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  • richardmitnick 1:29 PM on December 6, 2018 Permalink | Reply
    Tags: Lisa Bielawa, New School’s College of Performing Arts, Philip Glass Institute, The Philip Glass Ensemble   

    From Lisa Bielawa: THE NEW SCHOOL’S COLLEGE OF PERFORMING ARTS LAUNCHES THE PHILIP GLASS INSTITUTE, A LANDMARK PARTNERSHIP CELEBRATING GLASS’S INDELIBLE CONTRIBUTIONS TO ART AND CULTURE 

    From Lisa Bielawa

    Lisa Bielawa to be inaugural Composer-in-Residence and Chief Curator of the Institute.

    The Philip Glass Ensemble will also debut as Ensemble-in-Residence at The New School with a concert on January 6th, 2019 at 4:30 pm.

    Philip Glass by Timothy Judd

    Lisa Bielawa – Daniel Clark

    New York, December 5, 2018 – The New School’s College of Performing Arts (CoPA) today announced a landmark partnership with the Philip Glass Ensemble (PGE) and long-time PGE member, Lisa Bielawa, around the work of Philip Glass, one of the world’s preeminent composers, musicians, and authors, to form a new learning and creative center. Building on Glass’s enduring contributions to modern culture, the Philip Glass Institute (PGI) will offer students, faculty, and the public the opportunity to immerse themselves in the work of Philip Glass, other important artists within his circle, and the work of the iconic Philip Glass Ensemble. Renowned composer and long-time vocalist for the PGE Lisa Bielawa will become the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute.

    The institute will launch with a performance by the Philip Glass Ensemble and a panel discussion with Glass, Bielawa, and Richard Kessler, Executive Dean of CoPA on January 6, 2019 at 4:30 pm, at The New School’s Tishman Auditorium. The event will also include a performance of an excerpt from Bielawa’s made-for-TV opera, Vireo, which will be workshopped for live performance at the Institute in spring 2020.

    Peerless in his originality as a composer and musician, Glass’s work has been instrumental in breaking down barriers across genres. His work includes the groundbreaking opera Einstein on the Beach, Music in Twelve Parts, and Academy Award-nominated scores for three films. Glass has captivated audiences worldwide with his bold artistic vision, which fuses a truly original musical language and an unparalleled collaborative practice, all in a singular entrepreneurial spirit.

    The idea for the Philip Glass Institute originated between Glass and Bielawa, who both felt that The New School would be the ideal setting for such an institute. Subsequently, Bielawa approached Kessler about the future of the Philip Glass Ensemble, Philip’s legacy, the continuation of his work, along with her own work, and how this all might work together under a single umbrella. Both Kessler and Bielawa were struck by the ways in which Glass has built community throughout his career, a practice that Bielawa has honored in her own work and life as well. Together, Glass, Bielawa, and Kessler were drawn toward creating an institute to further that ethos.

    “I can think of no better home for the Philip Glass Institute and the Philip Glass Ensemble than The New School’s College of Performing Arts,” said Kessler. “Over the past century, The New School has been a home to John Cage, Henry Cowell, Martha Graham, Aaron Copland, the Fluxus Movement, and scores of trailblazing artists and scholars. Today, the original, highly influential, and beloved work of Philip Glass will become accessible for a long time to come to new generations of students and audiences through this exciting new partnership.”

    “I am very pleased about the Philip Glass Institute at The New School,” Glass said. “My own legacy flourished in a wide garden of music going on all at the same time. In my lifetime I was contemporaneous with all kinds of music, and I rejoiced in it…In terms of range and variety of modern music, it is important to be unafflicted by prejudice. The music stands by itself. At the new PGI we can prioritize a curriculum which doesn’t require critical approval of any period or style…Young composers need to be true to their voices. ‘Coming up’ can be very independent, and this is what will be guiding our work at The New School.”

    As the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute, Bielawa will serve not just to preserve Glass’s legacy, but to further it by creating new works, curating concerts, and creating new courses and curricula that build on the ethos and vision of Philip Glass. Bielawa, an award-winning multidisciplinary artist-composer, is a 2009 Rome Prize winner in Musical Composition and recipient of the 2017 Music Award from the American Academy of Arts & Letters.

    “It is a huge honor and pleasure to spearhead this new initiative at The New School, which has a long history of charting new territory in the way that artists share their work and lives with the next generation,” said Bielawa. “The Philip Glass Institute is a new and lasting way to celebrate Philip’s ethos: an NYC incubator for the sharing of ideas, among a multi-generational community of composers, performers, and music industry professionals.”

    The Philip Glass Institute at The New School will create new learning opportunities rooted in Glass’s contributions to modern musical and cultural life. Students across CoPA’s three schools — Mannes School of Music, School of Jazz and Contemporary Music, and School of Drama — will learn composition, sound design, musicology, and arts management, among other disciplines, from members of the Philip Glass Ensemble and CoPA faculty who are frequent collaborators with Glass, including Matt Haimovitz, Jennifer Koh, Bob Hurwitz, and Dennis Russell Davies.

    As Ensemble in Residence, the Philip Glass Ensemble will base its extensive touring and performance operations out of The New School. Recognized as the premier performers of Glass’s compositions, the Ensemble has been exclusively devoted to performing Glass’s iconic works in some of the world’s most prestigious music festivals and concert venues. At The New School, the group will integrate its rigorous practice-performance methodology into CoPA’s innovative curriculum, hosting workshops, leading masterclasses, and welcoming the public to select rehearsals. This first-of-its-kind residency at CoPA will be instrumental in preparing students to succeed in the 21st century musical landscape.

    Philip Glass Institute Launch Event
    Sunday, January 6, 2019, 4:30-5:30pm
    The New School’s Tishman Auditorium
    63 5th Ave., New York, NY 10003
    Admission is free, RSVPs required. RSVP here.
    Press RSVPs: Will Wilbur – wilburw@newschool.edu

    The Philip Glass Institute will launch with a performance by the Philip Glass Ensemble and a panel discussion with Philip Glass; Lisa Bielawa, Composer-in-Residence and Chief Curator of the Philip Glass Institute; and Richard Kessler, Executive Dean of The New School’s College of Performing Arts. The event will also include a performance of an excerpt from Bielawa’s made-for-TV opera, Vireo, which will be workshopped for live performance at the institute in spring 2020.

    The Philip Glass Ensemble
    Established by composer Philip Glass, the Philip Glass Ensemble (PGE) held its first performance in May 1969 at the Whitney Museum of American Art in New York City. Since its inception, the Ensemble has been exclusively devoted to performing Glass’s iconic works. The members of the PGE are recognized as the premier performers of Philip Glass’s compositions and the group has performed on four continents in some of the world’s most prestigious music festivals and concert venues.

    The PGE is continuing into the future as a performing and educating organization, exclusively performing Philip Glass’s catalog of music written or arranged for the PGE, using the authentic performance practice that the members of the Ensemble have developed over their decades of touring and recording with Glass. The Ensemble is eager to help the next generation of musicians learn this tradition during their touring activities and at their home base in New York City.

    Philip Glass
    Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and the Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and, while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects creating a large collection of new music for The Philip Glass Ensemble and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts and the landmark opera Einstein on the Beach, for which he collaborated with Robert Wilson. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). In the past few years several new works were unveiled including an opera on the death of Walt Disney, The Perfect American (co-commissioned by Teatro Real, Madrid and the English National Opera), a new touring production of Einstein, the publication of Glass’s memoir, Words Without Music, by Liveright Books, and the premiere of the revised version of Glass’ opera Appomattox, in collaboration with librettist Christopher Hampton, by the Washington National Opera in November 2015.

    Glass celebrated his 80th birthday on January 31, 2017 with the world premiere of Symphony No. 11 at Carnegie Hall. His 80th birthday season featured programming around the globe, including the U.S. premieres of operas The Trial and The Perfect American, and world premieres of several new works, including Piano Concerto No. 3, String Quartet No. 8, and Glass’ first Piano Quintet.

    In 2015, Glass received the U.S. National Medal of Arts and the 11th Glenn Gould Prize. He was honored with the Richard and Barbara Debs Composer’s Chair from Carnegie Hall for the 2017-2018 season. Glass will receive the 41st Kennedy Center Honors in December 2018.

    On January 10th, 2019, the Los Angeles Philharmonic will present the world premiere of Glass’ Symphony No. 12, based on David Bowie’s album Lodger and a completion of three symphonies based on Bowie’s Berlin Trilogy. Glass continues to perform solo piano and chamber music evenings with world renowned musicians, and regularly appears with the Philip Glass Ensemble.

    Lisa Bielawa

    Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. She takes inspiration for her work from literary sources and close artistic collaborations. Gramophone reports, “Bielawa is gaining gale force as a composer, churning out impeccably groomed works that at once evoke the layered precision of Vermeer and the conscious recklessness of Jackson Pollock.” Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times, and “fluid and arresting … at once dramatic and probing,” by The San Francisco Chronicle. She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters.

    Lisa Bielawa recently completed her unprecedented, made-for-TV-and-online opera Vireo:The Spiritual Biography of a Witch’s Accuser with librettist Erik Ehn and director Charles Otte. Vireo was produced as part of Bielawa’s artist residency at Grand Central Art Center in Santa Ana, California and in partnership with KCET and Single Cel. The opera was filmed in 12 parts at locations across the country – Alcatraz Island, a monastery on the Hudson River, a studio in Downtown LA, an abandoned train station in Oakland, and the California Redwoods – and featured over 350 musicians in support of its core cast, including soprano Deborah Voigt, Kronos Quartet, violinist Jennifer Koh, San Francisco Girls Chorus, cellist Joshua Roman, Alarm Will Sound, PRISM Saxophone Quartet, American Contemporary Music Ensemble (ACME), and many others. All 12 episodes were broadcast on KCET’s Emmy® award-winning arts and culture series Artbound, as well as online for free, on-demand streaming, which was a first for the network. The Los Angeles Times called Vireo an opera, “unlike any you have seen before, in content and in form,” and San Francisco Classical Voice described it as, “poetic and fantastical, visually stunning and relentlessly abstract.”

    Lisa Bielawa’s music is frequently performed throughout the US and abroad. Two of her works received their world premieres at the 2016 NY PHIL BIENNIAL: My Outstretched Hand by The Knights, San Francisco Girls Chorus, and Brooklyn Youth Chorus, which was recently given a second performance at The Kennedy Center; and Vireo Caprice by violinist Jennifer Koh at National Sawdust. The Seattle Chamber Music Society recently commissioned and premiered Bielawa’s Fictional Migrations for flute, horn, and piano, which The Seattle Times called, “sophisticated, propulsive, complex, and often beautiful.” In December 2016, the Orlando Philharmonic performed the world premiere of Bielawa’s Drama/Self Pity for orchestra and in January 2017, The Kennedy Center presented two of her works with Bielawa as soloist as part of their KC Jukebox series. Recent highlights also include performances of Start for piano and chamber orchestra by pianist Andrew Armstrong and the Orchestra of the League of Composers; 50 Measures for Aaron by SOLI Chamber Ensemble; One Atom of Faith by violinist Rebecca Fischer of the Chiara String Quartet; The Trojan Women by the String Orchestra of New York City; and Insomnia Etudes, commissioned for the Klein Competition.

    Other performance highlights include Bielawa’s The Trojan Women at Le Poisson Rouge; a Radio France commission for Ensemble Variances titled Cri Selon Cri; a residency at John Zorn’s The Stone; and the world premieres of Hypermelodia at The Rivers School Conservatory, Rondolette by the string quartet Brooklyn Rider and pianist Bruce Levingston, Double Duet by the Washington Saxophone Quartet (with subsequent performances by the PRISM Quartet), Graffiti dell’amante by Bielawa with the Chicago Chamber Musicians in Chicago and with Brooklyn Rider in New York and Rome, The Project of Collecting Clouds at Town Hall in Seattle by cellist Joshua Roman and chamber ensemble, Double Violin Concerto and In medias res by the Boston Modern Orchestra Project, The Right Weather by American Composers Orchestra and pianist Andrew Armstrong at Carnegie Hall, and The Lay of the Love and Death at Lincoln Center’s Alice Tully Hall.

    Bielawa’s music can be found outside the concert hall as well, with two major works written for performance in public spaces. Chance Encounter is a piece comprising songs and arias constructed of speech overheard in transient public spaces, which was premiered by soprano Susan Narucki and The Knights in Lower Manhattan’s Seward Park. A project of Creative Capital, the 35-minute work for roving soprano and chamber ensemble has since been performed at the Whitney Museum of American Art in New York, in Vancouver, Venice, and in Rome on the banks of the Tiber River in partnership with urban placemaker Robert Hammond, a founder of The High Line in New York. Bielawa’s latest work for performance in public places is Airfield Broadcasts, a massive 60-minute work for hundreds of musicians that premiered on the tarmac of the former Tempelhof Airport in Berlin (Tempelhof Broadcast, May 2013) and was also performed at Crissy Field in San Francisco (Crissy Broadcast, October 2013). Bielawa turns these former airfields into vast musical canvases, as professional, amateur and student musicians execute a spatial symphony. Students at the Usdan Summer Camp for the Arts recently performed a section from Airfield Broadcasts as part of Bielawa’s artist residency there.

    Bielawa’s latest album, The Lay of the Love, was released on Innova in June 2015 and features performances by baritone Jesse Blumberg; soprano Sadie Dawkins Rosales; pianists Jocelyn Dueck, Benjamin Hochman and Evelyne Luest; violinist Colin Jacobsen; cellist Eric Jacobsen; clarinetist Anthony McGill; and flutist Lance Suzuki. The centerpiece of the album is Bielawa’s 25-minute work The Lay of the Love and Death, based on the text of Rainer Maria Rilke’s epic poem, The Lay of the Love and Death of Cornet Christopher Rilke. Bielawa’s discography also includes A Handful of World (Tzadik); The Trojan Women on a disc entitled First Takes (TROY); Hildegurls: Electric Ordo Virtutum, (Innova); The Trojan Women in a version for string quartet performed by the Miami String Quartet on The NYFA Collection (Innova); In medias res (BMOP/sound), a double-disc set of Bielawa’s solo and orchestral works; the world premiere recording of Chance Encounter (Orange Mountain Music), and Elegy-Portrait on pianist Bruce Levingston’s 2011 album, Heart Shadow (Sono Luminus).

    Born in San Francisco into a musical family, Lisa Bielawa played the violin and piano, sang, and wrote music from early childhood. She moved to New York two weeks after receiving her B.A. in Literature in 1990 from Yale University, and became an active participant in New York musical life. She began touring as the vocalist with the Philip Glass Ensemble in 1992, and has also premiered and toured works by John Zorn, Anthony Braxton, and Michael Gordon. In 1997 she co-founded the MATA Festival, which celebrates the work of young composers. Bielawa was appointed Artistic Director of the acclaimed San Francisco Girls Chorus in 2013 and recently completed her residency at Grand Central Art Center in Santa Ana, California. In 2016, Bielawa was awarded grants from New York Foundation for the Arts, the MAP Fund, and New Music USA.

    The New School:
    Will Wilbur
    212-229-5667 x 3990
    wilburw@newschool.edu

    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 1:14 PM on March 23, 2018 Permalink | Reply
    Tags: , , , , , Lisa Bielawa, , , , , ,   

    From Lisa Bielawa: “2017-2018 Season Finale, Strings Attached…” 

    Lisa Bielawa

    Lisa Bielawa Celebrates Final Concert as Artistic Director of the San Francisco Girls Chorus

    2017-2018 Season Finale, Strings Attached, Featuring:

    Lisa Bielawa’s Opening: Forest from her TV opera Vireo
    Colin Jacobsen’s Vocalissimus (World Premiere, Chamber Version)
    Selections from SFGC’s Debut Album Final Answer

    Sunday, April 22, 2018 at 4pm
    Yerba Buena Center for the Arts
    701 Mission Street | San Francisco, CA
    Tickets ($25 general; $5 student) available at http://www.sfgirlschorus.org

    “[Lisa Bielawa has a] prodigious gift for mingling persuasive melodicism with organic experimentation” – Time Out New York

    Lisa Bielawa: http://www.lisabielawa.net

    Composer Lisa Bielawa celebrates the conclusion of her five-season tenure as Artistic Director of the San Francisco Girls Chorus with the 2017-2018 subscription season finale concert on Sunday, April 22, 2018 at 4pm at Yerba Buena Center for the Arts (701 Mission Street). Led by Music Director and Principal Conductor Valérie Sainte-Agathe, this program entitled Strings Attached features the world premiere of the chamber version of Colin Jacobsen’s Vocalissimus for string quartet, percussion, flute, and treble chorus, with Jacobsen performing on violin. The SFGC will also perform André Caplet’s Septuor and selections from their debut album, Final Answer, released in February 2018 on Philip Glass’s Orange Mountain Music label, including Lisa Bielawa’s Opening: Forest from her TV opera Vireo, Carla Kihlstedt’s Herring Run, Aleksandra Vrebalov’s Bubbles, Theo Bleckmann’s Final Answer, and Philip Glass’ Hymns from The Crucible.

    Bielawa reflects on highlights and collaborations during her five seasons with the San Francisco Girls Chorus: “My time as Artistic Director of the SFGC has allowed me to create a joyful hub for artistic excellence, collaboration and community, bringing these talented and spirited young women together with the brightest and most innovative musicians of our time – from The Knights to TENET to Kronos Quartet to Joshua Roman, and in new works created for them and with them by Philip Glass, Richard Danielpour, Carla Kihlstedt, Theo Bleckmann, Gabriel Kahane, Amy X Neuburg, Aaron Jay Kernis, Aleksandra Vrebalov and so many others. For the last five years, the SFGC and their extraordinarily gifted Music Director Valérie Sainte-Agathe have also been a major source of inspiration for my own work. They have joined me on the Tempelhof Airfield in Berlin and Crissy Field in San Francisco for the Airfield Broadcasts in 2013; on the set of Vireo in Los Angeles and San Francisco; on the Lincoln Center stage for the NY PHIL BIENNIAL in 2016; and at the Kennedy Center for the SHIFT Festival of American Orchestras in 2017, in My Outstretched Hand, which is, like Vireo, a meditation on the teenage girl as her own unique kind of genius and sage. Their impact on my work and musical life is indelible.”

    Colin Jacobsen, a founding member of the intrepid New York-based ensembles, The Knights and Brooklyn Rider, and a regular performer with Yo-Yo Ma’s Silk Road Ensemble, notes, “After getting to know the San Francisco Girls Chorus through several joyous collaborations with my orchestra The Knights, it is such an honor to have the SFGC premiere this new version of Vocalissimus. In this triptych, I’ve joined a song called Vocalissimus on a poem by Wallace Stevens (originally for mezzo-soprano and piano) to two songs with texts by Lydia Davis. In the case of both Stevens and Davis’ work, I’m attracted by the mixture of humor and sadness, the juxtaposition of the mundane and magical, the tight construction, and the elevation of consciousness to a greater level of awareness about our surroundings and how we interact with the world. I am incredibly grateful to Lisa Bielawa, who has been an artistic co-conspirator in so many shared projects, for asking me to be a part of her final concert as artistic director of SFGC.”

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    About Lisa

    Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. She takes inspiration for her work from literary sources and close artistic collaborations. Gramophone reports, “Bielawa is gaining gale force as a composer, churning out impeccably groomed works that at once evoke the layered precision of Vermeer and the conscious recklessness of Jackson Pollock.” Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times, and “fluid and arresting … at once dramatic and probing,” by the San Francisco Chronicle. She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters.

    Lisa Bielawa recently completed her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch’s Accuser with librettist Erik Ehn and director Charles Otte. Vireo was produced as part of Bielawa’s artist residency at Grand Central Art Center in Santa Ana, California and in partnership with KCETLink and Single Cel. The opera was filmed in 12 parts at locations across the country – Alcatraz Island, a monastery on the Hudson River, a studio in Downtown LA, an abandoned train station in Oakland, and the California Redwoods – and featured over 350 musicians in support of its core cast, including soprano Deborah Voigt, Kronos Quartet, violinist Jennifer Koh, San Francisco Girls Chorus, cellist Joshua Roman, Alarm Will Sound, PRISM Saxophone Quartet, American Contemporary Music Ensemble (ACME), and many others. All 12 episodes were broadcast on KCETLink’s Emmy® award-winning arts and culture series Artbound, as well as online for free, on-demand streaming, which was a first for the network. The Los Angeles Times called Vireo an opera, “unlike any you have seen before, in content and in form,” and San Francisco Classical Voice described it as, “poetic and fantastical, visually stunning and relentlessly abstract.”

    Lisa Bielawa’s music is frequently performed throughout the US and abroad. Two of her works received their world premieres at the 2016 NY PHIL BIENNIAL: My Outstretched Hand by The Knights, San Francisco Girls Chorus, and Brooklyn Youth Chorus, which was recently given a second performance at The Kennedy Center; and Vireo Caprice by violinist Jennifer Koh at National Sawdust. The Seattle Chamber Music Society recently commissioned and premiered Bielawa’s Fictional Migrations for flute, horn, and piano, which The Seattle Times called, “sophisticated, propulsive, complex, and often beautiful.” In December 2016, the Orlando Philharmonic performed the world premiere of Bielawa’s Drama/Self Pity for orchestra and in January 2017, The Kennedy Center presented two of her works with Bielawa as soloist as part of their KC Jukebox series. Recent highlights also include performances of Start for piano and chamber orchestra by pianist Andrew Armstrong and the Orchestra of the League of Composers; 50 Measures for Aaron by SOLI Chamber Ensemble; One Atom of Faith by violinist Rebecca Fischer of the Chiara String Quartet; The Trojan Women by the String Orchestra of New York City; and Insomnia Etudes, commissioned for the Klein Competition.

    Other performance highlights include Bielawa’s The Trojan Women at Le Poisson Rouge; a Radio France commission for Ensemble Variances titled Cri Selon Cri; a residency at John Zorn’s The Stone; and the world premieres of Hypermelodia at The Rivers School Conservatory, Rondolette by the string quartet Brooklyn Rider and pianist Bruce Levingston, Double Duet by the Washington Saxophone Quartet (with subsequent performances by the PRISM Quartet), Graffiti dell’amante by Bielawa with the Chicago Chamber Musicians in Chicago and with Brooklyn Rider in New York and Rome, The Project of Collecting Clouds at Town Hall in Seattle by cellist Joshua Roman and chamber ensemble, Double Violin Concerto and In medias res by the Boston Modern Orchestra Project, The Right Weather by American Composers Orchestra and pianist Andrew Armstrong at Carnegie Hall, and The Lay of the Love and Death at Lincoln Center’s Alice Tully Hall.

    Bielawa’s music can be found outside the concert hall as well, with two major works written for performance in public spaces. Chance Encounter is a piece comprising songs and arias constructed of speech overheard in transient public spaces, which was premiered by soprano Susan Narucki and The Knights in Lower Manhattan’s Seward Park. A project of Creative Capital, the 35-minute work for roving soprano and chamber ensemble has since been performed at the Whitney Museum of American Art in New York, in Vancouver, Venice, and in Rome on the banks of the Tiber River in partnership with urban placemaker Robert Hammond, a founder of The High Line in New York. Bielawa’s latest work for performance in public places is Airfield Broadcasts, a massive 60-minute work for hundreds of musicians that premiered on the tarmac of the former Tempelhof Airport in Berlin (Tempelhof Broadcast, May 2013) and was also performed at Crissy Field in San Francisco (Crissy Broadcast, October 2013). Bielawa turns these former airfields into vast musical canvases, as professional, amateur and student musicians execute a spatial symphony. Students at the Usdan Summer Camp for the Arts recently performed a section from Airfield Broadcasts as part of Bielawa’s artist residency there.

    Bielawa’s latest album, The Lay of the Love, was released on Innova in June 2015 and features performances by baritone Jesse Blumberg; soprano Sadie Dawkins Rosales; pianists Jocelyn Dueck, Benjamin Hochman and Evelyne Luest; violinist Colin Jacobsen; cellist Eric Jacobsen; clarinetist Anthony McGill; and flutist Lance Suzuki. The centerpiece of the album is Bielawa’s 25-minute work The Lay of the Love and Death, based on the text of Rainer Maria Rilke’s epic poem, The Lay of the Love and Death of Cornet Christopher Rilke. Bielawa’s discography also includes A Handful of World (Tzadik); The Trojan Women on a disc entitled First Takes (TROY); Hildegurls: Electric Ordo Virtutum, (Innova); The Trojan Women in a version for string quartet performed by the Miami String Quartet on The NYFA Collection (Innova); In medias res (BMOP/sound), a double-disc set of Bielawa’s solo and orchestral works; the world premiere recording of Chance Encounter (Orange Mountain Music), and Elegy-Portrait on pianist Bruce Levingston’s 2011 album, Heart Shadow (Sono Luminus).

    Born in San Francisco into a musical family, Lisa Bielawa played the violin and piano, sang, and wrote music from early childhood. She moved to New York two weeks after receiving her B.A. in Literature in 1990 from Yale University, and became an active participant in New York musical life. She began touring as the vocalist with the Philip Glass Ensemble in 1992, and has also premiered and toured works by John Zorn, Anthony Braxton, and Michael Gordon. In 1997 she co-founded the MATA Festival, which celebrates the work of young composers. Bielawa was appointed Artistic Director of the acclaimed San Francisco Girls Chorus in 2013 and recently completed her residency at Grand Central Art Center in Santa Ana, California. In 2016, Bielawa was awarded grants from New York Foundation for the Arts, the MAP Fund, and New Music USA.

    John Schaefer


    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 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 1:19 PM on March 7, 2018 Permalink | Reply
    Tags: , , Jennifedr Koh, Limitless recital series, Lisa Bielawa, , , ,   

    From National Sawdust- “Limitless recital series: Lisa Bielawa and Jennifer Koh 

    National Sawdust

    Composer Lisa Bielawa’s Sanctuary Songs to be premiered at National Sawdust

    2
    Lisa Bielawa

    3
    Jennifer Koh

    Performed by composer-vocalist Lisa Bielawa and violinist-curator Jennifer Koh on the Limitless recital series featuring duo performances of contemporary works, including seven new commissions

    Saturday, March 31, 2018 at 7pm
    National Sawdust
    80 N. 6th St. | Brooklyn, NY

    Tickets: $29 in advance at the box office, http://www.nationalsawdust.org, or (646) 779-8455.

    Lisa Bielawa: http://www.lisabielawa.net

    “[Lisa Bielawa has a] prodigious gift for mingling persuasive melodicism with organic experimentation” – Time Out New York

    – On Saturday, March 31, 2018 at 7pm, composer-vocalist Lisa Bielawa and violinist Jennifer Koh will give the world premiere of Bielawa’s Sanctuary Songs at National Sawdust (80 N. 6th St.). Sanctuary Songs is presented on Limitless, a two-day National Sawdust series curated by violinist Jennifer Koh, which celebrates the collaborative relationship between composer and performer through duo performances by Koh and the composers themselves. This spirit of collaboration contrasts with the conventional notion today that composition and performance are discrete and detached parts of the musical process, while also re-connecting with an older, pre-modern tradition of composers as performers. For this March 31 recital, Koh will be joined on stage for performances of works by and with Lisa Bielawa (voice), Vijay Iyer (piano), Tyshawn Sorey (percussion), Nina Young (electronics), and Du Yun (voice).

    Bielawa chose texts for Sanctuary Songs by American women poets who wrote between the wars in the 1920s: Broken by Virginia Stait; Speak Softly by Elise M. Baker; and My Marvelous Wall by Elinor Wylie. These three songs are part of a growing collection of songs that Bielawa is composing for her and Koh to perform together.

    Bielawa notes, “Sanctuary is a word that carries significant political weight today in the discussion around immigration; I wanted to find instances of its use within a broad range of American writings, in order to reach a greater understanding of its layered meanings within American consciousness. Definitions of ‘sanctuary’ center around sacredness – a spot where something holy happened, a building or container within which something sacred is held, often on one of these holy spots and also around safety – a place where one can be safe from danger, take refuge. The word has new prominence and resonance as various cities and schools take a stand on whether or not they will protect members of their communities from deportation.

    The music community itself emerges, then, as a kind of sanctuary itself. In the case of Jennifer Koh, whose parents are Korean refugees, or others in our major symphonies and orchestras who are themselves immigrants and, in some cases, refugees, a life in music has been providing a kind of sanctuary (sacredness, a refuge) all along. We are newly aware, however, in the current political climate, of the specificity of our individual paths to get here, and also of the powerful potential for sacredness and refuge that we can create through our work.”

    Limitless recitals take place at National Sawdust on Thursday, March 15, 2018 at 7pm. and Saturday, March 31, 2018 at 7pm. The participating artists are Lisa Bielawa*, Zosha Di Castri*, Vijay Iyer*, Missy Mazzoli, Qasim Naqvi*, Tyshawn Sorey*, Wang Lu*, Nina Young, and Du Yun*. Commissions (*) for both evenings are by arco collaborative, founded by Koh as an artist-driven nonprofit that creates visionary musical and educational programs.

    Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. She takes inspiration for her work from literary sources and close artistic collaborations. The New York Times describes her music as, “ruminative, pointillistic and harmonically slightly tart.” She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters.
    Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992, and in 1997 co-founded the MATA Festival, which celebrates the work of young composers. Bielawa was appointed Artistic Director of the San Francisco Girls Chorus in 2013 and recently completed her residency at Grand Central Art Center in Santa Ana, California. Her discography includes albums on the Tzadik, TROY, Innova, BMOP/sound, Orange Mountain Music and Sono Luminus labels.

    Bielawa’s music is frequently performed throughout the US and Europe, with recent and upcoming highlights including two world premieres at the 2016 NY PHIL BIENNIAL, Drama/Self Pity premiered by the Orlando Philharmonic, performances as both composer and soloist at The Kennedy Center’s KC Jukebox series and SHIFT Festival, and a concert of her works at National Sawdust. Bielawa’s music can be found outside the concert hall as well: Chance Encounter was premiered by soprano Susan Narucki and The Knights in Lower Manhattan’s Seward Park; and Airfield Broadcasts, a 60-minute work for hundreds of musicians, was premiered on the tarmac of the former Tempelhof Airport in Berlin in May 2013 and at Crissy Field in San Francisco in October 2013. Bielawa recently completed her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch’s Accuser with librettist Erik Ehn and director Charles Otte. Vireo was produced as part of Bielawa’s artist residency at Grand Central Art Center in Santa Ana, California and in partnership with KCETLink and Single Cel. The opera was filmed at locations across the country, and featured over 350 musicians in support of its core cast. Vireo was broadcast online and on TV by KCET. The Los Angeles Times called it an opera, “unlike any you have seen before, in content and in form,” and San Francisco Classical Voice described it as, “poetic and fantastical, visually stunning and relentlessly abstract.”

    Violinist Jennifer Koh is recognized for intense, commanding performances, delivered with dazzling virtuosity and technical assurance. An adventurous musician, she collaborates with artists across disciplines and curates projects that find connections between music of all eras. She believes that all the arts and music of the past and present form a continuum, and she has premiered over 60 works written especially for her. She has appeared with orchestras worldwide, including the New York, Los Angeles, and Helsinki Philharmonics; Cleveland, Mariinsky, Minnesota, Philadelphia, and Philharmonia (London) Orchestras; and Atlanta, Baltimore, BBC, Chicago, Cincinnati, National, New World, NHK, RAI (Torino), and Singapore Symphonies.

    This season, Koh returns to the Detroit, Indianapolis, Milwaukee, Nashville and Sydney Symphonies and the Los Angeles Chamber Orchestra, among others. In addition to Limitless, she has embarked on a new project titled The New American Concerto, which explores the role of the violin concerto in contemporary American culture, featuring commissions this season from Chris Cerrone and Vijay Iyer. In recital, she also continues such projects as Shared Madness, comprising more than 30 short solo works that explore violin virtuosity in the 21st century; Bridge to Beethoven, a recital series with pianist Shai Wosner exploring the impact Beethoven has had on a diverse group of artists, pairing the composer’s sonatas for violin and piano with new works by composers Anthony Cheung, Vijay Iyer, and Andrew Norman; and Bach and Beyond, which traces the history of the solo violin repertoire from Bach’s six Sonatas and Partitas to works by contemporary composers, including new commissions from John Harbison, Phil Kline, Missy Mazzoli, Kaija Saariaho, and video artist Tal Rosner.

    Koh is an active recording artist, principally for Chicago-based Cedille Records, and her latest album comprises Tchaikovsky’s complete works for violin and orchestra.

    Born in Chicago of Korean parents, Koh made her debut with the Chicago Symphony Orchestra at age 11. She was named Musical America’s 2016 “Instrumentalist of the Year,” and won the International Tchaikovsky Competition in Moscow, Concert Artists Guild Competition, and an Avery Fisher Career Grant. She has a BA in English literature from Oberlin College and studied at the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. She is the Artistic Director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us. For more information, visit http://www.jenniferkoh.com.

    Received via email.

    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


    For new music by living composers
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