OCTOBER 21, 2019 | 6:30pm & 8:30pm
THE MILTON RESNICK AND PAT PASSLOF FOUNDATION
87 ELDRIDGE STREET | NEW YORK
Guest Artists: Doori Na, violin; Adrián Sandi, clarinet; James Baker, conductor
ABOUT THE PROGRAM
Mario Davidovsky’s Synchronisms No.3 for Cello and Electronic Sound is part of a series of twelve musical compositions for solo or ensemble live instruments and pre-recorded tape composed by Mr. Davidovsky at the Columbia-Princeton Electronic Music Center, the first dating from 1963. Davidovsky explains that, “One of the central ideas of these pieces is the search to find ways of embedding both the acoustic and the electronic into a single, coherent musical and aesthetic space.”
Flight Patterns by Adam Roberts is a seven-minute piece for flute, percussion, piano, violin and cello, commissioned and premiered by MIAM Modern Music Ensemble. This work is in two parts, and Roberts explains “the two halves begin in similar ways, with delicate material that coalesces into firmer gestures, though each half follows its own trajectory. The second half is not a variation of the first, per se; rather, the piece is like a day lived twice, with similar conditions, but different choices and outcomes. The piece is about both narrative and texture, and plays with different qualities of touch as the story unfolds.” Unsung Chordata by Melinda Wagner is scored for flute (piccolo), B♭ clarinet (B♭ bass clarinet), violin, cello, percussion and piano. Wagner drew inspiration from a video of an industrious little pufferfish and his sand artistry. Working 24 hours a day, he carves out a beautiful medallion of swirls and ridges, in the hope of attracting a sweetheart. Wagner has written, “I was so moved by the careful preparation, determination, patience, and artistry of this little fish, who has no guarantees of finding true love. The phenomenon reminded me very much of the act of composing – of creating something out of nothing, with few guarantees.” Sean Shepherd’s Lumens for flute/piccolo, clarinet, piano, percussion, violin and cello is broken into three excerpts: #1 Oppressive, Joyous Bells; #2 Mercurial, and #3 Benediction. For the composer, this piece is about gratitude: “as I see it, gratitude doesn’t have to be sentimental or saccharine, or even an outward expression. And much music has been borne of angst, pain and fear. But, as we find our place in the world, one can’t help but admire a beautiful random framework—events, people, places —that never fails to aid us in our journey but can never be controlled nor predicted.
Monday, March 16, 2020 | Hidden Motives | 6:30 & 8:30 PM
NYNME shares music by Georg Friedrich Haas, David Froom, Hannah Lash and Max Grafe.
Monday, May 18, 2020 | Vortex Temporum and Origins | 7:30 PM
Gérard Grisey’s masterpiece Vortex Temporum will be paired with a solo work by each of the composers to whom Grisley dedicated each movement of this piece: Helmut Lachenmann, Gerard Zinsstag, and Salvatore Sciarrino.