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  • richardmitnick 8:42 AM on July 19, 2018 Permalink | Reply
    Tags: "The Force of Things", ICE- International Contemporary Ensemble, ,   

    From Lincoln Center- “MOSTLY MOZART FESTIVAL” and ICE 

    Lincoln Center, NYC, USA

    From Lincoln Center

    MOSTLY MOZART FESTIVAL

    1

    and


    International Contemporary Ensemble

    The Force of Things
    An Opera for Objects
    (New York premiere)

    August 6–8, 2018 Gelsey Kirkland Arts Center, Brooklyn

    Experience the Mostly Mozart Festival in Brooklyn.

    The Program
    Ashley Fure and Adam Fure: The Force of Things: An Opera for Objects (2016–17)

    How do we bear witness to a thing our bodies seem built to ignore? In Ashley Fure’s immersive music-theater piece, created with her architect brother Adam Fure and the International Contemporary Ensemble, 24 subwoofer speakers emit sound too low for humans to hear, creating a subsonic sense of ecological anxiety that ripples around the audience. Under a dense canopy of sculpted matter, tones are “made tactile, objects made audible, noise made beautiful” (New York Times). Drama is steered away from the human, time is stretched to a geologic scale, and seven live performers act as wordless harbingers of a consciousness not limited to the living.

    Related event:

    TALK | FREE

    Composers’ Forum

    Thursday, August 2, 6:00–6:45 pm

    Bruno Walter Auditorium, The New York Public Library for the Performing Arts

    International Contemporary Ensemble

    Ashley Fure, composer and co-director

    Adam Fure, architectural design

    César Alvarez, co-director

    Lucy Dhegrae and Lisa E. Harris, voice

    Ross Karre, percussion and producer

    Levy Lorenzo, percussion and engineer

    Nick Houfek, lighting

    Lilleth Glimcher, associate director

    Please visit http://www.lincolncenter.org/mostly-mozart-festival/show/the-force-of-things
    To place a ticket order

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings

    Please help promote STEM in your local schools.

    Stem Education Coalition

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    Lincoln Center for the Performing Artsis a 16.3-acre (6.6-hectare) complex of buildings in the Lincoln Square neighborhood of the borough of Manhattan in New York City. It hosts many notable performing arts organizations, which are nationally and internationally renowned, including the New York Philharmonic, the Metropolitan Opera, the New York City Ballet and the New York City Opera.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

    Advertisements
     
  • richardmitnick 4:08 PM on June 12, 2018 Permalink | Reply
    Tags: Gelsey Bell, ICE- International Contemporary Ensemble, , Pamela Z,   

    From NEWMUSICUSA: “Closing Night – Resonant Bodies Festival NYC 2018” 

    From NEWMUSICUSA

    1

    Roulette Intermedium

    3

    4

    5
    Pamela Z. Credit: L. Barry Hetherington

    Thursday, September 13, 2018
    at 7:30 PM

    Roulette Intermedium
    509 Atlantic Ave
    Brooklyn, NY 11217

    $15—25
    Tickets

    7:30pm – Sarah Maria Sun (Germany), with ICE

    8:15pm – Pamela Z

    9:00pm – intermission

    9:20pm – Gelsey Bell

    Participants: Resonant Bodies Festival, Pamela Z, Gelsey Bell, International Contemporary Ensemble

    See the full article here .


    five-ways-keep-your-child-safe-school-shootings
    Please help promote STEM in your local schools.


    Stem Education Coalition

    At NEWMUSICUSA we see ourselves first and foremost as advocates. Our mission is to support and promote new music created in the United States. We do that in many ways, fostering connections, deepening knowledge, encouraging appreciation, and providing financial support. In recognition of the possibility and power inherent in the virtual world, we’ve worked to build a strong internet platform to serve our constituency. And that constituency is broad and diverse, from composers and performers to presenters and producers, casual listeners to die-hard fans. We’re truly committed to serving the WHOLE new music community.

    As we go about our work, we make a point of not defining too precisely what we mean by new music. To define is to limit. It’s a spectacular time for musical creativity in part because so much music is being made that isn’t bound by conventional limitations of style or genre or background. The music that we hear being created in such abundance all around us is definition enough. We simply want it to flourish.

    We’re fortunate to have as our legacy the history of previous decades of good works done by the American Music Center and Meet The Composer, the two great organizations that merged to form us in 2011. Their legacies have also brought a small financial endowment that mostly helps support our grantmaking. But we’re not a foundation. We depend decisively each year on the generosity of so many institutions and individuals around the country who are dedicated as we are to the advancement of new music and are devoted to supporting our work.

    New Music USA is part of an international community of advocates for the arts. We’re members of the Performing Arts Alliance, the International Association of Music Information Centres, and the International Society for Contemporary Music. Those partnerships help us represent the interests of our constituents at every level.

    No matter how far ranging our networks, our focus is always solidly on what brings these many constituents and communities together in the first place: the music. When someone uses our platform to listen to something new, recommend a favorite to a friend, or to seek financial assistance or information to support the creation or performance of new work, the whole community is strengthened. Together we’re helping new music reach new ears every day.
    Our Vision

    We envision in the United States a thriving, interconnected new music community that is available to and impactful for a broad constituency of people.
    Our Mission

    New Music USA supports and promotes new music created in the United States. We use the power of virtual networks and people to foster connection, deepen knowledge, encourage appreciation, and provide financial support for a diverse constituency of practitioners and appreciators, both within the United States and beyond.
    Our Values

    We believe in the fundamental importance of creative artists and their work.
    We espouse a broad, inclusive understanding of the term “new music.”
    We uphold and embrace principles of inclusivity and equitable treatment in all of our activity and across our nation’s broadly diverse population in terms of gender, race, age, location, national origin, sexual orientation, religion, socio-economic status and artistic practice.

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 10:12 PM on May 2, 2018 Permalink | Reply
    Tags: , Cory Smythe, ICE- International Contemporary Ensemble,   

    From ICE: “ICE presents: The Music of Anna Thorvaldsdottir… 


    International Contemporary Ensemble

    …with pianist Cory Smythe and the International Contemporary Ensemble”

    Anna Thorvaldsdottír courtesy of the subject

    Cory Smythe, pianist, no image credit

    ICE-International Contemporary music Ensemble Photograph-SquareMoose New York

    Sun, May 27, 2018, 4:00 PM

    For Tickets your will have to visit the website below, as there is no link for tickets

    This performance is hosted by the International Contemporary Ensemble (ICE), one of National Sawdust’s 2017-2018 Artists-in-Residence. The residency program at National Sawdust is dedicated to incubating bold work and bold artists, devoting a pool of $450,000 of both in-kind and financial contributions among selected artists every year.

    National Sawdust

    Icelandic composer Anna Thorvaldsdóttir’s music is immersive. Inspired by landscapes, nature, and flowing, sustained sounds, it transports a listener to the vast expanse of an unfamiliar, seductive place. The International Contemporary Ensemble’s collaboration with Anna has spanned many years, including an appearance at the Ojai Music Festival. Of that performance, Alex Ross of The New Yorker wrote, “Nothing I witnessed at opera houses this past season was as dramatic.” As the Kravis Emerging Composer at the New York Philharmonic, Anna’s orchestral piece Metacosmos was premiered in April 2018, conducted by Esa-Pekka Salonen. The Philharmonic has presented chamber works by Anna at National Sawdust on their CONTACT! new-music series.

    On Sunday, May 27 at 4 PM, National Sawdust features a selection of works played by ICE which center on her unorthodox use of the piano. ICE pianist Cory Smythe, a champion and commissioner of Anna’s solo music, is in the center of National Sawdust’s stage, circled by the audience, with the audience encircled by ICE musicians, immersed in Anna’s sounds. The conductor Steven Schick, a longtime ICE collaborator, leads the ensemble. This performance forms part of ICE’s presence at National Sawdust in the 2017-18 season as Artists-in-Residence.

    The program features three solo works and one ensemble piece, all of which will be recorded for ICE’s second disc of Anna’s music on the award-winning Sono Luminus label. Trajectories, for piano and video, opens the program, followed by [one] and Scape. The three piano works involve strums and resonant scraping inside the instrument which embellish Anna’s potent harmonies. Aequilibria is an ICE specialty last heard in New York at Lincoln Center’s Mostly Mozart Festival. The piece highlights all eleven instruments as they emerge to shine from the work’s watery depths. Its glacial yet sure sense of growth is a hallmark of every piece on this varied program.

    OpenICE is made possible by the generous support of The Andrew W. Mellon Foundation, Howard Gilman Foundation, Booth Ferris Foundation, National Endowment for the Arts, A.N. and Pearl G. Barnett Family Foundation, Fan Fox and Leslie R. Samuels Foundation, Paul M. Angell Family Foundation, Aaron Copland Fund for Music, Mid-Atlantic Arts Foundation, Francis Goelet Charitable Lead Trusts, Amphion Foundation, Pacific Harmony Foundation, Ann and Gordon Getty Foundation, Alice M. Ditson Fund of Columbia University, Casement Fund, BMI Foundation, as well as public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council for the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the Illinois Arts Council, a state agency. Portions of this project are supported by Nokia Bell Labs. Yamaha Artist Services New York is the exclusive piano provider for ICE.

    National Sawdust, is an unparalleled, artist-led, nonprofit venue, is a place for exploration and discovery. A place where emerging and established artists can share their music with serious music fans and casual listeners alike.

    In a city teeming with venues, National Sawdust is a singular space founded with an expansive vision: to provide composers and musicians across genres a home in which they can flourish, a setting where they are given unprecedented support and critical resources essential to create, and then share, their work.

    As a composer, I believe the role of an artist in the 21st century should be that of creator, educator, activist, and entrepreneur. I believe that 21st-century composers/artists need to be thinking about what impact they can have on their existing community, both locally and globally. At NS we believe in remaining flexible and true to the needs of artists. Our core mission is centered on the support of emerging artists, and on commissioning and supporting the seeds of ideas. Each year, we explore one large theme and construct programming and questions around that theme. This year, that theme is Origins. With this season, we are channeling the National Sawdust mission—empowering high-level artistry, regardless of training, genre, or fame—through multicultural artists who tell their stories through their music. Ultimately, Origins is a radical sharing of culture. We hope this cultural storytelling of the highest caliber will help bring our divided country closer together.

    We also believe the future of new art lives in education. To us, education is about giving young people and community members opportunities and tools to explore their potential for artistic and creative expression. But it is also about ensuring that artists themselves never stop learning – about their craft, about the work of their peers, about the business of the arts, about their own capacities to be educators and advocates. NS facilitates this kind of learning by bringing together artists from around the world in exciting composition- based projects, teaching opportunities, cultural exchanges, and hands-on management experience. Through this cultural synthesis artists leave lasting impressions on one another, become more versatile and resilient professionals, and create works that reflect a plural understanding of American society.

    –Paola Prestini, co-founder & Artist Director

    Space waiting

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    *ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 3:37 PM on April 26, 2018 Permalink | Reply
    Tags: , , ICE- International Contemporary Ensemble, , , The Radical 2   

    From ICE: Upcoming Events 

    International Contemporary Ensemble

    ICE Plays at Christ Church for the Franklin Institute Science Festival in Philadelphia

    1

    Friday, April 27, 3:00 – 5:00pm, special performance at 7:00pm
    Christ Church Preservation Trust
    20 North American Street
    Philadelphia, PA, 19106
    FREE EVENT — MORE INFORMATION

    Join Franklin Institute science educators, C.B. Fisk organ builders, and members of ICE as we explore the science of Christ Church’s newly installed pipe organ!

    Drop-in activities include opportunities to make and visualize musical sounds, as well as a behind-the-scenes look at the mechanical-action pipe organ. The artists of the ICE, in residence for the year-long project In Plain Air, will engage participants in setting up for a performance of composer Alvin Lucier’s Sizzles—together we’ll find locations in the Christ Church sanctuary where percussion instruments, layered with dried beans or grains, will vibrate sympathetically with the organ.

    This youth and family-focused program runs from 3:00 to 5:00pm. Participants are invited to return for a FREE public performance of Sizzles at 7:00pm.

    Major support for In Plain Air is has been provided by The Pew Center for Arts & Heritage, with additional support from Dolfinger-McMahon Foundation.

    Phyllis Chen, keyboards
    Eric Derr, Ross Karre, and Levy Lorenzo, percussion

    A Collaboration with Artist Jamilah Sabur at Bas Fisher International in Miami

    2

    Friday, May 11, 8:00pm
    Bas Fisher Invitational
    100 Northeast 11th Street
    Miami, FL, 33132
    FREE TICKET RESERVATION LINK

    Claire Chase and Ross Karre of ICE go to the renowned gallery in Miami for an intimate performance FREE alongside groundbreaking works of art!

    Beneath the rivers, there are no borders is a performance by Jamilah Sabur with music by the International Contemporary Ensemble. Divided into sequences, Sabur takes a formalist approach structuring her choreography based on the geographic spaces of the mouths of rivers in between terrestrial and marine environments. The St. Johns River in Florida is crying and calling on the São Francisco River in Brazil. With gestures occurring above the river and below, Sabur considers what it is to morph into sub-sonar soundwaves, used by sub-sonar profilers to detect reflections of waves off sediments and items on and below the seafloor. Collaborators include dancers: Roxana Barba and Grace Bishop; poet: Terri Witek; ICE; and set designer Freddy Jouwayed.

    In addition to this special collaboration, Claire Chase plays Felipe Lara’s Meditation and Calligraphy, and Ross Karre plays Pauline Oliveros’s Applebox Double!

    BFI is an artist run space dedicated to creativity, experimentation, and discourse in contemporary art. It aims to create a bridge between Miami and the International art world by curating a program that alternates between the local and the global. BFI is committed to building the Miami arts community by offering support for artist projects, in particular, WEIRD MIAMI, a platform for exhibitions and public programming that takes a behind the scenes look at the city and its artistic offerings. BFI is a not-for-profit funded primarily by grants, donations, and the sale of print editions.

    ICEcommons Presents Radical 2 | Call for New Works of Electro-Acoustic Theater

    3

    Sunday, May 6, 7:00pm
    Spectrum NYC
    70 Flushing Ave.
    Brooklyn, NY 11205

    Sullivan: Swarm for lightbots and percussion
    Aperghis: Le Corps à Corps for solo speaking percussionist
    Burkhardt: Simulcast for two speaking percussionist
    Lorenzo: Brain Change for 4 hacked joysticks
    Radical2: SD-6 for small percussion and delay pedals
    Applebaum: Aphasia for solo performer

    The Radical 2 percussion duo is teaming up with the International Contemporary Ensemble to announce a call for new works of electro-acoustic theater for two performers, to be performed in the 2018-19 season. To celebrate this open call for submissions on ICEcommons.org, Radical 2 will share a diverse program from a wide range of theater music composers such as Rick Burkhardt, Mark Applebaum, Georges Aperghis, and Radical 2 themselves as performer/composers.

    Radical 2 (Levy Lorenzo // Dennis Sullivan) is a performance duo based in Brooklyn, NY. Grounded in the tradition of contemporary classical percussion, Radical 2 extends this practice by exploring performances that incorporate theatrical vocal and dramatic techniques while deploying new prototype electronics.

    Meet Radical 2:
    Laura Steenberg – Perseus Slays the Gorgon Medusa
    Jesse Marino – Endless Shrimp

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 7:43 AM on April 12, 2018 Permalink | Reply
    Tags: , , , , ICE- International Contemporary Ensemble   

    From ICE: Coming Events and Some Photos 

    International Contemporary Ensemble

    Works of New York University and Columbia Composers at Abrons This Week!

    1

    WORKS OF NEW YORK UNIVERSITY COMPOSERS
    Thursday, April 12, 7:00pm (note time)
    FREE TICKET RESERVATION LINK

    WORKS OF COLUMBIA COMPOSERS
    Saturday, April 14, 7:00pm (note time)
    FREE TICKET RESERVATION LINK
    Abrons Arts Center, Underground Theater
    466 Grand St.
    New York, NY 10002

    Come join ICE for our final free events at Abrons Arts Center for the spring season! Capping a year of collaborative workshops, ICE presents brand-new works by the star composers at New York University and Columbia University. A large ICE band takes on these ambitious programs!

    Thursday night’s concert features premieres by Sofy Yuditskaya, Viola Yip, Michael Rose, Merche Blasco, Bernardo Barros, Vasiliki Krimitza, and Joel Rust.

    Saturday’s event features more premieres by Stylianos Dimou, Katherine Balch, David Bird, Taylor Brook, Finola Merivale, John Rot, and Onur Yildrim.

    ICE Returns to Contempo at the University of Chicago!

    2

    Sunday, April 22, 2:00pm
    Logan Center at University of Chicago
    915 E. 60th Street
    Chicago, IL 60637
    TICKET LINK

    In a program titled Echoes of the Earth, ICE explores avant-garde musical depictions of ecological landscapes and natural processes.

    Pauline Oliveros: Earth Ears
    Mario Davidovsky: Synchronisms No. 3
    Harrison Birtwistle: Some Petals from my Twickenham Herbarium
    Toru Takemitsu: Rain Spell
    George Crumb: Eleven Echoes of Autumn

    Rachel Beetz, flute
    Campbell MacDonald, clarinet
    Ross Karre, percussion
    Jordan Thomas, harp
    Jacob Greenberg, piano
    Jennifer Curtis, violin
    Michael Nicolas, cello

    Not Art Records Joins OpenICE at Abrons This Sunday!

    Not Art Records: Piano Music
    Sunday, April 15, 7:00pm
    Abrons Arts Center, Underground Theater
    466 Grand St.
    New York, NY 10002
    FREE TICKET RESERVATION LINK

    A contradiction in and of itself, Not Art Records and OpenICE present a concert of piano music for non-pianos. Featuring works by Conlon Nancarrow, Steve Reich, and Heather Stebbins, the instruments used will include analog synthesizers, repurposed piano wiring & components, and B. Toys Meowsic keyboards.

    Photos from ICE’s Travels in Omaha and Ann Arbor!

    3
    4

    If you think a friend might enjoy updates from ICE, forward them this email!
    They can sign up for our newsletter here.

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 9:09 PM on April 5, 2018 Permalink | Reply
    Tags: "...The safest thing you can ever do is take the risks that matter most....", ICE- International Contemporary Ensemble, , Rebekah Heller   

    From NEWMUSICBOX: “Jumping Off a Musical Cliff” 

    New Music USA


    NEWMUSICBOX

    March 8, 2018 [Just caught up with this.]
    Rebekah Heller

    1
    Rebekah

    Rebekah Heller, bassoonist and the new co-director of the International Contemporary Ensemble, explains what led her to want to have a career as a solo performer on “something that nobody wanted to play” and a life immersed in new music.

    “An excited hush settled over the gallery. Anticipation and delight fueled the tense few seconds before the first note was played. And then… pure magic!

    Although the audience was small, [SMALL? You want to talk about SMALL? The readership of this blog is SMALL!! But I love doing it and hope it will grow.] the commitment, focus, and sense of community was breathtaking; the barriers between performer, composer, and listener disappeared. For the first time in my life, I was surrounded on all sides by musicians and advocates who were fully committed, generous, brave, and outrageously virtuosic. I felt like we were jumping off a musical cliff together and it was thrilling. By the end of the concert I knew: THIS is what I wanted to do with my life.

    This was 2007: my first concert with the International Contemporary Ensemble, in the beautiful Tenri Institute in Manhattan’s West Village. Before this concert, I could not have imagined this incredible moment, or how it would change the direction of my life and career forever.

    The question I’m most often asked is “why the bassoon?” Growing up in a very small town in New York’s culturally and economically depressed Adirondack Park, I was an outspoken youngest child, aware of being outshone by my older brothers. I gravitated towards the things no one else in my family wanted: I taught myself to LOVE black cherry ice cream, simply because it was the flavor everyone else abhorred. More ice cream for me! The bassoon became the black cherry of musical instruments; in my words, “something that nobody wanted to play.” But, at age nine, I decided I did.

    This shocked and charmed my band teacher, who pulled a behemoth plastic instrument out from a very dusty old case. Delighted by the new object, my mother and I headed home with this beast and spent the rest of the day trying to figure out how to put it together. This was the late ’80s: no YouTube instrument demonstrations, no method books, and—with no private teacher—I was left to forge ahead with encouragement from my mom (a very good amateur flutist) and an old, yellowed fingering chart my band teacher found from his college course on double reeds. By the end of the day, I had figured out how to play the world’s loudest and most-abrasive version of Mary Had a Little Lamb, much to the dismay of my smirking brothers.

    I was ambitious and talented, but never solely focused on music. I never imagined a career as a bassoonist was possible, or even desirable. To feed my myriad interests outside music, as well as my bassooning, I chose to study in the Oberlin College and Conservatory’s rigorous double degree program. And under the direction of Tim Weiss and the amazing Oberlin Contemporary Music Ensemble, found an incredible introduction to new music.

    Although I was at Oberlin when the seeds of ICE began to sprout, I wasn’t involved at the beginning. This was not out of disinterest; it was out of fear. Not only was there very little repertoire that included bassoon, it seemed outside of the realm of possibility to me to pursue such a dream. In my mind, an orchestra path loomed larger than life, the inevitable (if joyless) way to make a decent living playing this ridiculous instrument.

    After Oberlin, I went to graduate school at UT Austin, still unsure of what was next for me. From Texas, I moved to Chicago to join the Civic Orchestra, immediately afterwards winning a coveted spot in the New World Symphony in Miami Beach, where I stayed for three years performing, practicing, and auditioning for countless orchestras around the world.

    As glamorous and high-profile as it was, something about my New World Symphony experience never felt quite right. I kept auditioning for jobs I didn’t really want, never understanding (or questioning) why. Finally, in 2007, I got a phone call from the already legendary Claire Chase, founder of ICE. She invited me to play a concert in New York in a month’s time. I was excited and terrified — the music looked SO hard!

    But then I was onstage with ICE at Tenri, diving headfirst into Christopher Trebue Moore’s brand new opus tentacles and knot formations, performing technical feats on my instrument that, if you’d asked me only months before, I would have promised you were impossible. It felt creative, boundless, and exhilarating; it was nothing like playing Tchaikovsky No. 5 (wonderful as it is) yet again. After that magical concert, I felt so happy and so free, but also so heavy. What would I do with this new pursuit, and the knowledge that something so deeply satisfying existed for me outside the safe orchestral path?

    Gripped by this new obsession (MUST PLAY WITH ICE) and the equally strong fear of being broke in New York (MUST SURVIVE), I wrestled with my next move. On the one hand, I had an offer to play principal bassoon in the Jacksonville Symphony, with all the recognition, stability, and financial security that came along with it. On the other, I had an offer from ICE to move to NYC and join the group as their bassoonist. The ICE offer felt like all my hopes and dreams materializing! But it also couldn’t offer more than a few gigs that first year, and with very few friends or contacts in New York City, I was terrified of not being able to make ends meet.

    I took the Jacksonville job, and with it its modest salary which was more money than I had ever made in my life. And every day I carried home the weight of a job that didn’t bring me joy. Although I worked with some wonderful musicians and made some truly great friends, I discovered very quickly that this world (as I had feared) wasn’t for me. I languished within the rigid structure, longing for agency over what I played, who I played with, and what shape my life would take. After two months, I decided that no amount of fear—especially about something as superfluous as money—would ever keep me from my dreams again. I left the orchestra the next spring and moved to NYC, broke but endlessly optimistic.

    To survive, I hustled, which meant taking every odd job I could until I landed a coveted gig waiting tables. (They’re hard to come by if you don’t know someone!) I relied on tip money to offset my gigs with ICE and other NYC groups for more than four years. Even on the worst days, slammed with tables full of well-meaning foreign tourists who thought a 10% tip meant I did a “really good job,” I was never sorry I left the stability of the wrong job for the right life.

    As my musical career grew, my days of waiting tables faded, but the hustle remained. I hustle every day to do what I do, but the great beauty of my chosen path is I don’t ever have to hustle alone again. I hustle with my colleagues at ICE to expand the way new music is created, experienced, and shared. I hustle with my collaborators—composers, fellow performers, and advocates—to ensure underrepresented voices in our field are brought to the fore. I hustle with the incredible community of performers across all disciplines to shatter assumptions about what we can or cannot do or be as artists. I am most grateful to hustle with and for the younger artists in our community; I strive to help them tear down their own barriers to joy and fulfillment, to empower them to remain fearless in the face of uncertainty, and to convey what I’ve learned along the way: that the safest thing you can ever do is take the risks that matter most.”

    See the full article here.

    At New Music USA, we see ourselves first and foremost as advocates. Our mission is to support and promote new music created in the United States. We do that in many ways, fostering connections, deepening knowledge, encouraging appreciation, and providing financial support. In recognition of the possibility and power inherent in the virtual world, we’ve worked to build a strong internet platform to serve our constituency. And that constituency is broad and diverse, from composers and performers to presenters and producers, casual listeners to die-hard fans. We’re truly committed to serving the WHOLE new music community.

    As we go about our work, we make a point of not defining too precisely what we mean by new music. To define is to limit. It’s a spectacular time for musical creativity in part because so much music is being made that isn’t bound by conventional limitations of style or genre or background. The music that we hear being created in such abundance all around us is definition enough. We simply want it to flourish.

    We’re fortunate to have as our legacy the history of previous decades of good works done by the American Music Center and Meet The Composer, the two great organizations that merged to form us in 2011. Their legacies have also brought a small financial endowment that mostly helps support our grantmaking. But we’re not a foundation. We depend decisively each year on the generosity of so many institutions and individuals around the country who are dedicated as we are to the advancement of new music and are devoted to supporting our work.

    New Music USA is part of an international community of advocates for the arts. We’re members of the Performing Arts Alliance, the International Association of Music Information Centres, and the International Society for Contemporary Music. Those partnerships help us represent the interests of our constituents at every level.

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 8:38 PM on March 30, 2018 Permalink | Reply
    Tags: American Composers Orchestra at Carnegie Hall, EntICE Comes to the Five Boroughs Music Festival with UpBeat NYC!, ICE- International Contemporary Ensemble, OpenICE at Corbett vs. Dempsey in Chicago!   

    From International Contemporary Ensemble: “EntICE Comes to the Five Boroughs Music Festival with UpBeat NYC!” and More ICE 

    International Contemporary Ensemble

    EntICE Comes to the Five Boroughs Music Festival with UpBeat NYC!

    1

    Saturday, March 31, 8:00pm
    Pregones Theater
    575 Walton Avenue
    Bronx, NY, 10451
    TICKET PURCHASE LINK

    As a special addition to its mainstage season, Five Boroughs Music Festival partners with ICE‘s EntICE initiative and the South Bronx-based youth music organization UpBeat NYC to present a showcase of new works performed by student musicians alongside members of ICE.

    Introduced in 2015, EntICE unites leading composers with youth ensembles in new works to be performed side-by-side with members of the International Contemporary Ensemble. ICE’s musicians take young people – and their schools, families and communities – through the entire collaborative process of bringing premiere pieces to life.

    n preparation for this performance, instrumentalists from the International Contemporary Ensemble have collaborated with young musicians from UpBeat’s free, community programs in the creation of an exciting concert of new works, presented under the auspices of 5BMF and the Pregones Theater’s March is Music series in the South Bronx.

    George Aperghis: Rasch for viola and soprano saxophone
    Clara Iannotta: Limun for violin, viola, and two page turners
    Zach Sheets: from the Silhouette Quarry for violin and bassoon
    Pauline Oliveros: Thirteen Changes
    Nicole Mitchell: Inescapable Spiral
    Plus a new graphic score composed and performed by student musicians from UpBeat NYC

    Alice Tessier, flute and voice
    Rebekah Heller, bassoon
    Ryan Muncy, saxophone
    Josh Modney, violin
    Wendy Richman, viola

    _____________________________________________________________
    OpenICE at Corbett vs. Dempsey in Chicago!

    2

    Monday, April 2, 8:00pm
    Corbett vs. Dempsey
    1120 North Ashland Avenue
    Chicago, IL, 60622

    Come to the next free concert in our Chicago OpenICE series, with Levy Lorenzo (percussion/electronics) and Peter Evans (trumpets)!

    Levy Lorenzo and Peter Evans began their performing duo as part of OpenICE in early 2016. Their music is an otherworldly blur of dense rhythmic frameworks, elaborate notated pieces, open improvisation and weird drones. Lorenzo’s complex of self-built instruments, gongs, dry percussion, laptop and sound processing engage with Evans’s acoustic trumpet in a dialogue of noise, mystery, precision and chaos.

    You can also catch Levy and Peter on their April tour!
    April 3: Trinosophes, Detroit
    April 4: City of Asylum, Pittsburgh
    April 5: Vox Populi, Philadelphia
    April 6: Princeton University
    April 7: Fridman Gallery, New York City (with Yvette Janine Jackson)

    Photo credit: Peter Ganushkin

    _______________________________________________________________

    ICE Joins the Resonant Bodies Festival at Constellation Chicago!

    4

    5

    6

    Saturday, April 7, 7:30pm (stay for the 8:30 and 9:30 sets!)
    Constellation Chicago
    3111 N. Western Ave.
    Chicago, IL 60618
    TICKET PURCHASE LINK

    ICE performs with soprano and longtime ensemble member Tony Arnold at the Resonant Bodies Festival in the festival’s first Chicago appearance! Included on the program are Cliff Colnot’s wonderful arrangement of Olivier Messiaen’s Chants de Terre et de Ciel, where we’ll be joined by the University of Michigan Contemporary Directions Ensemble, plus the world premiere of Amy Williams’s Fünf Worte for soprano and Indian harmonium. At 8:30 and 9:30, the wonderful Sophia Burgos and Amanda DeBoer Bartlett perform their solo sets!

    You can also get an all-festival pass, good for the entire three nights: April 6, 7, and 8!

    ______________________________________________________________
    Join ICE players as they celebrate two beloved composers in our community!

    April 3, 8pm, Roulette Intermedium: Rebekah Heller and TAK Ensemble perform for Mario Diaz de Leon’s new album release, Sanctuary!

    April 4, 7pm – 10pm, Spectrum NYC: Claire Chase, Rebekah Heller, and Bridget Kibbey join others in a portrait concert of Jason Eckardt!

    _________________________________________________________
    From Our Friends at American Composers Orchestra…

    8

    Friday, April 6, 7:30pm at Carnegie Hall
    George Manahan, Music Director and Conductor
    Elena Urioste, Violin
    Ethan Iverson, Piano

    Hitomi Oba: September Coming (world premiere)
    Ethan Iverson: Concerto to Scale (world premiere)
    Steve Lehman: Ten Threshold Studies (world premiere)
    TJ Anderson: Bahia, Bahia (NY premiere)
    Clarice Assad: Dreamscapes (NY premiere)

    photo credit: Richard Bowditch

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 9:13 AM on March 29, 2018 Permalink | Reply
    Tags: Ensemble Evolution, ICE- International Contemporary Ensemble,   

    From NEWMUSICBOX: “Breaking Boundaries, Building Visions” 

    New Music USA


    NEWMUSICBOX

    1
    Rebekah Heller, Steven Schick and Ensemble Evolution participants performing Pauline Oliveros’ Environmental Dialogues at the Banff Centre, July 2017 (Photo by Anna Heflin).

    March 29, 2018
    Rebekah Heller

    “It was 2002, and, looking for a summer festival that was a little different, I entered the the Banff Centre’s Masterclass program to study with famed bassoonist Stephen Maxym. At 87, this ended up being his last year teaching, as he passed away just a few months later. I was so thrilled by him — his knowledge and his generosity of spirit — I still feel lucky to have known him even for such a short time. I had come to bask in his wealth of knowledge, eager to enrich my own musical life with a renewed sense of focus and purpose. But I didn’t just want to siphon off his ideas and keep them to myself. I wanted to find a community at Banff: a mutually encouraging group of bassoonists and other instrumentalists, a collective of new friends with whom I could share secrets, tips and joys as we deepened our musical practice together in this beautiful place.

    What I found instead was a shockingly dull and simple program of one masterclass a day, where all of us—at least a dozen bassoonists—were repeatedly left waiting for our chance to play, feeling a forced sense of competition for the attention and time of this great teacher. It felt like such a missed opportunity. There I was, surrounded by incredible musicians in one of the most beautiful places I’d ever been, and what I was feeling was not a sense of renewed creative energy, but its opposite. I was bored. All that creativity, all that vibrancy! It felt like such a waste.

    I wanted to make more chamber music. I wanted to be pushed into exploring unfamiliar repertoire. And most importantly, I wanted to feel that I was doing so with friends and co-conspirators, building each other up, building something new — not fighting for time, recognition and airspace.

    Maybe I had picked the wrong summer program. Or maybe the problem ran deeper than that.

    I had experienced the same thing in my conservatory years, and it’s still something I see today, running through the fabric of most academic institutions and orchestral training programs. I’ve had hours of conversations with young people, inside those institutions now, who feel it too. There’s an unhealthy sense of competition among the musicians: a feeling that students are all fighting for a limited number of spots in a shrinking field. But it’s more than that. In their determination to force young musicians down the well-carved orchestral or academic grooves, institutions seem actually to be getting in the way of young artists curious to explore alternative ways of existing as dynamic and creative artists.

    How do we move towards a more open, more loving, more supportive environment — one that fosters networks of support among artists and incentivizes collaborative creation? What if an intensive summer program were actively designed to nourish this sort of community? How might that vision radiate outward into broader institutional culture?

    Enter Ensemble Evolution, the International Contemporary Ensemble (ICE)’s attempt to build such a summer festival at Banff Centre for Arts & Creativity.

    3
    No image caption or credit.

    The goal of Ensemble Evolution is to provide a haven from the shortsighted rigor of practicing the same excerpts and etudes ad nauseam, or performing the same rep over and over, by building a safe place for participants to follow their inner creative compasses, however outrageous or genre-busting those impulses might be. Co-artistic directors Claire Chase (ICE founder) and Steven Schick (longtime ICE collaborator) have designed a program that foregrounds support, inclusion, love and “git-er-done-ness” to empower young artists to dig deep, explore, and support one another as they build work together. The program is about to enter its second three-week season, shaped by feedback from participants and faculty who worked together on the program last summer.

    Ensemble Evolution is a place for young artists who aren’t interested in being treated like precious commodities. It’s a community for players who want to become more complete artists by creating work with one another, from the ground up. It’s a place where participants can come as their whole, complicated, dynamically talented selves and take a deep dive into the music that makes them feel most alive and most themselves, in a community of supportive artists engaged in the same brave soul-searching.

    But this creative discovery can’t happen through contemplation alone. At Ensemble Evolution, young artists are put to work. The first week is fully scheduled: this year players will be performing, side-by-side, brand new pieces written for the occasion by George Lewis, Sabrina Schroeder, Peter Evans, Matana Roberts, and Vivian Fung, among others. Composer participants will be writing new works for their peers. Through a rigorous schedule of musical practice in this first week, including daily 7:00 a.m. hikes in the Canadian Rockies, participants will get to know and trust each other as they move towards curating and producing their own events and concerts in weeks 2 and 3. ICE, as faculty, will be on hand to coach and guide, but every aspect of making the concerts happen is left in the hands of the participants.

    Ensemble Evolution is the program I wish I had found at Banff in 2002. It is a dedicated space for artists to seek deep artistic fulfilment in full acknowledgment of the challenges of such a quest — the blurring of genre lines, the carving out of new career paths. It’s an intensive summer festival that strives to help younger artists find, more rapidly and with more confidence than they might otherwise, a place in the world that makes them feel creatively whole. But there’s nothing utopian about Ensemble Evolution. It confronts the pressures faced by practicing artists head-on.

    I’ve had many obstacles in my path, as I outlined in my first NewMusicBox post, and I expect many more to come. All of us in ICE have learned hard lessons along the way. At Ensemble Evolution, we share these lessons with young artists with the aim of making the path to creative fulfilment less fraught than it already inevitably is. We invite participants to get closer to every part of the creation process in the hopes that they’ll come closer to realizing their dreams, however outrageous (or, indeed, traditional) those dreams may be.

    The most amazing part of last summer, for me, was the amount I learned from the incredible participants. One such musician, Composer Camila Agosto, was already in our midst through her sheer ingenuity and bravery. In 2016, while still an undergraduate student, she submitted information about works to ICEcommons, ICE’s free online database of works by emerging composers. ICE members discovered and subsequently performed Agosto’s music, and we were all blown away by her distinctive voice and vision — rare for a composer so young.

    Camila went on to participate in Ensemble Evolution in 2017, and found that her experience has had a deep impact on her musical practice. “The fact that I have been able to cultivate collaborative relationships that were built from the seeds of creative exploration at Banff has allowed me to develop so many projects that are being performed in various venues around the country, exposing our work to the greater music community.”

    For bassoonist Ben Roidl-Ward, participating in Ensemble Evolution was mind expanding, and provided an incredible opening to new experiences and possibilities. Not only did he help run the shows, deeply involved in all aspects of producing insane marathons of music for himself and his peers, he performed an incredible amount of music, self-curated and self-produced. I asked him what his last day consisted of and he said “That day, I played iPhone, strobe tuner, and bassoon. I played pieces by Biber, Villa-Lobos, Pauline Oliveros, Anna Heflin, Jordon Morton – none of it assigned. This was all music I discovered in those three amazing weeks.”

    The future of music isn’t a decision that will be made by institutions, by donors, or even by established artists. It’s a reality that will be built, from the ground up, by the young artists of today. We are rolling up our sleeves and getting ready to help with the heavy lifting. Through creating, learning together, trusting one another, cultivating curiosity and critical thought, and bringing unique voices to the stage (via the mountaintop), the young artists about to enter into the second season of Ensemble Evolution will change the musical landscape for us all.”

    See the full article here.

    At New Music USA, we see ourselves first and foremost as advocates. Our mission is to support and promote new music created in the United States. We do that in many ways, fostering connections, deepening knowledge, encouraging appreciation, and providing financial support. In recognition of the possibility and power inherent in the virtual world, we’ve worked to build a strong internet platform to serve our constituency. And that constituency is broad and diverse, from composers and performers to presenters and producers, casual listeners to die-hard fans. We’re truly committed to serving the WHOLE new music community.

    As we go about our work, we make a point of not defining too precisely what we mean by new music. To define is to limit. It’s a spectacular time for musical creativity in part because so much music is being made that isn’t bound by conventional limitations of style or genre or background. The music that we hear being created in such abundance all around us is definition enough. We simply want it to flourish.

    We’re fortunate to have as our legacy the history of previous decades of good works done by the American Music Center and Meet The Composer, the two great organizations that merged to form us in 2011. Their legacies have also brought a small financial endowment that mostly helps support our grantmaking. But we’re not a foundation. We depend decisively each year on the generosity of so many institutions and individuals around the country who are dedicated as we are to the advancement of new music and are devoted to supporting our work.

    New Music USA is part of an international community of advocates for the arts. We’re members of the Performing Arts Alliance, the International Association of Music Information Centres, and the International Society for Contemporary Music. Those partnerships help us represent the interests of our constituents at every level.

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 10:00 PM on March 18, 2018 Permalink | Reply
    Tags: , , ICE- International Contemporary Ensemble, , , , Morgan Krauss, , , , , ,   

    From ICE: Morgan Krauss 

    International Contemporary Ensemble

    1

    Morgan Krauss’ ambitions in her works are to produce tactile explorations based on ones physical awareness and elements of allurement. Her music is focused on the latent instability of seemingly fixed gestures where the interaction between the performer and the score creates yet a third entity, often guided by improvisation and the clashing of emotional opposites. Her recent accomplishments are as follows: Two time New Music USA Grant recipient, soundSCAPE Festival, first prize at the 2013 Orkest de ereprijs YCM competition, the Young Composers Workshop in Curitiba, Brazil, along with performances at Gaudeamus Muziekweek, Darmstadt, Festival of the Lakes, Colorfield Festival, Bowling Green New Music Festival, and NUNC!. She received her BM in Composition at Columbia College Chicago (2012) and is now continuing her studies in Music Composition as a Doctoral student at Northwestern University.

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    For new music by living composers

    John Schaefer


    newsounds.org from New York Public Radio

    For great Jazz
    WPRB

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00AM-2:00PM featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Fridays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00PM


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

     
  • richardmitnick 12:21 PM on March 15, 2018 Permalink | Reply
    Tags: , , ICE- International Contemporary Ensemble, , , , , , ,   

    From ICE: “Never Say That’s Not Possible” 

    International Contemporary Ensemble

    1
    Rebekah Heller at the Salonathon. (Photo by Ryan Muncy)

    In 2009, as the newest member of the International Contemporary Ensemble, I was invited to perform my first solo show in New York City. I was excited, yet terrified of the daunting task in front of me: programming a solo bassoon concert. In a raw space. With no piano. AHHHHHHHH!

    ICE had commissioned a new bassoon and electronics piece (by rising Mexican star Edgar Guzman) in my honor; but, beyond that, how could a person even begin to find such repertoire? Yes, there was the Luciano Berio Sequenza XII, the seemingly endless 18-minute solo marathon (for both bassoonist and audience) commissioned by the bassoon wizard Pascal Gallois. And yes, there were the Brazilian composer Francisco Mignone’s Waltzes(cute, overplayed solo ditties) and, of course, the intoxicating and sinewy lines of Olga Neuwirth’s Torsion. But beyond these, what new, interesting, exciting solo bassoon pieces existed?!

    Very few, I discovered. Instead of stomping my feet in frustration or shrugging my shoulders in weary acceptance, I asked, “What can I do to change this?” Thus began a lifelong quest, in step (both artistically and practically) with my new position at ICE, to forge new relationships with composers in order to develop a new body of repertoire for the instrument, and in so doing, empower other musicians to do the same.

    This spirit of adventure has always been at the heart of ICE’s mission to commission new music. Since our founding in 2001, we’ve premiered more than 800 new works. The beauty of our collective is that all 36 of us have incredibly unique and creative points of view, and each new project becomes imbued with those varied and diverse ideas. Deep collaborations, both among ourselves and with composers, ensure that these stories are told using a shared language we build and evolve together.

    In an attempt to codify these methods of collaboration, we began ICELab in 2010.

    Through an online submission process, we chose six emerging composers each year from wildly diverse backgrounds—geographically, educationally, artistically—and gave them the space, time, and resources to experiment with performers before a piece was fully baked. We were inspired by theater and dance companies run by our peer groups (like The Troupe) and mentors (like The Wooster Group), and their spirit of radical collaboration in all parts of the process, from conception through performance. This kind of project, in ICE-land, had previously been impossible, as there was no method in place to fund this sort of musical experimentation. So, with crucial support from the Andrew W. Mellon Foundation, we embarked on this adventure.

    The results were overwhelmingly, outrageously exciting! Through the application process, we were introduced to composers outside our network and with whom we began long-term collaborative relationships. To name just a few ICELab “graduates” who have continued their trajectories into major, industry-shaking careers: Tyshawn Sorey, Carla Kihlstedt, Anna Thorvaldsdottir, Suzanne Farrin, Zosha Di Castri, Marcos Balter, Du Yun (whose Pulitzer Prize-winning Angel’s Bone had its earliest premiere in the “lab”).

    __________________________________

    We turned ICElab from a noun into a verb
    __________________________________

    In 2014, we turned ICElab from a noun into a verb, sun-setting the initiative as a standalone program and making it the DNA of how ICE works on every new piece. Every new work we make is now “labbed,” supported (through myriad, intentional fundraising efforts) from conception to performance. This allows us to have a period of time for each project in which composers and performers can experiment, play, record, and have the freedom to learn from one another. Because of this deeply collaborative process, pieces aren’t just written for the instruments involved; they’re written for the very specific, creative, and virtuosic members in our ranks.

    My own ideas about how to create new work were developing alongside ICE’s commissioning process. By working with composers so closely within ICELab, I was able to see and understand how I was directly responsible for certain impulses and directions in projects—not only within the sonic world of the bassoon, but in the overall shaping of a work. It was thrilling!

    The thrill and the risks both felt amplified when working alone. Commissioning solo pieces means lots of intense one-on-one collaboration, and true collaboration, I found, is hard and SCARY; it requires all parties to be extremely vulnerable and open. After the agony of programming my solo show in 2008, I began in earnest to commission the works that would make up my first album, 100 names, released in 2013. On speaking a hundred names (for bassoon and live electronics)—the piece by Nathan Davis after which I named my album—was my first such journey. Nathan works in a fascinating way. He gets his hands on an instrument and starts learning it; he’s deeply interested in the sounds that will come out in the hands of a beginner. On the bassoon, that happens to be multiphonics. ANY multiphonic. Fun fact: on a bassoon, it’s way easier to produce a multiphonic than it is to produce a single beautiful tone. So easy, in fact, that Nathan composed an entire section devoted to a gorgeous, deafening cacophony of many-layered bassoon multiphonics, serving as the climax of the piece that we jokingly refer to as DEVASTATION.

    When working with a composer, it’s so easy to claim authority on your instrument and dictate the limitations and technical boundaries that the composer has to work within. Nathan asked me to try some things that I was convinced I could not do, those that I said were IMPOSSIBLE on the bassoon. It’s easy to respond this way—immediately saying NO—out of the fear of looking stupid or untalented, because everyone else has told you it’s impossible, or because you’ve never been able to do it. But if there’s one thing I’ve learned over the years, it’s to never say “that’s not possible” or even “no,” without really, really being open to trying (and failing) myriad times. Because of Nathan, his patient insistence, and our trust in one another as collaborators, I often wail out in performance on an “impossible” high A-flat; teeth on the reed, hips thrust out, goddess above treble clef.

    The exhilarating feeling of performing new works, created collaboratively, is magnified a thousand-fold when a piece develops a life of its own. I’m especially thrilled to welcome into the world Metafagote (the title track of my second album), an epic, 18-minute work (eat your heart out, Mr. Berio!) by Felipe Lara for solo bassoon and six pre-recorded bassoons and contrabassoons, or for a live choir of seven bassoons.

    Not only have I performed both versions of the piece, but several other players have already taken it on. One particularly ambitious and talented young bassoonist, Clifton Guidry at Peabody, is performing it on his senior recital next weekend, and allowing me the immense pleasure of playing in his back-up band. This is SO brave! It is a risk to interpret someone else’s work, and I applaud Clifton and his willingness to be so open and so vulnerable and jump off this musical cliff with me and Felipe and his other collaborators.

    Exploration and collaboration are inherently risky, but the rewards are so clear. Not only can a deeply personal piece turn into a powerful universal experience, one that can be interpreted by any willing explorer, the process itself becomes a mighty teacher. I’ve become a much better musician thanks to my musical deep dives, within the ICE collective and beyond.

    My great hope is that we continue to inspire one another, performing and commissioning new works together, so the next generation’s young artists, faced with programming their first big show, will be overwhelmed by a beautiful, varied, unique, and multi-faceted new repertoire, overflowing with the diverse voices of a movement fed up with waiting for someone else to do it for them.

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    For new music by living composers


    newsounds.org from New York Public Radio

    For great Jazz
    WPRB

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

     
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