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  • richardmitnick 12:31 PM on October 20, 2018 Permalink | Reply
    Tags: Marnie, , Nico Muhly,   

    From The New York Times: “Nico Muhly on the Drama of Bringing His New Opera to the Met” 

    New York Times

    From The New York Times

    1
    Nico Muhly on rehearsing his new opera, “Marnie”: “I figure it’s only fair of me to be flexible.”CreditCreditDaniel Dorsa for The New York Times

    Nico Muhly by Samantha West

    Bedroom Community,Valgeir Sigurðsson, Nico Muhly, Ben Frost, Nadia Sirota, Sam Amidon, Daníel Bjarnason, Puzzle Muteson. by EuphemiaUCAS

    Oct. 17, 2018
    Nico Muhly

    “Marnie,” my new opera, which has its American premiere on Friday at the Metropolitan Opera, is about a woman who lies, steals, gets caught and is forced to marry a man who sexually assaults her. It’s delicate material — to say the least — and deeply plot-driven, and the dramatic structure has to be airtight to allow room for expressive musicality.

    The director, Michael Mayer, called me with the idea for a “Marnie” opera five years ago. The story is most famous from the Hitchcock film, but we found that the 1961 Winston Graham novel on which it’s based was a far richer source of psychological tension and freed us from any visual or musical entanglements with the movie. That first notion blossomed into a wonderful libretto by Nicholas Wright, which then turned into a giant stack of manuscript.

    Now, in the days before opening, among the orchestra, the chorus, the principal singers, the stage crew, spot ops, dressers, wig-makers, etc., there are hundreds of people reacting to this document; it’s a huge, thrilling, anxiety-producing setup.

    In the middle of rehearsal last week, Nick Wright, Michael and I had a sudden revelation: One of the arias, already endlessly fretted over, was seriously hindering the dramatic flow. The aria, in which Marnie tries to escape her husband but catches herself having second thoughts, was musically satisfying. I’d spent ages getting a kind of throbbing brass chorale to work; there was a clever interplay between the oboe and the voice; and Nick’s text gave us what we thought was a much-needed window into Marnie’s state of mind.


    Marnie: TrailerCreditCreditVideo by Metropolitan Opera

    But when Michael was staging the scenes that precede and follow this moment, it immediately became clear that the entire dramatic beat was unnecessary: We were “telling, not showing,” the classic drama-school no-no, and the aria took what should have felt like a satisfying gravitational pull toward the final scene and stalled it midair. (I was reminded of Boris Johnson’s humiliating zip-line ride, where he got stuck in the middle of it, bobbing helplessly over the park.)

    What if we just — cut it? I rushed over to the full score, figured out a way to make the snip work musically — scooch the oboe’s entrance over a bar; get rid of some vestigial gongs — and we tried it out: It was so much better. It felt like we’d obeyed Coco Chanel’s advice: “Before you leave the house, look in the mirror and take one thing off.” The conductor, Robert Spano, and I mourned the musical loss over a negroni but toasted to how much more successful the last 30 (now 26) minutes of the show would be without it.

    With a piece of concert music, I can tell, more or less, if the structure holds together just by looking through the manuscript in my studio. With a piece of theater, however, I find that on paper and even in rehearsals, the overall soundness of the structure is always just slightly out of view. It’s when you see an opera on stage for the first time with an audience that it feels like shining a black light on a crime scene: Even if you thought you’d carefully wiped clean all of the strange incisions and seams of the compositional process, you’ve still missed a spot.

    2
    Isabel Leonard, center, as the title character in “Marnie” at the Metropolitan Opera.Credit Sara Krulwich/The New York Times

    None of this sort of work is, for me, fully possible to execute if I’m sitting at my desk at home. It requires being in the room with Michael; with Nick; with Isabel Leonard, who plays Marnie; with Paul Cremo, the Met’s dramaturg; and seeing the scenes unfold in real time.

    I want to know what Isabel thinks about a given transition: She is the one who has to communicate what I wrote, and if there’s anything I can do to help her do that with grace and power, I feel that’s my job as a composer. If I can change an E flat to an F to make the text clearer, I will do it; if we need a better word, Nick will come over, and we’ll confer about how to make it all sync up. When I write a piece of orchestral music, I can be as controlling as I want, but with a piece this big, I try to be the opposite of precious.

    The practical process of mounting an opera is much more crabwise than one might suspect. For the first three weeks, the cast works in a subterranean rehearsal room with the actual floor of the set recreated; some of the real furniture and props are there, but, for example, the tall sliding panels in our full design are represented by shorter, temporary ones. There is a tag team of brilliant rehearsal pianists, the conductor, two assistant conductors, the director, two assistant directors, the stage manager, an assistant stage manager, the dramaturg — and me, in the corner with piles of scores and laptops and iPads and snacks.

    The chorus, which has been rehearsing and memorizing this work since the summer, comes half a dozen times, but not necessarily to work in any particular order; we might find ourselves staging the ending with the chorus before staging the beginning with the cast. We see the orchestra, which is equally busy, in its rehearsal room once or twice without the singers, then twice with the singers — but never with the chorus.

    Two weeks before we open, we start spending the mornings on the main stage with only the pianists. Visual elements creep in: lighting, projections, costumes, with all their attendant joys and problems. (The tracks in the floor seem to be of a thickness precisely designed to entrap the elegant high heels most of the women in this production wear.)

    The week before we open, we have a morning per act with everything (chorus, orchestra, heels), a complete run-through with piano, a complete final dress rehearsal with everything — then opening. The wildest thing about this schedule is that it means that before opening night, there is only one opportunity to see the whole show as a complete piece of theater, which is oftentimes when some of the more deeply-hidden knots reveal themselves. On opening night of “Dark Sisters,” in 2011, I felt a small amount of air leave the theater when I suddenly realized that I’d boxed the show in with a clumsy transition between an indoor space and an abstract outdoor space; I hadn’t perceived this until then.

    My inbox is, as I write this, filling up with requests to come to the dress rehearsal; in London, where “Marnie” had its premiere last year, it seems like a blood sport to go to the dress rather than to a show, and then make subdued but icy declarations of the opera’s wretchedness to anybody who will listen. I always liken the dress rehearsal to that moment in cooking for a group when the stew looks like grave slime (it needs that final 20 minutes to reduce), there are cardoons everywhere, and I’m in a sarong singing along to “Graceland.” It’s not ready yet! Go wait at a bar somewhere!

    I’ve learned, after three operas, what sorts of things require my intervention and what will get better on their own. My role, as I understand it now, is to be an editor and custodian of the document Nick and I created, and to guide — but not prescribe — the various options the singers and musicians have in expounding it. Obviously, it’s anxiety provoking, but as it’s not going to be me onstage in a negligee singing a high B flat, or in the pit playing an exposed oboe solo after hundreds of bars’ rest, I figure it’s only fair of me to be flexible, and to allow the thousands of hours of experience and diligent preparation to let the piece live on its own.

    Nico Muhly’s “Two Boys” was performed by the Metropolitan Opera in 2013.

    Marnie
    Friday through Nov. 10 at the Metropolitan Opera, Manhattan; http://www.metopera.org.

    See the full article here .

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

    Please help promote STEM in your local schools.

    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


    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

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  • richardmitnick 4:10 PM on October 15, 2018 Permalink | Reply
    Tags: , Jeffrey Milarsky, John Corigliano, , , , Nico Muhly   

    From NEWMUSICUSA: “AXIOM | Muhly and Corigliano” 

    From NEWMUSICUSA

    1
    Friday, October 26, 2018
    at 7:30 PM

    Alice Tully Hall
    1941 Broadway
    New York, NY 10023

    Free Event
    Tickets

    Jeffrey Milarsky, conductor

    Jeffrey Milarsky music.columbia.edu

    Nadia Sirota, viola

    Nadia Sirota in Performance 2014 by Steven Pisano


    Matthew Pearce, tenor

    MUHLY No Uncertain Times (2017)
    CORIGLIANO Chiaroscuro (1997)
    MUHLY Keep in Touch
    CORIGLIANO Poem in October

    Nico Muhly by Samantha West

    John Corigliano by J. Henry Fair

    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


    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 9:46 PM on October 1, 2018 Permalink | Reply
    Tags: Bryce Dessner, , , , Nico Muhly,   

    From NEWMUSICUSA and yMusic: “Bryce Dessner Premiere” 

    From NEWMUSICUSA

    and

    yMusic

    yMusic Photograph by Allan Amato

    yMusic presents a recital of commissioned work including new pieces by Bryce Dessner, Nico Muhly and Gabriel Kahane.

    “One of the groups that has really helped to shape the future of classical music.” – NPR on yMusic

    “Bryce Dessner is a man who slips in and out of musical guises with disarming ease…this is gorgeous and full-hearted music.” – NPR

    yMusic applies its virtuosic execution and unique ensemble configuration (string trio, flute, clarinet, and trumpet) to its largest commissioned work to date: the N.Y. Premiere of a composition by Bryce Dessner, one of today’s foremost composers. Also receiving its N.Y. Premiere is Nico Muhly’s highly kinetic and agitated Clip. The two premiering works are presented alongside compositions by Gabriel Kahane, Andrew Norman, and Gabriella Smith.

    The new album-length work by Bryce Dessner was commissioned in 2016 through BAC’s inaugural Cage Cunningham Fellowship, established to support artists who embody John Cage and Merce Cunningham’s commitment to artistic innovation. The 2016-17 Fellow, celebrated Russian pianist Alexei Lubimov, generously applied his entire $50,000 award to commission five composers he identified at the forefront of music innovation—including Dessner.

    Program
    Bryce Dessner, N.Y. Premiere, 2018
    Nico Muhly: Clip, N.Y. Premiere, 2017
    Gabriel Kahane: Bluets, 2017
    Gabriella Smith: Tessellations, 2018
    Andrew Norman: Caught, 2017

    Bryce Dessner by Charlotte de Mezamat

    Nico Muhly by Samantha West

    Gabriel Kahane credit Josh Goleman

    Monday, October 15, 2018
    at 8:00 PM

    450 west 37th street
    New York, NY 10018

    $25

    Tickets

    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


    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 2:14 PM on August 17, 2018 Permalink | Reply
    Tags: Nico Muhly, , ,   

    From Nonesuch Records: “Thomas Bartlett (aka Doveman) and Nico Muhly” 

    From Nonesuch Records

    1
    Thomas Bartlett and Nico Muhly Photo: Heidi Solander

    2
    Peter Pears: Ceremonial Music (Remixes)
    August 17, 2018

    Peter Pears: Ceremonial Music Remixes includes reimagined versions of two tracks from Thomas Bartlett (aka Doveman) and Nico Muhly’s 2018 album, Peter Pears: Balinese Ceremonial Music, from E*vax (of Ratatat) and Kid Koala. Drowned in Sound called the album “exceptional … simultaneously tense and light, dramatic and calming, an originality which few albums can fully lay claim to.”

    See the full article here .


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

    Stem Education Coalition

    Nonesuch Records is an American record company and label owned by Warner Music Group, distributed by Warner Bros. Records, and based in New York City. Founded by Jac Holzman in 1964 as a budget classical label, Nonesuch has developed into a label that records critically acclaimed music from a wide range of genres. Robert Hurwitz was president of the company from 1984 to 2017.

    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 4:23 PM on May 22, 2018 Permalink | Reply
    Tags: "Corigliano @ 80", , Nico Muhly   

    From National Sawdust: “Corigliano @ 80” 

    From National Sawdust

    Jeffrey Zeigler (cello), Ursula Oppens (piano), Lara St. John (violin), and Martin Kennedy (piano).

    Wednesday, May 23rd – 7pm

    About the Show

    John Corigliano by J. Henry Fair

    National Sawdust continues its year-long celebration of famed composer John Corigliano’s 80th birthday with a concert highlighting his chamber works. One of his most famous students, Nico Muhly, will host and moderate the evening.

    Nico Muhly by Samantha West

    Muhly, whose collaborations span from Glen Hansard to Björk and Philip Glass, has emerged as one of the most vital composers since the turn of the millennium.

    This final performance, exclusively at National Sawdust, features some of Corigliano’s most notable collaborators over his career: Jeffrey Zeigler (cello), Ursula Oppens (piano), Lara St. John (violin), and Martin Kennedy (piano). [See the full article for images and biographical material on these artists.]

    Program:
    Fancy on a Bach Air
    Violin Sonata
    Phatasmagoria
    Fantasia on an Ostinato
    Chiaroscuro

    Ticketing available only at the full article.

    See the full article here .


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

    Please help promote STEM in your local schools.
    stem
    Stem Education Coalition

    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

    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 9:35 AM on April 12, 2018 Permalink | Reply
    Tags: , , , Nico Muhly, ,   

    From (Le) Poisson Rouge: LPR X: Thomas Bartlett + Nico Muhly – Peter Pears: Balinese Ceremonial Music with Ensemble LPR 

    (Le) Poisson Rouge

    Thu May 24th, 2018

    8:30PM

    Main Space

    Minimum Age: 18+

    Doors Open: 7:30PM

    Show Time: 8:30PM

    Event Ticket: $25

    Day of Show: $35

    Purchase tickets

    Classical

    Contemporary Classical

    Thomas Bartlett + Nico Muhly perform Peter Pears: Balinese Ceremonial Music with Ensemble LPR

    Using Colin McPhee’s transcriptions of Balinese music as a springboard for their own texturally hypnotic dual piano compositions, Thomas Bartlett and Nico Muhly perform a collection of nine new songs. Colin McPhee, whose music inspired tonight’s performance, was the first composer to seriously study the music of Java and Bali, producing a number of transcriptions for two pianos that reimagined the gamelan for Western ears. In turn, Bartlett and Muhly reimagine McPhee’s transcriptions for the 21st Century, borrowing their mesmerising interlocking patterns for a new collaborative album to be released on Nonesuch Records, Peter Pears: Balinese Ceremonial Music – which they will perform in its entirety tonight. They will be joined by members of Ensemble LPR on strings & percussion.

    The record, ten years in the making, was born from Bartlett and Muhly’s shared love of Colin McPhee’s music. McPhee himself was a close friend of Benjamin Britten and his partner Peter Pears – an accomplished musician in his own right, for whom this collaborative project is named.

    The live iteration of a highly anticipated collaboration between Thomas Bartlett, also known as Doveman, and contemporary classical composer Nico Muhly kicks off Le Poisson Rogue’s special 10th anniversary music programme. Bartlett and Muhly will perform their forthcoming record Peter Pears: Balinese Ceremonial Music (Nonesuch Records) in its entirety.

    Ten years in the making, this recording was born from a love of Colin McPhee’s (1900-1964) transcriptions of Balinese ceremonial music for two pianos. The dual pianos translate the complicated overlapping patterns of gamelan music into a stylised, Western approximation. McPhee lived, in 1940, with the composer Benjamin Britten, his partner Peter Pears, W.H. Auden and other artists.

    McPhee and Britten recorded the suite in 1941, and while the recording’s audio quality is dated, it is evocative and points towards the music Britten wrote before his death in 1976. Bartlett and Muhly decided to write a set of nine songs loosely based on the textures and interlocking rhythms from McPhee’s transcriptions, as well as the various resonant sounds from Balinese music, but consolidated into their own stylised processes.

    The project is named after Peter Pears, who, in addition to being Britten’s partner, was an observer and collaborator not just of Britten, but of a larger community of musicians, writers, and thinkers.

    Thomas and Nico have both been frequent contributors to Le Poisson Rouge and we are delighted to welcome them back for this very special 10th Anniversary show where they will be joined by members of Ensemble LPR on strings and percussion.

    1
    Thomas Bartlett. Kevin Yatarola Photography

    Nico Muhly. The New York Times

    See the full article here .

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    (Le) Poisson Rouge Event Tortoise at Le Poisson Rouge, 3-16-2016

    (Le) Poisson Rouge

    (Le) Poisson Rouge is a multimedia art cabaret founded by musicians on the site of the historic Village Gate. Dedicated to the fusion of popular and art cultures in music, film, theater, dance, and fine art, the venue’s mission is to revive the symbiotic relationship between art and revelry; to establish a creative asylum for both artists and audiences.

    LPR prides itself in offering the highest quality eclectic programming, impeccable acoustics, and bold design. The state-of-the art performance space, engineered by the legendary John Storyk/WSDG, offers full flexibility in multiple configurations: seated, standing, in-the-round, and numerous alternative arrangements. The adjoining gallery space — The Gallery at LPR — functions as an art gallery, secondary bar, and event space. A work of art itself, the physical facilities are the embodiment of the experimental philosophy that drives the venue.

    LPR is a source you can trust for exposure to visionary work, people of character, and a consistently dynamic environment. We invite you to immerse yourself in a nightlife of true substance and vitality.

    Venue Highlights

    flexible event space fits 250 fully seated, 700 fully standing, or any combination
    138-capacity soundproof Gallery Bar adjacent to the main space
    28’ x 21’ fixed corner stage
    16’ dia. portable, trundled round stage comprised of 3 individual staging sections
    23’ dia. hardwood sprung dance floor
    engineering by John Storyk/WSDG (Electric Lady Studios, Jazz @ Lincoln Center)
    1 downstage cinema-scale projection screen w/ 5.1 Meyer Surround Sound
    2 upstage movable projection screens
    Yamaha S6B 7’ concert grand piano
    elevated VIP Box & 2 private entrances
    full catering kitchen & planning services
    furnished Green Room w/ en suite restroom

    Previous LPR Artists

    Anna Netrebko • Amon Tobin • Anthony Braxton • The Antlers • Arditti Quartet • Atoms for Peace • Battles • Beck • Bela Fleck • Bill Frisell • Brad Mehldau • Broadcast • Caroline Shaw • Cat Power • Chris Thile • Cut Copy • Dan Deacon • Daniel Barenboim and the West-Eastern Divan Orchestra • David Byrne • Dean & Britta • Death • Debbie Harry • Deerhoof • Deerhunter • Destroyer • Don DeLillo • Emanuel Ax • Erykah Badu • Fiery Furnaces • Florence & The Machine • Flying Lotus • Four Tet • Glen Hansard • Glenn Branca • Gregory Porter • Hélène Grimaud • Hilary Hahn • Hot Chip • Iggy Pop & the Stooges • J. Spaceman • Jeff Mangum • Jeremy Denk • John Adams • John Zorn • Juana Molina • Junip • Justin Vivian Bond • KD Lang • Kronos Quartet • Lady Gaga • Laurie Anderson • Liars • Little Dragon • Living Colour • Lorde • Lou Reed • Lydia Lunch • Lykke Li • Marc-André Hamelin • Marc Maron • Marc Ribot • Matt and Kim • Max Richter • Medeski Martin & Wood • Menahem Pressler • Mike Watt • Moby • Mono • Múm • Nico Muhly • No Age • Norah Jones • of Montreal • Os Mutantes • Patti Smith • Paul Simon • Philip Glass • Raekwon • Reggie Watts • Regina Spektor • RZA • Salman Rushdie • The Shins • Simone Dinnerstein • Sleigh Bells • So Percussion • Spoon • Squarepusher • Steve Reich • Terry Riley • They Might Be Giants • Throbbing Gristle • Tim Hecker • Tori Amos • Toumani Diabaté • Typhoon • Yo La Tengo • Yo-Yo Ma • Yoko Ono

    newsounds.org is an official radio partner of (Le) Poisson Rouge.

    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 9:23 PM on March 4, 2018 Permalink | Reply
    Tags: , , , , , James McVinnie, , , Nico Muhly, Paul Corley, Puzzle Muteson, ,   

    From Bedroom Community: Latest Releases 

    Bedroom Community

    Latest Releases

    12
    Ben Frost The Center Cannot Hold

    13
    Nadia Sirota Tessellatum

    14
    Ben Frost Threshold Of Faith EP

    15
    The Crash Ensemble Ghosts

    16
    Valgeir Sigurðsson DISSONANCE

    17
    James McVinnie Cycles_1

    See the full article here .

    Bedroom Community is an Icelandic record label/collective formed in 2006 by Valgeir Sigurðsson, with Nico Muhly and Ben Frost, later adding Sam Amidon, Daníel Bjarnason, Puzzle Muteson, Paul Corley, Nadia Sirota and James McVinnie to the intimate roster. 2015 saw two new additions to the family being: Emily Hall & Jodie Landau and wild Up.

    11

    4
    Valgeir Sigurðsson

    4
    Nico Muhly

    63
    Ben Frost

    5
    Sam Adidon

    7
    Daniel Bjarnason

    8

    9
    Nadia Sirota

    Like-minded, yet diverse individuals from different corners of the globe all creatively orbit around an inconspicuous building and its inhabitants on the outskirts of Reykjavík Iceland – Greenhouse Studios – where the music is mostly created.

    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

     
  • richardmitnick 8:59 AM on November 5, 2011 Permalink | Reply
    Tags: , , , Nico Muhly   

    From The New York Times: Nico Muhly On Opera and Life 

    Nico Muhly is one of today’s most important composers.

    This article is copyright protected, so just a few notes.

    By VIVIEN SCHWEITZER
    Published: November 4, 2011

    nm
    Nico Muhly

    “Mr. Muhly, 30, whose high-profile commissions include a work for the Metropolitan Opera, said that as a gay man he is particularly interested in the government’s role in personal relationships. He explores a longstanding fascination with polygamy in his chamber opera “Dark Sisters,” a story of a polygamist family in a Mormon offshoot whose children are removed by state officials concerned about child abuse.”

    See the full article here.

     
  • richardmitnick 10:41 AM on October 10, 2011 Permalink | Reply
    Tags: , , , Nico Muhly, ,   

    From Q2 Music: Nico Muhly Discusses His Catalogue 

    i1

    Q2 is the 24/7 New Music Stream from New York Public Radio

    Monday, October 10, 2011

    Nico Muhly has already managed to build not one, but around three or four careers for himself as a composer. With his work on movie scores and indie-rock albums, he has one toe inching towards pop-culture recognition, while keeping one foot firmly in the classical mainstream with a substantial body of pieces composed for the likes of the New York Philharmonic and the English National Opera. And then there are his pet projects, the pieces he and a circle of close friends—folksinger Sam Amidon, singer/keyboardist Thomas Bartlett, electronic artists Ben Frost and Valgeir Sigurðsson, and violist Nadia Sirota—create together in Valgeir’s studio and on tour. But closest to Muhly’s heart is the repertoire of sacred choral music he’s created, drawing on his experiences as a boy chorister to write for music for performance in both churches and concert halls.”

    Listen to Nico Muhly introduce his works.”


    Nico Muhly

    See the full post and listen to some of the pieces here.

     
  • richardmitnick 1:44 PM on July 1, 2011 Permalink | Reply
    Tags: , , , , , Nico Muhly, , ,   

    From Nadia Sirota on Q2 with Olivia Giovetti: “En-gay-gement Party” 

    Nadia Sirota on Q2 streams weekdays at 12:00 noon and midnight at Q2

    I1

    Celebrating gay and lesbian composers

    “Usually, we remember where we were when national tragedy hits. However, I’m willing to bet that we’ll someday be telling our grandchildren where we were on the night of Friday, June 24, when the New York State legislature approved a gay marriage bill—becoming the sixth state of the union to legalize same-sex marriage.

    I got the call when we were leaving the celebratory and life-affirming The Cunning Little Vixen at the New York Philharmonic. Friends in the audience for The Normal Heart heard the news announced from the stage and one friend discovered the passing when he went to take his dog out for an evening walk in the West Village. The amount of love passing around the city and Internet ether was flooring.

    We’re continuing the love this week with a celebration of gay and lesbian composers. We kick off with the jubilant Chichester Psalms by Leonard Bernstein, who, in Alex Ross’s words, was gay “on certain days of the week” and grappled with his sexuality at a time when society was closely closeted (one imagines that he tapped into his own personal struggles when penning his 1983 opera, A Quiet Place).

    We also look at real-life musical partners like Samuel Barber and Gian Carlo Menotti or John Corigliano and Mark Adamo, and even go back in time to hear the radical musical leanings of such greats as Tchaikovsky and Benjamin Britten, while also setting the dial forward to hear works by Corey Dargel, Meredith Monk and Eve Beglarian.”

    At the web page for this program, you will also find an “…archival interview (with music!) between this show’s regular host Nadia Sirota and composer Nico Muhly, which was produced as part of WNYC’s 2009 Homophony Festival.”


    Olivia Giovetti


    Nadia Sirota

     
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