Category Archives: Contemporary

Bang on a Can Marathon: 9 hours of New Music in a new home this Sunday

A crowd of listeners at the 2011 Bang on a Can Marathon at the Winter Garden. (Photos © 2011, Steven P. Marsh)

A crowd of listeners at the 2011 Bang on a Can Marathon at the Winter Garden. (Photos © 2011, Steven P. Marsh)

This Sunday is a special day.

Yes, it’s Father’s Day, but that’s not it.

Sunday is also the day that Bang on a Can is throwing its big, genre-bending musical party for New York City — the Bang on a Can Marathon.

Mark your calendar and don’t miss it. But don’t head to the Winter Garden at the World Financial Center, where the free marathon New Music concert has been held for the last few years.

From 1-10 pm on Sunday (be sure to take Dad to brunch early and then bring him along to the show afterward), Bang on a Can will fill Pace University’s Michael Schimmel Center for the Arts at 3 Spruce Street with nine hours of music — some of it familiar, some you’ve probably never heard before.

It’s the kickoff event of the River to River Festival, one of the city’s great free performing-arts series.

Bang on a Can had to move the marathon this year because the Winter Garden is under construction. The Schimmel Center is a smaller venue, a concert hall with fixed seating rather than a mall atrium with open, casual seating. So that means changes in the format.

Asphalt Orchestra performing at the 2011 Bang on a Can Marathon.

Asphalt Orchestra performing at the 2011 Bang on a Can Marathon.

For starters, you’ll need to get a free seating pass before you go in to sample the sounds. That’s just so the organizers can make sure the audience never exceeds the capacity of the 743-seat hall. They’ll be handing out the passing starting at noon — an hour before the first onstage event — on a first-come, first-served basis, so get there early to snag a good seat.

In addition to listening to the music, be sure to jump in on Twitter, too, by following on @bangonacan.

While most of the action is in the hall, if you get there early, you’ll encounter Bang on a Can’s Found Sound Nation. From noon until 5 pm, it’ll be operating its Street Studio, where anyone who wants to give it a try can create and record original music. Look for it at Park Row and Spruce Street.

Check out the full schedule after the jump.

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Donnacha Dennehy and Alarm Will Sound leave us Hunger-ing for more

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Alarm Will Sound (Photo by Justin Bernhaut)

Famine isn’t a cheery topic. And when we’re talking about the Great Irish Famine of 1845-1852, it could seem like musty and old as well as unpleasant.

And, let’s face it, the Great Famine is not a happy subject.

Luckily, when the fantastic Irish composer and Crash Ensemble bandleader Donnacha Dennehy takes on the monumental subject, it assumes a magical, transcendent quality.

Dennehy and the awesome 20-member New Music ensemble Alarm Will Sound gave New York its first taste of The Hunger, a still in-progress theater piece that combines the ensemble with live singing by an Irish  sean nós singer and a mezzo-soprano, at Carnegie Hall’s Zankel Hall on Saturday night, April 6.

We were mesmerized for all 45 minutes of urgent playing coupled with recordings of Irish sean nós singing and the keening of a mother for her dead child, along with and live singing by the extraordinary Rachel Calloway.

Calloway sang lyrics based on the first-hand accounts of the famine by the American nonconformist Asenath Nicholson, who spent two years in Ireland working with those dying of starvation. Her words in song are gripping, terrifying and urgent.

The piece is destined to be a full evening of performance by Alarm Will Sound, sean nós singer Iarla  Ó Lionáird and one of our very favorite mezzos, Dawn Upshaw. While Upshaw will likely put the finished work into an even higher category, we were mightily impressed with Calloway’s work on Saturday.

This taste leaves us starving to hear more.

While The Hunger was the marquee event of Saturday’s program, Alarm Will Sound got plenty of opportunity to show off its New Music chops in the first half, as well. The evening was intended to draw attention to the fact that the 12-year-old group, led by Alan Pierson (who also helms the Brooklyn Philharmonic), has amassed quite a bit of music written specifically for it.

One of its oldest commissions, David Lang‘s increase, composed in 2002, was the highlight of the first half. But the world premiere of the noisy, energetic Fly By Wire, by the suddenly ubiquitous Tyondai Braxton and New York premiere of Charles Wuorinen‘s Big Spinoff, were plenty of fun. Journeyman, composed by Alarm Will Sound’s pianist, John Orfe, also had its New York premiere Saturday.

Vital Vox Take 2: A festival of the human voice, supercharged and guaranteed Sandy free!

Vital Vox was knocked down, but not out, by Superstorm Sandy.

Vital Vox was knocked down, but not out, by Superstorm Sandy.

If you like the sound of the human voice, but like it even better with a little extra oomph, the Fourth Annual Vital Vox Festival is for you.

The two-evening event, as always, features some of today’s most amazing vocal artists. But this year’s twist is called “Vox Electronics” and focuses on amazing artists who take their sound to a new level with electronic manipulation of all kinds.

It’s scheduled for Monday and Tuesday, March 25 and 26, at Roulette in Brooklyn.

The intriguing festival was scheduled for last October, but a little storm named Sandy had other plans. But organizers have regrouped and are ready to go with a slightly retooled lineup.

Monday night’s program features Philip Hamilton, Loom Trio (an ensemble that includes Vital Vox co-artistic director Sasha Bogdanowitsch) and violinist-vocalist Sarah Bernstein‘s duo project Unearthish with  percussionist Satoshi Takeishi.

Pamela Z performs at the 2008 Bang on a Can Marathon in the Winter Garden at the World Financial Center in Manhattan. (Photo © 2008, Steven P. Marsh)

Tuesday brings in Lisa Karrer and David Simons, Bogdanowitsch  with Loom Ensemble and Pamela Z.

For our part, Pamela Z was our entree into the world of manipulated voice, and remains among our top two or three favorites in this arena. The things she can do to her voice with a Mac laptop and an occasional piece of percussion is pretty awesome. And when she pulls out her full arsenal — especially her Body Synth gesture controller — look out!

The festival’s other co-artistic director, Sabrina Lastman, was scheduled to perform in October, but isn’t on the new program.

Every artist on this bill has serious vocal chops. One of them could make your top three. Why not give them a listen?

Fourth Annual Vital Vox Festival, 8 p.m. Monday, March 25 and Tuesday, March 26. Roulette, 509 Atlantic Avenue (at Third Avenue), Boerum Hill, Brooklyn. Information at the Vital Vox website  or follow Vital Vox on Twitter. Tickets, $15/$10 for students, seniors and members available at the Roulette website.

Guilty: Babe the Blue OX makes its best album ever

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First release from Brooklyn perennial in 15 years

We didn’t really know Babe the Blue OX in its 1990s heyday, when the band was a regular(-ish) feature on bills around New York City. We heard and appreciated some of its recordings, and were charmed by its Paul Bunyan-esque name and Barbra Streisand-ish album titles.

For whatever reason, we never saw Babe live until a couple of years ago, when the members decided to come out of accidental retirement and start playing on a semi-regular basis again.

(Full disclosure: We met and became friendly with singer-guitarist Tim Thomas through his day job as a fund-raiser for a nonprofit long before we even realized he was in Babe.)

Listen to Guilty and read more after the jump. Continue reading

Bang on a Can introduces new compositions at the Peoples Commissioning Fund concert

See what a little cash from a lot of people can do

While we’re generally ecstatic about New Amsterdam Records’ Ecstatic Music Festival, we’re particularly psyched about the latest installment of Bang on a Can’s long-running Peoples Commissioning Fund concert series.

It’s slated for 7:30 p.m. Thursday, March 14, at Merkin Concert Hall in Manhattan.

The contemporary classical organization since 1997 has been collecting contributions, mostly small, from lots and lots of music lovers (that’s the “Peoples” part), aggregating them (the “Fund” part), and using them to commission (the Commissioning part) new work from composers new and established.

Bang on a Can calls this “a radical partnership between artists and audiences” that uses crowd-sourcing to fund new work. While the idea probably never was unique to Bang on a Can , it no doubt opened the door to other funding machines, such as Kickstarter and PledgeMusic.

The concept shatters the longstanding model of big-bucks patrons fueling the production of new work. This crowd-sourcing concept, which predates the social media boom, has raised almost $300,000 since its inception and made it possible for Bang on a Can to help in create more than 50 new works. Continue reading

Ticket price for Wilco’s 2013 Solid Sound Festival increases $25 on March 11

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You have less than a week to buy your weekend passes to this great festival before the price goes up

Will You Miss Me When I’m Gone? has told you before, and is taking this opportunity to tell you again: Solid Sound, Wilco’s music and arts festival at MASS MoCA is one of the best music festivals ever. We’ve attended the first two editions and have no intention of missing V3 this year — on June 21-23 at the museum in North Adams, Mass.

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Sandy can’t stop New Amsterdam from forging ahead with plans for Ecstatic Music Festival 2013

Clogs

Clogs, Bang On a Can, Deerhoof, Shara Worden, Karla Kihlstedt among the acts on adventurous music series’s killer lineup of shows coming up in January and February

Superstorm Sandy did a real number on the New Amsterdam Records headquarters in Red Hook, Brooklyn, a month ago. The good folks at the nonprofit record company/concert presenting organization are still struggling to recover from the devastation. (Please help them with a donation if you haven’t already — or even if you have. Just click here.)

Despite the devastation, they folks at NewAm have forged ahead with plans for a killer lineup for the next installment of their groundbreaking concert series at Merkin Concert Hall in Manhattan. It’s something we here at Will You Miss Me When I’m Gone? always look forward to.

The 2013 edition, which kicks off in late January, offers one of the strongest lineups ever. It’s hard to know where to start.

My Brightest Diamond’s Shara Worden with the Brooklyn Youth Chorus? Check.

Clogs with NewAm founder Sarah Kirkland Snider? Check.

Deerhoof and Dal Niente with Marcos Balter? Check.

Laurel Halo, Julia Holter, Daniel Wohl and Transit (an adventurous ensemble that my pal Andie Springer is involved in)? Yep.

The Bang on a Can People’s Commissioning Fund Concert? Yes, indeed.

I could go on. But you get the idea. Check out the full schedule. And buy tickets. Now. You won’t want to miss any of these shows.

For schedule, tickets and more info, click here. Single tickets are just $25, while a festival pass is a mere $150 — and worth every penny.

Trust me on this one.

Tito Muñoz named music director of Ensemble LPR

Tito Muñoz

New York native takes baton for (le) poisson rouge nightclub’s resident orchestra as it prepares to reveal its first full season of concerts

(Le) Poisson Rouge

(Le) Poisson Rouge today announced the appointment of conductor Tito Muñoz to lead its bespoke house orchestra, Ensemble LPR.

LPR is one of New York City’s leading music venues, featuring everything from rock and folk to classical. But from its inception, LPR has been a champion of modern classical music, or so-called New Music.

Muñoz takes the baton just as the ensemble is preparing its final concert of  2012 as it accompanies British composer-performer Max Richter in the U.S. debut of his “Vivaldi Recomposed: The Four Seasons,” with violin soloist Daniel Hope.

Two performance of “Vivaldi Recomposed” are scheduled at LPR next month. Click here for more details and tickets.

(Both Richter performances will also stream live on LPR’s streaming channel.)

“Ensemble LPR is a special voice in the music world; an ensemble capable of performing anything, breaking barriers and genres,” Muñoz said in a statement released this morning. “I am excited to bring my passion for versatility and artistic excellence to the group, and look forward to all of our future musical adventures.” Continue reading

Donate to help New Amsterdam Records recover from Sandy’s devastation and you’ll be helping the cause of New Music, too

Nonprofit New Music powerhouse is really on the ropes in the wake of the storm

A photo of some of the losses is posted on New Amsterdam’s blog.

Please donate now to help New Amsterdam, if you can

Superstorm Sandy wasn’t kind to anyone in the New York metro area. But our friends at New Amsterdam Records, which became the virtual center of the New Music universe here in recent years, has really taken it on the chin.

Their Brooklyn headquarters at 98A Van Dkye St. in Red Hook — where they’ve been for just six month or so — has been devastated by the storm. The nonprofit New Amsterdam (they’ve had 501 (c)(3) status for a year) lost all its financial records. And the storm wiped out 70% of their CDs, which New Amsterdam held and distributed for the artists, who actually owned them.

Yes, this all really, really sucks. But New Amsterdam ‘s co-founders, Judd Greenstein, William Brittelle and Sarah Kirkland Snider didn’t get this far by being wussies. They’re a plucky bunch and they’re already looking toward brighter days.

Here’s where we come in: Let’s help them get to those brighter days faster. If you care about New Music, especially the artists that New Amsterdam has brought to attention in New York and the world with its CDs and its amazing Ecstatic Music Festival at Merkin Concert Hall, kick in some cash. Help them out.

Click on their Hurricane Recovery page to make a tax-deductible donation.

And don’t forget to buy New Amsterdam products. Go to a record store, if you remember what that is. Or go online and buy from any of the wonderful online sites that carry NewAm CDs and downloads. Given the tremendous loss of product at HQ, it’s unlikely NewAm will be shipping anything anytime soon. But if you want to see what’s in the NewAm catalog, click here.

Much of the money goes directly to the artists, but New Amsterdam benefits from ever sale as well.

Once you’ve done your bit, follow New Amsterdam’s recovery on Facebook and Twitter, and check out photos on its Flickr stream.

And if you’re nearby, offer your time, too. Judd, Bill and Sarah are going to need all the help they can get.

Evan Ziporyn leaving Bang On A Can All-Stars

Composer and super versatile clarinet player Evan Ziporyn, is leaving the Bang On A Can All-Stars after two decades, the New Music organization announced today.

He’s a founding member and has long been the anchor and frequently the most public face of the sextet. We’re pleased about his personal success, which takes more and more of his time. But we’ll sorely miss his solid, quiet influence in the group.

Here’s the letter from Michael Gordon, Julia Wolfe and David Lang, the founders of Bang On A Can:

October 31

Dear Friends,

We wanted to let you know that Evan is leaving the Bang on a Can All-Stars. Evan has been such a big part of everything we have done for the last 25 years. He played on the first festival, and every festival afterwards. He was a founding member of the All-Stars – featured as a composer, performer, scholar, and often as the commentator between pieces, and his compositions have been a highlight of 100’s of the concerts we have done, all around the world. The formal note announcing his moving on is copied below, so you can see how active he is – he is writing music for all sorts of great performers, he is starting a new world-class center for art and technology at MIT, where he teaches. The guy is busy! But we didn’t want Evan to go without pointing out how much we all accomplished together, how close our connection has been, and especially that we wish him all the best.

Sincerely,
Michael Gordon, David Lang, Julia Wolfe

After 20 years, capped by the recent achievements of Bang on a Can’s 25th year, long-time founding composer/clarinetist Evan Ziporyn is leaving the Bang on a Can All-stars to pursue independent projects and devote himself to his new position as Director of MIT’s Center of Arts, Science & Technology. As a composer, Ziporyn continues to receive commissions from leading new musicians and ensembles: current projects include new works for Yo-Yo Ma, Brooklyn Rider, Maya Beiser, Sentieri Selvaggi, and his own ensemble, Gamelan Galak Tika. As a performer, he will this spring premiere a new clarinet concerto by Don Byron; in February he will unveil his own new performing trio, Eviyan, with Czech violinist/singer Iva Bittova and guitarist Gyan Riley.

Ziporyn’s sound and sensibility have been a major part of Bang on a Can from the beginning. He appeared as a clarinet soloist on the first Bang on a Can Marathon in 1987 and appeared on every subsequent marathon. He was a founding member of the All-stars in 1992; with the group he toured over three dozen countries, and premiered over 100 new works. He also co-produced three of their seminal recordings, 1998’s Music for Airports, 2001’s Renegade Heaven, and 2012’s Big Beautiful Dark & Scary. His solo recordings appeared on the group’s Cantaloupe label. In 2009/10 Bang on a Can produced his opera, A House in Bali, in performances in Bali, Berkeley, Boston, and at the Brooklyn Academy of Music’s Next Wave Festival; this year his own ensemble, Gamelan Galak Tika, was featured at the organization’s 25th anniversary gala performance at Alice Tully Hall.