“On Thursday, February 23 at 7:30 pm ET, Q2 Music and WNYC’s New Sounds present a live audio Webcast from Merkin Concert Hall of musical cross-pollination and experimentation from composer-performers Nick Zammuto (The Books) and Jason Treuting (So Percussion). The concert is hosted by John Schaefer.
Composer, vocalist and cellist Nick Zammuto is a founding member of the eclectic electro-acoustic duo The Books and, more recently, the four-piece indie rock band Zammuto. A member of So Percussion, Jason Treuting has been a mainstay of New York’s new-music scene for over a decade, and has worked with artists such as David Lang, Paul Lansky and the electronic duo Matmos.
See the full article here.
A live Webcast of the Ecstatic Music Festival
“On Wednesday, February 8 at 7:30 pm ET, John Schaefer of WNYC’s New Sounds Live hosts a live audio Webcast on Q2 Music of Son Lux, Arcade Fire’s Richard Reed Parry, and new-music heavyweights yMusic as part of the Ecstatic Music Festival‘s continued collaboration between classical and indie musicians.
Multi-instrumentalist and composer Richard Reed Parry, of the Grammy-winning rockers Arcade Fire, is also a founding member and producer of the Montreal-based instrumental group Bell Orchestre. Ryan Lott, who as Son Lux melds elements of electronica, indie rock, and classical composition, has earned accolades for his two LPs, At War with Walls & Mazes and We Are Rising, a record composed during a single month in response to an NPR challenge.
yMusic, a sextet of classically-trained New York-based composers, released their debut album, Beautiful Mechanical last fall. The record was rated the number-one classical release of 2011 by The New York Times and included compositional contributions from Son Lux along with indie rock luminaries St. Vincent and Shara Worden as well as from composer and Ecstatic Music Festival curator Judd Greenstein. The ensemble’s collaborative spirit is a microcosm for that of the festival: its members have collaborated with Grizzly Bear, The National, Björk and others.”
See the full article here.
“On Friday, February 3 at 7:30 pm ET, Q2 Music and New Sounds Live team up again for another live audio Webcast of live scores to the silent films of acclaimed American filmmaker Bill Morrison. Tonight, enjoy Michael Gordon’s riveting score to Morrison’s 2002 masterpiece, Decasia, as performed by The Oberlin Contemporary Music Ensemble at World Financial Center Winter Garden. The evening will be hosted by John Schaefer of WNYC’s New Sounds Live.
Hailed as a “stirring, haunting modern masterpiece…” by The Guardian, the 72 minute Decasia is an evocative assemblage of deteriorating, black and white video footage over which Gordon has pieced together a texture of detuned piano and out-of-phrase orchestral sonorities.”
See the full post here, including an audio of the composer speaking about the composition.
The Wordless Music Orchestra Performs Jóhannsson’s Score to Bill Morrison’s The Miners’ Hymns
Tuesday, January 31, 2012
“On Tuesday, January 31 at 7:30 pm ET, Q2 Music and New Sounds Live present a live audio Webcast of Icelandic composer Jóhann Jóhannsson’s visceral score to filmmaker Bill Morrison’s silent film, The Miners’ Hymns. The music will be performed by the Wordless Music Orchestra conducted by Guðni Franzson and introduced by New Sounds Live host, John Schaefer.
Wordless Music Orchestra conducted by Brad Lubman
The Miners’ Hymns from Bill Morrison, who Variety heralded as ‘one of the most adventurous American filmmakers,’ is a meditation on the daily lives of coal miners in the industrial city of Durham in northeast England during the early 20th century. Conceived with composer Jóhann Jóhannsson, The Miners’ Hymns contrasts archival footage, some dating back 100 years, with sweeping aerial views of a transformed modern-day Durham.
Jóhannsson’s score to the 52 minute film provides a moving account of the miners’ lives, simultaneously heroic and hardscrabble, with a rich brass and electronic-heavy texture. The music also harkens back to the colliery brass bands caught in the film’s archival footage. “
See the full article here, including “…a taste for the film from the film’s preview and this interview with Morrison and Jóhannsson discussing their collaboration.”
KEITH JARRETT – SOLO PIANO
“An Evening of Piano Improvisations
Wednesday, January 25, 2012 – 8:00 PM
Stern Auditorium/Perelman Stage
Keith Jarrett returns to New York’s Carnegie Hall on Wednesday, January 25, 2012 at 8:00 PM to perform one his rare solo piano concerts. The concert will feature an entire evening of solo piano improvisations.”
See the full post here.
While you are at it, check out these wonderful interviews of Keith Jarrett at WNYC.
A Conversation with Keith Jarrett – John Schaefer, New Sounds PGM 56 April 13, 1987
Recorded at Keith’s home in New Jersey
Thursday, December 22, 2011
“Each Thursday at 7 pm this winter, stream Q2 Music for weekly Webcasts of new-music shows as recorded live at premiere venues around New York City. This week, the adventurous ETHEL String Quartet performs the eccentric, boundary-bending music of Dutch composer Jacob Ter Veldhuis.
A Reich-influenced Dutch composer with a political agenda, composer Jacob TV is in fact at home enough in the culture he satirizes so astutely to have won ardent champions among the highest ranks of American performers. His music is presented here by ETHEL, a celebrated post-classical string quartet that performs adventurous music of the past four decades, with emphasis on works composed since 1995.
The original webcast was the launching point for JacobTV on the Radio: an immersive 5-day festival that began March 17 and celebrated the music of JacobTV. Featuring introductions by phantom host JacobTV himself, hours of previously unheard pieces–from extensive European-only and private recordings of recent premieres, including his Piano Concerto No.2, Sky Falling, exclusive downloads and previous insightful appearances on WNYC, JacobTV on the Radio was an in-depth and far-reaching exploration of TV’s experimental sound.
See the full article here.
Three Delayed Webcasts of The New York Philharmonic’s New-Music Series CONTACT!
Clockwise from top left: Alexandre Lunsqui (Luiz Machado), Magnus Lindberg (Sara Vuorjoki/FIMIC), HK Gruber (Lea Suzuki)
“Q2 Music is proud to announce three delayed Webcasts Wednesday, December 21 at 8 pm, Saturday December 24 at noon, and Thursday, December 29 at 8 pm of The New York Philharmonic’s CONTACT! series featuring music by HK Gruber, Magnus Lindberg, and Alexandre Lunsqui.
This final CONTACT! program of 2011 features HK Gruber’s celebrated 1978 pandemonium piece Frankenstein!!, Magnus Lindberg’s Gran Duo for woodwinds and brass, and the world premiere of Alexandre Lunsqui’s Fibers, Yarn and Wire.
These concerts will be recorded live in-concert at the Metropolitan Opera (hosted by WNYC’s John Schaefer) and Symphony Space on, respectively, December 16 and 17, and will include interviews with the composers and well as New York Philharmonic conductor, Alan Gilbert. Full audio from CONTACT! will be posted on this page for a period of two weeks following the first Webcast.
See the full post here.
On Friday, December 2, 2011, New York Public Radio celebrated JS-30, 30 years of John Schaefer at WNYC. It was 30 years ago that John’s New Sounds program got going. In 2002, WNYC, moving away from daytime music programming to talk, called on John to keep music as a subject in the afternoon with Soundcheck.
You can view the video, just under 2 hours, here at the Soundcheck page for December 15, 2011. I hope you enjoy it.
“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.
Composer Ben Frost, Brian Eno, & host John Schaefer ((WNYC/Caryn Havlik))
If Brian Eno is your guy, you are in good company.
Thanks, John, for 30 great years. I just caught PGM 2067, the 20th anniversary show, on my Zune. It used to be a lot of work to get those shows, recording them. Now, with RSS feeds to tell us what is going on, and downloads, it is a snap.
JS-30: CELEBRATING THREE DECADES OF JOHN SCHAEFER
Friday, December 2 at 8 PM
Come celebrate Soundcheck and New Sounds host John Schaefer, as he marks 30 years on the air at WNYC.
Join us for an evening of live music with special guests and heartfelt memories, emceed by Grammy Award-winning singer Angelique Kidjo. With special guests Laurie Anderson, ETHEL String Quartet, Simone Dinnerstein and others.
Tickets: $30 at thegreenespace.org
Includes access to the after-party
SONiC 2011 and the World Premiere of St. Carolyn by the Sea from The National’s Bryce Dessner
“On Saturday, Oct. 22 at 7 pm, the concluding night of the American Composers Orchestra’s SONiC Festival, the Winter Garden at the World Financial Center plays palatial host to the world premiere of composer-performer Bryce Dessner‘s double guitar concerto, St. Carolyn by the Sea. Featuring Bryce Dessner on guitar along with his twin brother Aaron Dessner, the SONiC-commissioned piece will be led by American Composer Orchestra conductor George Manahan and hosted by John Schaefer from WNYC’s New Sounds Live.
Q2 Music host Olivia Giovetti will also be moderating a live online chat beginning at 6:45 p.m. for the virtual community listening in on this premiere-laden, culminating concert.
Fellow under-40 composer Andrew Norman also spoke with us about the re-orchestration of his piece Unstuck, which is based on how listeners make sense of a fragmented musical world. The night’s concert also features New York premieres from Ruby Fulton, Ryan Gallagher, Suzanne Farrin as well as a world premiere by Paul Yeon Lee.”
See the full article with some interactive features here.
On October 12 at 7 p.m., Q2 Music presents a live audio Webcast of the Brooklyn Philharmonic from the Winter Garden at the World Financial Center performing music by Mos Def, Frederic Rzewski, Lev Zhurbin, David T. Little and Corey Dargel. The concert, a co-presentation of WNYC’s New Sounds Live with John Schaefer, features a preview of the orchestra’s upcoming season, the first under the energized stewardship of their new conductor, Alan Pierson.
The program features a fresh, multi-dimensional approach to vocal repertoire with the versatile hip hop-icon Mos Def joining the Brooklyn Philharmonic on stage for arrangements of his songs by composer-clarinetist Derek Bermel; Rzewski’s provocative setting of letters from Sam Melville, an inmate at the infamous Attica State Prison; 19th Century shape note singing; and the pop-art songs of singer-songwriter Corey Dargel. Additional performers include new-music stalwart Mellissa Hughes and the Brooklyn Youth Chorus.
Mos Def (arr. Derek Bermel): Life in Marvelous Times (2008) and other songs
David T. Little: excerpt from Am I Born (2011)
Lev Zhurbin: excerpt from Only Love (2008)
Frederic Rzewski: Coming Together (1972)
Corey Dargel: What Might Have Been (2010)
“On October 12 at 7 p.m., Q2 Music presents a live audio Webcast of the Brooklyn Philharmonic from the Winter Garden at the World Financial Center performing music by Mos Def, Frederic Rzewski, Lev Zhurbin, David T. Little and Corey Dargel. The concert, a co-presentation of WNYC’s New Sounds Live with John Schaefer, features a preview of the orchestra’s upcoming season, the first under the energized stewardship of their new conductor, Alan Pierson.
The program features a fresh, multi-dimensional approach to vocal repertoire with the versatile hip hop-icon Mos Def joining the Brooklyn Philharmonic on stage for arrangements of his songs by composer-clarinetist Derek Bermel; Rzewski’s provocative setting of letters from Sam Melville, an inmate at the infamous Attica State Prison; 19th Century shape note singing; and the pop-art songs of singer-songwriter Corey Dargel. Additional performers include new-music stalwart Melissa Hughes and the Brooklyn Youth Chorus.
See the full article here.
“On Wednesday, March 17 at 7 pm, Q2 and New Sounds Live team up once again to bring you a live audio and video Webcast from The Greene Space. Meredith Monk and Vocal Ensemble and the Todd Reynolds Quartet perform tracks from Monk’s newest album, Songs of Ascension. Join New Sounds’ host John Schaefer for performance and conversation with Monk and featured musicians, including Q2’s own Nadia Sirota.”
See the full article here.
Be there or be square.
Yesterday, I saw Ms Woolsey’s post at the WQXR blog.
She asks, “Are Contemporary Composers Just Spinning Their Musical Wheels?” In case you missed it, I am going to reprint it here. Then, I will reprint my response(s), which have gone unanswered.
Midge Woolsey has proudly served the tristate community as a broadcaster for over 30 years. Since joining WQXR in 1993, she has been the Weekend Music host and more recently the Weekday Evening host.
Here is Ms Woolsey:
“As I was prepping my radio show this morning, I noticed a quote from Pierre Boulez about Claude Debussy’s Prelude to the Afternoon of a Faun. He said “the flute of the faun brought new breath to the art of music” citing the creation of the piece as a pivotal moment in the history of music. That pivotal moment in the history of music took place 107 years ago.
One-hundred-seven years aside, I love the sound of Boulez’s words. They speak right to the heart of a question that’s been on my mind recently: Is it important to keep creating new music? After all, there’s a lot of old music out there – centuries and centuries of it, in fact – so why not work on making good with that and forget about creating anything new? Is there really new breath to breathe into the art of music or are today’s composers just spinning their musical wheels?
The subject has been on my mind because 1) New York City Opera has just announced the casting of its 12th Annual VOX Contemporary Opera Lab and 2) I recently hosted the 10th annual From Page to Stage: New American Opera Previews at the Manhattan School of Music.
Each year at Manhattan School – after performances of excerpts from several “operas in progress” – the performers and the creative teams gather on the stage for a panel discussion. We talk about the creative process, the effect on the performers and why it’s important to continue to this challenging work.
This year – more than ever before, perhaps – I was impressed by the passion and commitment that the artists bring to their work. They talked about the importance of keeping the art of music alive by working together to create new listening experiences, nourishing our collective spirit as human beings and the need to bring meaning to the experience we share on earth.
Conductor/pianist Mara Waldman has participated in New American Opera Previews for each of the ten years of its existence. This year I found her comments particularly moving. “We need this art form, as proven by its hundreds of years of existence, to remind us of our humanity,” she explained, “…to heighten our understanding of life, to thrill us, move us and ultimately to enlighten us…We need ‘new’ opera…. to reveal us to ourselves as our lives and our society evolves. New music is the voice of people, through the gift of the composer, that enables us to sing in ways we never knew we could.”
Mara and the others on stage proved to me that when you consult the artists, the answer is very clear: new music definitely has the power to breathe new life into the art of music in ways that are not possible otherwise.
But what about the audience?
Listeners continue to have mixed reactions to “new music.” It’s a well known fact that it’s extremely difficult to attract an audience for contemporary opera. And, as far as “new music” and WQXR is concerned, there are some who feel that “new music” doesn’t belong on this station – period! To make matters more difficult, these naysayers often include – even though they are far from “new” – many of the most important composers of the 20th century on their lists of “least preferred.” The likes of Stravinsky, Schoenberg, Berg and Poulenc are persona non grata with some of our most loyal [read: "oldest" ]classical music consumers.
Igor Stravinsky has been gone for 40 years. The others have been gone much longer. So, when does “new” become “old” in the world of classical music? Is a century a long enough wait? Or — given the dwindling amount of exposure we are given to classical music these days, is it unrealistic to imagine that the average listener will develop an ear for new sounds in his/her lifetime?”
Here is my response:
“I cannot believe that you are even asking this question.
Do you follow the incredible vibrancy of Q2? Do you realize that it is only a reflection of what is happening? With Bang On A Can? eighth blackbird? yMusic? ACME? Ethel? Jack Quartet? Victoire?
I mean, come on. It is the Philadelphia Orchestra that is bankrupt. Talk to Alan Gilbert about “Contact!“, a contemporary project, one among many. Reflect on what Esa-Pekka Salonen did in L.A.
Geez – just talk to Nadia.”
And, an after thought:
“I forgot- talk to John Schaefer.”
These are my sources for music and information. If you have any suggestions for me, I would appreciate seeing them in Comments.
New Amsterdam Records – “…a non-profit-model record label and artists’ service organization that supports the public’s engagement with new music by composers and performers whose work grows from the fertile ground between genres….”
During its long time on the air, New Sounds has brought forward all sorts of music, musicians and composers. While there are sometimes guests in the studio, this program sticks pretty much to the presentation of the music.
So, guess what? If you visit the show page at the WNYC web site, and scroll down, on the right you will see a calendar which can lead you to probably every New Sounds program ever broadcast. This is the current incarnation of the New Sounds Archive, long may it live.
Give yourself a treat. Access the archive, dig around and find what you might enjoy hearing.
You can also hunt stuff up by just doing a search on the WNYC web site. Just search on the name of the composer, musician, genre, group, whatever.
Live Audio Web cast of New Sounds Live from Merkin Concert Hall’s Ecstatic Music Festival
Monday, March 28, 2011
“On Monday, March 28 at 7:30 p.m., Q2 and New Sounds Live team up to bring you our final live audio Webcast from the inaugural Ecstatic Music Festival hosted by WNYC’s John Schaefer. Housed at Merkin Concert Hall, this evening’s performance features the innovative quartet So Percussion premiering a work by composer and drummer Bobby Previte.
Previte’s new work Terminals, Part 1: Departures is a set of five concertos for improviser and percussion ensemble. The solo improvisers include Zeena Parkins, harp; John Medeski, keyboards; DJ Olive, turntables; vocalist Jen Shyu; and Bobby Previte himself on drums. Having been fascinated by the architecture of airports since a young age, Previte’s work is a musical interpretation and graphic representation of their structure and form.
This performance of Bobby Previte’s piece Terminals, Part 1 marks the fourth and final New Sounds Live Webcasts on Q2 from the inaugural Ecstatic Music Festival. The previous three were the 2011 People’s Commissioning Fund concert, Newspeak and Darcy James Argue’s Secret Society and Shara Worden and yMusic. All three concerts are offered as on-demand streams for your continued listening pleasure.
If you are interested in the New York City New Music scene, visit this program, New Music Youngsters at WNYC’s New Sounds. Host John Schaefer explores the music of composers like Caleb Burhans, Matt McBane, Sara Kirkland Snider, and Missy Mazzoli.
And, the person within who all of this is tied together is Ms Nadia Sirota, the gifted violist. She performs with ACME and with yMusic. At Q2, she has a twice a day four hour program, Nadia Sirota on Q2.
This is a wonderful program. If you visit the web page, there is an audio track archive for your listening pleasure. The only things missing from John’s production of this program is any mention of Ms Sirota, who did indeed deserve mention; and possibly the presence of Ms Sirota in the program. She is an extremely well educated and articulate young woman, her life is inextricably bound in this art. She could well have added to the presentation.
Please visit the web page and take a listen.
Live Concert by Newspeak and Secret Society from the Ecstatic Music Festival
Newspeak New Music Ensemble
“This Sunday, Q2 offers live performances by two high-impact bandsembles from the Ecstatic Music Festival: the politically conscious Newspeak and Darcy James Argue’s left-field big band Secret Society.
Hear David T. Little’s Newspeak premiere Darcy James Argue’s The Sleep Room, Part 1. Dealing with themes of mind-control, “Sleep Room” is a song cycle based on CIA-led brainwashing and psychological experimentation that took place in a Montreal-based hospital in the 1950’s. The eight-piece amplified ensemble, artfully rips through Argue’s work, along with pieces by Caleb Burhans and Pat Muchmore.
Darcy James Argue’s big band, Secret Society, premieres Three Fragments, by jazz piano superstar Vijay Iyer and electro-acoustic composer Nicole Lizée’s Lock the Door, Swallow the Key. Appropriately performed on a night of music dealing with themes such as brainwashing and conspiracy theories, Lock the Door was inspired by Stanley Kubrick’s The Shining. She explains that the Overlook Hotel, hedge maze, room 237, the Gold Room, the Red Room, the significance of the number 12, even the patterns on the carpets and wallpaper informed the musical and structural content of the piece.”
“On Thursday, February 10 at 7:30 p.m., Q2 and New Sounds Live teamed up to bring you a live audio Web cast from Merkin Concert Hall hosted by WNYC’s John Schaefer. Part of the inaugural Ecstatic Music Festival, this annual world premiere-commissioning concert presents the electric Bang on a Can All-Stars live in concert.
Hear world premieres from and on-stage interviews with an eclectic array of genre-bending composers, including guitarist Bryce Dessner of The National and Clogs fame, the Indian American electronic music producer Karsh Kale and the omniverous craftsman and experimentalist Nick Brooke. Additionally, the Bang on a Can All-Stars will perform Horses of Instruction by British composer Steve Martland, Convex/Concave/Concord by Danish composer Pelle Gudmunsen-Holmgreen, and Believing by Bang on a Can co-founder Julia Wolfe.
The 2011 People’s Commissioning Fund concert is the first of four New Sounds Live Web casts on Q2 from Merkin Concert Hall’s Ecstatic Music Festival and is now archived for on-demand streaming at this page. So listen, write in, check back and, most importantly, enjoy!”
“There is so much Q2 on Q2 this week! Monday, Tuesday, and Friday on the show, we explore music that was written during composers’ salad days. We’re focusing on the early works that catapulted some of our favorite composers into their careers. For some, these are voice-defining pieces, and for others, these works were composed in styles long-discarded.
Wednesday and Thursday’s shows are devoted to our Web cast of the Kaufman Center’s Ecstatic Marathon, an event that took place three weeks ago. Having participated in the marathon, I can say that I was blown away by the quality and diversity of the performers, the craft of the music and, honestly, the rabid devotion of the audience! If you missed the marathon, or simply live elsewhere, this is your chance to virtually attend a wonderful show.
Make sure to listen to Q2 Thursday evening at 7:30 p.m. for the Ecstatic Music Festival’s Bang on a Can People’s Comissioning Fund Concert. This concert is the first of four New Sounds Live Web casts hosted by WNYC’s John Schaefer.”
Bang On A Can All-Stars
“On Monday, November 15 at 7:30 pm, Q2 presents a live audio Web cast of Credo, featuring members of the Icelandic art-rock band Sigur Rós along with a wild constellation of international ensembles, including the Hilliard Ensemble, the Latvian National Choir and the Wordless Music Orchestra led by Jeffrey Milarsky.
The event will be hosted by WNYC’s John Schaefer from the Church of St. Paul the Apostle.
Part of Lincoln Center’s White Light Festival, Credo features Riceboy Sleeps, a work built on the orchestral arrangements of Sigur Rós lead singer Jón Þor “Jónsi” Birgisson in collaboration with the musician Alex Somers. The evening also includes new works by Sigur Rós keyboardist Kjartan Sveinsson, one of which features text by Canadian poet Anne Carson.
During the concert, Q2’s Nadia Sirota will be moderating a live online chat with host John Schaefer from the Church itself. Q2 invites you to log in on this page and contribute your thoughts with our hosts and your fellow listeners from New York City to Reykjavik and beyond.”