From NewMusicUSA: “‘Resounding Earth’ at Vancouver New Music – Third Coast Percussion – Augusta Read Thomas”

From NewMusicUSA

Third Coast Percussion
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Saturday, April 21, 2018 8:00 PM

The Annex
823 SEYMOUR ST.
Vancouver CA V6B 3L4

$15—35

Tickets

Grammy-award winning ensemble Third Coast Percussion closes VNM’s 2017-18 concert series with their first ever performance in Vancouver.

This breathtaking program includes internationally-acclaimed composer Augusta Read Thomas’ Resounding Earth. Written specially for Third Coast Percussion, Resounding Earth brings together over 125 bells from around the world to create a beautiful and completely unprecedented sound world. Also on the program is Steve Reich’s Mallet Quartet, as well as two new arrangements by Third Coast from Philip Glass’s Aguas de Amazonia.

Concert Program:

KOTCHE Wild Sound, mvt iv
GLASS Amazon River
REICH Mallet Quartet
THOMAS Resounding Earth

Click here for more information.

Participants: Third Coast Percussion, Augusta Read Thomas

THIRD COAST PERCUSSION
Sean Connors Robert Dillon Peter Martin David Skidmore

Hailed by The New Yorker as “vibrant” and “superb,” Third Coast Percussion explores and expands the extraordinary sonic possibilities of the percussion repertoire, delivering exciting performances for audiences of all kinds. Since its formation in 2005, Third Coast Percussion has gained national attention with concerts and recordings that meld the energy of rock music with the precision and nuance of classical chamber works.

These “hard-grooving” musicians (New York Times) have become known for ground-breaking collaborations across a wide range of disciplines, including concerts and residency projects with engineers at the University of Notre Dame, architects at the Frank Lloyd Wright School of Architecture, astronomers at the Adler Planetarium, and more. The ensemble enhances the performances it offers with cutting edge new media, including free iPhone and iPad apps that allow audience members to create their own musical performances and take a deeper look at the music performed by Third Coast Percussion.

Third Coast Percussion is the Ensemble-in-Residence at the University of Notre Dame’s DeBartolo Performing Arts Center. They have the honor of being the first ensemble at the University of Notre Dame to create a permanent and progressive ensemble residency program at the center. The ensemble performs multiple recitals annually as part of the DeBartolo Performing Arts Center’s Presenting Series season. Third Coast Percussion assumed the position of ensemble-in-residence at Notre Dame in 2013. The ensemble champions the awe-inspiring music of John Cage, Steve Reich, George Crumb, Arvo Pärt, Gérard Grisey, Philippe Manoury, Wolfgang Rihm, Louis Andriessen, Toru Takemitsu, and Tan Dun, among others. Third Coast has also commissioned and performed world premieres by many of today’s leading composers, including Augusta Read Thomas, Timothy Andres, Glenn Kotche, David T. Little, Marcos Balter, Ted Hearne, and ensemble member David Skidmore.

Third Coast’s recent and upcoming concerts and residencies include the University of Chicago Presents, Atlas Performing Arts Center (Washington, D.C), Ensemble Music Society of Indianapolis, the Museum of Modern Art (New York), the Austin Chamber Music Festival, Millennium Park “Loops and Variations,” the Kennedy Center’s Millennium Stage, and more. Third Coast has introduced percussion to chamber music audiences in Texas, Virginia, Pennsylvania, Wisconsin, and Illinois, securing invitations to return to many of these series.

Third Coast’s passion for community outreach includes a wide range of residency offerings while on tour, in addition to a long-term residency with the Davis Square Park Community Band on Chicago’s South Side. In addition to its national performances, Third Coast Percussion’s hometown presence includes an annual Chicago series, with four to five concerts in locations around the city. The ensemble has collaborated in concert with acclaimed ensembles Eighth Blackbird, Signal, and the Garth Newel Piano Quartet, pianists Amy Briggs and Lisa Moore, cellists Nicholas Photinos and Tobias Werner, flautist Tim Munro, vocalist Ted Hearne, and video artists Luftwerk.

The members of Third Coast Percussion —Sean Connors, Robert Dillon, Peter Martin, and David Skidmore— hold degrees in music performance from Northwestern University, the Yale School of Music, the Eastman School of Music, the New England Conservatory, and Rutgers University. Third Coast Percussion performs exclusively with Pearl/Adams Musical Instruments, Zildjian Cymbals, Remo Drumheads, and Vic Firth sticks and mallets.

Augusta Read Thomas
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Grammy winning composer, Augusta Read Thomas’s impressive body of works embodies unbridled passion and fierce poetry. The New Yorker Magazine called her “a true virtuoso composer.” Championed by such luminaries as Barenboim, Rostropovich, Boulez, Eschenbach, Salonen, Maazel, Ozawa, and Knussen, she rose early to the top of her profession. Later, as an influential teacher at Eastman, Northwestern, Tanglewood, now she is the 16th ever University Professor (one of five current University Professors) at The University of Chicago. Former Chairperson of the American Music Center (now NEWMUSIC USA), she has become one of the most recognizable and widely loved figures in American Music.

Thomas was the longest-serving Mead Composer-in-Residence for Daniel Barenboim and Pierre Boulez with the Chicago Symphony from 1997 through 2006, a residency that culminated in the premiere of Astral Canticle – one of two finalists for the 2007 Pulitzer Prize in Music. During her residency, Thomas not only premiered nine commissioned works, but was central toward establishing the thriving MusicNOW series. Upcoming commissioners are from the Boston Symphony and the Fromm Foundation. She won the Ernst von Siemens Music Prize and many other awards.

In February 2015, music critic Edward Reichel wrote, “She has secured for herself a permanent place in the pantheon of American composers of the 20th and 21st centuries. She is without question one of the best and most important composers that this country has today. Her music has substance and depth and a sense of purpose. She has a lot to say and she knows how to say it.”

Former Chairperson of the American Music Center, she serves on many boards, is a generous citizen in the profession at large, and, according to the American Academy of Arts and Letters, “has become one of the most recognizable and widely loved figures in American Music.” She imagined and spearheaded the Ear Taxi Festival.

The music of Augusta Read Thomas (b. 1964) is majestic, elegant, lyrical, it is “boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music.” (Philadelphia Inquirer) The New Yorker Magazine, in October 2012, called Augusta “a true virtuoso composer.” Her deeply personal music is guided by her particular sense of musical form, rhythm, timbre, and harmony. But given this individuality, her music is affected by history – in Thomas’ words, “Old music deserves new music and new music needs old music.” For Thomas, this means cherishing her place within the musical tradition and giving credit to those who have forged the musical paths she follows and from which she innovates. “You can hear the perfumes of my metaphorical grandparents,” Thomas states, “there is a wonderful tradition that I adore, I understand, and care about, but I have my two feet facing forward.” Thomas’ vision toward the future, her understanding of the present, and her respect for the past is evident in her art. Most striking in her music, though, is its exquisite humanity and poetry of the soul. The notion that music takes over where words cease is hardly more true than in Thomas’ musical voice. Donald Rosenberg of Gramophone wrote, “Heart and soul in the breathtaking music of a thoughtful contemporary composer. Thomas’s brainy brand of modernism reveals a lively, probing mind allied to a beating heart.”

The citation, read at her 2009 American Academy of Arts and Letters induction:

“Augusta Read Thomas’s impressive body of works embodies unbridled passion and fierce poetry. Championed by such luminaries as Barenboim, Rostropovich, Boulez, and Knussen, she rose early to the top of her profession. Later, as an influential teacher at Eastman, Northwestern and Tanglewood, chairperson of the American Music Center, and the Chicago Symphony’s longest-serving resident composer, she has become one of the most recognizable and widely loved figures in American Music.”
Helix Spirals for String Quartet (in 3 movements duration 23 min.)

HELIX SPIRALS for string quartet Augusta Read Thomas (1964)

I: LOCI: memory palace
II: INTERLACING: twists and threads
III: SPIRALS: life force

Helix Spirals for string quartet celebrates the Meselson-Stahl DNA replication experiment
Helix Spirals combines explosive energy, technical virtuosity, and vivid colors and textures with an intellectual rigor of conception that lends it formal continuity and cohesion. This exciting work deserves a place in the repertoire.”
— Matthew Heck, The Boston Musical Intelligencer

See the full article here .

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