic universe http://www.scandinaviahouse.org/events/impressions-of-hammershoi-the-poetry-of-silence-with-pianist-nikolaj-hess/
VENUE: Scandinavia House
ADMISSION: $15/$20

November 5 – December 3
Lulu, Alban Berg
production: William Kentridge
http://www.metopera.org/Season/2015-16-Season/lulu-berg-tickets/
VENUE: Metropolitan Opera
ADMISSION: $27-460

FRIDAY, November 6
7PM Atonal Hits (Katha Zinn, violin, and Illya Filshtinskiy, piano)
PROGRAM:
Nikolai Roslavets: Sonata No. 2 for Violin and Piano
Sergei Prokofiev: Sonata No. 2 for Violin and Piano
Galina Ustvolskaya: Sonata for Violin and Piano
VENUE: Spectrum
ADMISSION: $15

TUESDAY, November 10
8PM Den Svarta Fanan
Joe Merolla (bass) Nonoko Yoshida, special guest Chris Pitsiokos (saxes) Ron Anderson (guitar) Weasel Walter (drums)
Noise punk free improvisation.
VENUE: The Stone
ADMISSION: $10

TUESDAY, November 10
6 PM Pierrot Lunaire, Arnold Schoenberg
http://www.millertheatre.com/events/pierrot-lunaire-curtis
VENUE: Miller Theatre at Columbia University
ADMISSION: FREE

SUNDAY, November 15
3PM John Zorn’s Bagatelles: Uri Caine/John Medeski
VENUE: The Stone
ADMISSION: $20

SUNDAY, November 15
12PM – 6:00PM 1+2+3: Solos, Duos, and Trios for Greater New York
Keith Fullerton Whitman (electronics), David Grubbs (guitar), Eli Keszler (drums, percussion, and electronics), Okkyung Lee (cello), Nate Wooley trumpet) and C. Spencer Yeh (violin and voice).
https://www.facebook.com/events/1139630012732106/
VENUE: MoMA PS1
ADMISSION: $15

SUNDAY, November 15
10PM Ned Rothenberg (reeds) Nonoko Yoshida (sax)
VENUE: The Stone
ADMISSION: $10

TUESDAY, November 17
10PM Zeena Parkins/White Out: Tom Surgal/Lin Culbertson
VENUE: The Stone
ADMISSION: $15

WEDNESDAY, November 18
8, 10 PM Phantom Orchard: Zeena Parkins/Ikue Mori with guests (10PM) Erik Friedlander, Cyro Baptista
VENUE: The Stone
ADMISSION: $15

FRIDAY, November 20
8PM Topos Kolektiv
http://thefirehousespace.org/event/topos-kolektiv/
VENUE: The Firehouse Space
ADMISSION: $10

SUNDAY, November 22
6PM Ben Goldberg / Ingrid Laubrock / Tom Rainey
VENUE: Downtown Music Gallery
ADMISSION: Free

TUESDAY, November 24
8PM ITT (Improvising Trombone Trio)
Dick Griffin (trombone) Joe McPhee (trombone) Steve Swell (trombone)
VENUE: The Stone
ADMISSION: $15

TUESDAY, November 24
10 PM Dragonfly Breath
Paul Flaherty (tenor saxophone) C. Spencer Yeh (violin, voice) Weasel Walter (drums) Steve Swell (trombone)
VENUE: The Stone
ADMISSION: $15

TUESDAY, November 24
6PM Inventions, Ensemble Signal
PROGRAM:
Ken Thomson, new work for percussion (2015) World premiere
Caroline Shaw, Boris Kerner (2012)
David Lang, Stuttered Chant (2011)
Iannis Xenakis, Psappha (1975)
http://www.millertheatre.com/events/inventions-signal
VENUE: Miller Theatre at Columbia University
ADMISSION: FREE

SATURDAY, November 28
8PM Trombone Solo, Schematics and Heuristics for (4) Clarinets #2, Composite #11
Marty Ehlrich, Ned Rothenberg, Guillermo Gregorio, Aaron Novich (clarinets) Nate Wooley (trumpet) Steve Swell (trombone, composition)
VENUE: The Stone
ADMISSION: $15

SATURDAY, November 28
10 PM TPP (Trombone, Piano, Poetry)
Connie Crothers (piano) Steve Dalachinsky (poetry) Steve Swell (trombone)
VENUE: The Stone
ADMISSION: $15

SUNDAY, November 29
3 PM John Zorn’s Bagatelles: Mark Feldman (violin) Sylvie Courvoisier (piano)
VENUE: The Stone
ADMISSION: $20

SUNDAY, November 29
8PM &10PM
From Norway—Frode Gjerstad Trio with Steve Swell
Frode Gjerstad (alto saxophone, clarinet) Johnny Ruun (bass) Paal Nilssen-Love (drums) Steve Swell (trombone)
VENUE: The Stone
ADMISSION: $15

AMN Reviews: Franklin Cox – The New Cello Volume 2 [Centaur Records CRC3390]

MI0003868339One of the more important legacies of the musical avant-garde of the last century is the extension of the technical means available to instrumentalists of all kinds. With this has come a corresponding broadening of the range of sounds ready to hand for performers and composers alike. With his series of recordings of new and recent music for the solo cello, Franklin Cox offers a cross-section of some of the more demanding and expansive compositions for the instrument.

An American originally from Illinois, Cox (b. 1961) is not only a cellist but a composer and musicologist as well. He was a student of composer Brian Ferneyhough and retains an allegiance to the New Complexity, of which Ferneyhough is perhaps the best known exemplar. All of the composers represented on The New Cello Volume 2, in fact, are either associated with or have been influenced by the New Complexity. Microtonality is a significant element of New Complexity composition and of particular importance to Cox, whose New Cello Volume 1, a collection of works by Americans Ben Johnston, Elliott Carter, Stuart Saunders Smith and Cox himself, demonstrated his fluency not only with microtonality but with intonation that falls outside of or beyond equal temperament. His favoring work of this sort pushes him into sonic territory that he describes as challenging Western art music’s traditional “requirement of constant tonal beauty.” The New Cello Volume 2, which features nine demanding compositions by contemporary European composers, finds him very much at home in that territory.

Although all of the works delve deeply into the cello’s full complement of technical resources, they aren’t simply about what can be done with and to the instrument. Each has an irreducible expressivity that the techniques, remarkable as they are, ultimately serve. This is apparent from the first track, Cox’s realization of British composer Roger Redgate’s Feu la cendre (1992). It is an aggressively percussive work that, with its rising and falling glissandi, has the cello at times take on the plaintive inflections of the human voice. Michael Finnissy’s Dove’s Figary (1976-77; 1981), a microtonal recasting of a 17th century English country dance tune, maintains its underlying songful nature underneath the artful warpages and distortions of Finnissy’s reimagining. Einspielung II (1980) by the late Portuguese composer Emmanel Nunes has a kind of knotty lyricism transmitted through rapidly falling figures, false leading tones and dramatic changes of register and dynamics.

Three of the works are linked to literary sources. James Erber’s Le colonne d’Ercole (1996) is based on Canto 26 of the Inferno; its flowing line possesses a lyricism that nonetheless is subject to dislocating shifts in mood. La vision d’ange nouveau (1997-98) by German composer Claus-Steffen Mahnkopf has its basis in Walter Benjamin’s essay “Theses on the Philosophy of History;” its slow, microtonal glissandi against a drone are broken by pizzicato notes and an increasingly fragmented texture–possibly an allusion to the shattered future that Benjamin’s angel sees spread out before him. A poem by Paul Celan provides the context for Welsh composer Richard Barrett’s Dark Ages (1987-90), a fittingly dark, thick-textured work for cello played with two bows on detuned strings.

Interspersed throughout the program are three versions of Klaus K. Hübler’s concise Opus breve, a predominantly timbral work of multilayered rhythms.

http://www.centaurrecords.com/store/crc-3390-the-new-cello-vol-2.html

Daniel Barbiero

AMN Reviews: Elliott Sharp – The Boreal (2015; Starkland)

222CoverBElliott Sharp‘s output has been all over the map for quite some time. A Renaissance man, Sharp has recorded and performed jazz, blues, rock, and techno, as just a few examples. The Boreal, his most recent effort, focuses on chamber and orchestral music. Showcasing the talents of the JACK Quartet, pianist Jenny Lin, Orchestra Carbon (members of the JACK and Sirius quartets) and the Janacek Philharmonic Orchestra across four distinct suites, this release burns with a dark intensity.

The title track leads off with JACK scraping and sawing their way through a modern classical piece.  Equipped with metallic bows designed by Sharp, JACK provides a sweeping, echoing realization of fractured time and violently shifting tectonics. Not surprisingly, extended techniques abound. A standout piece is the fourth movement, which begins with a complex uptempo interplay, but ends with droning, crackling atmospherics.

Oligosono features Lin on solo piano, and explore brooding, ominous themes. Lin percussively extracts Sharp’s compositions from her instrument, often attacking the strings themselves. But even when more conventional, this piece presents an fierce quality – the tension builds for long periods of time, then is sporadically released with rapid, knotty melodies.

The Proof of Erdos, a tribute to idiosyncratic mathematician Paul Erdos, explores Sharp’s interests in complex patterns and structures. With some of Orchestra Carbon providing a dense wall of sound, the remaining strings explore variations of intricate themes. The organized chaos here often involves three or more overlapping themes played simultaneously. The Orchestra aptly evokes Sharp’s discordant hellscapes, as rumbling bass is overlaid with plucking and angular themes.

On Corlear’s Hook rounds out the album with a full-blown orchestra. Different groups of instruments seem to operate at different speeds herein, from long drones to rapid motifs. Not unlike many avant-garde composers of the latter 20th century, Sharp explores densities and textures in addition to melodies and harmonies. As a consequence, this piece has a soundtrack quality – but one would be mistaken to write it off as mere background music. Instead, Sharp provides a full-blown realization of intricacies that fans of Xenakis, Boulez, and Ligeti will appreciate.

All About Jazz Reviews

Marilyn Crispell in concert, April 29, 2008 Ph...

Source: All About Jazz.

Matthew Shipp Quartet
Our Lady Of The Flowers (Rogueart Records)

Ernest Dawkins‘ Live In The Spirit Residency Big Band
Memory in the Center, An Afro Opera: Homage to Nelson Mandela (Dawk Music)

Matt Mitchell
Vista Accumulation (Pi Recordings)

The Necks
Vertigo (Northern Spy Records)

Made To Break
Before The Code (Trost Records)

Marilyn Crispell / Gerry Hemingway
Table Of Changes (Intakt Records)

Karl Berger/Kirk Knuffke
Moon (NoBusiness Records)

Erik Friedlander
Oscalypso (Skipstone Records)

Guapo
Obscure Knowledge (Cuneiform Records)

Daniel Levin Releases and Tour Dates

Source: Daniel Levin.

The Transcendent Function, a new duo cd with Mat Maneri, is being released on Clean Feed this month. It was recorded at the conclusion of a week-long tour last February, at VinterJazz in Copenhagen. We’re celebrating the release with a concert/party at 65 Fen, on November 21. We’ll have copies available then.

Divergent Paths, a duo cd with Rob Brown, was just released last month on Cipsela Records. It’s our second duo cd, following Natural Disorder on Not Two Records. We have been playing duo for a long time and have developed a really telepathic way of working together. It’s documented really well on this cd. Click here to get your copy from Cipsela!

November 13 – Daniel Levin Solo @ Home Audio, Brooklyn, NY

After taking a few years off of doing public solo performances, I am now back at it. I’ve been working on developing the solo music to places that were not explored on the solo record that I made in 2011, Inner Landscape (Clean Feed). The way the music was created for Inner Landscape often used the live audience, or at least the idea of the live audience, as a kind of catalyst for moving the improvisations forward. Now, I have gone the other way. It’s sort of a sonic version of what it might be like if you hike by yourself, deep, deep into the woods, camp out for the night, and then wake up the next morning and decide to make little ritual sculptures out of twigs, rocks, and leaves. A new LP/CD of this music is due out on Belgium’s Smeraldina-Rima label in April, 2016.

November 21 – Daniel Levin / Mat Maneri Duo @ 65 Fen, Brooklyn, NY

Mat and I did a week-long EU tour in February of this year, culminating at Copenhagen’s VinterJazz. We were lucky to have that entire performance documented extremely well by Thomas Vang in a recording studio-like performance setting. Mat is an incredibly rewarding, challenging, and exciting duo partner. I have loved and admired his playing for so many years, ever since I heard him in the Joe Maneri Quartet in the 90’s. It’s a thrill to make music with him in this context, and 65 Fen is the perfect, very intimate venue to really appreciate the way the acoustic viola and cello interact.

Pauline Oliveros Indiegogo Campaign

Photo of Pauline at a dinner/concert in Oakland

Source: Indiegogo.

Pauline Oliveros has been on the cutting edge of contemporary American music since 1960. As a composer, performer, innovator, philosopher, author and teacher, she has touched and influenced countless souls both inside and outside the musical community. She was one of the world’s original electronic musicians. She is a master accordion player. She is a teacher and mentor to musicians and a gateway to music and sound for non-musicians. She is a technical innovator who has helped develop everything from tools that allow musicians to play together while in different countries to software that allows people with severe disabilities to create beautiful music.

In the 1960s, John Rockwell named her work Bye Bye Butterfly as one of the most significant of that decade. In the ’70s, she represented the U.S. at the World’s Fair in Osaka, Japan. She was honored in 1985 with a retrospective at the Kennedy Center for the Performing Arts in Washington, DC. In the 1990s, she was presented with a Letter of Distinction from The American Music Center. In 2010, she was honored with the William Schuman Award from Columbia University. In 2012, she was the winner of the prestigious John Cage award. In 2014, her installation and performance closed the final Whitney Biennial in the museum’s long-time home in the Marcel Breuer building.

By any stretch of the imagination that is an impressive list of honors and awards, and that is only a sampling. Yet, there is no film about this amazing and influential artist. With your help, we hope to remedy that, and do it in style.