Living, breathing composers introduce their piano music this week on Hammered!
“A counterpoint of instructive voices host this week on Hammered! as we pass the mic among a collection of composers who will introduce their own works for piano. Hear their musical secrets all week at 11 am and pm.
Really, who better to talk about a new piece than its composer? All week we’ll hear composers like Ingram Marshall, Judd Greenstein, Christopher Cerrone and Lowell Liebermann (and that’s just Monday!) talk about their music before hearing some of the most striking works being written today. Later in the week you’ll be joined by Steve Reich, Missy Mazzoli, Jacob Cooper and Paola Prestini.
These composer introductions are a feature unique to Q2 Music and invaluable in providing a context for the great music you hear on this program. But we’re still growing our composer intro library, so, if you could hear anyone introduce their own music, who would it be?
Also, stay tuned later in the week for information about how you can pledge support in our Winter Fund Drive, and lastly keep your eyes peeled for details on — not joking at all — a festival of American Maverick music that is absolutely not to be missed … all right here at Q2 Music.”
Exploring Brooklyn-based composer Ryan Francis‘s box of musical toys
Ryan Anthony Francis
“Among diverse cast of characters informing Brooklyn-based composer Ryan Anthony Francis’s musical language are author Haruki Murakami, artist M.C. Escher and poet Wilhelm Muller. Hear what they’ve told him this week at 11 am and pm on Hammered!.
You can hear Escher in the interlocking motivic infinities in Francis’s Etude Jacob’s Ladder, Murakami’s polished elegance in the Wind-Up Bird Preludes, and Muller’s prophetic solemnity in Consolations.
This is to say nothing of the musical personalities sitting on his other shoulder, a lineup of composers beginning with Frederic Chopin and filing through Henri Dutilleux and Richard D. James of Aphex Twin. Each of these voices are considered, adapted and synthesized by Francis into an aggressively original musical language that uses nuance, precision and stylistic-variance to create music that is at once lush, probing and inventive.
Accompanying Hammered!’s week-long survey of his piano music are works that interact with Francis’s language in especially intriguing ways. You’ll hear songs by Franz Schubert, movements from Harrison Birtwistle’s Harrison’s Clocks, a recent work from Arlene Sierra and, to balance Francis’s mammoth Moonlight Fantasy, a remarkable performance from pianist Sergei Babayan of Maurice Ravel’s Gaspard de la Nuit.
See the full article here.
A survey of modern piano concertos from Ravel to Rakowski
“Talk about a genre with a lot of baggage! How does a composer even think to write a piano concerto today when the masterpieces of Mozart, Brahms and Ravel are your compositional context? This week on Hammered! we hear some of the magnificent creations of this historical dare.
We recently offered one such concerto as our Album Of The Week, Jonathan Harvey’s Bird Concerto With Piano Song performed by the exquisite pianist and Ensemble InterContemporain member, Hideki Nagano.
In this wonderful new concerto Harvey accepts the historical baggage of the genre, in this specific case the piano and orchestra music of Olivier Messiaen, and reinvents it. This extraordinarily inventive concerto incorporates digitized bird song, recorded by the composer in California, and completely rethinks the pianist’s roll in this avian consort. Rounding out Monday’s hour of bird concertos are works by — duh — Messiaen and a “concerto” for piano and electronics by Ezequiel Vinao.
Throughout the week we’ll insert a few modern classics, including the “Left Hand” Concerto by Maurice Ravel and the Piano Concerto of Aaron Copland, certainly one of his masterworks.
Also on the docket is music from David Rakowski (in a stupendous performance by Marilyn Nonken), John Adams (both his Riverrun and Century Rolls), Poul Ruders (introduced by the composer!) and one of the singular creations of the genre in the last century (in history?), the Piano Concerto of Gyorgy Ligeti.”
See the full article here.
Honoring Philip Glass’s recent 75th by exploring the fertile ground of his influence
Monday, February 06, 2012
“The champagne may be flat but we’re still riding the celebratory wave of birthday boy Philip Glass’s 75th by exploring the fertile genre of post-minimalism that he helped inspire. Tune in this week at 11 am and pm for reworkings, reinventions and revampings of Glass-brand minimalism.
Last week there was a nice cross-current of influence here at Q2 Music. We celebrated Glass’s birthday with a premiere Webcast of his Ninth Symphony and also hosted a preview concert for the second annual Ecstatic Music Festival live at the Greene Space. Hearing that performance at the Greene Space is in many ways hearing the far-reaching impact of Glass’s most rudimentary musical tenets, but what’s remarkable is how uniquely these tenets have been recast.
This is the music you’ll hear this week. We’ll frame each program with a brief piano piece from Glass and quickly turn to music that is related to, but almost unrecognizable from, the Glass style. Kind of like distant third cousins. Possibly half removed. On Monday we’ll hear music of Marti Epstein, Stephen Scott (a bowed piano piece Music One for Bowed Strings that is not to be missed!) and an enormous work by William Duckworth called The Time Curve Preludes.
Later in the week catch post-minimalist masterpieces by Ingram Marshall, Kyle Gann and John Luther Adams, along with up-and-comers Jacob Cooper, Andy Akiho and Eliot Britton.
See the full article here.
Surveying the Past, Present and Future of Piano Music from Poland
“Despite the immense stylistic variety of Polish music from the last fifty years, many of these works demonstrate a keen sense of historical context, nodding appreciatively through the centuries. Tune in for the piano course to this week’s Muzyka Nowa smorgasbord and explore the keyboard music of Polish modernism. In context.
Franz Liszt said of Frederic Chopin, one of Poland’s great cultural ambassadors, that “the anguished cries of Poland lend to his art a mysterious, indefinable poetry.” Perhaps the same can be said of the composers on this week’s program, if not specifically because of their common cultural context than perhaps more generally because the pathos and melancholy that’s so often expressed in these works is tinged with the same mysteriousness and indefinability that shrouds Chopin’s music.
Chopin was also a true modernist. Listen to the unnerving, relentlessly minimalist center section of his Polonaise in F-sharp minor, Op. 44, or the unstable, often “rule-breaking”, harmonic language of his late Mazurkas. Hear how these traits are expanded and reinvented by Karol Szymanowski, the under appreciated torchbearer of Polish late Romanticism.
Of course we also have the great modern masters of Polish pianism, Henryk Gorecki and Witold Lutowslawki (no solo piano music from Krzysztof Pendericki), and offer — among other things — piano concertos by both composers (the Lutoslawski brilliantly performed by Leif Ove Andsnes). Grazyna Bacewicz, a contemporary of Penderecki, is also hardly known in the States, and thanks to a recent album from Krystian Zimerman you’ll hear her Second Sonata and two piano quintets.
Rounding out the timeline are recently written works by the extraordinary Pawel Szymanski, Jan Radzynski, Roger Przytulski, and Jakub Cuipinski, who will host two specially curated episodes this week.”
See the full article here.
Newly (Re)discovered Sounds from the Composers and Pianists that Shaped Our 2011
“New-music junkies thrive on hearing new sounds, on experiencing novel, sonic worlds. Really, is there anything more exciting than listening to a piece for the first time? This week on Hammered! we’re reacquainting you with some of those experiences and playing our favorite discoveries of 2011.
Of course the week is overflowing with new composers and recently written music. Monday begins with one of the most striking additions to our library in 2011, Sleeping Giant Ted Hearne’s Parlor Diplomacy for solo piano in a scary-good performance by fellow Giant Timothy Andres. (Apropos of these topics, do yourself a favor and revisit last month’s Sleeping Giant invasion.)
Other highlights (what’s a highlight among highlights?) include new-to-us works by Benjamin Broening (the Recombinant Nocturnes for multiple pianos and electronics), accordionist Guy Klucevsek (the Well-Tampered Accordion), Marco Stroppa (Tangato Manu for solo piano) and pianist composer Eric Wubbles (This Is This Is This).
Friday includes works that we rediscovered through the earlier rediscovery of some of the great new-music pianists alive. Seriously, is there any man / woman / child that can / could / will achieve Alan Feinberg’s contrapuntal clarity in the thorny scores of Milton Babbitt? What about the microscopic detail and pianistic clarity of Fredrik Ullen’s performances of Gyorgy Ligeti?
Enough about us though. What keyboard wizardry do you want to hear in 2012?”
Please visit the page here and by all means leave comments.
Alexi Lubimov’s Late-Night Elegies Recital from Last Year’s White Light Festival*
“This week Hammered! takes its programmatic cue from the probing musical curiosity of pianist Alexei Lubimov and begins Monday with a recital recorded last year live at Lincoln Center’s inaugural White Light Festival, which is currently midway through another illuminating installation of performances for its 2011 festival.
Lubimov’s haunting performance last year features a set of unlikely but beautifully interactive composers ranging from Valentin Silvestrov to Carl Philipp Emanuel Bach, whose Fantasia in F-sharp minor, no joke, sounds supremely freaky next to Tigran Mansurian’s Nostalgia.
The rest of the week’s program revels in Monday’s acoustic and conceptual resonance, riffing on Lubimov’s intermingling of new and old with introspective works by Alfred Schnittke, John Cage and Eleanor Sandresky alongside short pieces by Wolfgang Amadeus Mozart, Leoš Janáček and Franz Schubert (trust me).
In addition to juxtaposing “new” and “old” pieces by separate composers, the central works on this week’s program are by single composers fusing material from both sides of the categorical dividing line, in some cases erasing it completely. Think: “is that a quotation from Beethoven’s Seventh Symphony in John Corigliano’s Fantasia On An Ostinato” or, “is that a modernized Mozart paraphrase in George Tsontakis’s Ghost Variations,” (yes to both) and you’ll have a good idea of what to expect.
What you might not expect are performances of Charles Ives’s Concord Sonata (with its disfigured quotations from Beethoven’s Fifth Symphony), George Crumb’s Little Suite for Christmas (cue surreal setting of the 16th century “Coventry Carol”), and Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (good guess!).
Whatever the repertoire, this week promises to be a vivid, sometimes creepy, frequently touching combination of works you never knew you always wanted to hear together.”
View the complete article here.
“So much exhilarating music heard this month! — swarms of young composers, hours of new repertoire and not but a few exciting Webcasts. But for this week’s programmatic sorbet on Hammered!, we’re simplifying the hour to just two works per day and showcasing the beauty of musical compatibility (despite the occasional 100-plus year age gap).
Some of the most intriguing programs are the simplest on paper: Jeremy Denk’s pairing of Gyorgy Ligeti’s two books of Etudes with Johann Sebastian Bach’s Goldberg Variations, or Ursula Oppens’s mammoth juxtaposition of Ludwig van Beethoven’s Diabelli Variations with Frederic Rzewski’s The People United Will Never Be Defeated. Such bold presentations reveal immediate and jarring relationships that often pack a programmatic punch your more typical potpourri collection of works just can’t achieve.
Seriously. Like twins separated at birth, Beethoven and Charles Ives belong together (cue Friday’s show with the Bagatelles, Op. 126 (super weird) and the Concord Sonata).
Pun intended here when I ask if the cord was ever cut between Olivier Messiaen and his student Tristan Murail (stream this one above).
Or perhaps you crave a more self-conscious, retrospective connection, which is the approach taken by Timothy Andres in his It Takes A Long Time To Become A Good Composer, a piece looking to Robert Schumann’s Kreisleriana for inspiration (heard Tuesday in its rarely heard and very strange first version from 1838).
Rounding out the week are works by John Adams / David Lang and, wait for it, John Luther Adams / Elliott Carter.
See the full article here.
The great, mighty and awe inspiring Q2 New Music web stream is participating in the WQXR fund drive.
Q2 has a great friend in Porter Anderson
Porter has issued Q2’s first challenge grant. Here is what Porter has to say:
“ On Q2 Music and writing
The living composers of WQXR’s Q2 Music play an eloquent role in a writer’s creative process. Their work functions as collaborative leverage. Their music is made from the same day-to-day stimuli in which our writers live and work. And yet it’s not pop: it doesn’t tell you how to feel or what to think. Contemporary classical music paces a writer’s own impulses. Our composers are fortunate to have Q2. Imagine Mozart able to have his live concerts heard by a worldwide audience in real time. And writers are lucky to have Q2 as a vehicle with which to scale up our own creative efforts alongside the global reach of this 24-hour stream.
Q2’s benefits to me as a writer, journalist, and critic have been enormous. I hope to use this challenge grant to draw more of my writing colleagues to this resource, unique in the family of NPR affiliates and in the world.”
Here is a story Porter sent me about one writer friend’s experience of Q2.
Scoring the novel as it unfolds – the undercover soundtrack, by Roz Morris
Pledge your support for Q2 Music right now and every dollar you give will be doubled, thanks to Porter Anderson, who’s generously offered to match donations (up to $5000).
To take Porter up on his generous offer to match your donation, just click here .
Here is a direct link to the Q2 Pledge page
Vibrant Keyboard Works from a Versatile New Generation
Monday, October 10, 2011
“What do you get when you combine the talents of two expert curators, 16 world-class ensembles and over 100 young composers? You get an atwitter Q2 Music and the first-ever SONiC Festival, an exciting and diverse new-music festival whose participants we’ll preview all week at 11 am and 11 pm on Hammered!.
Let’s turn over the mic to composer and SONiC curator Derek Bermel, who explains the festival’s aim:
“We wanted to present a snapshot of the younger generation of music-makers, to showcase the richness, vitality, and diversity of the music being created right now – under our very noses here in New York and throughout the world. Emerging composers today have much greater access to different traditions and influences, and we are celebrating that by not restricting the music we present to any one style, movement, or agenda. We want to bring more public awareness to the many directions contemporary music is moving in, and to show everyone that ‘the composer’ is alive and thriving.”
Umm, YES! Well said. To pre-game for the festival’s first event this Friday, we’ll hear keyboard works throughout the week by 25 of the over 100 composers age 40 and under that will be featured at SONiC, along with performances by Bermel’s co-curator and new-music piano ninja Stephen Gosling. Rounding out Monday’s show are works by Caleb Burhans and Timothy Andres, who performs his own It Takes A Long Time To Become A Good Composer.
We’ll also hear from Andy Akiho, Suzanne Farrin, Kati Agócs, Ryan Brown, Judd Greenstein, Nathan Davis, and on and on and on… It is confounding how much incredible (and incredibly diverse) music is being made right now, in your very own Brooklyn backyard.”
Celebrating Steve Reich’s 75th birthday and the clarity of musical process
“The eternally youthful, endlessly listenable Steve Reich turns three-quarters of a century young on Monday and Hammered! is joining the group hug. Tune in 11 am and 11 pm all week for a celebration of Reich’s keyboard and ensemble music with special introductions by the birthday boy himself.”
See the full post with program descriptions here.
A Week’s Worth of Albums, Tracks and Composers New to Q2 Music
“Fresh from summer hibernation, Hammered! returns with brand new fall episodes chock-full of repertoire never before heard on Q2 Music. Tune in all week at 11, a.m. and p.m., for Q2 Music premieres drawn from rarely heard tracks, recently released albums and compositional up-and-comers.
Promo CDs and perusal media is usually painful to wade through, but wow, the box of Hammered! discs that accumulated over the summer was absolutely packed with treasure. A favorite from the pile was the makeshift-iest of the bunch (a compliment in this case): Simon Rackham’s Music For Multiple Pianos, a title typed in Times New Roman on a torn single sheet cover.
The disc contains three works written for five and six pianos, The Probability of Beauty, Still Beginning, Never Ending and Which Ever Way Your Nose Bends, a work for six pianos that Rackham intended as a counterpoint to Steve Reich’s seminal Six Pianos. In fact, this entire disc could aptly be heard as the Yang to Reich’s Yin, offering dense minimalist textures that are at once indebted to Reich’s work while providing an antithesis to it.
And then there’s Benjamin Broening’s beautiful album of night pieces called Recombinant Nocturnes. The work is anchored by five large “ensemble” movements (multiple pianists or solo piano with electronics) that are sewn together with eight Nocturne Fragments for solo piano. Aided by ravishing performances from four different pianists, Broening’s work is shimmering and elusive and incorporates some remarkably original electronic sounds.
We’ll give you a taste of both these discs on Monday, but tune in Tuesday and Thursday for the rest of Rackham’s album and on Friday for a complete run of Recombinant Nocturnes.
Other remarkable works receiving their Q2 Music debut: solo piano music from Vincent Persichetti, Richard Danielpour and Roy Harris; a new recording from composer Thorkell Sigurbjornsson; an unexpectedly fascinating collection of works from a collaboration between the mystic world traveler Georges Gurdjieff and pianist / composer Thomas de Hartmann; and a justly-tuned piano work with electronics by Randy Gibson.”
Exploring a Week’s Worth of Quotation, Variation and Suggestion
Monday, July 25, 2011
“The practice of musical quotation has always been a part of the music-making tradition. Sometimes it’s the artist’s way of acknowledging his or her admiration for a composer, or just a mere infatuation with a specific theme or passage. At times it is of a practical nature—conjuring up a distinguishing event or character within the mind of the listener.
How do we feel when we hear a tune we’re familiar with in another work? Does it diminish the value of the new piece? Is it a sign that the composer’s imagination is lacking?
Many consider writing a unique and fresh theme only a portion of making music, that in making art what matters most is what the artist does with his or her material. What’s important is whether the composer has what it takes to give a familiar theme a fresh start, and to imagine it leading a different life. It is somewhat similar to encountering a familiar character from a novel or a movie in different work. We know him well, but we are eager to learn what trouble he is currently up to.
The excitement of encountering a musical quotation lies in the discovery of where that familiar tune leads. Does it unexpectedly pop out of a peculiar texture and surprise us, or is it secretly floating beneath the new ideas, surfacing, only at times, from the unfamiliar twists and turns of the music.
All this week, we highlight music that embraces the technique of borrowed material, whether by means of direct quotation or thematic variation.
Visit the web page here to leave comments.
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Week Three: Pianist, pedagogue and new-music guru Bruce Brubaker takes the curatorial reins for June
Monday, June 27, 2011
“With apologies to Claude Lévi-Stauss, this week on Hammered!, The Raw and the Cooked. How do materials get made into art? How do scales, chords, and tremolos turn into compelling music? What happens when delicious ingredients are baked, stirred, or julienned?
And when we’re cooking up some art, how do we know when it’s done? Sometimes achieving art requires high-level technique. And sometimes too much obvious refinement seems to get in the way of something more real.
Those mysterious foams and sous-vide dishes from the molecular gastronomy chefs can be wondrous, or just too precious. What’s the exact transition point between raw and ready?
We use many forms of technology to do our work. The piano’s a remarkable machine, an artifact of Industrial Revolution high technology. Sometimes we try to adapt our bodies or minds to what machines can do. But at least so far, machines are made by humans, and our artistic interactions with machines often end up disclosing what humanity really is.
On Hammered!, in our tasting of The Raw and the Cooked, there will be music by Sylvano Bussotti that’s written graphically, with pictures rather than notes, and played inside the piano, and all over the outside of the piano too. We hear György Ligeti’s testing of the human player’s limits, and Alvin Curran deconstructing and reconstructing something very familiar.
See the complete web page here.
From Hammered! at Q2: “Week Three: Pianist, pedagogue and new-music guru Bruce Brubaker takes the curatorial reins for June – Monday, June 20, 2011″
Week Three: Pianist, pedagogue and new-music guru Bruce Brubaker takes the curatorial reins for June
Monday, June 20, 2011
“This week the piano is a “Portal.” Not the video game, but this “Portal” does include teleporting of a sort. Music lets us travel through time and space in many ways, by allowing us to hear in many different ways.
Composer Karlheinz Stockhausen said that some music allows us to ‘empathize with the temporal and spatial experiences of other living beings which live faster or slower, narrower or wider than the human being [insects, fish, birds, plants, trees, clouds] …’
The piano always has been a virtual instrument, able to mimic other instruments and even assume multiple musical personalities. The piano and pianists are always morphing into something else. For a moment the pianist’s a rock drummer, then an Italian coloratura soprano, country dancer, violin virtuoso, banjo picker, or a whole band, or gospel quartet.
Early keyboard music was all based on specific vocal pieces. But, this week, we’re not really talking about imitating voices or violins. Some keyboard music is a window, an opening through which the listener passes to distant realms, other ways of being, or altered states of consciousness …
Are we also considering program music, wordless music that tells stories? Maybe.
We hear part of Terry Riley’s The Harp of New Albion, Richard Beaudoin’s Black Wires, Alvin Curran’s piano-marathon Hope Street Tunnel Blues III, and James MacMillan’s piano concerto The Berserking, initially inspired by group hysteria MacMillan witnessed at a soccer game.”
View the web page here.
“You might think that your thoughtful criticisms and carefully considered suggests are simply lost in cyber ether upon clicking submit, but we actually heed and thrive on your comments. So, this week on Hammered!, you asked for it! We’ll revisit chamber music from April’s Trout Week, only this time you’re the programmers!
Let me tell you, these were some good programatic suggestions (thanks Gary, Susan, HXY and the rest of you!).
We’ll insert nine of these requested works into a mix that already includes multi-piano pieces by Timothy Andres, Olivier Messiaen, Kevin Volans and others. Most of these nine works have never been heard on Q2, and I might surmise that a few of them are perhaps new to many (what’s up Matthias Spahlinger’s seven piano smorgasbord Farben der Fruhe?).
Just so you don’t miss anything, here’s the schedule:
Monday: Juilius Eastman, Gay Guerrilla; and Morton Feldman, Five Pianos
Tuesday: excerpts from Jeroen van Veen’s Minimal Piano Collection
Wednesday: Steve Reich, Six Pianos; Morton Feldman, Piece for Four Pianos; Pierre Boulez, Structures, deuxieme livre
Thursday: Kyle Gann, Long Night
Friday: Peter Dickinson, Five Forgeries; Matthias Spahlinger, Farben der Fruhe fur sieben klavier
Each of those incredible pieces was programmed by you. Keep those comments coming! “
Hammered! is hosted by Conor Hanick
The Metropolis Ensemble‘s foray into acoustic and electonic synthesis
Sunday, May 29, 2011
“In Ricardo Romaneiro’s reimagining of John Corigliano’s Grammy-winning soundtrack for Altered States, acoustic and electronics aren’t quite flirting with each other; they’re having a genetically mutated love-child. Listen to the Metropolis Ensemble perform this altered film score and other concert works which synthesize acoustic and electronic sound. This Sunday at 2 p.m.
Highly venerated as a film and celebrated for its orchestral soundtrack, the sci-fi mind-bender, Altered States, has reached almost every corner of pop culture; references, spoofs and samples of the movie can be found in everything from Terminator and Saturday Night Live, to the music of DJ Shadow, and various metal and grindcore bands. Corigliano’s soundtrack has now come full circle, through Romaneiro’s arrangement of the film music, enhancing some the score’s orchestral gestures with an array of psychoactive electronics.
Recorded at a (Le) Poisson Rouge concert this last winter, also enjoy an electronics-studded program of compositions by Romaneiro, Gity Razaz, Du Yun and Enrico Chapela.”
Hosted by Conor Hanick
See the full article here.
Keys To The Future 2011 Festival Pre-Game and Fund Drive Celebration!
“This coming Wednesday marks the final day of Q2’s first-ever fund drive! It’s also the midpoint of the 2011 Keys To The Future Festival, which will be presented in a future Q2 Webcast. It’s because of your support that concerts like this (and many others) are available on Q2, which is why we’re celebrating The Future all week on Hammered!.
We told you back in January that this troupe of piano jocks puts on a good show, and from the looks of it, this week’s three-day Keys To The Future festival is not to be missed.
Pianist/composer/curator Joseph Rubinstein has cast an all-star group of pianists in performances of a huge variety of repertoire, including one US and one world premiere. True to form, the festival spotlights recently composed repertoire, with Phrygian Gates (1979) by John Adams claiming date-of-compositional seniority to a fascinating body of works written mostly in the last ten to fifteen years.
To pre-game, tune into Hammered! Monday and Tuesday at 11 am/pm for highlights from last year’s festival, including works by Don Byron, Marc Mellits, Annie Gosfield, Chick Corea, Magnus Lindberg, Gyorgy Ligeti, *deep breath* Philippe Bodin, Joseph Rubenstein, Vuk Kulenovic, Philippe Hersant, Judd Greenstein, Barbara White and Nikolai Kapustin. Whew. The rest of the week is comprised of works and composers featured on this year’s festival.
Just as this exceptional group of musicians has its collective eye on the future, this week so does Q2. If you appreciate hearing live concerts and value access to cutting-edge, brilliantly performed contemporary music 24/7/365, celebrate it with a few clicks and a monotary new-music fist pound.
Thanks for sharing in our optimistic view of Q2’s future!“
Hammered! is hosted by the keyboard specialist Conor Hanick.
“Tis the season for young composers, brand spanking new music and killer performances courtesy of the 2011 MATA Festival. Tune into Hammered! this week for piano works by composers currently and previously featured by the MATA festival with performances from MATA’s deep roster of musicians.”
Tristan Perich qsqsqsqsqqqqqqqqq
Missy Mazzoli Orizzonte
Julian Day Bad Blood
Sam Adams Piano Step
Rounding out the hour are two short piano works by MATA founders Philip Glass and Eleanor Sandresky, and a performance of Avner Dorman’s Piano Concerto by one of this year’s featured ensembles, the Metropolis Ensemble.
We’re laying it on thick this week, so tune in Tuesday through Friday for more MATA-inspired works by Florent Ghys, Eve Beglarian, Derek Bermel and Annie Gosfield, and well as some unexpected guests from MATA past, including Brian Ferneyhough (Lemma-Icon-Epigram), Erik Satie (Three Gymnopedies) and Duke Ellington (among other tunes, the Black And Tan Fantasy).
Hammered! is currently hosted by Conor Hanick.