dedicated to the support of living musicians and composers

Posts tagged “Hammered!

From Hammered! at Q2: “Lisa Moore Hosts Hammered!”

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

Our second pianists-in-residence curating weeklong programs of piano music for American Mavericks

am

“This month on Hammered! we invite three pianists to curate episodes focused on the diverse body of keyboard music generated by some of the twentieth and twenty-first century’s most revolutionary musicians. Listen in 11 am and pm all this week for episodes hosted by the innovative Lisa Moore.

By Lisa Moore

‘I’m thrilled to be curating a week of American Maverick episodes for Q2 Music’s Hammered!. My programs celebrate ‘maverick’ piano music – often with roots in song, ragtime, blues and jazz. Examples are sourced from historic live recordings, hot-off-the-press takes and composers’ private collections. There’s the straight-up 88 keys, player-pianos, prepared pianos, multiple pianos, a harpsichord, an accordion, organs and also marimbas. There’s detuned, well-tuned, and perhaps a little out of tune…(can’t blame us).

Daily from Monday to Thursday Hammered! explores a mix of 20th century examples – from early to late. There’s some Eubie Blake, Scott Joplin, Henry Cowell, George Gershwin, Charles Ives, Conlon Nancarrow, Ruth Crawford Seeger, John Cage, Steve Reich, Frederic Rzewski, Philip Glass, John Adams, Ingram Marshall, Martin Bresnick, William Albright, Jerome Kitzke, Julia Wolfe, Annie Gosfield, Don Byron and more.

On Friday March 23rd I wrap things up with the next new (somewhat younger) 21st century generation of voices – composer such as Daniel Wohl, Paul Kerekes, Hannah Lash and Missy Mazzoli. Alas, it was impossible to include all the beautiful and worthy examples in just 5 hours so my apologies to those not included (next time!).

See the full article here.

This week Hammered! is hosted by Lisa Moore
lom


From Hammered! at Q2: “Kathleen Supové Hosts Hammered!”

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

“This month on Hammered! we invite three pianists to curate episodes focused on the diverse body of keyboard music generated by some of the twentieth and twenty-first century’s most revolutionary musicians. Listen in 11 am and pm all this week for episodes hosted by the fearless Kathleen Supové.

ks

By Kathleen Supové

‘…When one thinks of American Mavericks, several names immediately come to mind: John Cage, Lou Harrison, Philip Glass, Steve Reich, John Adams, and a few others. In my series, I tried to focus on artists other than these, some of whom are underplayed, some young and not yet well known and some I believe to be Mavericks in ways that perhaps you don’t expect…..'”

Read all about it here.

mm


From Hammered! at Q2: “Loops, Ladders and Wind-Up Birds”

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

Exploring Brooklyn-based composer Ryan Francis‘s box of musical toys

rf
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.

Hammered! is hosted by Conor Hanick


From Hammered at Q2: “Post-Minimalism For A Post-Celebration”

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

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.


Philip Glass

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.

Hammered! is hosted by Conor Hanick


From Hammered! at Q2: “But First, A Mazurka… “

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

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.

Hammered! is hosted by Conor Hanick


From Hammered! @Q2: “Tuned to a New Frequency”

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

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.

Hammered! is hosted by Conor Hanick


From Hammered! @Q2: “New Year’s Music “

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

Hammered! welcomes the New York-based composer collective Sleeping Giant for a month-long December residency. Composer-pianist Timothy Andres hosts and curates each Monday episode while the rest of the week is filled in with specially curated episodes by the five other Sleepy Gs: Christopher Cerrone, Jacob Cooper, Ted Hearne, Robert Honstein and Andrew Norman.”

See the full Hammered! post here. for the complete schedule.

Monday December 26, Hammered! is hosted by Timothy Andres


From Hammered! at Q2: “Clifton Gates” by Jacob Cooper – Free Download

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

“Every week as part of Sleeping Giant’s December residency on Hammered!, Q2 Music offers an exclusive audio download of solo piano music written by members of the Brooklyn-based collective performed by its own composer-pianist Timothy Andres.

Week Three Download | Clifton Gates by Jacob Cooper
performed by Timothy Andres, piano

i1
Jacob Cooper

i1
Timo Andres

The first piece I ever heard Timo Andres perform—on an overnight concert in 2006—was John Adams’s Phrygian Gates. Adams named his composition after the sudden shifts of “gates” in electronics (and electronic music), which provided inspiration for the work’s abrupt modulation of keys. Clifton Gates employs—among other digital effects—actual audio gates, creating a rhythmic alteration out of sudden shifts in amplitude. The gating effect is especially audible as the work begins, processing music whose tonality and texture are reminiscent of the slow middle section of Adams’s piece.

Clifton Gates was workshopped in Timo’s apartment on Clifton Place in Brooklyn, NY. “

Visit the page to read more, listen, and, if you like, download the music.


From Hammered! at Q2: “Plays Well With Others “

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

Hammered! welcomes the New York-based composer collective Sleeping Giant for a month-long December residency. Composer-pianist Timothy Andres hosts and curates each Monday episode while the rest of the week is filled in with specially curated episodes by the five other Sleepy Gs: Christopher Cerrone, Jacob Cooper, Ted Hearne, Robert Honstein and <strong>Andrew Norman.

This week, Hammered! is hosted by Timothy Andres

Visit this page for a preview of tyhe week’s events with these imporant and emergent composer musicians.


From ALLAN KOZINN in The New York Times: “Club Kids Are Storming Music Museums”

As New Composers Flourish, Where Will They Be Heard?

This article is copyright protected, so just a couple of notes.

“…the world of young, inventive and often populist composers is exploding…These young composers may hold the key to classical music’s future, and the future they create might not be what you expect. Increasingly they have come to consider the machinations of the big-ticket musical organizations — and debates about how to get them to accommodate new music — as beside the point….”

This article is an in depth look at the new serious music universe. This universe includes the new composers themselves, their record labels (or the lack of them) and the venues which they find amenable to their musical pursuits. Among the labels mentioned are “…New Amsterdam, Cantaloupe and Tzadik, all composer run and stylistically freewheeling….” To this list, I might add Innova, from American Composers Forum, St Paul, MN.

Among the venues we find Le Poisson Rouge, Cornelia Street Café, Galapagos, The Stone, Issue Project Room, Roulette, all in New York City. Composers noted in the article include Nico Muhly, Missy Mazzoli, Du Yun, Judd Greenstein, Caleb Burhans, and Bryce Dessner. The only groups I saw noted were ETHEL and Victoire. But others which might have been included are ACME, ICE, yMusic, eighth blackbird, and itsnotyouitsme.

Not at all mentioned in the article (if I missed it, I hope that someone will correct me), is New York Public Radio’s 24/7 New Music web stream Q2. This stream takes these and other composers and musicians out to a wide world, with an international listenership. A stand-out at Q2 is the work of Nadia Sirota. She hosts a four hour program which includes several themes, e.g, Hope Springs Atonal. Her program streams at noon and midnight. Two other standout focused programs are Hammered! which is concerned with keyboard music, and The New Canon.Also important to the success of what has been called “New Music” are two programs on WNYC, New York Public Radio’s original outlet service. For thirty years, John Schaefer has been bringing new composer to the public on the nightly program New Sounds. For a somewhat shorter time, we have been able to hear them on John’s other program, Soundcheck.

Something that I personally would like to see added into the mix for New Music would be the advent of long form music videocast. The best examples I can cite for this are three videos produced by and for ICE, which were made available at Q2. Just to give one example, the music of Steve Lehman in a 46 minute video can be found here. I just actually searched this up also at Google Video here. Both of these examples are free to the public.But, I would personally like to see these videos made available at the music groups’ web sites, based upon a membership fee for a user id and password, and then some sort of fee, maybe $5 or $10 as a “ticket” price. This would greatly universalize the availability of musical experience to populations living no where near to actual concert events. To whit: ICE just did a heavily promoted concert in Chicago. But, I am in New Jersey. I might be very interested in that musical experience. So, if it were made available from a videocast archive, and if I was registered with ICE, I could pay a small “ticket” price and have that experience.

This is a huge and important article. The items I note as missing from the article do not in any way diminish its thesis or importance. See the full article here.


From Hammered! at Q2: “Turn (Back) on the White Lights “

i1

Hammered! is a focused keyboard program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

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.

Hammered! is hosted by Conor Hanick

*Link is to this year’s festival web page


From Hammered! at Q2: “Two’s Company: Piano Pairings”

i1

Hammered! is a focused program at Q2 the program streams weekdays at 11AM and 11PM on Q2

“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.

Hammered! is hosted by Conor Hanick


From Hammered at Q2: “Piano Sounds of a New Century”

i1

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.”

db

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.”

Hammered! is a focused program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

Hammered! is hosted by Conor Hanick


From Hammered! at Q2: “Premiere Week “

Hammered! is a focused program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

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.”

Hammered! is hosted by Conor Hanick


From Hammered! at Q2: “Memory Pieces “

Hammered! is a focused program at Q2. The program streams weekdays at 11AM and 11PM on Q2.

“As a composer, I always become emotionally involved with the music I’m writing. As frustrating as it tends to be sometimes (like a true relationship!), I have come to love it and now find it the only way to compose. Of course, one could question how much of this internal emotional journey is communicated with the listener.

However, when an external force — life changing event or experience, for instance — becomes the sole inspiration for a piece of music, the composition finds an even stronger communicative voice. Whether it is homage to an admired composer, or a work composed in memory of a certain occurrence or place, the composition in some way transcends the idea of “art for art’s sake.” By the nature of its dedication the music finds a more personal meaning, not only for the composer but also for the listener.

As we will be joining many this week in remembrance of 9/11, this week’s Hammered! is devoted to piano music that bears a special dedication. We start off the week with David Lang’s Memory Pieces and Yiannis Konstantinidis’s Eight Greek Island Dances, as well as works by Caleb Burhans (A Moment in the Rothko Chapel), and Bohuslav Martinu (Ballade, Chopin’s Last Chords).

The article is here.

This week Hammered! is hosted by Gity Razaz


From Hammered! At Q2: “The Raw And The Cooked”

Hammered! is a focused program at Q2 the program streams weekdays at 11AM and 11PM on Q2

This was posted to RSS 9:46AM

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.

Hammered! is hosted by Conor Hanick


From Hammered! at Q2: “Week Three: Pianist, pedagogue and new-music guru Bruce Brubaker takes the curatorial reins for June – Monday, June 20, 2011″

Hammered! is a focused program at Q2 the program streams weekdays at 11AM and 11PM on Q2

Week Three: Pianist, pedagogue and new-music guru Bruce Brubaker takes the curatorial reins for June
i1
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.

Hammered! is hosted by Conor Hanick


From Hammered! at Q2: “Drone “

i1

Week Two: Pianist, pedagogue and new music guru Bruce Brubaker takes the curatorial reins for June
Monday, June 13, 2011

Few pianists have proven themselves to be more programmatically inventive and musically provocative than this month’s Hammered! pianist-in-residence, Bruce Brubaker. Open your ears all June for a month’s worth of programs specially curated for Q2 by one of today’s most intriguing contemporary artists.
i2

In each of Brubaker’s four week-long programs, the distinguished concert pianist, New England Conservatory faculty member and new music Jedi examines a series of endlessly fascinating themes and offers 1,200 minutes of music that is almost entirely new to Q2.

Each week will include a hosted Monday show and program note from Brubaker, and we’ll also offer exclusive music videos recorded live by Brubaker of works by Philip Glass and John Cage.

Tune in all month for what promises to be an illuminating, sometimes quirky and altogether fascinating dive into the curatorial mind of Bruce Brubaker.

Hammered! is one of the focused programs at Q2


From Hammered! at Q2: “Something Borrowed”

Hammered! is a focused program of keyboard music at Q2
Streams weekdays at 11AM and 11PM on Q2

i1

“Few pianists have proven themselves to be more programmatically inventive and musically provocative than this month’s Hammered! host in-residence, Bruce Brubaker. Open your ears all June for a month’s worth of programs specially curated for Q2 by one of today’s most intriguing contemporary artists.

In each of Brubaker’s four week-long programs, the distinguished concert pianist, New England Conservatory faculty member and new music Jedi examines a series of endlessly fascinating themes and offers 1,200 minutes of music that is almost entirely new to Q2.

Each week will include a hosted Monday show and program note from Brubaker, and we’ll also offer exclusive music videos recorded live by Brubaker of works by Philip Glass and John Cage.

Tune in all month for what promises to be an illuminating, sometimes quirky and altogether fascinating dive into the curatorial mind of Bruce Brubaker.”

i1
B.B.

Week One: “Something Borrowed” | by Bruce Brubaker

In music today there’s so much borrowing, appropriation, even theft! Maybe we need different ideas about stealing, or artistic property? (We won’t even talk about copyright.) Post-production art is the making of pathways, more than creating—the MC doing a remix, more than the “capital-c” Composer handing down a masterpiece from the mountain top.

What’s left to say or make, if everything’s already been said and made? And besides, the whole idea of “creating” music is recent. Mr. Bach would certainly say (in English!), “I’m just a musician. It’s God who creates things.”

So this week on Hammered!, “Something Borrowed.” Sartorial advice for the bride, and now a major motion picture. It’s not surprising composers borrow or steal so much—if you consider that we’re all just adding to a big collective artwork.

We hear piano music with literal borrowings: George Crumb taking Frederic Chopin, George Rochberg framing Johann Sebastian Bach, Hans Werner Henze rifling Johannes Brahms. And there will be more subtle allusions, hints, shared lexia, intertexts …


From Hammered! at Q2: Keys To Our Future


Keith Jarrett

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.


This Week at Hammered! on Q2: “Happy Hour”

Hammered! is a regularly scheduled hour at Q2

Hammered! is hosted by Conor Hanick

i5
Colorful Conor

An Hour For Piano by Tom Johnson and other works of similar duration

i2

“Despite fitting neatly inside a sixty minute timeframe, the works on this week’s program live far outside the conceptual box. Tom Johnson’s under-the-radar minimalist masterpiece An Hour For Piano kicks off a five day survey of five piano works cumulatively lasting exactly five hours.

Johnson isn’t kidding about the title to his 1971 epic and dispels any suspicion you may have of his compositional seriousness by giving the score a tempo marking of quarter note = 59.225 beats per minute, which, if adhered to with metronomic precision, will produce a duration of exactly 3600 seconds.

The piece is deceptively simple with six basic textures floating whimsically to and from the musical surface. As transitional passages become progressively more embedded into each textural shift, past and present too become increasingly irrelevant and the listener is ultimately confronted with an almost eternal present.

Trippy? Correct.

Without question there are certain types of expression that can only be realized through sustained temporal structures. Take a look at the rest of the week for an idea:

Tuesday we have La Monte Young’s The Well-Tuned Piano Three (mind-bending), John Cage’s Sonatas and Interludes for prepared piano on Wednesday (revolutionary), Simple Lines Of Inquiry by Ann Southam on Thursday (meditative), and conclude with a truly epic performance (we said epic already) of The People United Will Never Be Defeated by composer-pianist Frederic Rzewski, who also made the first-ever recording of Johnson’s Hour For Piano (though his performance only lasts 54 minutes).”

At the web page, you can stream Monday’s program. If you can’t listen at the appointed time (11:00AM & 11:00PM) come back each day to the Hammered! web site.


From Hammered!@ Q2: “The Key Composers of MATA “

“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.”

i1

Hammered!
is currently a daily feature of Q2

Today
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.

ch
Conor Hanick


From Hammered! at Q2: “The Piano Music Of Ryan Anthony Francis “

On this specially curated week of Hammered! we spotlight a new album of piano music by New York-based composer Ryan Anthony Francis. The record features Bang On A Can pianist Vicky Chow, who, with Francis, joins Hammered! throughout the week with insights on this exquisite new body of piano music.

i1
Ryan Anthony Francis

i3
Vicky Chow

Today we press play on this new disc and give it a full audition.

The complete track listing:

Six Etudes for Piano (2007-2008): Digital Sustain, Harlequin, La Fée Verte, Doppelgänger, Jacob’s Ladder, Loop
Consolations (2004)
Wind-Up Bird Preludes (2005-2010): Overture, Eternal Half-Moon, Empty Guitar Case, Bird As Prophet, What Happened In The Night I, Birdcatcher, What Happened In The Night II, Goodbye
Moonlight Fantasy (2001): Evocation, Flight, Interlude, Nocturne, Night Creatures, …Into The Abyss, Reverie “

But check out
Tuesday,
Wednesday,
Thursday,
Friday


FRom Hammered!@ Q2:”Plays Well With Others”

i2

“When discussing the behavioral patterns of the composer phylum, one often differentiates between solo fliers and school swimmers. Another way for these creatures organize themselves, however, is in collectives, a fascinating behavior and the programmatic source for this week’s Hammered!.

These increasingly popular groups of compositional collaborators are pretty interesting. First of all, these collectives are often formed voluntarily because of the deep compositional or aesthetic affinity felt between its members, which in the case of many of these groups bolsters its “musical message” and generates some incredibly original music.

Monday’s show will be devoted entirely to music from the Ears Open Society, a remarkable collective of Finnish composers established in 1977 that not only promoted new music of its members with grants and concerts, but also held lectures, produced publications and offered classes.

Sleeping Giant, for instance, a group of six emerging composers based in New York City, says it presents music that “prizes vitality over a rigid aesthetic.”

We’ll also highlight music from the groups Circles and Lines, the NOW Ensemble (including piano music written by its founder, Judd Greenstein),Bang On A Can (with the addition of a few BOAC “friends” to founders David Lang, Julia Wolfe and Michael Gordon), the Atlanta School, a collective established by conductor Robert Spano, and a handful of others.


Follow

Get every new post delivered to your Inbox.

Join 34 other followers