Category Archives: Contemporary

Glenn Branca to perform in NYC this Saturday

Glenn Branca.

Seminal minimalist composer and noise-guitar hero Glenn Branca is doing a rare live solo performance this Saturday, June 19, at NYC’s (Le) Poisson Rouge.

It’s been two years since his last solo appearance in NYC — a set with The Paranoid Critical Revolution at a more low-key venue, The Issue Project Room. Saturday’s show at LPR will also feature The Paranoid Critical Revolution, playing music from its new CD Euphobia.

Branca, who composes for orchestra as well as his own ensemble has been a big influence on a number of guitarists in the avant garde wing of rock music. Thurston Moore and Lee Ranaldo of Sonic Youth and Page Hamilton of Helmet are among Branca’s disciples and played in his ensemble.

The show also is the official release party for the DVD of Ericka Beckman‘s No Wave film 135 Grand St. 1979, which will be screened. It includes the only extant footage of two of Branca’s earlier ensembles, Theoretical Girls, The Static, along with shots of a number of other bands of the period.

7 p.m. Saturday, June 19. (Le) Poisson Rouge, 158 Bleecker St., NYC. $13 in advance; $15 day of show. Tickets available by clicking here.

12 hours of free music at the Bang on a Can Marathon

The World Financial Center Winter Garden was packed for last year's Bang on a Can Marathon. (Photo copyright 2009, Steven P. Marsh)

Every year, the Bang on a Can Marathon brings a wide range of new music and spectacular performers to New York City to perform in a massive free concert — and this year is no exception. The Marathon is coming up in just two weeks, from noon to midnight on Sunday, June 27, at the World Financial Center Winter Garden at 220 Vesey Street in Lower Manhattan.

Burkina Electric, an African band organized by composer Lukas Ligeti (second from right) is just one of the great acts at the Bang on a Can Marathon.

This year’s program will, as always, feature Bang on a Can’s house band, the Bang on a Can All-Stars, and a host of other great acts, including Living Colour’s eclectic guitarist Vernon Reid, African band Burkina Electric, John Hollenbeck Large Ensemble, Signal ensemble and Gamelan Galak Tika.

Bang on a Can has been presenting these marathons since 1987 at various locations around NYC. Since moving to the WFC, thanks to the generosity of co-presenter Arts World Financial Center and the River to River festival, admission has been free. The Marathon turns the Winter Garden into a big, 12-hour party, with people coming and going and the mood shifting with the performers and the changing natural light pouring through the glass walls.

Click here to check out photos and coverage of last year’s Marathon by Will You Miss Me When I’m Gone?

Click to the jump for the full list of performers and schedule.

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Signal plays Philip Glass

Brad Lubman conducts Signal with Michael Riesman. (Photos copyright 2010, Steven P. Marsh)

Signal, the stunning young contemporary chamber ensemble, did a great job performing some of the works of Philip Glass at Manhattan’s (Le) Poisson Rouge on Sunday evening. They gave the New York premiere of Glassworks, the 1981 suite that in a recorded version became ubiquitous to the point of absurdity in its day as it seemed to be on everyone’s cassette Walkman during that time. Other works performed included Music in Similar Motion and selections from the opera La Belle et la Bête and Anima Mundi.

Michael Riesman, longtime keyboardist and musical director for the Philip Glass Ensemble joined Signal for Sunday’s two shows, and made new arrangements of some of the works.

Sadly, Glass himself did not show up for the early show, which many fans hoped would happen. But the heavy-lidded senior statesmen of minimalism did make it to the second set, to the apparent delight of that audience.

More photos after the jump. Continue reading

Tickets for new Wilco indie music and art fest on sale tomorrow

Wilco

Adventurous Chicago-based band Wilco has announced it will curate and headline the new Solid Sound Festival, an independently promoted and ticketed festival of music, art and comedy for three days this summer — Aug. 13-15 — at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Mass. Early-bird tickets ($86.50 including fees and parking) will be available starting at 10 am ET tomorrow on the band’s web site.

Jeff Tweedy, center, and Wilco.

Wilco headlines the weekend, giving its only East Coast performance of the summer. Wilco side projects, including Glenn Kotche‘s On Fillmore, The Nels Cline Singers, The Autumn Defense featuring John Stirratt and Pat Sansone and Mikael Jorgensen‘s Pronto.

The Solid Sound Festival at MASS MoCA also will feature additional musical performances, a comedy stage, interactive installations and exhibits (including the Solid Sound Stompbox Station, an interactive guitar pedal exhibit created and demonstrated by Wilco guitarist Nels Cline, a concert-poster screening demonstration, planned workshops by luthiers and more), plus film, video installations and DJs.

The area is beautiful, with plenty of outdoor activities nearby as well as cultural attractions in Williamstown to the west.

Ticketholders will have full access to the spectacular MASS MoCA campus, which offers 150,000 square feet of galleries. MASS MoCA, a renovated 19th century textile mill, is the largest center for contemporary visual and performing arts in the U.S. Art on display in the galleries during the festival includes the Sol LeWitt Retrospective, Inigo Manglano Ovalleʼs Gravity is a Force to be Reckoned with, Petah Coyneʼs Material World: Sculpture to Environment, Leonard Nimoyʼs Secret Selves and a new installation by Michael Oatman.

Stay tuned to Will You Miss Me When I’m Gone? for more details as they become available.

Buy your tickets now, because the price will rise to $99.50 after June 1.

 

Signal tackles Helmut Lachenmann tonight

Composer Helmut Lachenmann joins Signal Enselmble and JACK Quartet to celebrate his 75th birthday on Saturday night.

German composer Helmut Lachenmann celebrates his 75th birthday at Columbia University’s Miller Theatre tonight when he joins Signal Ensemble and  JACK Quartet for the final Composer Portrait concert of the Miller season.

Lachenmann says he believes in “music which, in order to be grasped, does not require a privileged intellectual training, but can rely uniquely upon its compositional clarity and logic.”

The audience will have the rare chance to hear Lachenmann playing 2 of his solo piano works, and he will also be joining Signal as the spoken text soloist on one piece.

Additionally, cellist Lauren Radnofsky (Signal’s executive director) will be playing Pression, a wild 1969 piece for solo cello, The JACK Quartet (which includes violist John Pickford Richards, well known to New York audiences for his work with Alarm Will Sound) will be joining Signal in the ensemble and also performing his most difficult string quartet.

Here’s a video of Lachenmann speaking about his work:

And go to YouTube to see and hear Lachenmann playing his Wiegenmusick, which is on tonight’s program.

This is one of Signal’s biggest projects to date, and is expected to lead to a CD/surround sound DVD release.

It’s also a chance to hear the wonderfully flexible and talented Signal, directed by Brad Lubman, perform Lachenmann’s challenging compositions, which are somewhat different than its typical repertoire.

The program covers four decades of Lachenmann’s composing life with these pieces: Wiegenmusik for solo piano (1963), Pression for solo cello (1969-1970), Ein Kinderspiel for solo piano (1980), String Quartet No. 2 Reigen seliger Geister (1989) and …Zwei Gefühle… featuring Lachenmann himself as spoken-text soloist (1991-1992).

The evening will also include a discussion with Lachenmann and Yale professor Seth Brodsky. It should be an amazing evening of music.

Composer Portrait: Helmut Lachenmann, 8 pm tonight, Thursday, April 1, Miller Theatre,  116th St. & Broadway on the campus of Columbia University. Tickets $25, available online and at the door.

A Klezmer/Funkadelic storm hits (Le) Poisson Rouge

David Krakauer, Socalled and Fred Wesley are Abraham Inc.

Klezmer king David Krakauer, the tirelessly inventive clarinetist who leads Klezmer Madness!, trombonist Fred Wesley (whose credits include stints with James Brown, George Clinton’s Parliament/Funkadelic and the Count Basie Orchestra) and frequent Krakauer collaborator Socalled (a DJ whose real name is Josh Dolgin), are coming together at Manhattan’s (Le) Poisson Rouge tomorrow night to celebrate the release of Tweet Tweet, their debut CD as Abraham Inc.

If you’re one of those people who still thinks that the clarinet isn’t cool, and that klezmer is the music of your grandparents— something you’ve worked hard to escape — think again. Krakauer has been at the forefront of a modern movement to make klezmer cool, and he succeeds more every day.

Watch the video below, then check out this show, or get the CD, and you’ll be convinced. Sure, they’re three kinda goofy guys, but when they start grooving, they skillfully weave together elements of klezmer, funk and hip hop to create a really fresh sound.

Abraham Inc. with Girls in Trouble. 7 pm tomorrow (Thursday, Feb. 25) at (Le) Poisson Rouge, 158 Bleecker Street, Manhattan. $25 in advance. Tickets available here.

It’s time to Bang on a Can

Composer David Longstreth of The Dirty Projectors.

Tonight’s the night that Bang on a Can shows what it’s made of — and what its supporters are made of, too!

The People’s Commissioning Fund Concert kicks off at 7:30 pm at Merkin Concert Hall. The concept of the People’s Commissioning Fund is pretty simple, and pretty much what the name suggests. The lovely folk at Bang on a Can reach out to their supporters (that’s the people part of the equation) for donations (the fund) that they use to pay composer to write new works (the commissioning) for their super-talented house band the Bang on a Can All-Stars. The band is capable of playing just about anything off the shelf with a little arranging. But because of its particular lineup (piano, cello, clarinet, bass, percussion and guitar), it really shines on pieces written for it.

Christine Southworth

Of late, Bang on a Can has been using the fund to commission three new works. We’ll be hearing four commissions tonight, however. David Longstreth, the inventive composer and performer who created the pop band The Dirty Projectors, was awarded a commission last year, but was on tour and not around NYC for the PCF concert last April. So instead of premiering the piece without the composer, BoaC decided to delay it a week. That was disappointing to PCF supporters like me, but a real boon to Longstreth’s growing numbers of Dirty Projectors fans. I’m sure many will be in the audience tonight.

But let’s not shortchange this years commissions.

Christine Southworth (born in 1978),  has degrees in math from MIT and composition from Brown. She brings a scientific mind to bear on the challenge of composition. Her debut recording, Zap!, featured actual sparks and static from the Boston Museum of Science’s Van de Graaff Generator and Tesla Coils along with voices and instrumentation. She’s also co-founder and director of Ensemble Robot, a musical performance group that, you guessed it, features robots!

Nik Bärtsch

Swiss pianist-composer Nik Bärtsch (born in 1971)  performs in three guises — as a soloist, in a “zen-funk” group called Ronin and an acoustic group, Mobile. Loosely defined, he works in the jazz vein, and is known for his workshops that combine training in music and body movement.

U.K. native Oscar Betttison (born in 1975) works with invented instruments, finds unconventional uses for traditional concert instruments and combines them with rock instruments.

Oscar Bettison

This concert, which is part of WNYC’s New Sounds Live series, will also feature the All-Stars playing a recently commissioned (though not by PCF) work by Michael Nyman for film by the celebrated 1920s NY photographer Paul Strand and a selection from the group’s arrangement of Brian Eno’s Music for Airports.

Some tickets for tonight are still available at $25. Click here to buy. Showtime is 7:30 pm at Merkin Concert Hall in the Kaufman Center, 129 W. 67th St. (between Broadway and Amsterdam) in Manhattan. BoaC normally tops off the show by giving away collections of CDs from its Cantaloupe label.

If you can’t make it to the show, be sure to listen to it on WQXR’s Q2 internet feed.

Owen Pallet: He’s not Final Fantasy anymore

Owen Pallett performs with the Bang on a Can All-Stars at the 2008 Bang on a Can Marathon at the World Financial Center Winter Garden. (Photo copyright 2008, Steven P. Marsh)

It’s no surprise that Owen Pallet, the talented young violinist who’s been plying his trade under the band name Final Fantasy, would have to come to terms with his name someday. And that day is here. He released his first album under his own name on Tuesday, after finally realizing he was getting too popular and known to avoid a trademark battle with the makers of the popular game of the same name.

He announced the name change last month. Even if you’ve never listened to any of his CDs, you’ve probably heard some of his work. Read more here.

If you’re one of the smart and lucky ones, you have tickets to his sold-out show at NYC’s Bowery Ballroom this Monday (Jan. 18). If you don’t have one of those cherished tickets, you can still get a taste of what Owen’s been up to by listening to Studio 360 with host Kurt Andersen this afternoon on WNYC radio.

Here’s a video of Owen in the WNYC studio performing “Lewis Takes Action.”

Studio 360 airs today at 4pm on WNYC 93.9FM and is repeated at 2pm tomorrow on AM820. You can also listen live online at WNYC’s web site or get a complete show podcast, Check out the Studio 360 web site for more information. You can also download two bonus tracks from Owen’s Studio 360 performance by clicking here.

Asphalt comes indoors

Asphalt Orchestra debuted at last summer's Lincoln Center Out of Doors Festival. (Photos copyright 2009, Steven P. Marsh)

Asphalt Orchestra, my very favorite avant-garde marching band — okay, I admit, it’s the only avant-garde marching band I know — high-steps it indoors tonight at Lincoln Center for a free show.

“We’re playing everything we’ve ever played — plus two new arrangements,” promises Asphalt saxophonist Ken Thomson.That means music by Frank Zappa, Meshuggah, Bjork, Tom Ze, Thomas Mapfumo, Stew and Heidi Rodewald, Goran Bregovic, Tyondai Braxton (of Battles), Charles Mingus and Conlon Nancarrow. Whew!

This is the only show the band — created by Bang on a Can for last summer’s the Lincoln Center Out of Doors Festiva — will be doing in NYC until the summer. And, while Asphalt is probably best seen and heard outdoors, marching up and down bleachers and wandering around the Lincoln Center campus, it’s a big plus that tonight’s show is indoors!

The show is scheduled to begin at 8:30 tonight in David Rubenstein Atrium at Lincoln Center, on Broadway between West 62nd and West 63rd streets, just east of the Plaza in the former Harmony Atrium space. It’s a perfect gateway to the arts center, with visitor information on all Lincoln Center tenants, a ticket office offering day-of-performance discounts, a performance space, a restaurant, free WiFi and restrooms.

Arrive early to get a good seat, as it’s first-come, first-served. For my part, I’m thinking about standing, just to remind me of my first experiences with Asphalt.

Asphalt Orchestra playing the world premiere performance of Stew and Heidi Rodewald's "Carlton."

New Music’s next wave

ICR DDS GVSUNME

Remixer Dennis DeSantis, in the shadows, left, with the Grand Valley State University New Music Ensemble at (Le) Poison Rouge. (Photos copyright 2009, Steven P. Marsh)

I saw and heard the future of New Music on Sunday night, and I am happy to report the future is bright.

ICR Sax Solo

A saxophone solo opens the performance of "In C."

The Grand Valley State University New Music Ensemble, which burst onto the scene with its fabulous 2007 performance (and followup recording) of Steve Reich‘s “Music for 18 Musicians”, filled (Le) Poisson Rouge last Sunday night with the sounds of another 20th Century classic — Terry Riley‘s “In C.”

ICR Jad

Radio Lab host Jad Abumrad was master of ceremonies.

Riley’s piece is more of a challenge than Reich’s because it is less structured, more mutable and highly shaped by the musical personality of the performers. The 15 talented players in GVSUNME — most of them students — played an engaging version that they made their own with the use of electronics and flourishes like a saxophone solo  to open the performance.

Sunday’s concert was a celebration of the release of In C Remixed, GVSUNME’s double-CD recording of In C and 18 remixes by 16 artists. The ensemble’s recording of “In C” clocks in at just over 20 minutes. For Sunday’s concert, the group played for about an hour. That’s the other major variable of the piece — it’s written in such a way that it can be as long or short, within certain limits, as the players want it to be.

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