San Francisco Scene: May 12-19, 2017

Top of the Transamerica building, downtown San...

From the Bay Improviser Calendar.

Friday, May 12

Fri 5/12 8:00 PM Orange Room [2885 Ettie St, Oakland, CA 94608]
Music of Images:
Experimental sound/theater pieces written, designed, and directed by Julie Moon, Sam Genovese, and Brett Carson
Advance tickets available at brownpapertickets.com

Fri 5/12 9:00 PM Studio Grand [3234 Grand Ave, Oakland]
Help KYN celebrate the one year anniversary of their release of their debut EP, Worlds. The night kicks off with an opening performance from Will Gluck, followed by a listening party of the EP accompanied by live visuals from Taurin Barrera. Afterwards, KYN will perform a set of new music exploring new sonic landscapes inspired by their recent trip to Berlin.

Saturday, May 13

Sat 5/13 12:00 PM Noisebridge Hackerspace [2169 Mission St SF]
G|O|D|W|A|F|F|L|E||N|O|I|S|E||P|A|N|C|A|K|E|S
Microwave Windows——–Syrnx——-Fistortion—–Nurse Betty—–Series Premiere

Sat 5/13 8:00 PM Center for New Music [55 Taylor St SF]
The Refuse Project

Sat 5/13 8:00 PM First Presbyterian Church of Berkeley [2407 Dana St. Berkeley, CA 94709]
COMPOSERS INC.
The 4th annual !BAMM! (Bay Area Modern Music) concert.

Sat 5/13 8:30 PM The Lab [2948 16th St SF]
Thollem McDonas / Gino Robair / Lisa Mezzacappa / Christina Stanley

Sat 5/13 9:00 PM Orange Room [2885 Ettie St, Oakland, CA 94608]
Music of Images:
Experimental sound/theater pieces written, designed, and directed by Julie Moon, Sam Genovese, and Brett Carson
Advance tickets available at brownpapertickets.com

Sunday, May 14

Sun 5/14 12:00 PM KFJC 89.7 FM Month of Mayhem special [Los Altos Hills]
KFJC 89.7FM’s three hour MAYHEM special on the life and work of Bay Area electronic music pioneer Don Buchla

Monday, May 15

Mon 5/15 7:30 PM ODC Dance Theatre [3153 17th Street at Shotwell SF]
Earplay Season 32: Water

Mon 5/15 8:00 PM El Rio [3158 Mission St SF]
No Vela Presents ~~ The AV Crowd w/ IMA ++ Dire Wolves ++ Angst Hase Pfeffer Nase ++ Sirena Victima M

Tuesday, May 16

Tue 5/16 6:00 PM Center for New Music [55 Taylor St SF]
Composer Reading Session with The Living Earth Show

Tue 5/16 8:00 PM Gray Area Art And Technology [2665 Mission St. SF]
Mad Max: Silent Fury by The Firmament – Black & White Live Electronic Score

Wednesday, May 17

Wed 5/17 6:00 PM Prelinger Library [301 8th Street, Room 215, San Francisco, CA.]
MUSIC RESEARCH STRATEGIES presents Indexical Moment/um, a hybrid, “performing-ethnomusicology” series featuring Black Creative Musicians translating Improvisation with Music Research Strategies founder and Prelinger Library researcher-in-residence Marshall Trammell.

Wed 5/17 7:30 PM Canessa Gallery [708 Montgomery St SF]
Our mid-May show at Canessa Gallery will feature sounds by Rags, Bran(…)Pos and Randylee Sutherland.

Wed 5/17 8:00 PM Peacock Lounge [552 Haight Street, SF, CA 94117]
Spider Compass Good Crime Band
Omniverous Sensillium
CL0NER
Braingoat
Wed, May 17 at Peacock Lounge, 552 Haight
$5 Doors 7:45pm, bands 8-10:30pm, 21+

Thursday, May 18

Thu 5/18 7:30 PM CCRMA [660 Lomita Dr. Stanford]
Join us for a multimedia, robotic, and generally chaotic doubleheader concert with artists Bryan Jacobs and On Structure.

Thu 5/18 8:00 PM Luggage Store Creative Music Series [1007 Market Street SF]
8pm: Kataryna Kopelevich: Organ / electronics
9pm: Alphastare: Synthesizers/tapes

Thu 5/18 8:00 PM Center for New Music [55 Taylor St SF]
MicroFest North: A Concert With Shadows

Thu 5/18 9:30 PM Studio Grand [3234 Grand Ave, Oakland]
Some Music From Jordan Glenn – WiENER KiDS and BEAK

Friday, May 19

Fri 5/19 8:00 PM St. John’s Episcopal Church [14 Lagunitas Rd Ross, CA 94957]
Marin Baroque Presents:
AGAVE BAROQUE
The Fantastical Mr. Biber: the experimental harmonies, virtuosity, and modernism of Heinrich Ignaz Franz Biber

Fri 5/19 8:00 PM Center for New Music [55 Taylor St SF]

Aluminati – David Samas, Tom Nunn, Ian Saxton and Derek Drudge – presents its premiere performance using all metal instruments including aluminum rods suspended on inflated balloons (harmonic rods), stroke rods, end-struck rods, heat-bent rods (zing trees), bowls, chaseplate and other metallic paraphernalia. The harmonic and enharmonic chorus of tones are heard through varyingly dense harmonic/percussive textures with melodic elements, hocketing and other contrapuntal relationships, within an architectural compositional context.
RTD3 – Ron Heglin (trombone, voice), Tom Nunn (original instruments) and Doug Carroll (cello) – have played together for decades. Ron speaks, sings and chants songs and stories from unrecognizable languages. Tom brings his own unique sounds of an alien kind of music with his original instruments. Doug celloistically sings the melodies of a mind and soul divested of any sense of normalcy!

Jazz in NYC This Week

English: Jason Kao Hwang live at Saalfelden 20...

Source: The New York Times.

THE MUSIC OF KARL BERGER at Greenwich House Music School (May 13, 8 p.m.). “They are simply statements that want to happen”: That’s how the multi-instrumentalist, composer and radical pedagogue Karl Berger describes the gently protean piano music he has written over the past several years. These compositions declare no specific direction, changing keys and harmonic shape with a smoky languor. Mr. Berger — a founding artistic director of the influential Creative Music Studio in upstate New York — has released two albums of piano music on the Tzadik label since 2010, the first a solo album and the second with a trio. At this concert he will debut the third and final suite in the series, and he’ll be joined by Steve Gorn on clarinet, Jason Kao Hwang on viola, Tomas Ulrich on cello, Ken Filiano on bass and Sana Nagano on violin.
212-242-4770, greenwichhouse.org

SATOSHI TAKEISHI at the Stone (May 16-21, 8:30 p.m.). Mr. Takeishi, a percussionist, hails from Japan but draws much of his inspiration from the music of South America, particularly Colombia. He favors music of humid exposure, often slow or sparse enough to take you into a deeply receptive place. In residence next week at the Stone, Mr. Takeishi will perform with a different group each night. Look out for his duet on Wednesday with the saxophonist Michael Attias, and his trio on May 21 with the vocalist Fay Victor and the clarinetist Ned Rothenberg.
212-473-0043, thestonenyc.com

KEN VANDERMARK AND NATE WOOLEY at Issue Project Room (May 16, 8 p.m.). Mr. Vandermark and Mr. Wooley are anti-path musicians: As composers and improvisers, they find their destination without following a known route. Mr. Vandermark, a MacArthur fellow, plays saxophones and clarinets. Mr. Wooley is a trumpeter (in his solo work, he uses effects and loops as well). They have released two lovely duo albums — both streaming on Bandcamp — that treat atonality and absence as compatriots to melody. Moments of harmonic clarity are rare, and they tend to arrive by happenstance. Mr. Vandermark and Mr. Wooley are using their current tour to develop a series of long-form compositions.
718-330-0313, issueprojectroom.org

Classical Music in NYC This Week

Tyondai Braxton at the Pitchfork Music Festival.

Source: The New York Times.

ALARM WILL SOUND at Merkin Concert Hall (May 13, 8:30 p.m.). Alarm Will Sound is one of those ensembles that you simply trust to have put together an interesting and fulfilling concert, whatever it is they are playing. This one, part of the Ecstatic Music Festival, is made up entirely of New York premieres and includes music by Valgeir Sigurdsson, Brian Reitzell, Tyondai Braxton, Matt Rogers and Chris Thompson.
212-501-3330, kaufmanmusiccenter.org

THE CROSSING at St. Michael’s Church (May 12, 7:30 p.m.). “Canticles of the Holy Wind” is one of two major works that this committed contemporary-music choir from Philadelphia has commissioned from John Luther Adams, a composer uncommonly concerned with the relationships between music, nature and humanity. This performance, celebrating a worthy new recording to be released on Cantaloupe Music in June, is part of an Adams series sponsored by Symphony Space. Another notable attraction will be Alarm Will Sound giving the New York premiere of “Ten Thousand Birds,” in Morningside Park at 3 p.m. on Sunday.
212-864-5400, symphonyspace.org

‘NEW MUSIC, THEN AND NOW’ at the New School (May 14, 2 p.m.). The affordable Schneider Concerts remain a solid deal for more intrepid classical music lovers, and this is a particularly intriguing program. On the first half, the inimitable soprano Tony Arnold sings in two works, Luciano Berio’s “Circles” and Matthew Ricketts’s “Song Cycle.” On the second, the excellent Calidore String Quartet plays Caroline Shaw’s “First Essay: Nimrod” and the premiere of Hannah Lash’s “How to Remember Seeds.”
212-229-5873, newschool.edu

NOVUS NY at St. Paul’s Chapel (May 18, 1 p.m.). If your John Luther Adams cravings are not fulfilled by the Crossing’s concert on Friday and Alarm Will Sound’s on Sunday, here’s a free lunchtime opportunity to hear “Become Ocean,” his symphonic masterpiece of tone painting, compositional process and ecological awareness, which won the Pulitzer Prize in 2014. Alongside it, Julian Wachner conducts a premiere from Jessica Meyer and Luna Pearl Woolf’s “After the Wave.”
212-602-0800, trinitywallstreet.org

George Crumb Profiled

Source: philly.com.

It’s a big week for music about paintings. In Philadelphia, Dirk Brossé and the Chamber Orchestra of Philadelphia have been readying Brosse’s Pictures at an Exhibition for this weekend’s premiere. And at Washington’s National Gallery of Art last Sunday, veteran Philadelphia composer George Crumb listened from the audience to the premiere of his Metamorphoses Book I, a cycle of piano works based on his favorite paintings.

Crumb’s work crossed new boundaries. Performed for the Washington audience by keyboardist Margaret Leng Tan, Metamorphoses showed that the 87-year-old composer — long retired from the University of Pennsylvania and now living quietly in Media — still has the power to drive some listeners to premature exits. But mostly, his work had audience members too entranced to leave the East Building Auditorium when it was over. Even after extended clapping, they lingered.