Signal tackles Helmut Lachenmann tonight

Posted on April 1, 2010 | Leave a comment

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.

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Sufjan Stevens, Shara Worden guest with the Clogs

Posted on March 24, 2010 | 1 comment

Bryce Dessner, Shara Worden and Padma Newsome. (Photos copyright 2010, Steven P. Marsh)

Sufjan Stevens joins the Clogs on banjo.

The Clogs, with Padma Newsome on vocals, violins, harmonium, keyboard and a few other instruments, and Bryce Dessner (The National) on guitars and other strummed strings, entranced the crowd at The Bell House in Brooklyn on Wednesday night.

A very pregnant Shara Worden (My Brightest Diamond) added her own beautiful, haunting vocal vocal touches. Other permanent members of Clogs are Rachael Eliott on bassoon and Thomas Kozumplik on percussion. The Bell House performance was supplemented by a second percussionist and horn section at times.

But the real surprise of the evening was greeted by an audible gasp when Sufjan Stevens appeared onstage to play banjo on one song.

Clogs music is a bit difficult to pigeonhole. It’s definitely not rock, but it’s not classical. It bridges the two and winds up being unique. At one point Bryce made reference to a review that called one of the group’s songs “knotty.” Shara promised to try to sing in as knotty a fashion as possible.

Click through to the jump for more information and photos. Continue reading →

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The other side of sax

Posted on March 23, 2010 | Leave a comment

Euphonique Saxophone Quartet performs at NYC's Church of the Epiphany on March 21: Michael Bomwell, soprano, Loren Stillman. alto, Ken Thomson, baritone, and Justin Flynn, tenor. (Copyright 2010, Steven P. Marsh)

Euponique Saxophone Quartet provided some great entertainment on Manhattan’s Upper East Side on Sunday. They played a lively program of classical transcriptions mixed with new pieces, showcasing the versatility of a family of instruments that many casual listeners associate primarily with jazz and popular music.

Euphonique is the brainchild of Michael Bomwell, a versatile player (playing the Kenny G-associated soprano sax in Euphonique) who has one foot in the traditional world of saxophone, given his involvement with the Motor City Horns and experience with Clarence Clemons. The quartet’s baritone player, Ken Thomson, is the amazing, energetic saxophonist/composer from Brooklyn who plays in Gutbucket, Alarm Will S0und and the Asphalt Orchestra (and more) and teaches at the Bang on a Can Summer Music Festival. To more Brooklyn-based saxophonists/composers Loren Stillman, on alto, and Justin Flynn, on tenor, round out the quartet.

Sunday’s program honored J.S.  Bach’s birthday this month, kicking off with an arrangement of Bach’s Sinfonia to Cantata 29, arranged by Larry J. Long, the organist at The Church of the Epiphany, which hosted the concert. Long joined the quartet on this opening number and returned to the console later in the program to play the world premiere of  Epiphany, written for the occasion by Darin Lewis.) The group also performed Bach’s Prelude and Fugue (BWV 857) from The Well-Tempered Clavier and Aus Liebe will mein Heiland sterben, followed by contemporary composer Alexander Hamlin‘s piece, Dance #244449, inspired by the Bach aria.

The ensemble also honored the tradition of American saxophone music, performing “Quartette (Allegro de Concert)” by Caryl Florio, which was premiered by the New York Saxophone Quartet in 1879 and is billed as the first original work for saxophone quartet by an American composer.

Euphonique also dipped into the string repertoire with a version of Four, for Tango, originally written for Kronos Quartet by the Argentine Tango composer and bandoneón player Astor Piazaolla. The saxophones brought to the fore interesting textures not apparent in the string version.

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Karen Elson conquers NYC

Posted on March 23, 2010 | Leave a comment

Karen Elson and her band at Manhattan's (Le) Poisson Rouge, including (to her right) Rachelle Garniez on accordion and vocals and brother brother-in-law Jackson Smith on guitar. (Photos copyright 2010, Steven P. Marsh)

Call me jaded, but my expectations for Karen Elson‘s NYC solo debut at (Le) Poisson Rouge last night were not extremely high.

I expected a short, but entertaining set of competent singing and playing. But what I got was much better than that. Supermodel Karen’s vocal chops are as shimmering and lovely as her amazing good looks.

Cover art for Karen's album, The Ghost Who Walks.

While it remains to be seen whether Karen (the willowy redheaded model also known as Mrs. Jack White) has staying power as a solo artist, she showed us that she certainly has the chops.

She performed 13 tunes, backed by a five-piece band that included Jackson Smith (daughter of punk goddess Patti and Karen’s brother-in-law, by way of his marriage last year to Meg White, Jack White’s ex-wife) and the super-talented accordionist/vocalist/keyboard player Rachelle Garniez, a longtime cohort from the downtown NYC cabaret group The Citizens Band. All but one song is from her upcoming album, The Ghost Who Walks, out May 25 on Jack White’s Third Man/XL Recordings. She also did her interpretation of “Milk and Honey,” a tune written by a New York folkie, the late Jackson C. Frank, and made more famous via covers by Nick Drake and Sandy Denny.

Karen Elson at (Le) Poisson Rouge.

The crowd at (Le) Poisson Rouge was not the usual NYC music audience. There were clearly a lot of people there from the music industry and the fashion world, including magazine editors like Vogue’s Grace Coddington (a famous redhead like Karen) and photographer Annie Leibovitz. Most everyone it the sold-out house seemed pretty respectful and paid attention to the music — something that’s often not the case when it comes to curiosity shows like this one.

Those who attended last night hoping that Karen’s husband would show up were disappointed. There was no sign of Jackie White, of Jesse and Jackson’s mom, or Jackson’s wife. But that was a good thing, keeping the focus on the music.

The opening act was an unannounced duo of a woman on keyboard and man on xylophone. Since they never introduced themselves and barely said a word during their largely instrumental set, I’m willing to bet that many people in the audience had no idea that they were hearing from Jesse Smith (daughter of Patti) and her musical partner Michael Campbell. They are an enormously talented duo. But their performing style and dour stage presence don’t make for an interesting set. Their music would be great for meditation or as a sonic backdrop, but their lack of dynamism hampers their ability to present themselves as a strong live act.

Please click through to the jump for more, including Karen’s set list.

Continue reading →

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Procol Harum to headline two US shows

Posted on March 13, 2010 | Leave a comment

One foot in the past with an eye to the future: A recent incarnation of Procol Harum.

Call it nostalgia, because it certainly taps something deep in those formative years, but Will You Miss Me When I’m Gone? finds it very hard to resist Procol Harum.

The latest in the ever-changing PH lineup is touring this year, with eight U.S. bookings so far, mostly opening for Jethro Tull. Now I liked Tull back in the day, but I always thought Procol Harum was the more seriously musical, less-gimmicky band. (After all, one of the key members of PH for many years was lyricist Keith Reid, who wrote the lyrics for every PH original, but never sang or played an instrument!) And, of course, “A Whiter Shade of Pale,” PH’s most memorable hit, is one of the most-played rock songs in history.

Vintage Procol Harum

We can debate that question forever, and I can see both sides. But my heart is with Gary Brooker (the distinctive singer and pianist, and sole original member) and crew.

I haven’t seen them since their shows at NYC’s late, lamented Bottom Line in 2003. And while the band has been touring on a regular but limited basis — more often on the Continent and in the UK than in the US, I was very tempted to book tickets for the show at Jones Beach on June 11. But for some reason, I held off.

Tarrytown Music Hall

Now I’m glad I hesitated. An email landed in my in box a few days ago announcing that Procol Harum is taking a couple of days off from opening for Tull for some headlining gigs of its own.

PH is booked for headlining dates at two venues — both on the East Coast — so far. The first is at 8 pm on June 10 at the jewelbox Tarrytown Music Hall in Tarrytown, NY, where tickets range from $49-$75, and the other is at 7:30 pm on June 16 at Longwood Gardens in Kennett Square, Pa., an outdoor show that features opening band Renaissance, with ticket prices from $39-$65.

A full list of Procol Harum gigs for 2010, including the Jethro Tull tour dates, can be found here, on the band’s fan site.

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ETA3 to shine in Nyack

Posted on February 25, 2010 | Leave a comment

The stellar trio ETA3.

ETA3, a hip, young classical trio formed at the The Juilliard School that takes its name from a star-forming nebula in our galaxy. The trio’s name also happens to use the first letter of the first name of each member: flutist Emily Thomas, pianist Tomoko Nakayama and clarinetist Alexey Gorokholinsky.

They bring their unconventional lineup of flute, clarinet and piano to the stage of GraceMusic this Sunday afternoon at 4 o’clock. (Full disclosure: Will You Miss Me When I’m Gone? recently joined the board of this Nyack-based concert presenter. My only pay for that job, like the job of maintaining this blog, is the satisfaction of fostering the arts.)

Since there’s little repertoire written for their particular instrumentation, the talented trio adapt and arrange music themselves, often distilling pieces from larger orchestral compositions.

Sunday’s program features Debussy’s Prelude to The Afternoon of a Faun, Bartok’s Romanian Folk Dance and Tchaikovsky’s Russian Dance,  as well as Trio in Three Movements by Khachaturian  and Carmen Fantasy, adapted from a famous transcription by Sarasate.

In some vocabularies, ETA also stands for estimated time of arrival. They’ll arrive onstage at GraceMusic at 4 pm this Sunday, Feb. 28. The concert is in the beautiful nave of Grace Church, 130 First  Ave., Nyack, NY. Tickets are $15 at the door ($10 for seniors and $5 for students). For more information about GraceMusic, go here, click on Music in the navigation bar at the bottom of the page and on GraceMusic at the top of the Music Page. Or check out GraceMusic’s facebook page and become a fan.

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Missy Mazzoli’s making an uproar

Posted on February 25, 2010 | Leave a comment

Composer and performer Missy Mazzoli. (Photo by Stephen Taylor)

Composer Missy Mazzoli‘s having a great year — and it’s only February. She’s been working hard to get her music heard, and it’s really coming together.

Tomorrow night and Sunday, her chamber opera Song from the Uproar is being performed by students from the Bard College Conservatory of Music Graduate Vocal Arts Program, run by the estimable soprano Dawn Upshaw. It’s part of an opera triple bill, which also includes Vinkensport, or The Finch Opera, a world premiere by David T. Little, and L’Enfant et les sortilèges by Maurice Ravel  in the amazing Sosnoff Theater on the Bard College campus in Annandale-on-Hudson. For more info about those shows and to buy tickets, priced from $20-$75, click here. If you’re willing to take a randomly assigned seat, you can pay just $10 by clicking here and using the password “triplebill.”

The lyrical piece examines the life of 19th Century Swiss explorer Isabelle Eberhardt, with text inspired by and responding to her journals, which Missy set to music for soprano and small ensemble, against a backdrop of film by Stephen Taylor. A 40-minute version of the piece presented last May at Galapagos Art Space in Brooklyn was enchanting and provocative entertainment.

Missy’s opera will be heard again in New York City in the spring, when it’s presented as part of New York City Opera’s Vox showcase of new operas. Although Vox hasn’t formally announced its season yet, Time Out New York‘s Olivia Giovetti reveals in an interview with Missy that it’ll be held April 30 and May 1 this year. Although the venue has not been announced, Vox has been presented for the past four years at Skirball Center for the Performing Arts at New York University.

Missy Mazzoli and her quintet Victoire.

Then, in her rock-club guise as leader of the quintet Victoire, Missy will be performing in March and April with American Composers Orchestra.

The first show is at 4 pm Sunday, March 21, at Dweck Center at the Brooklyn Public Library, Grand Army Plaza, Brooklyn.  Admission is free. Call (718) 230-2100 or click on www.brooklynpubliclibrary.org for more information.

The second show (on a bill also featuring Arp & Anthony Moore) is presented as part of the Wordless Music Series at 7:30 pm on Wednesday, April 7 at (Le) Poisson Rouge, 158 Bleecker Street, Manhattan.  Tickets are  $15. Call (212) 505-FISH or click here.

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A Klezmer/Funkadelic storm hits (Le) Poisson Rouge

Posted on February 24, 2010 | Leave a comment

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.

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It’s time to Bang on a Can

Posted on February 24, 2010 | Leave a comment

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.

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EXCLUSIVE: How you can attend a reading of The Last Goodbye

Posted on February 23, 2010 | 1 comment

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Daily Variety reported last night that The Last Goodbye, New York director Michael Kimmel’s musical play pairing Shakespeare’s Romeo and Juliet with the music of Jeff Buckley, is headed to the stage next season. The item also said there would be a developmental reading in NYC soon. What Variety didn’t tell you is when that reading will be and how you can attend. But Will You Miss Me When I’m Gone? has those answers for you exclusively.

The reading will be held at 2 pm on Friday, March 12. The New York City venue hasn’t been named yet, though the creative team will have that finalized soon.

As for getting tickets, it’s a bit of a crap shoot, but the rules are simple: Just drop an email, including your full name, email address and telephone number to newsletter@jeffbuckley.com by 12 am ET on March 1. That will put you in the running for a free pair of tickets.

I’ve been a huge fan of Jeff’s work for ages. After I saw the concert version of this show at Joe’s Pub last year, I wrote that it blew my mind and I couldn’t wait to see it develop. That time is fast approaching!

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