Monthly View

< 2019 >
September
  • 01
    09/01/2019

    8:00 PM
    09/01/2019
    Vox Populi
    319 NORTH 11TH STREET 3RD FLOOR PHILADELPHIA, PA 19107
    Cinghiale (Ken Vendermark & Mars Williams):
    Ken Vandermark began studying the tenor saxophone at the age of 16. His primary creative emphasis is the exploration of contemporary music that deals directly with advanced methods of improvisation. He has worked continuously, both as a performer and organizer in North America and Europe, recording in a large array of contexts with many internationally renowned musicians, such as Fred Anderson, Ab Baars, Peter Brötzmann, Tim Daisy, Hamid Drake, Terrie Ex, Mats Gustafsson, Christof Kurzmann, Fred Lonberg-Holm, Joe McPhee, Paal Nilssen-Love, Paul Lytton, Andy Moor, Joe Morris, and Nate Wooley. His current activity includes work with Made to Break, The Resonance Ensemble, Side A, Lean Left, Fire Room, the DKV Trio, and duos with Paal Nilssen-Love and Tim Daisy.  More than half of each year is spent touring in Europe, North America, and Japan, and his concerts and numerous recordings have been critically acclaimed both at home and abroad. In addition to the tenor sax, Vandermark also plays the bass and Bb clarinet, and baritone saxophone. In 1999 he was awarded the MacArthur Fellowship for music.
    Mars Williams is an open-minded musician, composer and educator who commutes easily between free jazz, funk, hip-hop and rock, Mars has played and recorded with The Psychedelic Furs, Billy Idol, Massacre, Fred Frith, Bill Laswell, Ministry, Power Station, Die Warzau, The Waitresses, Kiki Dee, Pete Cosey, Billy Squier, DJ Logic, Wayne Kramer, John Scoffield, Charlie Hunter, Kurt Elling, Swollen Monkeys, Mike Clark, Jerry Garcia, Naked Raygun, Friendly Fires, The Untouchables, Blow Monkeys and virtually every leading figure of Chicago’s and New York City’s “downtown” scene. Mars manages to stay active on the Chicago underground improvising scene. In recent years he has toured and recorded with the Peter Brötzmann Tentet, Switchback, Full Blast, Scorch Trio, the Vandermark 5, Michael Zerang & The Blue Lights,  Boneshaker, Chicago Reed Quartet, Trio Red Space, Chicago Edge Ensemble, and Cinghiale, teaming him with such musicians as Ken Vandermark, Hamid Drake, Michael Zerang, William Parker, Ikue Mori, Kent Kessler, Fredric Lonberg Holm, Peter Brotzmann, Joe McPhee, Jeb Bishop, Tim Daisy, Ingebrigt Haker Flaten, Paal Nilssen-Love, Ab Baars, Mike Reed, Jeb Bishop, Harrison Bankhead, Dave Rempis, Kidd Jordan and Matts Gustafson.
    Steve Marquette:
    Steve Marquette is a guitarist, improviser and organizer based out of Chicago, IL. Over the past decade he has become an integral part of the city’s storied and vibrant improvised music community, in ensembles of his own (The Few with Macie Stewart and Charlie Kirchen, Kobra Quartet, Instigation Orchestra) and as a member of Ken Vandermark’s Marker among other projects. In addition to his work as a musician, he is also a founder and lead organizer of the Instigation Festival – which brings together music, movement and video artists from Chicago and New Orleans for a week of interdisciplinary collaboration in each city. Using both acoustic and electric guitars, Marquette’s solo music explores the intersections between free improvisation, folk traditions and the guitar as “sound box.”
  • 03
    09/03/2019

    5:00 PM-7:00 PM
    09/03/2019
    The Wine Garden
    5019 Baltimore Ave, Philadelphia, PA 19143, USA
    Sarah Ruth Alexander
    Elliott Levin
    Nazir Ebo
    Brian Nothing
    Sarah Ruth Alexander-
    is a diverse musician and artist- a multi instrumentalist, she employs hammered dulcimer, harmonium, electro acoustic sound art and extended vocal techniques. She performs frequently both solo and with multiple bands and improvisational ensembles in the north Texas area. Sarahruthalexander.com
    Elliott Levin =Free jazz monster
    Elliottlevin.com
    Nazir Ebo- an amazing drummer from west philly. A true drum prodigy
    Brian Nothing- from punk to free jazz Brian is a multi- instrumentalist with lots of energy.
  • 16
    09/16/2019

    7:00 PM
    09/16/2019
    Discovery Center
    3401 Reservoir Drive, Philadelphia, PA 19121, USA
    An evening of New Music, Dance, and Earthly Delights featuring

    Bonnie Lander: Voice
    Batya McAdam‐Somer: Violin
    performing
    György Kurtág’s Kalfka Fragments

    Peter Redgrave: Movement
    performing his new solo work
    The Audition

    Argyle Torah (Aaron Pond + Thomas Patteson)
    performing
    Improvisations of Man and Machine

    Suggested Donation $5-15
    Not a single soul turned away for lack of funds

    About!!!!!!!

    Bonnie Lander (soprano) and Batya Macadam-Somer (violin):
    classically trained musicians who specialize in collaborative new chamber music. After meeting in 2011 at the UC San Diego graduate program, Batya and Bonnie have been collaborating on a variety of projects including new chamber music, folk music, original music, and improvised performance.
    About “Kafka Fragments”: Composed in the 1980’s by Hungarian composer György Kurtág, Kafka Fragments is a concert-length chamber piece for voice and violin comprised 40 miniature works that each set a different fragment of text from Franz Kafka’s journals and letters.

    Peter Redgrave:
    an interdisciplinary artist and educator based in Baltimore, Maryland. He creates movement based performances, dances, but they are not really dances. He has trained with Butoh dancers, contact improvisors, clowns, and he skateboarded for years. He is trying not to fall down as much.
    He is currently touring the first section of his newest solo project. It has a working title, “The Audition.” It is an investigation into the show biz machine.

    Argyle Torah
    Thomas Patteson + Aaron Pond are buds spiraling out from soil in delicate procedures. The difference- small. Both befriend the spirit of the sun. Thomas channels UV rays through circuits into pure aurality. Aaron makes petals ruminate.

  • 18
    09/18/2019

    8:00 PM
    09/18/2019
    University Lutheran Church
    3637 Chestnut St, Philadelphia, Pennsylvania 19104
    A new chamber formation brings together Josh Modney, Mariel Roberts, and Eric Wubbels, three of the leading musicians of the New York new music scene, whose playing draws on over a decade of experience playing together in the Wet Ink Ensemble and Mivos Quartet. Their debut program features if and only if , a new large-scale work by Eric Wubbels, written over an extended period of close collaboration with Modney and Roberts. if and only if combines a microscopic attention to tuning, acoustic beating, and instrumental vibration with an austerity and simplicity derived from Medieval music.
    PROGRAM
    if and only if (2018-19)
    for violin, cello, and piano
    by Eric Wubbels
    I. endings
    II. tombeau
    III. Hz spectrum
    IV. canon spiralis
    V. antistrophe
    VI. oxygen
    VII. second per second
    VIII. haven
    ABOUT THE ARTISTS
    Josh Modney is a violinist devoted to creative music-making. A “new-music luminary,” “superb violinist” (The New York Times), and “multitasking virtuoso” (The New Yorker) hailed for “jaw-dropping technical skill…” and as “one of today’s most intrepid experimentalists” (Bandcamp Daily), Modney collaborates with a wide array of renowned ensembles and artists as part of a broad scene of adventurous music that thrives at the nexus of composition, improvisation, and interpretation. Modney is violinist and Executive Director of the Wet Ink Ensemble and a member of the International Contemporary Ensemble (ICE), and performed with the Mivos Quartet for eight years, a vital new-music string quartet he co-founded in 2008. Modney’s fresh and versatile approach to the violin and uniquely dynamic performance practice has made him a highly sought-after collaborator. He has worked closely on new solos and duos with composers including Kate Soper, Alex Mincek, Eric Wubbels, Sam Pluta, Andrew Greenwald and Rick Burkhardt, as well as projects with major figures including Kaija Saariaho, Mathias Spahlinger, Helmut Lachenmann, George Lewis, Pauline Oliveros, Christian Wolff, and Peter Ablinger.
    American cellist Mariel Roberts is widely recognized not just for her “virtuosic” performances, but as a “fearless explorer” (Chicago Reader) in her field. Her ravenous appetite for collaboration and experimentation as an interpreter, improvisor, and composer have helped create a body of work which bridges avant-garde, contemporary, jazz, classical, and traditional music. Roberts is widely recognized for her “technical and interpretive mastery” (I care if you listen) and for performances which seethe with “excruciating intensity” (The Whole Note). Roberts has appeared as a soloist and chamber musician across four continents, most notably as a member of the Mivos Quartet, Wet Ink Ensemble, International Contemporary Ensemble (ICE), Bang on a Can All Stars, and Ensemble Signal. She performs regularly on major stages for new music such as the Lincoln Center Festival (NYC), Wien Modern (Austria), Lucerne Festival (Switzerland), Cervantino Festival (Mexico), Klang Festival (Denmark), Shanghai New Music Week (China), Darmstadt Internationalen Ferienkurse für Neue Musik (Germany), and Aldeburgh Music Festival (UK). Roberts has been featured as a chamber musician on recordings for Innova, Albany Records, New World Records, New Amsterdam, Carrier Records, New Focus, and Urtext Records. Roberts’ compositions have been performed at venues such as Merkin Hall and Miller Theater in New York City. Roberts has released two solo albums of new works commissioned for her. The first, “Nonextraneous Sounds” (2012), was noted for it’s “technical flair and exquisite sensitivity” (Composers Forum). 2017’s “Cartography” solidified Roberts’ position as “one of the most adventurous figures on New York’s new music scene—one with a thorough grounding in classical tradition but a ravenous appetite for and tireless discipline in new work.” (Bandcamp).
    Eric Wubbels is a composer and pianist, and a Co-Director of the Wet Ink Ensemble. His music has been performed throughout Europe, Asia, Australia, and the U.S., by groups such as Wet Ink Ensemble, Mivos Quartet, yarn|wire, Splinter Reeds, Kupka’s Piano (AUS), SCENATET (DK), Hong Kong New Music Ensemble, and featured on festivals including Huddersfield Festival (hcmf//), LA Phil Green Umbrella Series, Chicago Symphony MusicNOW, New York Philharmonic CONTACT, MATA Festival, and Zurich Tage für Neue Musik. Wubbels has been awarded grants and fellowships from the American Academy of Arts and Letters, NYSCA / New York Foundation for the Arts, Chamber Music America, ISSUE Project Room, MATA Festival, Barlow Endowment, and Jerome Foundation, and residencies at the MacDowell Colony (2011, 2016), Copland House, L’Abri (Geneva), Djerassi Resident Artists Program, and Civitella Ranieri Center (Italy). As a performer, he has given U.S. and world premieres of works by major figures such as Peter Ablinger, Richard Barrett, Beat Furrer, George Lewis, and Mathias Spahlinger, as well as vital young artists such as Rick Burkhardt, Francesco Filidei, Erin Gee, Bryn Harrison, Clara Iannotta, Darius Jones, Cat Lamb, Ingrid Laubrock, Charmaine Lee, Alex Mincek, Sam Pluta, Katharina Rosenberger, and Kate Soper. He has recorded for Carrier Records, hatART, Intakt, New Focus, Spektral (Vienna), quiet design, and Albany Records, among others, and has held teaching positions at Amherst College and Oberlin Conservatory.
  • 20
    09/20/2019

    7:30 PM-8:30 PM
    09/20/2019
    Cherry Street Pier
    121 N. Columbus Blvd., Philadelphia, PA 19106
    George Crumb – The River of Life
    FRIDAY, SEPTEMBER 20, 2019
    7:30pm – 8:30pm
    Cherry Street Pier
    121 N. Columbus Blvd., Philadelphia, PA 19106
    Get Directions
    FREE and open to the public


    PROGRAM:

    George Crumb’s

    The River of Life (2003)

    (American Songbook I – A Cycle of Hymns, Spirituals, and Revival Tunes)

    1. Shall We Gather at the River?
    2. Will There Be Any Stars In My Crown?
    3. Amazing Grace!
    4. Give Me That Old Time Religion
    5. Time is a Drifting River: A Psalm for Daybreak and Morning (instrumental)
    6. Were You There When They Crucified My Lord?
    7. One More River to Cross (Noah’s Ark: A Humoresque)
    8. Nearer, My God to Thee

    9. Deep River

     
    Chrystal E. Williams, mezzo-soprano
    Mark Loria, conductor
    Marcantonio Barone, piano
    William Kerrigan, percussion
    Malavika Godbole, percussion
    Phillip O’Banion, percussion
    Brenda Weckerly, percussion
    The seven volumes of George Crumb’s American Songbooks are the Pulitzer Prize-winning composer’s explorations of America’s folk song heritage that include stunning transformations of African-American spirituals, Appalachian ballads, Native American chants, New England hymns, Southern revival songs, Western cowboy tunes, and in one volume, more popular folk music by Bob Dylan and Pete Seeger.
    Each volume was written for, dedicated to, premiered and recorded first by Orchestra 2001 as it emerged from Mr. Crumb’s suburban Philadelphia studio over a period of a decade. There are few examples in modern classical music in which a composer of such stature has written so much music for a specific ensemble. We believe this cycle to be one of the most unique and beautiful celebrations of America’s folk heritage any artist has ever conceived.  
    Volume I, The River of Life  (2003) – Songs of Joy, and Sorrow – A Cycle of Hymns, Spirituals and Revival Tunes for Voice, Percussion Quartet, and Amplified Piano, contains nine of Crumb’s sometimes haunting, sometimes hilarious, always magical settings of American folk songs surrounded by the myriad colors of his astonishing music.
    The River of Life is scored for more than 130 different percussion instruments including bosun’s (boatswain) whistle, log drums, Appalachian musical saw, Chinese cymbals and temple gongs, Japanese temple bells and kabuki blocks, Tibetan prayer stones, Indian ankle bells, Thai wooden buffalo bells, Cambodian anklung, frog voice guïro, Moroccan bendir, Swiss almglocken (large cowbells), water-tuned crystal goblets, toy piano, and a number of instruments played underwater.
    Audience members of all ages are invited on stage after the performance for an informal Percussion Petting Zoo: come see the instruments up close!
Scroll to top