Posted by Thomas Deneuville »
If you live in Leeds or Oxford, there is still time to catch Graphic Scores, a touring project taking place from October 3 to 11.
Some remarkable musicians including pianist Joanna MacGregor and cellist Oliver Coates will perform works by George Crumb, Cathy Berberian, John Cage, Cornelius Cardew, Tom Phillips RA, Jennifer Walshe and others against their respective projected scores, used as a backdrop.
A series of illustrated talks will include Theresa Sauer, from Notations21, that inspired this project.
The last two dates of the tour are:
- October 10, in Leeds at Howard Assembly Room, 7.30pm. Pre-concert talk with Theresa Sauer at 6.15pm, free to ticket holders: howardassemblyroom.co.uk.
- October 11, in Oxford at St John The Evangelist, Oxford promoted by Oxford Contemporary Music, 8pm. Pre-concert talk with Theresa Sauer at 7pm, free to ticket holders: ocmevents.org.
For those of us who won’t be able to make it—and wish it could happen near us—here are some of the scores that will accompany the performances…
Cornelius Cardew, Treatise (1963-1967)
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Posted by Arlene & Larry Dunn »
The guest recitals at the biennial Oberlin Percussion Institute are eagerly anticipated highlights of the Oberlin Conservatory summer season. The concerts at this year’s institute, held the week of July 7, 2013, fulfilled those lofty expectations with rousing performances by wily veterans Percussion Group Cincinnati and talented up-and-comer Ryan Packard. This savvy pairing by institute director and Oberlin Professor of Percussion Michael Rosen proved that the wisdom of experience and the zest of youth have comparable value at the core of a musical presentation.
Michael Rosen, Oberlin Percussion Institute Director (photo credit: Larry Dunn)
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Posted by Xenia Pestova »
Composer and sound artist Annea Lockwood is known for her explorations of natural acoustic environments in installation and concert works. During her recent trip to the UK, Annea oversaw the realization of the Piano Transplant series (1968 – 2005), which examine natural and assisted decay of instruments beyond repair. This gave us an opportunity to have a conversation.
In your 2004 interview with Frank J. Oteri, you mention the soundscape and landscape of New Zealand “triggering” some of your work. Several New Zealand composers have this special association. Do you think we can trace these influences directly in your music, or is it more subtle than that?
Living within that powerful NZ landscape has been the source of my long fascination with environmental forces and their sounds, for sure, though not in any direct, quasi-pictorial way. The three Piano Transplants installed recently depend upon fire, water and earth for their transformations: Eastern Exposure, the piano on the beach at Harwich, is exposed to the action of the North Sea’s waves and tides; the little upright partially buried in the Gwydyr Forest near Llanwrst, North Wales, will slowly decay; and you were a crucial participant in the burning of another upright near Bangor recently. My three Sound Maps of rivers (the Hudson, the Danube and the Housatonic) and my River Archive of the ’60s and ’70s came from my love of New Zealand’s wild rivers, my appreciation and experience of their rhythms and power.
Annea Lockwood during Piano Burning, photo by Xenia Pestova
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Musicworks’ Drum Up! was a surprisingly raucous affair for a contemporary classical music event, but how can the night be hush with a spirited ensemble like TorQ Percussion Quartet performing throughout? The Musicworks organization’s annual fundraiser, held at The Gladstone Hotel in Toronto on Wednesday, July 3, 2013, marked the launch of Musicworks Editions – a series of limited edition artworks created by Canadian artists and composers – as well as the magazine’s impressive new website. From TorQ’s point of view, Drum Up! was a celebration of the featured ensemble’s first full concert season this year. In between their performances, TorQ keeps busy with their educational programs such as their upcoming percussion seminar at Acadia University in Nova Scotia and concerts held for aspiring musicians in schools across Canada. Musicworks, which spurs the development of new and passionate audiences for experimental music, shares in this commitment to music education and outreach with their own Musicworks in the Classroom program, bringing the publication to Canadian post-secondary institutions at no cost to the participating schools or the students who are enrolled.
TorQ Percussion Quartet (photo credit: torqpercussion.ca)
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The temptation to over-intellectualize Big Farm’s self-titled debut is hard to resist.—which isn’t to say that it’s not an intellectual record. They clearly want you to think, and the album ranges far and wide over some esoteric musical landscapes. But while you’d expect a dense, nigh-impenetrable album from four luminaries of new music, the glory of Big Farm is the sheer exuberance that permeates every complex passage or heady lyrical idea. You’re welcome to dig in, searching for the compositional complexity and hidden meanings, but you’re also welcome to sit back and rock out.
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New York Festival of Song (NYFOS) 25th Anniversary Celebration
The program will feature South American songs (“Odeon” by Nazareth, “Pra que discutir com Madame” by Haroldo Barbosa, “Carinhoso” by Pixinguinha); American popular song (“I’m Going to Make You Beautiful” by Maltby and Shire, “Just Like a Man” by Vernon Duke); and vocal music by Spanish, Russian, and German composers, ranging from Montsalvatge to Kurt Weill.
Monday, May 13 at 7:30 PM
DiMenna Center for Classical Music
450 West 37th Street between 9th and 10th Avenues
Music for Guitar and Organ
The first half of the program will include solos and duos for acoustic guitar and portative organ (a miniature pipe organ), including the Concerto for Lute in F Major by Karl Ignaz Augustin Kohaut the Austrian lutenist and composer of Czech descent who is considered one of the last important composers for Baroque lute. The second half of the concert will offer new works and transcriptions featuring the weightier combination of electric guitar and organ. Performers: Mak Grgic, acoustic and electric guitar, and Paul Vasile, organ.
Tuesday, May 14 at 8 PM
Tickets $25, $20 Students/Seniors
Park Avenue Christian Church, 1010 Park Avenue at 85th Street, New York, NY
Original Music Workshop (OMW) presents Strings and Borders
Cornelius Dufallo – Photo by Jill Steinberg
Featuring experimental violinists Dr. Johannes Rosenberg (Australia), Cornelius Dufallo (US) and Mari Kimura (japan). The concert will begin with brief solo performances by Dufallo and Kimura, followed by a trio improvisation featuring them and Rosenberg. Rosenberg will also perform an approximately 40-minute set accompanied by video of his Great Fences of Australia project.
Wednesday, May 15 at 7:00 PM
Free but reservations must be made via email at firstname.lastname@example.org.
The Jerome L. Greene Performance Space at WQXR, 44 Charlton Street, Manhattan
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