Live performances by NOW Ensemble, Victoire, the Chamber Music Society of Lincoln Center and More
“As Q2 Music prepares to go all-American Mavericks all the time next month, we’ve been doing a lot of listening to Varèse, Copland, Harrison, Cage, Monk and more. But while we’ve been excited to see the return of a concert series given in 2000 by Michael Tilson Thomas and the San Francisco Symphony, we can’t help but think of the new mavericks.
So taking as a springboard the styles of our 20th-century Mavericks, we’re looking today at in-concert recordings from composers who in this century challenge and redefine the way music is created and consumed.
There are nods to the greats of the past (such as Sergei Prokofiev’s grandson, Gabriel Prokofiev), but the present has a mightily different face. We’ll hear from Missy Mazzoli’s rockstar quintet Victoire live at Chelesea’s Look and Listen Festival, blending the lines between rock and classical (we’ll hear more to that end with music from Radiohead’s Johnny Greenwood). And we’ll hit up the Chamber Music Society of Lincoln Center for a trio by juggernaut composer Kevin Puts.
There will also be hints of social consciousness in by the NOW Ensemble of Judd Greenstein’s Change and Ensemble 212 of Tahrir by Mohammed Fairouz, and selections from concert series like the Ecstatic Music Festival and SONiC. All told, various threads of the contemporary zeitgeist will weave together in two hours of musical bliss.”
I wish to again remind readers that rthey can still access, enjoy and learn from the original American Public Media radio project American Mavericks.
Works by Tristan Perich, Michael Gordon, Ingram Marshall, and more.
“It’s the 21st Century and it’s pretty safe to say that there’s no shortage of composers today who have been inspired by the sounds of electronic music, whether through the tape collages of Stockhausen and Xenakis, the electroacoustic manipulations of Pauline Oliveros, or the beat-driven textural experiments of lap-top sample-ists like Flying Lotus and DJ Shadow.
This week on Cued Up, we’ll be exploring live performances of acoustic and electroacoustic music that take on the sonic quality of electronic music. We’ll hear works by Tristan Perich and Todd Reynolds that pair live strings with electronics, and Ingram Marshall’s seminal Fog Tropes II. Alarm Will Sound offers a startlingly fresh take on The Beatles’ Revolution #9 and the Young People’s Chorus of New York and Kronos Quartet accent the other-worldly textures of Michael Gordon’s Exalted.
The program will also feature two brand-new live recordings that blur the lines between acoustic and electronic from So Percussion’s Jason Treuting (taken from a live show at The Greene Space in February 2012) and composer/Slow Six bandmember Christopher Tignor, recorded at this year’s Ecstatic Music Festival.
The Fierce Champion of New-Music, Violinist Mary Rowell, Joins Q2 Music
Sunday, February 05, 2012
“This Sunday, February 5 at 2 pm ET, the co-founder and former violinist of the string quartet ETHEL lends her voice to the internet airwaves to share two hours-worth of her favorite New York City in-concert recordings. Featured composers include Jefferson Friedman, Christine Southworth, Caleb Burhans, Julia Wolfe, among others.
Considered by critics to be one of the most important and exciting performers on the contemporary scene today, the violinist Mary Rowell cannot be classified. Known for her work with the Grammy Award-winning Tango Project, the indie band The Silos and pop icon Joe Jackson, she has carved an indelible place in the contemporary classical music world with the post-classical quartet ETHEL.
Rowell has appeared as violin and electric violin soloist with the National Symphony, Houston Symphony, New York Chamber Orchestra, and Warsaw Philharmonic, among others and has stunned the dance world with her solo electric violin performances of Richard Einhorn’s Maxwell’s Demon. Rowell is an ensemble member of the Tribeca New Music Festival specializing in the “Avante-Pop” and is half of the experimental Americana duo BRIM with composer/performer Eve Beglarian.
A graduate of the Juilliard School, she is currently the concertmaster of both the Radio City Music Hall Orchestra and the Palm Beach Pops.
This edition of Cued Up is hosted by Mary Rowell.
Live Performances by Wordless Music Orchestra, Brooklyn Rider, JACK Quartet, and More
Sunday, January 29, 2012
“There’ll be no shortage of Philip Glass news in 2012. This year will feature the touring revival of his seminal opera Einstein on the Beach. And on January 31, the game-changing American music icon will celebrate his 75th birthday with the U.S. premiere of his Symphony No. 9 by the American Composers Orchestra at Carnegie Hall.
This week’s Cued Up features in-concert recordings of Glass’s work taken from the last two years. We’ll open with a mesmerizing 2010 performance of his Two Etudes by pianist Bruce Brubaker, and hear energetic live takes of his Suite from Bent by string quartet Brooklyn Rider (chosen by (Le) Poisson Rouge as one of the venue’s favorite live performance of 2011) and String Quartet No. 5 by the JACK Quartet.
In addition, the program features the New York-premiere of Glass’s homage to David Bowie—Symphony No. 4 Heroes—as performed by Brad Lubman and the Wordless Music Orchestra at the New York Society of Ethical Culture in May 2011.
We’ll also hear two pieces by Glass’s disciple Nico Muhly: Brubaker’s 2011 performance of Drones and Piano at the Gilmore International Keyboard Festival and Wish You Were Here from the 2011 Ecstatic Music Festival (on a related note, remember to check out Q2 Music’s Ecstatic Music 2012 Preview this Wednesday, February 1 at 7 pm).”
See the full article here.
Composers share the secrets behind their work
Sunday, January 15, 2012
“n this age of ultimate freedom in creating art, the inspiration and creative process for a piece of music can be just as fascinating as the end product. Composers these days find their inspiration in pretty much anything—from an architectural shape to subway noise, and while they might seem like shy creatures, most of them (including myself) love to share the madness “behind the scenes.”
This week’s Cued-Up, which airs Sunday at 2 pm, features a handful of composers who will share their secrets, from musical ingredients to the meaning behind titles of some of their works recorded live here in New York City.
We’ll hear Gavin Bryars introduce his The Sinking of Titanic—a work that leaves abstract concert music behind to embrace an old memory—and listen to Jacob T.V. discuss the process behind his mesmerizing and kinetic 3rd string. We’ll also hear from Nico Muhly, Michael Gordon, and Steve Reich, sharing their thoughts on some of their most captivating works.”
The page is here.
“Chamber music carries a unique charm that’s not always as easily experienced while listening to a large-scale orchestral work. The intimate setting of performance creates a close bond between performers and the listener. This week on Cued Up we’ll keep warm from the cold winter weather with compelling chamber music by an assortment of contemporary composers.
This Sunday at 2 p.m. (with repeats Tuesday at 8 p.m. and Thursday at 4 p.m.) join us as we explore the genre of string quartet—one of the most popular chamber ensembles and a favorite of many composers—with Terry Riley’s Sunrise of the Planetary Dream Collector and Jefferson Friedman’s String Quartet No. 3.
The program will also feature compositions for other forms of chamber ensembles by Judd Greenstein, Aaron Jay Kernis, Sebastian Currier, and David Adam Smith, among others. “
The page is here. Sorry, it went up on RSS too late for a more prompt post. But the material will be re streamed as above, and, probably, archived.
“Reflecting on 2011 and Stepping into the New Year
Sunday, December 25, 2011
This year was filled with countless, captivating moments of music-making around New York City, from solo recitals at intimate, dimly lit venues to international ensembles making splashy debuts at major institutions. Join us for this special holiday episode of Cued Up as we pay homage to the waning moments of 2011 with live in-concert recordings of music about remembrance, commemoration and reflection.
Featured live performance include pianist Alexei Lubimov’s compelling and mysterious Valentin Silvestrov and C.P.E. Bach from Lincoln Center’s Kaplan Penthouse, members of the Wordless Music Orchestra performing Ingram Marshall for a September 11 memorial concert at the Metropolitan Museum, and Crash Ensemble playing music of Donnacha Dennehy at (Le) Poisson Rouge.
Thanks for tuning into Cued Up this year, and we’re looking forward to 2012 and renewing our commitment to bringing you the most beautiful, curated assortment of music from cutting-edge venues, passionate, young musicians and vibrant composers!”
[I got his late; you can catch the repeat streams Tuesday or Thursday.]
See the full article here.
Celebrating A Shimmering Array of Musical Commissions
Sunday, December 18, 2011
For young composers, getting commissioned is a momentous occasion that calls for celebration.
“Whether the composer is commissioned for a colleague’s flute recital or a full-on and fully-spotlit concerto for a major symphony orchestra, the idea of a “commission” puts the composer in a different mindset. The work is no longer the fruit of seemingly infinite hours of solitary work subject to recurring doubts and recriminations, but an ongoing collaboration between composer and performer. One can even venture further to say that for many composers, the first musical ideas emerge from knowing the performers as friends, musicians or just human beings.
This Sunday, we salute commissions and the performers and ensembles that have sought new music from adventurous composers. Join us at 2 p.m. as we celebrate commissioned works by Maria Schneider, Matthias Pintscher, Arvo Pärt, David Lang, Chris Kapica, and others.”
This page originates here.
Stories Both Historical and Imagined That Have Inspired Great New-Music
Sunday, December 11, 2011
“This week’s Cued Up revolves around fables and tales. Whether fictional or factual, these stories have stayed with us through years and across cultures. Dozens of these stories have come to define our persona, culture, and perhaps even our race.
Tune in this Sunday at 2 pm, as we explore music that embraces our past through the power of folklore, oral histories and defining societal moments. We listen to Achille’s Heel by Colin Jacobsen, a quartet with a double reference to the ancient Greek mythology and the downfall of all that was once robust, as well as to Debussy’s middle name (the piece doesn’t fail to evoke moments of distant familiarity with Debussy’s quartet).
Other works include William Bolcom’s The Serpent’s Kiss, Gavin Bryars’s The Sinking of the Titanic, David Lang’s The Little Match Girl Passion, as well as other poignant, referential works.”
Sorry, this did not go up on RSS feed until 2:58PM. But, you know, it will be there, whenever you want it.
The History of Chamber Symphonies: Explicit and Imagined
Sunday, October 30, 2011
“Concert music is perhaps one of the few art forms that is born purely of abstraction. Each composition demands the composer construct a new world with its own set of rules and regulations. The composition becomes the sole portal into this new sonic universe, through which we get a glimpse of the artist’s vision. However, some pieces come with a history, and, while entirely original and independent, connect with the audience somewhat differently. The experience of listening becomes filled with discovery of the new and surprises of sensing familiar traces.
This Sunday we’ll start with John Adams’s Son of Chamber Symphony, a thrilling work that comes with its own considerable lineage. Composed in 2007 for the ensemble Alarm Will Sound, the work follows the footsteps of its predecessor, Chamber Symphony of 1992, a piece that itself is a response to Arnold Schoenberg’s Chamber Symphony, Op. 9. Following the Adams, we’ll listen to Paul Chihara’s own Chamber Symphony.
Alarm Will Sound
We’ll finish the program with Jason Treuting’s Oblique Music for 4 Plus (Blank) as recorded live at Miller Theatre, a work that while bearing no immediate connection to the other pieces on the program, nonetheless lulls the ear into a familiar space (the piece starts beautifully and reminiscent of something decelerated and almost Gershwinesque!) as it wistfully offers a few dim glimpses of the opening Adams.
The original post is 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
Exploring the Connections Between Sonic and Visual Worlds
Sunday, October 16, 2011
“For this week’s episode, we’ll be examining the notion that one can “feel” a natural or architectural space, and “see” the shadows and changing lights while listening to a piece of music.
We naturally relate to most art forms through recognizing connections to elements of our surroundings — we don’t need to see every single leaf of a tree to recognize one in a Van Gogh painting, for example. The colors alone do the trick. In music, however, we’re pretty much on our own. Its most fundamental element, tone, doesn’t represent or correspond to anything else but itself, so we are free to form our own connections to the music.
Yet, there are some characteristics of music, such as openly spaced sonorities or rhythmic aggregations, that conjure a subtle but powerful metaphor for the outer world, and engulf us in a sonic and visual experience. This Sunday at 2 pm, we’ll be listening to such pieces, including Caleb Burhans’s Contritus, Music from the Shadowbang by Evan Ziporyn, as well as works by Karsh Kale, Missy Mazzoli and Conrad Winslow.
Night of Eclectic Premieres with Music by Ryan Carter, Brad Balliett, Elliot Cole, Marko Nikodijevic, and Remmy Canedo
“This Sunday at 2 p.m. Cued Up presents the last concert of the 2011 MATA Festival – a festival that held three evenings of adventurous music by a bevy of youthful voices this past May. Its closing night offers an eclecticism that spans wild, modernist expression to total no-brow reconciliations of backpack hip-hop and European art-song. Navigating these waves of uninhibited creativity, Metropolis Ensemble performs the world premieres of Ryan Carter’s Skeumorphic Tendencies and Brad Balliett and Elliot Cole’s The Rake; and the U.S. premieres of Marko Nikodijevic’s Music Box and Remmy Canedo’s Instantanea 6.
One of the fun things to watch out for in the festival is how the programming always seems to bring together two threads in contemporary composition: the work that still sounds like classical music but is looking upward and onward in its performance practice, or spirit, and the work that only champions the forms of classical music, but whose building blocks and textures borrow from totally different idioms.””
Visit the web page which includes links to the previous concerts.
Composer-Performers Inhabit the Stage on the Second Evening of the 2011 MATA Festival
Sunday, September 25, 2011 at Q2
“At the second of three concerts presented during the 2011 MATA Festival, new-music lovers at (Le) Poisson Rouge were introduced to four young composers who joined the musicians on stage to take part in performing their own music.
Corey Dargel joined Dither Electric Guitar Quartet to vocalize for the premiere of his new song cycle, Say Yes. Angelica Negron and Cantori NY — a 40-member chorus — presented Negron’s MATA commissioned-work, FONO. Chris Danforth and the Danforths performed a unique set featuring electronics, homemade percussion, 1980’s voice mail recordings, found objects and newly created instruments. And to round out the evening, composer and up-right bass player, Florent Ghys (who flew in from France for the show) performed new works for double bass and live electronics.
All four composers employed laptops and various electronics to some extent, to expand their sound palette and to explore the infinite possibilities that the acoustic/digital hybrid brings us. If you missed the opening night concert of the 2011 MATA festival, be sure to check out the internationally diverse and equally mesmerizing evening here.”
Annual Bazaar of Compositional Young Blood Kicks Off
Sunday, September 18, 2011
“This week on Cued Up, we invite you to listen to the first of three concerts presented by the annual MATA festival, which took place in New York City this past May at (Le) Poisson Rouge. The opening night program features the New York-based ACME as well as L’arsenale, the Italian new music ensemble, for an evening of premieres and some unmistakably fresh music by eight composers from seven countries.
Founded in 1996 by Philip Glass, Eleonor Sandresky and Lisa Bielawa, MATA is a non-profit organization that is dedicated to commissioning and presenting works by young composers from around the world.
Join us this Sunday at 2 p.m. to experience Icelandic music by Gudmundur Gunnarsson; Christopher Adler’s mesmerizing new work for Chinese mouth organ and oboe; Nicolas Tzortiz’s and Patricia Martinez’s respective micro-worlds of string-music; Mauricio Pauly’s freak-in for violin, viola, mandolin, and accordion; the painterly abstraction of Sardinian composer Christian Cassinelli; and the first MATA commission of the Festival, Canadian Christopher Mayo’s Of Trees & Fields & Men, tag-teamed by both ACME and L’arsenale.”
“Thanks to the Brooklyn-based experimental venue ISSUE Project Room and its Darmstadt Institute: Classics of the Avant-Garde series, Cued Up unearths some delights from past and present this Sunday at 2 p.m.: works by Phoenix-based composer Jacob Adler, Philip Glass, Steve Reich and David Borden with his pioneering electronic group, Mother Mallard’s Portable Masterpiece Company.
Claiming the status as one the world’s first synthesizer ensembles, Mother Mallard (formed in 1969) came about through Borden’s relationship with Dr. Robert Moog, who taught the composer to use his various synthesizers and eventually gave him carte blanche access to the famed electronic instruments. Borden added a few more musicians to the Mother Mallard lineup and started performing his own minimalist-inspired works, along with pieces by stalwarts like Terry Riley, Reich and Glass. From this concert, recorded June 29, 2011, you’ll hear Borden’s Continuing Story or Counterpoint, Part 7 & 8.”
Americans Discover Treasure, The Band Reimagined by the Ensemble, and Guitars from Brasil.
Sunday, August 28, 2011
“Cued Up brings you the final installment of the 10th annual Look & Listen Festival this Sunday, at 2 pm. One of the most varied programs from this year’s L&L, you’ll hear a world premiere by composer and percussionist David Cossin, Missy Mazzoli’s darkly angelic bandsemble Victoire, So Percussion performing music by its longtime member Jason Treuting, and some refreshing works by Brasil Guitar Duo.
The most fascinating moment of the closing night, hosted by Lara Pellegrinelli, might be its brilliant shifts of musical worlds. David Cossin’s untitled world premiere, which seamlessly reconciles notions of mundanity-turned-fantastic (think Antique Roadshow samples), primitive sounding music, electronics and percussive ear-candy is followed up by Douglas Lora & João Luiz, of the Brasil Guitar Duo, who vivaciously assert works by Mario Castelnuovo-Tedesco, Claude Debussy and Egberto Gismonti. A total win for brave programming!
If you’re just learning about David Gordon’s L&L Festival here on Cued Up, please take a listen to the first three installments. We’ve been streaming the performances, which took place last May, each week of August. The robust breadth of music commissioned by and performed at the festival will undoubtedly be a challenge for next year’s lineup.”
This edition of Cued Up is hosted by Lara Pellegrinelli.
Toy Pianos, accordion, electronics and bandsembles take over the L&L Festival.
Sunday, August 21, 2011
“Cease the last full month of Summer with the Look & Listen Festival running through August here on Cued Up. For the fest’s third concert of four, enjoy two world premieres by the delightfully unclassifiable drummer/composer John Hollenbeck and his group The Claudia Quintet with Theo Bleckmann, a world premiere by past Q2 composer-portrait Angélica Negrón and works by toy piano wiz Phyllis Chen and textural magician Zibuokle Martinaityte.
You can enjoy the first two concerts here (Part I) and here (Part II) for more exciting new works from this year’s L&L Festival, but tune in this Sunday to marvel at Part III’s fireworks: The Claudia Quintet reconciles sputters of pointillist post-jazz with heartfelt lyricism via Bleckmann’s crooning and Hollenbeck’s writing; Chen plays a mélange of housewares, mixing bowls, and toy piano to produce a one-woman orchestra that winks at Gamelan music; Ms. Martinaityte teases at Eastern-Euro modality, while conjuring up some breathtaking swells that sound more like a synthesizer than the sax/bass trombone/accordion trio.
Nadia Sirota hosts the second performance from the exciting Look and Listen Festival
Sunday, August 14, 2011
“As the ripping survey in new music, a.k.a. the Look & Listen Festival, is unleashed by Cued Up through the month of August, please behold the second of its four concerts that took place this past May at the Chelsea Art Museum. Brooklyn Rider, So Percussion, Bridget Kibbey, and Split Second offer an untouchable, quiet storm of music by John Cage, Colin Jacobsen, Jason Treuting, Elliott Carter, Murray Schafer, Carlos Sanchez Gutierrez and John Musto. Artist talks are led by WNYC’s John Schaefer.
If you missed the first installment of L&L, you can stream it on demand, here, but you should definitely make yourself available this Sunday at 2 pm for the second concert, as it will be an opportunity to hear Split Second perform a world premiere by Gutierrez, and some jaw-dropping performances by harp-sorceress Kibbey plucking away at Carter’s Bariolage, and Schafer’s Crown of Ariadne.
These two in particular, along with Cage’s In a Landscape, performed by string quartet Brooklyn Ryder, are what shape this specific concert into new concert music at its best: Forward-thinking compositional/performance techniques and raw talent as contemporary alchemy, not academy.
“Recorded this past May at the Chelsea Art Museum, the 10th annual Look & Listen Festival hit the ground running with a comprehensive opening night program of contemporary art music by Michael Gordon, Phillip Glass, Julia Wolfe, Sofia Gubaidulina, Jason Treuting and Jan Radzynski. New-music Jedis JACK Quartet, Doug Perkins and Tanya Bannister took the stage along with composer-interviews by Nadia Sirota (!!).
Founded by composer David Gordon, the festival has been making its mission to present concerts in an environment of contemporary visual art. For this year, Look & Listen returned to the Chelsea Art Museum, giving audiences a chance to let its Jean Miotte artwork converse with the music (and vice versa). Recorded on May 19, 2011, this is the first of four concerts from the recent 2011 edition. The rest will stream throughout the month of August, every Sunday right here on Cued Up.
Expanding and contracting string quartets; martial, psychedelic solo percussion; and ultra expressive solo-piano virtuosity promise to confound and delight this Sunday at 2 p.m. Plus, enjoy cloak-lifting talks with Gordon and Wolfe about their music-making.”
See the full article here.
Music that celebrates and questions the role of rhythm.
Sunday, July 31, 2011
“Rhythm is often experienced in a very primal way, and perhaps it is because of its organic presence within our own existence. It may first go unnoticed, yet underneath the deafening chaos of life, one cannot help but notice the soft, undying murmur of a certain pulse, carrying on like an agent of order. This week’s Cued Up orbits around the rhythms of composers Andy Akiho, John Adams, Daniel Wohl, Julian Day and Filippo Perocco.
In music, the concept of tension and release is all about timing. Sensitive to its primitive nature and potent effect, composers obsessively experiment with rhythm both on the micro- and macrocosmic levels, in order to generate tension and release within their works. Hence one encounters many instances in contemporary music where rhythm is employed not just as an order-inducing ingredient, but also as a way to introduce chaos.
Tune in Sunday at 2 p.m. as we bring you music by some of today’s composers who experiment with rhythms in imaginative and intriguing ways. We encounter ongoing and evolving rhythmic ostinati that shape the structure of a piece over time, as well as instances of extreme tension through a counterpoint of rhythms.”
See the full article here.
Cued Up is currently hosted by Gity Razaz
So, here is Gity Razaz
Here is what I found on here web site [link is above]
“Gity Razaz’s music ranges from concert solo pieces to large symphonic works. She is a collaborator involved in projects across disciplines from modern dance to electro-acoustic soundscapes. Gity’s music has been commissioned and performed by the All-American Cello band (The Amsterdam Cello Biennale), The Albany Symphony Orchestra, Metropolis Ensemble, The Juilliard Orchestra, The Sirius String Quartet (ACO), and Arte Symphonie among others.
Gity’s projects for the 2010/2011 season include a cello concerto for the Albany Symphony Orchestra, a work for cello octet commissioned by widely acknowledged cellist and educator, Richard Aaron, for the 3rd Amsterdam Cello Biennale, an electro-acoustic work for chamber orchestra commissioned by the Metropolis Ensemble, as well as an original ballet score for Choreographer Robert Binet, commissioned by the New York City Ballet’s Choreographic Institute.
Gity started her musical studies in piano at age seven in Tehran, Iran and began composing intuitively at age nine. Her formal training in composition started when she moved to Houston, Texas. Gity attended the University of Houston, double-majoring in Pre-Medicine and Music Composition with a minor in Piano Performance. After completing two years of Pre-Med, She transferred to The Juilliard School to focus on composition. Gity received her Bachelor’s in composition from The Juilliard School in May 2010. She is currently in her first year of graduate studies in composition at Juilliard, studying with Robert Beaser. She has studied composition with Samuel Adler, John Corigliano and Robert Nelson. Aside from writing music, Gity enjoys writing literature, and conducts a personal study on eastern religions.
In 2009, Gity’s first piece for large orchestra, In the Midst of Flux, won the Libby Larsen Prize in 28th International Alliance for Women in Music Search for New Music Competition, the 2009 ASCAP Morton Gould Award, the annual Juilliard Composers’ Orchestra Competition, and an honorable mention from the Minnesota Orchestra Composer Institute. Gity’s Concertino for Clarinet and Orchestra won Juilliard’s prestigious Palmer Dixon Award for the most outstanding composition of 2010. Her compositions have earned recognition from the ASCAP (2010), the Brian Israel Composition Prize (2007 and 2008), and the Margaret Blackburn memorial composition competition (2007). Recently Gity received her third ASCAP Morton Gould Young Composer Award (2011) for the piece, La Extraña Carretera.
Highlights from Meet the Composer’s Three-City Dash
Sunday, July 24, 2011
“Meet the Composer (MTC), an advocacy organization for contemporary music, recently held a festival of three concerts in New York City. Aptly named Three-City Dash, it showcases some of the boldest compositional voices hailing from the San Fransisco, Chicago and Boston areas. Q2 is thrilled to share performances representing Beantown and Golden Gate City (sorry Windy City!). Hear Ethel, Metropolis Ensemble, Alarm Will Sound and Music from China perform the music of Pamela Z, Zhou Jing, and Kati Agócs, and premieres by both Ken Ueno and Dohee Lee.
In an age of financial bleakness for classical music, and especially for contemporary music in specific, MTC has fought tooth and nail to efficiently dole out grants to a sprawling array of hard-working composers. By helping to fund projects and support intimate composer-audience interactions, MTC has empowered a rapidly growing guerrilla army of contemporary art-music folk, from the most marginalized experimentalists to internationally championed music-makers.
This Sunday at 2p.m. hear Z’s Ethel Dreams of Temporal Disturbances, Agócs’s Awakening Galatea, Zhou’s Stuck in the Middle, Ueno’s (X)igagai and Lee’s HonBiBaekSan.
See the full article here. The page includes a video.
Sunday, July 03, 2011
Live works by American Icons from performances around New York City.
For this Independence Day, Cued Up brings you live works by some tried and true American icons. All recorded in New York City, works by Charles Ives, John Cage, Meredith Monk and Earle Brown take front and center.
Featured in American Dreams is Charle’s Ives’s The Alcotts, a movement from his Piano Sonata No. 2, Concord, Mass., 1840–60 , which was written in 1915, and performed by pianist Timo Andres. Ives, often deemed as “an American original,” and one of the first internationally recognized American voices, created the Sonata out of his admiration for New England transcendentalist writers like Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau, and Bronson Alcott. The Alcotts memorialize a family of fiercely independent thinkers (writers Bronson Alcott and his daughter Louisa May Alcott).
Also, Brown’s Tracking Pierrot, Cage’s In a Landscape, Monk’s Paris, and the music of other mold-breaking thinkers this Sunday at 2 p.m.