Classical Music Listings from the New York Times

Ástor Piazzolla with his bandoneon in 1971.
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More from NYTimes.com:

ACME (Tuesday) The American Contemporary Music Ensemble performs Jefferson Friedman’s song cycle “On in Love,” which blends elements of rock and classical genres. The singer-songwriter Craig Wedren, once in the band Shudder to Think with Mr. Friedman, is the vocalist. At 7 p.m., Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village , (212) 598-7100, joespub.com; $15. 20090730

? ASPHALT ORCHESTRA (Wednesday and Thursday) Asphalt Orchestra, described by its producers as an iconoclastic 12-piece marching band, conceived by the Bang on a Can collective of composers and performers, plays its world premiere performance free in the Broadway Plaza at Lincoln Center. The spectacle of a parade will be combined with an eclectic mix of processional music from around the world, from funeral marches to funk, with song arrangements of Mingus, Zappa, Bjork and more. True to its billing, this event is presented as part of Lincoln Center’s Out of Doors festival. (Through Aug. 9.) At 7 p.m., Broadway Plaza, Lincoln Center , lincolncenter.org. (Tommasini)20090730

IMANI WINDS (Tuesday) This dynamic ensemble, which explores European, American, African and Latin American traditions while expanding the wind quintet repertory, returns to the Naumberg Bandshell to play a diverse program of works by Eugene Bozza, Arturo Marquez, Julio Medaglia, Lalo Schifrin, Ligeti, Barber and Piazzolla. At 7:30 p.m., Central Park, midpark at 70th Street , naumburgconcerts.org; free. (Schweitzer)20090730

MORTON SUBOTNICK (Friday) As part of the Floating Points Festival 2009, this pioneering electronic-music composer performs an evening of his recent work, at 8, Issue Project Room, 232 Third Street, Gowanus, Brooklyn , (718) 330-0313, issueprojectroom.org; $15. (Kozinn)

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Rhys Chatham Will Produce the Sound of 200 Guitars Wailing

Cover of "A Crimson Grail"
Cover of A Crimson Grail

From NYTimes.com:

THE scene at Damrosch Park last August promised something spectacular: amplifier setups for 200 guitarists and 16 bassists, configured in a horseshoe that stretched along the south end of Lincoln Center, across the front of the park’s band shell, and curved up alongside the Metropolitan Opera House. The rehearsals for “A Crimson Grail,” an epic-scale work by the experimental composer Rhys Chatham, had gone exceedingly well — first at the nearby Church of St. Paul the Apostle, then, at 1 p.m. on the day of the event, in the park.

On Aug. 8, in another of the city’s remarkable season of free concerts, the plan is to try it all again. But this time there will be risers for the musicians, tenting and a different electrical plan. In addition to the opportunity to bask in a highly unusual concert, the United States premiere of “A Crimson Grail” will offer a chance to witness the homecoming of a prodigal son of New York Minimalism, an art-music composer who has had a tremendous, if underappreciated, impact in the world of rock. After last year’s washout, which received a lot of blog attention, word is getting out; if the weather is good, Lincoln Center is expecting a crowd of more than 10,000.

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