Tuesday, January 23
Eric Huebner and Steven Beck
Eric Huebner, piano; Steven Beck, piano
The winter Pop-Up series kicks off with two of today’s most dynamic and talented new music pianists. When they play together, Eric Huebner and Steven Beck display a remarkable rapport, and here they take the stage for a program for two pianos featuring music by Ligeti, Reich, and Boulez.
György Ligeti Three Pieces for two pianos (1976)
Steve Reich Piano Phase (1967)
Pierre Boulez Structures I (1952)
Tuesday, February 13
Olivia de Prato, violin; Lauren Cauley Kalal, violin;
Victor Lowrie, viola; Mariel Roberts, cello
Called “one of America’s most daring and ferocious new-music ensembles” by The Chicago Reader, the Mivos Quartet returns for a unique program highlighting their members as composers. In addition to works by Marisol Jimenez and Jeffrey Mumford, violist/composer Victor Lowrie’s Streya for violin solo follows a premiere by cellist/composer Mariel Roberts of a new work for string quartet written for the occasion.
Mariel Roberts new work for string quartet (2018), world premiere
Victor Lowrie Streya for violin solo (2010)
Marisol Jiménez Sed de Arcano (2004)
Jeffrey Mumford The Promise of the Far Horizon (2002)
Tuesday, March 6
Laura Barger, piano; Ning Yu, piano;
Ian Antonio, percussion; Russell Greenberg, percussion
Yarn/Wire, described as “restlessly curious” (Time Out NY), returns to perform the U.S. premiere of a work by the young, pioneering composer Catherine Lamb. curvo totalitas is a 45-minute tour de force that seamlessly shifts perceptions, allowing the listener to get lost in its unique sound world.
Catherine Lamb curvo totalitas (2016), U.S. premiere
Much of the most interesting new music is not only composed with specific performers in mind, but is written in collaboration with them. This isn’t a process unique to contemporary music; historically, composers have written works for the noted performers of their time, and in more recent years, composers interested in expanding the range of new music’s sound palette have worked with technically adventurous virtuosi to create distinctly challenging pieces—challenging not only to play, but for listeners used to the more conventional range of instrumental sounds, challenging to assimilate as well. The practice of composer-performer collaboration seems to be particularly flourishing right now, often with excellent results. An example of this is Ashley Walters’ Sweet Anxiety, a collection mostly made up of new collaborative works for solo cello.
Two of the collaborative works on the disc are by composer Nicholas Deyoe. For Stephanie (2009), a wedding gift to the composer’s wife, is a piece whose volatile dynamics and unusual detuning scheme seem to capture the anxiety and aspiration that surround such an emotionally complex rite of passage. Deyoe’s another anxiety (2013) worries its sound material with compulsively repeated figures, frantic bowing, and jaw-clenchingly close microtonal dyads.
For Wadada Leo Smith’s Sweet Bay Magnolia with Berry Clusters (2012-2013), collaboration came in when Walters began the process of interpreting the completed score. Smith’s semi-improvisational piece left Walters much latitude in terms of phrasing, durations, and dynamics, and as a consequence her performance is richly expressive and at times uninhibited.
The highlight of the recording is Walters’ interpretation of Luciano Berio’s Sequenza XIV for cello. Berio composed the piece for the Sri Lankan cellist Rohan de Saram but it was left unfinished at the composer’s death; Walters worked with de Saram to realize her own version of the score. Sequenza XIV contains a number of technical challenges, including extended pizzicato and arco gestures meant to evoke Sri Lankan drumming rhythms. Walters’ performance conveys the power of the piece in a way that feels entirely natural.
Source: All About Jazz.
Cycles of Animation (Skirl Records)
Another Timbre Celebrates Its First Decade
Christoph Erb – Jim Baker – Frank Rosaly
Parrots Paradise (Veto Records)
Slow Learner (Iluso Records)
Der Verboten (Clean Feed Records)
Sing Me Some Cry (Clean Feed)
The Out Louds
The Out Louds (Relative Pitch Records)
Source: The New York Times.
Is Philip Glass the creator of sprawling grand operas like “Einstein on the Beach,” or intimate, gloomy pieces like the Partita for Cello No. 2? He’s both, of course, but when another composer is invited to create a piece responding to Mr. Glass’s legacy, you can’t have it both ways. During the American Composers Orchestra’s concert on Friday at Zankel Hall, the Peruvian composer and performer Pauchi Sasaki highlighted Mr. Glass’s theatrical flair in “GAMA XVI.”
Source: I CARE IF YOU LISTEN.
AUTOMOTOY | UNCAGED TOY PIANO FESTIVAL
Automotoy showcases a variety of works incorporating mechanical musical instruments with live performers, as well as John Cage‘s Music for Amplified Toy Pianos.
Wednesday, December 13 at 8:00 PM
Roulette, 509 Atlantic Avenue, Brooklyn, NY
MECHANICAL TOYS | UNCAGED TOY PIANO FESTIVAL
As part of ICE‘s residency at the Abrons Arts Center, UnCaged Fest closes with an event featuring the winning works from the UnCaged::Conlon Keyboard Prize featuring works for the Robot Toy Piano. The program includes works for live-coding pianist by Anne Veinberg/Felipe Ignacio Noriega (winners of the the 2017 Keyboard Prize); Keychain by Christina Oorebeek for toy piano, robot toy piano and disklavier; and PRAGMA by UnCaged runner-up Stefano Alessandretti for robot toy piano and live-electronics.
Thursday, December 14 at 8:00 PM
Abrons Arts Center, 466 Grand Street, New York, NY
OPENICE AT ABRONS ART CENTER
ICE presents the world premiere of Wojtek Blecharz’s Music for Invisible Places, an OpenICE commission, at Abrons Art Center. Berlin-based Blecharz, who has workshopped the piece over several installations with ICE at Abrons, is a polyglot performer with long experience in intermedia. The new, transporting work, for a subset of ICE, is ideally suited to the open performance spaces at Abrons.
Friday, December 15 at 8:00 PM
Abrons Arts Center, 466 Grand Street, New York, NY
This pioneering work of public sound art debuted in Greenwich Village in 1992 and is today a tradition that has been celebrated in 100+ cities across five continents. Kline’s electronic soundscape is played by the audience on boomboxes—and amplified phones—carried through city streets. Each participant simultaneously plays one of 4 composed tracks, together creating a joyous noise on foot.
Sunday, December 17 at 6:00 PM
The Arch in Washington Square Park, New York, NY