This Week in New York


In conjunction with The Museum of Modern Art’s exhibition Robert Rauschenberg: Among Friends, Bang on a Can presents a pair of two concerts exploring artistic exchanges and their legacy for contemporary music. Part I explores Rauschenberg’s idea of the “Combine” and will feature Christian Wolff in conversation with David Lang and a performance by the Bang on a Can All-Stars.
Tuesday, May 23 at 7:00 PM
Tickets $15
Titus Theater 1 at The Museum of Modern Art, 11 West 53rd Street, New York, NY

The New York Philharmonic premieres Anna Thorvaldsdottir’s Aeriality on a concert that also includes the New York premiere of Esa-Pekka Salonen’s Wing on Wing featuring sopranos Anu Komsi and Piia Komsi and Brahms’s Violin Concerto performed by Leonidas Kavakos.
Tuesday, May 23 at 7:30 PM
Tickets $19-$104
David Geffen Hall at Lincoln Center, New York, NY

Radicals in Miniature is a series of textual-sonic odes to personal icons of 20th century “alternative” culture that lost their toehold on immortality and (in the pre-Internet era) their place in public memory. Radicals is performed by 3-time Obie Award winner Ain Gordon and So Percussion’s Josh Quillen.
Tuesday, May 23 and Wednesday, May 24 at 7:30 PM
Tickets $20
Baryshnikov Arts Center, Howard Gilman Performance Space, 450 West 37th Street, Suite 501, New York, NY

American Composers Orchestra returns to the Sharp Theatre with special guests Rossen Milanov (conductor), Sharon Isbin (guitar), Meaghan Burke (vocals & cello), David Tinervia (baritone), and R. Luke DuBois (video), for evening of works by current composers known for stretching the limits of new classical music. Featuring world premieres from Alex Temple, Nina C. Young, and Carlos Simon alongside a classic by John Corigliano.
Tuesday, May 23 at 8:00 PM
Tickets $26 to $40
Symphon Space, Peter Jay Sharp Theatre, 2537 Broadway, New York, NY

In conjunction with The Museum of Modern Art’s exhibition Robert Rauschenberg: Among Friends, Bang on a Can presents a pair of two concerts exploring artistic exchanges and their legacy for contemporary music. Part II celebrates Rauschenberg’s collaborations with John Cage and David Tudor through immersive works by both composers, reimagined for today by David Lang, audio engineer and sound artist Jody Elff, and violinist Todd Reynolds.
Wednesday, May 24 at 7:00 PM
Tickets $15
Titus Theater 1 at The Museum of Modern Art, 11 West 53rd Street, New York, NY

Currents is an electro-acoustic concert that juxtaposes contrasting compositional styles in an eclectic program, celebrating the marriage of tradition and technology. Nouveau Classical Project will premiere new electro-acoustic works by composers who thrive in both the classical and pop worlds, including Olga Bell, Gabrielle Herbst, David Bird, and Isaac Schankler. VJ Mamiko Kushida will create ambient video projections for the performance, and musicians’ costumes will be styled by members of the NYC indie fashion collective Flying Solo.
Thursday, May 25 at 7:00 PM
Tickets $25
National Sawdust, 80 North 6th Street, Brooklyn, NY

In their U.S. debut as a duo, American trombonist and countertenor David Whitwell and Irish pianist Cliodna Shanahan bring a program of premieres to NYC, featuring music by Hannah Kendall, Richard Causton, Gerald Barry, Girolamo Deraco, Gene Pritsker, Dan Cooper, Mark Kostabi, and the duo members.
Thursday, May 25 at 7:00 PM
Tickets $15
Kostabi World Uptown, 357 East 62nd Street, New York, NY

The Orchestra of the League of Composers performs a world premiere by Sheree Clement, a New York premiere by Fred Lerdahl, and works by Lisa Bielawa and Arvo Pärt.
Thursday, May 25 at 7:30 PM
Tickets $25, $15 students/seniors
Miller Theatre, 2960 Broadway, New York, NY

Two-piano, two-percussion quartet Yarn/Wire has their Americas Society debut in a program focusing on living composers from Colombia, including Ricardo Gallo, Carolina Noguera, and Damián Ponce de León. The performance also features a recent work by Canadian composer Zosha Di Castri.
Friday, May 26 at 7:00 PM
Tickets $20
Americas Society, 680 Park Avenue, New York, NY

Pianists Sylvie Courvoisier, Taka Kigawa, Tristan McKay, and Shira Shaked join Blueprints Piano Series directors Daniel Anastasio and Erika Dohi for an evening of cosmic music, spanning from the French Baroque to today.
Sunday, May 28 at 5:00 PM
Tickets $15
Greenwich House Music School, 46 Barrow St, New York, NY

All About Jazz Reviews

Louis Sclavis

Source: All About Jazz.

Louis Sclavis / Dominique Pifarély / Vincent Courtois
Asian Fields Variations (ECM Records)

Tina Raymond
Left Right Left (Orenda Records)

Bill Frisell / Thomas Morgan
Small Town (ECM Records)

Hanging Hearts
Into A Myth (Shifting Paradigm Records)

Thinking Plague
Hoping Against Hope (Cuneiform Records)

The Great Harry Hillman
Tilt (Cuneiform Records)

Charlie Haden / Liberation Music Orchestra
Time/Life:Songs For The Whales And Other Beings (Impulse!)

Mat Maneri/Evan Parker/Lucian Ban
Sounding Tears (Clean Feed Records)

Ensemble Dal Niente’s Party 2017 in Chicago

Source: Ensemble Dal Niente.

June 3, 2017 @ 7:30pm
Ruth Page Center for the Arts
1016 N Dearborn Street
$30/$15 Ticket Link

Come to Dal Niente’s annual PARTY! This year’s PARTY includes an immersive new work by Joshua Fineberg, with assistance by members of Mocrep, where audience members are invited (but not required) to do more than just listen.

As always, patrons of this event will experience a non-traditional performance space, a flexible floor plan, music paired with food and beverages, a relaxed environment where audiences can mingle and move around, and multiple sets of musical performances throughout the night that run the gamut from the hilarious to the sublime. Dal Niente is saving some of its most breathtaking performances for PARTY 2017, offering compositions of varying extremes and stylistic influence that ensure all audience members will find a personal, unforgettable experience.

This year’s PARTY includes beloved works by recent collaborators Hans Abrahamsen and Chaya Czernowin, the Chicago premiere of a new work for Dal Niente by LJ White, and the wild “Swing” by new-to-the-ensemble composer Franck Bedrossian. In the second half of the evening, audiences will be invited to step into an immersive new composition by Joshua Fineberg, where they choose to be passive observers or active participants during the performance. If you choose to participate, you will be guided by members of the Chicago-based ensemble Mocrep, directed towards and within a combination of instruments, theatrical lighting, and electro-acoustic music culminating in collective transcendence.


Joshua Fineberg – take my hand (2017) for two sopranos, flute, clarinet, horn, harp, percussion, piano, electric guitar, violin, viola, cello, electronics, assistants

Franck Bedrossian – Swing (2009) for flute, clarinet, saxophone, percussion, piano, guitar, two violins, viola, cello, bass

LJ White – Chicago Premiere (2017) for two sopranos, saxophone, horn, harp piano, violin, cello, bass

Hans Abrahamsen – Winternacht (1987 version) for flute, clarinet, piano, percussion, guitar, violin, cello

Chaya Czernowin – Sahaf (2008) for saxophone, electric guitar, piano, percussion

Additional works TBA

Gapplegate Music Reviews

English: Jazz saxophonist, guitarist, masterin...

Source: Gapplegate Music Review.

Rob Mazurek, Chants and Corners

Allen Lowe, In the Diaspora of the Diaspora: Hell with an Ocean View: Down and Out DownEast

Jason Anick & Jason Yeager, United

Frantz Loriot, Reflections on an Introspective Path

Benedikt Jahnel Trio, The Invariant

Beyond Trio Live at Spectrum, Cheryl Pyle, Roberta Piket, Newman Taylor Baker

Frantz Loriot, Manuel Perovic, Notebook Large Ensemble, Urban Furrow

AMN Reviews: FIMAV 2017 – Saturday Performances

By Irwin Block

VICTORIAVILLE, Que. – A saxophone quartet, Mongolian folk singers, and the return of a near-iconic pianist and his son were among the highlights Saturday at this 33 rd edition of the Festival International de Musique Actuelle, a 21-concert showcase of new and improvised music.

It began in the early afternoon in a beautifully renovated and fresco-rich Roman Catholic Church where the American group Battle Trance demonstrated an original approach to the sax quartet. They’ve labelling it Indie-classical. While such groups as the World Saxophone Quartet combined three or four different sized saxophones in performance and recording, all four players in Battle Trance played tenor sax.

And rather than paying tribute to jazz tradition, leader Travis Laplante, with Patrick Breiner, Matthew Nelson, and Canadian Anna Webber (subbing for Jeremy Viner) played an original program, a carefully prepared and beautifully executive 50-minute suite. Standing silently in a semi-circle, they started in unison with a drone-like sound, slowly developing harmonies, with an edge of dissonance, then shifted into polyphonic territory.

With only subtle gestures from Laplante, the group ranged over a program that including a rollicking segment of Americana, simulated a raging windstorm, replicated the sound of foghorns, engaged musically with each other in various combinations, and offered repeated motifs that underscored a sense of urgency. They ended in total and extended silence.

The mid-afternoon show featured 19 mainly American musicians, led by trumpeter Nate Wooley, playing his Seven Story Mountain cycle, using taped recordings of sounds made in and around his house. It began with a mood-setting “confession” monologue and brass octet fanfare, then came the electronic soundscape, a softly textured trumpet entry, bell-like chimes from two vibraphones, and slowly growing musical intensity, density, and a range of sounds that grew the tension until it becomes almost visceral. The volume arc receded toward the end. In sum, a thrilling musical experience.

They handed out ear plugs at the door for the late-afternoon performance of the audiovisual piece called International Internal Catastrophes, by Greek sound artist Thanasis Kaproulias, who uses the NOVI_SAD moniker. The visuals and sounds were recorded and filmed in Iceland and the sometimes thundering intensity of what is reproduced enhances or contrasts with the visuals of waterfalls, ice chunks in the sea pounded by waves, and rushing rivers. We are supposed to question our perceptions. Some of the aphorisms flashed on the screen, such as Everything Alive Deserves Mercy, were borderline trite.

Combining three Mongolian female singers – sisters, one of whom is classically trained – with German improvisers Gunda Gottschalk (violin) and Ute Völker in a performance capacity may sound like a novelist’s invention, but it happened. The Germans discovered them on a field trip in Mongolia and “struck a chord” with Badamkhorol Sandandamba, a leading exponent of the Mongolian love song. The German improvisers recorded a CD with the three sisters and began performing Sky and Grassland.

Gottschalk and Völker played mainly background, underscored and enhanced the vocals, and while it seemed like an unlikely juxtaposition of the traditional and ultra-modern, there was a good vibe on stage. No cultural appropriation here. The Mongolian sisters, dressed in elaborate indigenous costumes, exuded warmth, and charm, and communicated with humour and sincerity in their native tongue. Of course, when the Germans played without the singers, they displayed great skill and polished technique in the world of free improv.

The biggest audience of the first three days turned out to welcome American pianist Terry Riley in concert with his son, the classically trained guitarist Gyan Riley. It was the senior Riley’s first gig here since 1988, and at 81 was in fine form at the piano and as a vocalist. His repertoire included Hindustani ragas with chords, and Arabic music, with an edge of blues – among his passions, He alternated on the melodica and the music he produced was joyful and energetic, clear and defined, a fine listening experience. The concert was more an homage to a musical pioneer than a chance to witness anything spectacular.

The show at midnight featured Maja Osojnik, the Slovenian-born vocalist, composer, sampler and sextet leader. Wild and off the wall are terms that come to mind in describing All.The.Terms.We.Are – rock, progressive rock, noise, and cabaret fit much of the content. Each segment featured a spoken-word script, often echoed by cellist Audrey Chen, with such lines as “I had a dream that I was dead” and “I became a frozen lake so you could skate on me.” Osojnik eventually screams, “Tell me what the fuck you want me to be!” With all musicians eventually playing with maximum volume and intensity, it sounded like a shout against insanity, only to end in total silence.

The festival concludes tonight with a solo performance by saxophonist Anthony Braxton.

AMN Picks of the Week: Kevin Gan Yuen / Stereocilia / Ben Richter / Nathan Hubbard and Vinny Golia / Robert Scott Thompson

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

Kevin Gan Yuen – Uncloaked Infinite (2017)
John Scott (Stereocilia) – A Late Spring Never Lies (2017)
Ben Richter – Panthalassa: Dream Music of the Once and Future Ocean (2017)
Nathan Hubbard / Vinny Golia – Hunter’s Moon (2017)
Robert Scott Thompson – Of Natural Magic and the Breathing of Trees (2017)