Source: Areté Venue & Gallery.
Double Standard and hear|say
Saturday, 2/1/20, 8:00 pm
New York-based duos Double Standard (Jennifer Gersten, violin; Laura Davey, piano) and hear|say (Iva Casián-Lakoš, cello; John Ling, percussion) will suspend their historic rivalry in the interest of mutual music-mongering. Music by Sky Macklay and Sarah Hennies, as well as premieres by Erika Dohi, John Ling, and Ed RosenBerg III.
Argento New Music Project
Tuesday, 2/4/20, 8:00 pm
Vocalist/composer Charmaine Lee and clarinetist Carol McGonnell embody the theme of the evening of duality by performing a structured improvisation. Both performers are known for their intensity, and the mix of voice, text, sound, and breath will form the basis of their performance. Argento then juxtaposes different iterations of the same musical material, performing Arnold Schoenberg’s Verklarte Nacht (translation: transfigured night) alongside its original prototype sketch entitled Toter Winkel (translation: Blind Spot). Then we perform Erin Gee’s Mouthpiece 29 (2016), originally for voice, violin, viola, and bass, juxtaposed Mouthpiece 29b (2020), for voice and spatialize string septet.
CD release concert
Thursday, 2/13/20, 7:30 pm
The CD release concert of French composer/pianist Melaine Dalibert, who has recently released two solo piano albums on Elsewhere Music: his 2019 album Cheminant (elsewhere 007) and his 2020 album of Anastassis Philippakopoulos: piano works (elsewhere 010). In this concert, Dalibert will play some of Philippakopoulos’ works as well as his own solo works from Cheminant, and also his newest compositions, which will be included in his next solo album on Elsewhere for autumn 2020 release. Melaine Dalibert (born 1979) has been increasingly recognized for his compositional piano works as well as his interpretations of works by Gérard Pesson, Giuliano D’Angiolini, Tom Johnson, Peter Garland, and many others. Trained as a classical pianist in Rennes (where he teaches now), Dalibert studied a large repertoire of contemporary composers’ works at the Paris Conservatories. Being involved with experimental music at his young age, Dalibert found a way to compose music through mathematical concepts. Fascinated by natural phenomena which are both expected and unpredictable, and also inspired by the work of the Hungarian-born French media artist Véra Molnar, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series. His piano music has been released on four CD recordings to date: Quatre pièces pour piano, self-released in 2015, Ressac (2017) on Another Timbre, Musique pour le lever du jour (2018) and Cheminant (2019) on Elsewhere Music. His next solo album with his newest compositions for solo piano is scheduled to be released on Elsewhere Music in autumn 2020. His creations have been radio transmitted (France Musique, BBC, RAI, KEXP, RTBF) and played in many French and foreign festivals, museums and contemporary art centers.
“What is New Music?” II:
Dave Ruder with Cory Bracken
Thursday, 2/27/20, 8:00 pm
The “What is ‘New Music’?” series is curated by Brian McCorckle
“New music. New listening. Just an attention to the activity of sounds.” – John Cage “If a composer dies, throw it out.” – Robert Ashley “Music thus stages its own postconceptual structure as the crisis and disintegration of the concept of music itself.” – Peter Osborne, “The Terminology is in Crisis” The term “New Music” has been around since the 1940s, and has become the banner behind which anyone working in the “classical” “contemporary” “tradition” can rally. Gone are the modernist movements of form which defined the structure of what one expected to hear, now all we know is that it will be “New” (with a capital N), and by “New” it is usually meant: not written before the Prussian Revolution (1848). But how does it feel be a part of the “New Music” community? Why is the term useful? What sort of things can it describe beyond “Newness”? Inspired by the Peter Osborne essay “The Terminology in is Crisis” – how do composers and performers of this “New Music” understand their practice and work in relation to this term, which flies the flag of “music” in the face of beautiful work that problematizes its identification as such? Composer and performer of “New Music” Brian McCorkle (Panoply Performance Laboratory, Varispeed Collective) invites friends, collaborators, and interested strangers to Areté for an evening of music and discussion surrounding this delightfully ambiguous term which encompasses such a variety of sounds.
Friday, 2/28/20, 7:30 pm
Committed to engaging contemporary music, Pathos Trio (percussionists Marcelina Suchocka, Felix Reyes, and pianist/composer Alan Hankers) aims to bring raw, edgy, and powerful music to audiences through the presentation of cross-genre collaborations. Together through their interests in dark, heavy, progressive music and backgrounds in classical/contemporary chamber performance, Pathos Trio dedicates themselves to the discovery, creation and performance of new music that blends these ideas together. This program will consist of world premieres of all new commissioned works exclusively written for Pathos Trio by composers Evan Chapman, Alyssa Weinberg, Alan Hankers, Alison Yun-Fei Jiang, and Finola Merivale.
Laura Thompson, violin/Medina, clarinet/Kristin Samadi, piano
Saturday, 2/29/20, 8:00 pm
The trio performs works by Milhaud, Khatchaturian, and Bartok.