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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
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.
“One of the groups that has really helped to shape the future of classical music.” – NPR on yMusic
BAC PRESENTS
yMUSIC
PERFORMING NEW WORKS BY
BRYCE DESSNER AND NICO MUHLY BUY TICKETS
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. The new album-length work by Dessner was commissioned in 2016 through BAC’s inaugural Cage Cunningham Fellowship .
Also receiving its N.Y. Premiere is Nico Muhly ’s highly kinetic Clip . The two new works are presented alongside compositions by Gabriel Kahane , Andrew Norman , and Gabriella Smith .
yMusic
Featuring a N.Y. Premiere by Bryce Dessner
Jerome Robbins Theater
Oct 15 / Mon at 7:30PM
Lucy Guerin was a fixture in NYC’s downtown dance scene in the 1990’s, performing with Tere O’Connor , Bebe Miller , and Sara Rudner . Now one of Australia’s leading dance-makers, she returns to New York as part of a global tour to 17 cities worldwide with Split , a riveting and intense duet for two women that explores ever-diminishing dimensions of space and time. Set to a driving musical score by UK composer Scanner , Split is a “ruminative, poignant and provocative” ( The Australian ) structural meditation rendered in movement.
Lucy Guerin Inc
Split (U.S. Premiere)
Jerome Robbins Theater
Oct 11-13 / Thu-Sat at 7:30PM
FROM OUR FRIENDS
NEW YORK LIVE ARTS
ROSEANNE SPRADLIN
Y (WORLD PREMIERE)
RoseAnne Spradlin presents the world premiere of her latest work Y with a cast of eight dancers in an exploration of form and transformation through systems of repetition. The work was developed in part at BAC during a
Spring 2018 BAC Space Residency .
BAC is the realization of a long-held vision by artistic director Mikhail Baryshnikov, who sought to build an arts center in New York City that would serve as a gathering place for artists from all disciplines. BAC’s opening in 2005 heralded the launch of this mission, establishing a thriving creative space for artists from around the world. Located in the Hudson Yards neighborhood of Manhattan, BAC comprises a total of 20,000 square feet, including the 238-seat Jerome Robbins Theater, which opened in 2010; the Howard Gilman Performance Space, a black box performance space seating 136 people; four column-free studios; and office space. BAC serves approximately 500 artists and more than 22,000 audience members annually through presentations and artist residencies.
Paul Simon‘s upcoming 14th solo album, In the Blue Light, features the iconic songwriter’s deep cuts reworked, rearranged and rethought. On three of its tracks, Simon appears alongside New York chamber ensemble yMusic, a sextet notable for blurring the lines between classical-minded indie rockers and accessible bouts of 21st-century composition. Now in their 10th year, yMusic perform as both composers and accompanists, comfortable with collaborators like Sufjan Stevens, Ben Folds, St. Vincent and Dirty Projectors as well as acclaimed young composers like Timo Andres, Nico Muhly and Richard Reed Perry.
Their highest-profile collaborator, of course, is Simon, who has taken them out on the road for Homeward Bound — the Farewell Tour, the group performing alone with him each night for 1983’s “Rene and Georgette Magritte With Their Dog After the War” and 1990’s “Can’t Run But.” Rolling Stone talked to yMusic brass player C.J. Camerieri and violist Nadia Sirota about their collaborations with Simon and their unique position with a life split between Carnegie Hall and arena shows.
How did you find out Paul Simon wanted to work with you?
C.J. Camerieri: Well, I joined Paul’s band about five years ago as sort of a trumpet, French horn, keyboard guy. … My first day of rehearsals we had just gotten a first round of mixes back for our second record [2014’s Balance Problems]. Paul and I had talked before that day of rehearsal a lot about classical music, and I knew he was really into, conceptually, what we did, but he had never heard the group before. So I just said to him at the end of the rehearsal, “Hey! Would you mind taking a listen to the first round of mixes we have and let me know what you think?” He said, “I’d love to.”
So, the next day he came into rehearsal with a ton of mix notes. He said, “First of all, I love the record, I love what you’re doing, I think it’s the most awesome music I’ve heard in a long time.” And then he said, “Feel free to only remember that part of what I’m saying, and disregard all of the following.” And then he had really, really specific mix notes. He had really, really specific and amazing ideas … all of which we took.
He came and saw us play, [it was a] collaborative project we did with Bill T. Jones a couple years ago, and he wanted to come back and meet everybody else in the group, and the first thing he said to everybody was, “We should find a way to do something together!” And we were all like, “Sure!” But, like, that’s probably not gonna happen.
yMusic has been involved with the Eaux Claire festival, which is run by Justin Vernon, since its inception. And it’s a festival that really puts new collaboration and new works at the forefront. … So I said to Justin Vernon, who runs it, “If I could get yMusic and Paul to do something, could we headline the festival?” … [T]he idea was we would take 10 Paul Simon songs that we love, and have his favorite 10 yMusic composers each write a unique arrangement for each one of those songs for the seven of us to perform. And the arrangers, well, because they weren’t arrangers, they were composers, they were tasked to make the arrangements really specific to their own compositional voice. … It was really, really fun, and Paul was like, “We should record a couple of these!”
When you and Paul were originally having conversations about classical music, what were the points you shared as far as interests?
Sirota: Paul’s a really interesting listener of music. I think you can probably hear that all throughout his career, he’s always kind of pulling influences from different places, or pulling collaborators from different locations. … One of the things that was really interesting for me to hear, is that in his most recent record, Stranger to Stranger, he used all these instruments that were created by Harry Partch, all these sort of microtonal instruments. So, he, obviously has a really out-there listening style and listening habit. … Honestly, like, I think the most voracious musicians of every genre are always listening to things … just kind of the best stuff from all of these places. So, it wasn’t like there was a huge learning curve, or even translation curve. I feel like all of the references we had were well within his wheelhouse.
When he would talk about Graceland, he would say the South African records he would hear reminded him of the Fifties doo-wop he grew up loving. A lot of these young composers are sort of playing with the traditions of American minimalism and repetition of that has a lot of similarities with pop music. Do you think that’s the appeal for him?
Sirota: You know, I’m not exactly sure that that is the perfect read on it. I actually think that it might have a little bit more to do with the fact that this younger generation of music composers – not even composers, just music listeners and music appreciators – with the Internet, we have so much more access to so many more different types of styles and genres. … And I think similarly, these composers that we work in, you know, a lot of them were in garage bands growing up, and a lot of them have incredibly catholic taste in terms of what they listen to, and I think they have that in common with Paul.
He is just such a crazy original, strange musical thinker. And that is obviously where he is exceptional. But any way I thought this collaboration might have gone going into it was completely turned upside down by the reality of it. He is just a very specific type of musician, it’s hard to explain.
Camerieri: Yeah, and I am very ambitious for yMusic, and we all are… but I never would have thought we’d do a song like “Rene and Georgette Magritte with Their Dog After the War” in arenas all over the world, playing for between 12,000 and 90,000 people a night. I mean that is a deeper cut song, with a sort of modernist, French surrealist arrangement, and Paul was like, “We should put that in the middle of the show. You guys will come down front, and the arenas will love it.” And we were like, “Will they?” And then he was right! … I think he’s trained his audiences over the past 60 years to have open ears, and to be ready for anything, including Brazilian drumming, African guitar playing, folk music, Brian Eno or contemporary classical music.
yMusic. From: Hideaki Aomori, Rob Moose, C.J. Camerieri, Nadia Sirota, Gabriel Cabezas, Alex Sopp. Credit: Graham Tolbert
You guys have certainly played with a wide a varying list of musicians, but the arena thing is definitely different.
Sirota: C.J.’s gotten far more experience on this type of a tour than I do, so I was probably even more bowled over by the size of these spaces, and the fact that you’re, like, in a backstage environment that is decidedly designed for hockey players [laughs]. The flute player in yMusic, Alex Sopp, and I share a dressing room, which often … has a lot of urinals and communal showers, so that’s like a very new experience for us.
Camerieri: There’s a great moment at the end of “Rene and George Magritte With Their Dog After the War” where the photograph that the song was based on comes up on the screen behind us. And the first couple of shows, the audience saw the photograph — the song was pretty much over even though yMusic still had a couple of things to play — and so they would applaud. And they would sort of clap over the end of the arrangement, but we loved the end of the arrangement and it really sort of ties the whole song together, so we were like, “How can we get them not to applaud? How can we control 15,000 people with like really soft viola, cello, flute 16th notes?” Taking the same sort of feeling, where you don’t want people to clap between a movement, so you hold the tension, and you keep your instrument up, and you stay, like, really musically intense. It’s amazing to do that on a Jumbotron for 15,000 people, and get them not to clap.
Sirota: Yeah, so fun.
Camerieri: Yeah, it’s really, really fun, and when it works, Paul will look over and smile and be like, “You guys did it!” And, when it doesn’t work, it was because they really loved it.
It’s funny that you’re going from arena to arena, with the goal of making people not clap.
Sirota: I know!
Camerieri: Yeah! Totally. We want them to hear the last little note, because the last note is so good!
Sirota: To be honest though, I think we went into this feeling like, probably what was gonna happen was a bunch of people were gonna be talking, people would pee during our set, they would sort of treat that like an intermission, and come back when the band starts slammin’ again. And truth be told, that’s the absolute opposite of what happened. I mean, I’m blown away by that experience.
What was your relationship with popular music growing up?
Camerieri: I never listened to pop music, until I went to Juilliard. I grew up only listening to jazz music, just playing jazz and studying jazz. And, yeah, I had no relationship with pop music until I went to Juilliard, and then it was like, I threw myself into classical music, and popular music, but I was 18 or so. … Nadia, you had some Graceland on the stereo growing up, right?
Sirota: Definitely listened to Graceland growing up. Both of my parents were in the classical music world, and I grew up not just in the classical musical world, but in the new music world, with a dad who was a composer, and all my parents’ friends were classical musicians. So, I didn’t have the most robust non-classical music education, until we moved to Connecticut when I was nine and got cable. And then I think when I was around 10 or 11, I started sneaking MTV on the, like, jump button on my remote control, with PBS on the other channel. So, that when my parents came into the room, they wouldn’t notice that I was watching. like, whatever music video. And it wasn’t that they had banned it, I just felt like it was something that should bring me guilt, so I, like, self-policed it. The Graceland album and some Simon & Garfunkel was pervasive in my household … because of my older brother, who was a big fan.
The indie-rock all-stars that you guys have collaborated with, when you bond with these people are the conversations more about classical music, or more about rock records?
Camerieri: We never, ever, ever, in my conversations, classify anything as anything. … It’s very, very fluid. Like touring with Bon Iver on the tour bus, it would be Kendrick Lamar one second, and then a Steve Reich piece, and then a Thomas Adès piece, and then a Paul Simon song.
Sirota: Interesting musicians are interesting musicians. I just remember this one time that I was at the composer Nico Muhly’s house, and [Arcade Fire’s] Richard Reed Parry was there, and he was like, “Oh, man, have you guys heard this composer Arnold Dreyblatt?” Which I hadn’t. And he is just this super-out composer who writes microtonal, like, post-minimal dance music or something [laughs]. Richie, to me, is somebody who is just a musical omnivore, and is constantly finding new stuff, and listening to new stuff, and finding new records, and, like, funneling it to me, and definitely I find him to be the source for a lot of new stuff that I listen to, no matter where it comes from. … I think that kind of cultural omnivore-ism is maybe the baseline for all these relationships.
Camerieri: Yeah, we have friends that play mostly rock & roll, and folk music. A few of them have a matching Steve Reich tattoo. And, like, that’s not weird in our world.
Do you think that Paul is serious, that this is going to be the end of his touring?
Camerieri: Uh, yeah. I think that he is excited to pursue other things, and let his curiosity take him many, many different places. I don’t think it’s the last we’ll ever hear of him, but as far as doing a tour, absolutely, I take him at his word. … I think that he wants to sort of go out on top, and on this amazing tour. But who knows? I certainly would love it if he continued making music.
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
Sep 19 / Wed at 7:30PM
Howard Gilman Performance Space
BAC Salon: Szymanowski, Berio + Debussy
Alexandra Smither, soprano
A program of turn of the 20th century masterworks for string quartet performed by the refined Tesla Quartet and Canadian rising star Alexandra Smither in her first New York appearance.
Sep 19 / Wed at 7:30PM
Howard Gilman Performance Space
Lucy Guerin Inc
Split (N.Y. Premiere)
“Ruminative, poignant and provocative” (The Australian), this duet for two women revels in the sharp, elegant choreographic investigations by one of Melbourne’s leading dance-makers. Set to a musical score by U.K. composer Scanner.
Oct 11-13 / Thu-Sat at 7:30PM
Jerome Robbins Theater
Tickets: $25
866 811 4111 Buy Now
yMusic courtesy of yMusic
yMusic
Featuring a N.Y. Premiere by Bryce Dessner
yMusic applies its virtuosic execution and unique ensemble configuration (string trio, flute, clarinet, and trumpet) to a N.Y. Premiere by Bryce Dessner — a work commissioned through BAC’s Cage Cunningham Fellowship.
BAC is the realization of a long-held vision by artistic director Mikhail Baryshnikov, who sought to build an arts center in New York City that would serve as a gathering place for artists from all disciplines. BAC’s opening in 2005 heralded the launch of this mission, establishing a thriving creative space for artists from around the world. Located in the Hudson Yards neighborhood of Manhattan, BAC comprises a total of 20,000 square feet, including the 238-seat Jerome Robbins Theater, which opened in 2010; the Howard Gilman Performance Space, a black box performance space seating 136 people; four column-free studios; and office space. BAC serves approximately 500 artists and more than 22,000 audience members annually through presentations and artist residencies.
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
It’s our Anniversary! Ten years ago to the day, we had our first meeting to discuss our wild dreams for starting a new group together. We sit now and reflect on our shared history, how much we truly cherish each other, and what a crazy and beautiful journey it has been – and we hope it continues to be. The cinco de mayo is our favorite holiday. ¡Felicidades!
Alex Sopp
C.J. Camerieri
Gabriel Cabezas
Hideaki Aomori
Nadia Sirota
Rob Moose
Hailed by Performance Today’s Fred Child as “one of the groups that has really helped to shape the future of classical music,” yMusic is a group of six New York City instrumentalists flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration (string trio, flute, clarinet, and trumpet) has attracted the attention of high profile collaborators—from Paul Simon to Ben Folds to Jose Gonzalez—and inspired an expanding repertoire of original works by some of today’s foremost composers, including Nico Muhly and Andrew Norman.
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
Saturday June 23, 2018 | 8:00 pm | Sarasota Opera House Tickets
The world premiere of Robert Sirota’s Luminous Bodies, commissioned by the Sarasota Music Festival, is the focal point of a program you will find captivating. The work’s title, “Luminous Bodies,” refers to the composers Sirota found most influential: Gershwin, Copland, Lili Boulanger, Fanny Mendelssohn (Felix Mendelssohn’s sister), and Leonard Bernstein. One of music’s great geniuses, Mozart set a new standard for all who came after—especially in his piano concertos, which he intended for himself as soloist. The Piano Concerto No. 14, composed at the height of Mozart’s popularity as a performer, mixes the energy of comic opera with the grace of Classical form. From the opening invocation of joy to the jubilant horn calls in the finale, Schumann’s Symphony No. 3 will bring a grand and joyful conclusion to the 2018 Festival.
Program
MOZART
Piano Concerto No. 27 in B flat, K. 595
Jeffrey Kahane, pianist
Jeffrey Kahane, piano
SIROTA
Luminous Bodies*
Jeffrey Kahane, piano; yMusic
yMusic. No image credit
*World Premiere performance. Luminous Bodies was commissioned by the Sarasota Music Festival.
About Robert Sirota:
Over four decades, composer Robert Sirota has developed a distinctive voice, clearly discernible in all of his work – whether symphonic, choral, stage, or chamber music. Writing in the Portland Press Herald, Allan Kozinn asserts: “Sirota’s musical language is personal and undogmatic, in the sense that instead of aligning himself with any of the competing contemporary styles, he follows his own internal musical compass.”
Robert Sirota’s works have been performed by orchestras across the US and Europe; ensembles such as Alarm Will Sound, Sequitur, yMusic, Chameleon Arts, and Dinosaur Annex; the Chiara, American, Ethel, Elmyr, and Blair String Quartets; the Peabody, Concord, and Webster Trios; and at festivals including Tanglewood, Aspen, Yellow Barn, and Cooperstown music festivals; Bowdoin Gamper and Bowdoin International Music Festival; and Mizzou International Composers Festival. Recent and upcoming commissions include the American Guild of Organists, the American String Quartet, Alarm Will Sound, the Naumburg Foundation, Concert Artists of Baltimore, and yMusic.
Recipient of grants from the Guggenheim Foundation, United States Information Agency, National Endowment for the Arts, Meet the Composer, and the American Music Center, Sirota’s works are recorded on the Capstone, Albany, New Voice, Gasparo and Crystal labels. His music is published by Muzzy Ridge Music, Schott, Music Associates of New York, MorningStar, Theodore Presser, and To the Fore.
A native New Yorker, Sirota studied at Juilliard, Oberlin, and Harvard and divides his time between New York and Searsmont, Maine with his wife, Episcopal priest and organist Victoria Sirota. They frequently collaborate on new works, with Victoria as librettist and performer, at times also working with their children, Jonah and Nadia, both world-class violists.
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
We are excited to be reaching out with so many pieces of fantastic news! Last week, we headed out for our first concert dates of 2018. We’ve begun in LA for a residency w/ USC’s composition and dance department. Next, we drop by Lansing for a residency and performance at MSU, followed by a recital in Detroit. Dates and info below:
4/4: 2 free shows, 5 & 8:30pm, at USC’s Glorya Kaufman International Dance Center. RSVP here.
4/6: 8pm yMusic recital at Fairchild Theatre, Lansing MI Tickets here.
4/7: 8:30pm yMusic recital at The Cube, Detroit MI Tickets here
At the end of April, we begin rehearsals with Paul Simon for “Homeward Bound: The Farewell Tour.” We are super honored to be joining Paul and his band for an extensive tour of North America and Europe. In addition to joining forces with the touring band, yMusic will also accompany Paul on its own for a few featured numbers each night. Dates were recently announced, and more information is available on Paul’s website.
Additionally, in late June, we will return to Sarasota Music Festival to premiere an exciting new work for yMusic and pianist, Jeffrey Kahane, written by Robert Sirota. It’s the festival’s very first commission, and we couldn’t be more thrilled to be a part of it.
See a synopsis of the full article received via email here .
Alex Sopp
C.J. Camerieri
Gabriel Cabezas
Hideaki Aomori
Nadia Sirota
Rob Moose
Hailed by Performance Today’s Fred Child as “one of the groups that has really helped to shape the future of classical music,” yMusic is a group of six New York City instrumentalists flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration (string trio, flute, clarinet, and trumpet) has attracted the attention of high profile collaborators—from Paul Simon to Ben Folds to Jose Gonzalez—and inspired an expanding repertoire of original works by some of today’s foremost composers, including Nico Muhly and Andrew Norman.
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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
We are thrilled to announce that this summer we will be joining “Homeward Bound- The Farewell Tour,” as featured performers alongside Paul Simon and his band.
In Paul’s own words: “I’ve often wondered what it would feel like to reach the point where I’d consider bringing my performing career to a natural end. Now I know: it feels a little unsettling, a touch exhilarating and something of a relief. I love making music, my voice is still strong, and my band is a tight, extraordinary group of gifted musicians. I think about music constantly. I am very grateful for a fulfilling career and, of course, most of all to the audiences who heard something in my music that touched their hearts.”
The tour begins May 16 in Vancouver, and covers the US, Canada and Europe.For tickets and more details, visit Paul’s website (link below!)
Alex Sopp
C.J. Camerieri
Gabriel Cabezas
Hideaki Aomori
Nadia Sirota
Rob Moose
Hailed by Performance Today’s Fred Child as “one of the groups that has really helped to shape the future of classical music,” yMusic is a group of six New York City instrumentalists flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration (string trio, flute, clarinet, and trumpet) has attracted the attention of high profile collaborators—from Paul Simon to Ben Folds to Jose Gonzalez—and inspired an expanding repertoire of original works by some of today’s foremost composers, including Nico Muhly and Andrew Norman.
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
First: Our third album, released February 17, 2017 on our newly-formed label, Communal Table Records. “First” was written entirely by Ryan Lott (Son Lux) and recorded in New York City at Reservoir Studios in just 2 days. Produced by Thomas Bartlett and engineered by Pat Dillett, the goal was to capture the sound of the group nailing the material for the very first time, preserving the excitement of those initial performances. Visit our store to purchase the album.
Balance Problems: yMusic’s sophomore effort, out September 30, 2014 on New Amsterdam Records. “Balance Problems” was recorded in the lovely Phish Barn in Vermont, engineered by Alex Venguer and produced by Son Lux. The pieces were written by Nico Muhly, Marcos Balter, Andrew Norman, Jeremy Turner, Timo Andres, Mark Dancigers and Sufjan Stevens.Click here to buy our album from Bandcamp.
Year of the Dragon: yMusic’s lone EP and piece of vinyl, all rolled into one! We were offered the opportunity to make a limited edition, 7″ by Record Collection Music, and jumped at the chance. The amazing artwork was done by our flutist, Alex Sopp, and the EP features a new recording of Sufjan Stevens’ electronic work, Year of the Dragon, as well as a short piece by Gabriel Kahane. The recordings were made during the “Balance Problems” sessions in Vermont. Click here to buy our EP from Record Collection
Upcoming Shows
DateCityLocation
04/04/18 Los Angeles, CA Glorya Kaufman International Dance Center, USC US
Time: 5:00pm. Age restrictions: All Ages. Shows at 5pm and 8:30pm Buy Tickets
04/06/18 East Lansing, MI Fairchild Theatre, MSU US
Time: 8:00pm. Age restrictions: All Ages. Buy Tickets
04/07/18 Detroit, MI The Cube US
Time: 8:30pm. Age restrictions: All Ages. Buy Tickets
Alex Sopp
C.J. Camerieri
Gabriel Cabezas
Hideaki Aomori
Nadia Sirota
Rob Moose
Hailed by Performance Today’s Fred Child as “one of the groups that has really helped to shape the future of classical music,” yMusic is a group of six New York City instrumentalists flourishing in the overlap between the pop and classical worlds. Their virtuosic execution and unique configuration (string trio, flute, clarinet, and trumpet) has attracted the attention of high profile collaborators—from Paul Simon to Ben Folds to Jose Gonzalez—and inspired an expanding repertoire of original works by some of today’s foremost composers, including Nico Muhly and Andrew Norman.
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
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By WILLIAM ROBIN
February 3, 2012
“Over an eight-day stretch in December members of the chamber sextet yMusic finished a Midwest tour with the folk band Bon Iver; accompanied the indie-rock acts My Brightest Diamond and the National at the Beacon Theater; played with the New York Philharmonic; performed in the Radio City Christmas Spectacular; and participated in recording sessions for the singer and songwriter Beth Orton, the band Dirty Projectors and Trey Anastasio, the frontman of Phish.
For yMusic the difference between hip-hop and classical music is more an issue of performance practice than of impassable boundaries, a shift of style rather than genre. As members of Generation Y — hence the group’s name — the players grew up with the Internet, whose breakdown of artistic barriers has informed the ensemble’s outlook. Its versatility serves not only unclassifiable composers like Mr. Lott but also more conventional ones who weave pop idioms into their music.
yMusic
Rob Moose, violin
CJ Camerieri, trumpet
Clarice Jensen, cello
Alex Sopp, flute
Hideaki Aomori, reeds
Nadia Sirota, Viola
Nadia Sirota
This approach intersects with that of the Ecstatic Music Festival, which is in its second season at Merkin Concert Hall. Judd Greenstein, the festival’s curator, prizes yMusic’s open ears.”
MusicSprings 
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