There is no filming of performances without the prior knowledge and consent of *both* the performer and the venue. Please email info@aretevenue to obtain consent. Thank you for your cooperation.
There is no filming of performances without the prior knowledge and consent of *both* the performer and the venue. Please email info@aretevenue to obtain consent. Thank you for your cooperation.
Through the Looking Glass is a solo violin recital featuring the premiere of Anna Heflin’s piece, “The Garden of Live Flowers.” Her piece conceptually places the violinist within Carroll’s book, featuring the scene with talking flowers. The immersive spatial elements in Heflin's piece are mirrored in both Berio’s Sequenza VIII for Violin and Bach’s Chaconne from the D minor Partita, where the use of space represents the passage of time. These three pieces represent the pinnacles of violin technique across three very different time periods.
Four vocalist-composers explore improvisatory musical landscapes in shared communication as part of the development of four new pieces they are creating for each other.
The Bennardo-Larson Duo is a contemporary classical duo committed to the performance of forward thinking works for violin and piano. Comprised of Maya Bennardo (violin) and Karl Larson (piano), the duo was formed in 2016 when they undertook the task of learning and performing Charles Ives’s complete works for violin and piano. Since then, the duo has become known for their annual ‘Ives of March’ concerts, which take place in New York City every March 15. Bennardo and Larson are both fierce advocates of contemporary music, and the bulk of their programming is intended to illuminate new repertoire for their instrumentation along with intrepid works from the past that laid the foundation for our current musical climate.
Nick Yulman works with sound and interactive media in a variety of contexts including installation art,oral history and music. He has presented his work at venues in New York and beyond including Paris' Palais de Tokyo, the ISE Cultural foundation, MoMa PS1, Flux Factory, UnionDocs, The Museum of the Moving Image and the New York Hall of Science. In the spring of 2010, Yulman was artist in residence at the Centre for Contemporary Art Ujazdowsky Castle in Warsaw, Poland through Art in General’s Eastern European Residency Exchange Program. He received a NYSCA distribution grant to produce a record, “Warsaw Machines & Songs” documenting the work created during this residency. In 2011 Yulman worked with the North Brooklyn Public Art Coalition to create "No Bills", a public sound installation, situated in construction fences, featuring oral histories of long-term residents of Williamsburg and Greenpoint. “Coppercussion/Papercussion”, his collaboration with printmaker Hope Dector won the audience choice award at the 2012 Dumbo Arts Festival. Professionally, Yulman spent five years working with the national oral history project StoryCorps, traveling the United States recording interviews, managing the organization’s Recording and Archive department and consulting on a variety of projects. He received his Master’s from NYU’s Interactive Telecommunications Program (ITP), and is currently an adjunct professor there. Additional information at http://www.nysoundworks.org
Nick Yulman’s solo show “Selected Works for Musical Robots" will be on view at Areté from Oct 20th - Nov 2nd. There will be a special event closing concert on Oct 27th at 4pm and 7pm with guest musicians/instrument makers Merche Blasco, Natalia 'Saw Lady' Paruz, and Hans Reichel. The concert is presented in conjunction with Atlas Obscura, and titled Musical Oddities and Monstrosities: A strange symphony of unusual instruments.
There will also be an opening reception on October 21st 11am - 4pm, and gallery hours on November 2nd from 6 - 9pm.
Sip cocktails as you take in sounds that you’ve never heard before, and may never hear again.
In this special concert event, Atlas Obscura and sound artist Nick Yulman partner together for a program of musical oddities and delights. Hear books that growl like synthesizers, Natalia 'Saw Lady' Paruz and her singing saws, new musical inventions by Merche Blasco, and more unusual instruments coaxed into creating hauntingly beautiful, mind-blowing experimental music.
Your sonic evening will begin with Nick Yulman’s orchestra of robotic instruments playing his original songs in a gallery on the ground floor of a former rope factory. There, you’ll hear the surprising stories behind groundbreaking musical inventions and a chorus of rare instruments—ranging from the charming to cacophonous—played for you in this intimate concert.
The event promises to be a truly special way to start off your Halloween weekend, with instruments that seem haunted themselves and the themed Monster Mash specialty cocktail.
ABOUT THE CURATOR:
Sound artist Nick Yulman has been building and composing music for robotic instruments for more than a decade. He’s brought his immersive “song installations” to venues around the world including Paris’ Palais de Tokyo, Warsaw’s Ujazdowski Castle, and an abandoned paint factory in Queens. He studied interactive media at NYU’s ITP program and has taught classes there on automata.
His love of strange music started as a young child when his parents played him the Kingston Trio’s version of “Tanga Tika” sped up to 45 rpm. He’s excited to share this program featuring some of his favorite adventurous music makers.
Cash bar, 21+ to drink. Please bring I.D.
Your ticket admits you to the performance time listed on your ticket
Seating is first come, first served.
Email Larissa Hayden at firstname.lastname@example.org
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Amalgama presents a performance of new commissions from our 2018-19 season project, The Lost Words. A collaboration with acclaimed author Robert Macfarlane based on his children's book of the title, "The Lost Words" addresses current environmental concerns, and engages children (and adults!), with creativity and optimism.
The program features Luis Fernando Amaya's "Sky-Wire [Escái-Guáyer]," and Maria Kaoutzani's "Adder." In the spirit of collaboration and our mission to explore the areas between improvisation and notated music, the composers will join the musicians of Amalgama on stage to perform free and structured improvisations.
Learn more about The Lost Words project on our website: https://www.amalgamaensemble.com/the-lost-words/
Peter Evans/trumpet, Immanuel Wilkins/sax, and Joey Chang/piano will perform together for the first time in a formidable set of free improvisation, bringing together rapid-fire organized chaos.
Peter Evans is a trumpet player and improvisor/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Peter is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works with an ever-expanding group of musicians and composers in the creation of new music. His primary groups as a leader are the Peter Evans Ensemble and Being & Becoming. Evans has been exploring solo trumpet music since 2002 and is widely recognized as a leading voice in the field, having released several recordings over the past decade. He is a member of the cooperative groups Pulverize the Sound (with Mike Pride and Tim Dahl) and Rocket Science (with Evan Parker, Craig Taborn and Sam Pluta) and is constantly experimenting and forming new configurations with like minded players. As a composer, he has been commissioned by the International Contemporary Ensemble (ICE), Yarn/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program, and the Doris Duke Foundation. Evans has presented and/or performed his works at major festivals worldwide and tours his own groups extensively. He has worked with some of the leading figures in new music: John Zorn, Ingrid Laubrock, Jim Black, Weasel Walter, Ambrose Akinmusere, Matana Roberts, Tyshawn Sorey, Levy Lorenzo, Nate Wooley, Steve Schick, Mary Halvorson, Joe McPhee and performs with both ICE and the Wet Ink Ensemble. He has been releasing recordings on his own label, More is More, since 2011. 2018 will see the release of a new solo album, the first duo album with Levy Lorenzo, a new record by Pulverize the Sound, and the new album by the Peter Evans Ensemble.
Immanuel Wilkins is an American Saxophonist, Composer, Arranger, and Band Leader. While growing up in the Philadelphia area, he played in his church and programs dedicated to teaching jazz music such as the Clef Club of Jazz and Performing Arts. Immanuel has had the opportunity to play in Japan, Europe, South America, The United Arab Emirates, and the United States, working and/or recording with Jason Moran, the Count Basie Orchestra, Delfeayo Marsalis, Aaron Parks, Gerald Clayton, Gretchen Parlato, Lalah Hathaway, Solange Knowles, Bob Dylan, and Wynton Marsalis. He currently attends The Juilliard School where he studied with saxophonists Bruce Williams and the late Joe Temperley. By being emerged in the scene at a young age around various masters, he continues to pursue his goals of being a force in music and society today. His mission is to create a sound that has a profound spiritual and emotional impact and to become a great leader in the lineage of jazz musicians throughout history. Through studying the human pathos of the music and the culture of jazz, he aspires to bring people together through the commonality of love and belief in this music.
Pianist/Improviser Joey (Ian-Joe) Chang, obtained his B.M. and M.M. from the Juilliard School. Following his residency as an improviser at the Banff Centre in the summer of 2017, Joey works extensively in collaborative, cross-discipline, freeform improvisation. He has performed free improvisation around NYC in contexts ranging from free jazz to classical piano including The Stone at the New School, Cornelia St. Cafe Underground, The Church of the Blessed Sacrament, Spectrum NYC, and Juilliard’s Paul Hall. He has performed with musicians such as Peter Evans, Michael Formanek, Jim Black, Weasel Walter, Luke Stewart, Immanuel Wilkins, Jasmine Wilson, and Jack Mcguire, as well as sharing classical concert bills as an improviser with pianists like Jerome Lowenthal and Vassily Primakov. He has composed structured improvisation for art installations as well as dance choreography performed at student choreography showcases at Marymount Manhattan College. At Juilliard, he was the organizer and leader of the “Improv You Are Enough!” sessions, a series of informal jam sessions between musicians, dancers, and actors, and continues to network and workshop collaborative improvisation in these settings.
1k presents an evening of kinetic improvisation with Matt Mitchell (piano, synths), Tim Motzer (guitars, electronics), and Doug Hirlinger (drums, max/msp, electronics). This debut outing of these three stellar musicians will collide modular synths, piano, guitars, electronics, rhythm science, and orchestral timbre creating beautiful collisions in sound. Another 1k presents evening not to be missed.
Motzer & Hirlinger have recorded and performed together in numerous projects. Their upcoming release Channels by Swana, Motzer, Hirlinger will be released this fall on 1k recordings.
Traversing landscapes of lush romanticism, thorny abstraction, and playful irony, this recital features piano works of Diógenes Rivas, the preeminent Venezuelan exponent of high-modernist composition. The program comprises all of Rivas’ solo piano pieces composed between 1995 and 2013: Estructura Mandala III (1995), Preludes I-V (1998/2013), Impromptus I and II (2007/2009), and Tango (2010).
An enthusiastic proponent of new music, Manuel Laufer has presented world premieres at Merkin Hall, Le Poisson Rouge, Symphony Space, Bang on a Can, June in Buffalo, and Festival Atempo (Caracas and Paris). As a core member of the Hayley-Laufer Duo and Ensemble Atempo, he has concertized extensively, playing contemporary chamber music, performing canonic works by composers including Babbitt, Cage, Crumb, Lachenmann, and Xenakis, in addition to newly commissioned repertoire. His solo work has championed modernist voices from his native Venezuela, placing particular emphasis on composer Diógenes Rivas.
A versatile musician, he is also passionate about traditional repertoire. He has performed with orchestras on both sides of the Atlantic, and appears yearly at the Blueridge International Chamber Music Festival (Vancouver). Highlights of collaborative engagements featuring traditional repertoire in recent and upcoming seasons include a tour of China with clarinetist Mingzhe Wang and performances of Hugo Wolf’s complete Italienisches Liederbuch in Canada and Germany.
He serves on the screening committee of Festival Atempo, co-chairs the 20th/21st Century Music Festival of the Piano Teachers Congress of New York, and recently completed artist residencies at the Banff Centre for Arts and Creativity and the Radcliffe Institute for Advanced Studies at Harvard University. Formerly on staff as a collaborative pianist at University of California, Irvine, he is currently a member of the Artist Faculty at NYU Steinhardt’s program in Piano Studies, where he teaches courses in Song Repertoire and Collaborative Piano.
This recital explores the unique voices of living Latin American composers, their influences, and their ties to their roots. Featuring composers from Argentina, Bolivia, Ecuador, and Venezuela.
Known for the warmth and conviction of his performances, pianist Walter Aparicio explores issues of cultural background and identity through his concerts and workshops. Much of his programming includes music that directly references elements of dance, language and folk traditions.
Walter’s notable New York credits include Symphony Space, the Cell Theatre, Steinway Hall, and Firehouse Space. Outside of the US, he has presented performances at the International Academy of Music in St. Petersburg (Russia), the Beijing International Music Festival & Academy (China), and Barcelona Piano Academy (Spain).
An adventurous artist, Walter has participated in performance installations such as Allora & Calzadilla’s Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano. Taking place at the Gladstone Gallery, NY, the work involved the pianist performing backwards - from a hole cut inside a grand piano - while moving the instrument around the gallery space. The work transforms the player/instrument dynamic, and this experience has been part of Mr. Aparicio’s ongoing inquiry into the nature of performance and the artist-audience relationship. Other ventures have included collaborations with the Nouveau Classical Project (where fashion meets music) and Notes on Fiction, a series where musical references in literature are presented as a fluid reading/concert hybrid.
Orpheus Chamber Orchestra Fellow and Assistant Professor of Bassoon at the University of Arizona Fred Fox School of Music, Marissa Olegario collaborates with award-winning performers, composers, and visual designers in a recital that explores standard and non-standard bassoon repertoire. Inspired by the surroundings of her new home in Tucson, Arizona, the program includes a newly commissioned solo work by Shuying Li entitled After Rain and a piece with video projection that portrays the binary star Mizar, located in the handle of the Big Dipper.
Marissa Olegario is an active performer in the US and abroad. As a soloist and chamber musician, she has collaborated with artists from Orpheus Chamber Orchestra, New York Philharmonic, Berlin Philharmoniker and Breaking Winds Bassoon Quartet and has served as a principal and section bassoonist in orchestras across the US. Inspired by community engagement and innovation, she has partnered with Dance for Parkinson’s, commissioned visual projections for her live performances and enjoys performing in non-traditional spaces. Holding degrees from Northwestern University and Yale, she is on faculty at the University of Arizona and regularly presents master classes across the US. www.marissaolegario.com
Orpheus Chamber Orchestra creates extraordinary musical experiences that enrich lives and empower individuals through collaboration, innovation, and a passion for artistic excellence. Orpheus strives to be the world’s premier chamber orchestra by performing music at the highest level, challenging artistic boundaries, inspiring the public to think and work with new perspectives, and building a broad and active audience in New York City and around the world.
With support from the New York State Council on the Arts, Orpheus Chamber Orchestra currently sponsors four 2018 fellowships. This fellowship is designed to build skills and industry knowledge vital to a 21st-century career in the arts and provides exposure and training across the core operating functions of a professional chamber orchestra.
FREE, Suggested Donation $10
RSVP Info: https://www.eventbrite.com/e/marissa-olegario-bassoon-tickets-51155490449
When my father was diagnosed with terminal cancer, I recorded many interviews with him before he died. This piece is the first of many sound/installation performances utilizing the audio from these interviews as source material. Small phrases have been translated into morse code and utilized as sparse rhythmic vignettes for disklavier. The interview will also be processed in real time through vocoder and modular synthesizers.
There may be a game or two of Parcheesi.
Matt Mitchell - piano
Jason Levine - computational art
Seeing sounds or hearing images? Join violinist Lisanne Tremblay, pianist Matt Mitchell, and computational artist Jason Levine as they meet for the first time to explore the interaction possibilities between musical improvisation and generative art. Sound waves from both instruments will be captured by Levine‘s computer and transferred into a variety of shapes, colors, and textures in real time, providing the audience with a one-of-a-kind multi sensory experience.
Event image by Jason Levine.
The duo of clarinet and piano can be simple and small, but the possibilities created by their unity and trusts from the strong bond of friendship are beyond the size of ensemble. Clara duo celebrates its 12th anniversary featured by American composers, Copland, Bernstein, Muczynski and D'Rivera.
Ava Mendoza- Ava Mendoza is a Brooklyn-based guitarist, singer, songwriter and composer. Born in 1983, she started performing her own music, and as a sidewoman and collaborator in many different projects, as soon as she was old enough to get into 18+ venues. As a guitarist, Mendoza has received acclaim for her technique and viscerality. Her most ongoing work is as leader of experimental rock band Unnatural Ways, and as a solo performer on guitar/voice. In any context she is committed to bringing expressivity, energy and a wide sonic range to the music. Mendoza has toured throughout the U.S. and Europe and recorded or performed with musicians including Carla Bozulich, Fred Frith, Mick Barr, Nels Cline, Jamaaladeen Tacuma, Mike Watt, Matana Roberts, Ikue Mori, Matt Mitchell, Jon Irabagon, members of Caroliner, the Violent Femmes, and more. Recordings are available on labels Tzadik, Weird Forest, Clean Feed, NotTwo, Resipiscent, and New Atlantis.
Philip White- Composer, performer and improviser Philip White works with electronics at the intersection of noise, jazz and contemporary concert music. In addition to his solo practice current and recent projects include R WE WHO R WE (with Ted Hearne), duos with Chris Pitsiokos, Paula Matthusen and cross media collaborations with Jim Findlay, Ralph Lemon, Jimena Paz, Daniel Fish, Nora Chipaumire and Urban Bush Women. Recent presentations of his work have taken place at Carnegie Hall, BAM Harvey Theater (Brooklyn), The Kitchen (NYC), Fylkingen (Stockholm), American Academy in Rome, ISSUE Project Room (NYC) and countless other venues nationally and internationally. His music has been released on Anticausal Systems, Carrier Records, New Focus Recordings, Infrequent Seams, Contour Editions and Tape Drift Records. It has been described as “utterly gripping” (Time Out Chicago), “bona fide evocative music” (Brooklyn Rail), and a “vibrant textural tapestry” (Wall Street Journal).
Tickets online $15
Four Corners Ensemble presents four dynamic mini-concertos from its "World Map Concerti Series." Composed by award-winning composer Shying Li, "World Map Concerti" is a multi-cultural and multi-national collection with virtuosic soloists and a soloist-level "orchestra”. These concertos focus on each soloist's unique geographical, cultural and personal identities.
Come meet our amazing soloists, Siyuan Li, Joshua Anderson, Merryl Neille, and Jinn Shin; and enjoy premieres of flute concerto "Quongqothwane," based on South Africa's "Click Song;" clarinet concerto "American Variations," on an original theme in various American music styles; piano concerto "Canton Snowstorm," an imagination of a heavy snowstorm in the warmest place in China; and cello concerto "Matilda's Dream," a fantasy based on Australian folk song "Waltzing Matilda."
Guest performers will also present works by Marcel Chyrzyński and Jakub Polycczyk, a dive-in of some of the best Polish contemporary repertoire.
Poster by Tanner Porter.
Fragments is centered around the delicate relationship between humanity and our planet and the juxtaposition of fragility and strength. The program features music by Missy Mazzoli, Leaha Villareal, two new commissions by Emily Praetorius and William C. Mason, and wearable sculptures by artist Chanel Matsunami Govreau.
About the Music:
Larsen C by William Mason is inspired by the iceberg that broke off in Antarctica (when he began writing the piece, the iceberg was still attached). Emily Praetorius’ “Time Allotted for that Emanation (at that time),” which is a meditation on lace, a fabric that can be both delicate and sturdy, depending on how it is cared for or used. Other pieces on the program are Missy Mazzoli's "Still Life with avalanche" and Leaha Villareal’s Oceania.
Laura Cocks, flute
Mara Mayer, clarinet
Pauline Kim Harris, violin
Thea Mesirow, cello
Sugar Vendil, piano
Joseph Tucker, percussion
Three Voices by Morton Feldman is a sublime piece that both mesmerizes and stupefies.
The length, the tunings, the melismas, textures, the range, the relentlessness—it’s challenging in a way that is unlike any other piece in the unaccompanied solo voice repertoire.
This piece was written initially for one singer to perform with two looming, black loudspeakers performing the other vocal lines rather than three live singers.
Feldman wrote the piece in memoriam to Frank O’Hara, a NYC poet who was very good friends with Feldman. O’Hara was a prominent figure in “The New York School” of poets and was very inspired by music, dance, and painting (specifically the Abstract Expressionists of the 1950s and 60s) and it came through in his poetry.
Feldman and O’Hara were life-long collaborators, dedicating multiple pieces to each other, including the poem referenced in Three Voices. O’Hara died very early in life (at age 40), and this piece serves as an ode to him. The loudspeakers that are typically used in a performance by one singer represent looming, black tombstones peering over the singer’s shoulders to the audience to remind us that death is ever-present.
The work is mostly sung without text, however the few fragments of text that you do hear come from O’Hara’s 1957 poem Wind.
String Quartet Concert
Areté Gallery, Brooklyn
Featuring Guest Performers Stephanie Griffin and Emilie-Anne Gendron
Featuring our Call for Scores selections and other pieces
Muyassar Kurdi (b. 1989 in Chicago) is a New York City-based interdisciplinary artist. Her work encompasses sound art, extended vocal technique, performance art, movement, photography, and film. She has toured extensively in the U.S. and throughout Europe. A versatile improviser, Muyassar has composed and performed music for voice, harmonium, piano, lyre, autoharp, theremin, bass, and cello. She currently focuses her attention to interweaving homemade electronic instruments and sculpture into her vocal and dance performances, stirring a plethora of emotions from her audience members through vicious noise, ritualistic chants, and meditative movements. Most recently she completed SEVEN VOICES, a multi-channel project for seven voices, which was recorded during her artist residency at EMS in Stockholm February 2018. She also released Travelling on NORENT Records and Intersections and Variations on Astral Spirits in early 2018.
Performance highlights include: The Rubin Museum of Art, Issue Project Room, Cafe OTO, Chicago Cultural Center, Center for Contemporary Art Laznia, Bond Chapel, Fridman Gallery, University Galleries, and Judson Memorial Church.
Collaborators include Daniel Carter, Diana Policarpo, Ka Baird, Tomomi Adachi, Arrington de Dionyso, Yasuno Miyauchi, Lucie Vitkova, Tyler Damon, Bradley Eros, Laraaji, Patrick Holmes, and Ben LaMar among others.
Soprano saxophonist Sam Newsome will perform an evening of improvised and experimental music for solo saxophone.
"He has an outsize command of the horn, especially in the realm of extended technique: split-tone multiphonics, slap-tongue articulation, seamless circular breathing."
- Nate Chinen, The New York Times
"Newsome expands the sound of a single soprano into a one-man band."
- Mark Corroto, All About Jazz
New York-based saxophonist and composer Sam Newsome works primarily in the medium of solo saxophone, an approach for which he gained world-wide critical acclaim with the release of his 2009 recording Blue Soliloquy: Solo Works for Soprano Saxophone, which received a five-star review in Downbeat magazine.
Many of the notes and sounds that comprise his compositions and improvisations are derived from his own personal sound palette of extended techniques: multi-phonics, flutter tonguing, percussive slap tonguing, soprano saxophone specific micro-tones, air sounds, key clicks, air hisses, acoustic sound manipulation, Tartini tones, and various forms of oral cavity manipulation. Newsome sees himself more along the lines of a visual artist who paints with notes and sounds rather than shapes and colors. “My music, “ says Newsome, “is a type of improvisatory art music in which jazz functions more as a resource than a musical genre to be interpreted with stylistic specificity.
Described twenty years ago as an "undergrounder by design," Jack Wright is a veteran saxophone improviser based mainly in Philadelphia. He has played mostly on tour through the US and Europe since the early 80s in search of interesting partners and playing situations. Now at 75 he is still the "Johnny Appleseed of Free Improvisation," as guitarist Davey Williams called him in the 80s, on the road as much as ever. He continues to inspire players outside music-school careerdom, playing sessions with visiting and resident players old and new. His partners over the years are mostly unknown to the music press, and too numerous to mention. He's said to have the widest vocabulary of any saxophonist, including leaping pitches, punchy, precise timing, sharp and intrusive multiphonics, surprising gaps of silence, and obscene animalistic sounds. He has had a book published, Jan. 2017, The Free Musics, which is becoming very popular among improvisers. A reviewer for the Washington Post said, "In the rarefied, underground world of experimental free improvisation, saxophonist Jack Wright is king". But for a true assessment listen to the music he and his partners create: Spring Garden Music, for sounds and writings.
Ron Stabinsky received his first musical lessons at the age of five from Michael Hoysock, his grandfather. Since 2000, Ron has been studying the Taubman Approach to piano playing with Edna Golandsky in New York City. He has also benefited greatly from additional study of classical repertoire with concert pianist Ilya Itin. His mentors in the art of free improvisation have included Bill Dixon and Joel Futterman. His study of jazz has been through the correspondence course work of Charlie Banacos.
Each July, Ron presents a series of workshops demonstrating to jazz pianists the practical application of the Taubman Approach to piano playing at the Golandsky Institute, an annual symposium held at Princeton University. In addition to continuing to pursue an ongoing interest in solo piano improvisation, he enjoys working on music in a stylistically diverse array of situations throughout the United States and Europe with many other musicians and ensembles, including freeimprovising saxophonist Jack Wright, bass trombone virtuoso Dave Taylor, Meat Puppets bassist Cris Kirkwood, and NEA Jazz Master David Liebman. Recent festival appearances include Newport Jazz Festival (USA), North Sea Jazz Festival (Netherlands), Moers Festival (Germany), and Jazz and More Festival Sibiu (Romania). He is currently a member of the band Mostly Other People Do the Killing, the new music ensemble Relâche, the Charles Evans Quartet, and the Peter Evans Quartet, Quintet, and Octet.
SARAH BERNSTEIN is a New York-based composer and violinist whose work incorporates vocals, electronics, improvisation and original text. She is known for her fiery multidisciplinary performances, and has garnered international acclaim for her distinctive recordings. She leads the avant-jazz Sarah Bernstein Quartet, improvising strings Frikativ Quartet, and synth-pop trio Day So Far. Her minimalist/poetry duo Unearthish celebrates the release of their second album: Crazy Lights Shining (Phase Frame). Recent release Kid Millions & Sarah Bernstein Tense Life (577 Records) juxtaposes her heavily processed violin and voice with explosive drums. Nominated "Rising Star" in the DownBeat Critics Poll for the past four years, Bernstein is a recognized innovator in forward-thinking jazz. Her poetry has been published by Red Ceilings Press and Sensitive Skin Magazine. She is originally from San Francisco, CA.
Shelley Hirsch is an award winning, critically acclaimed vocalist, composer, and storyteller whose mostly solo compositions, staged multimedia works, improvisations, radio plays, installations and collaborations have been produced and presented in concert halls, clubs, festivals, theaters, museums, galleries and on radio, film and television on 5 continents.
She is the recipient of numerous awards, grants, fellowships and residencies in the music composition, electronic music, performance, new forms, multidisciplinary work categories, including 4 from NYFA; a Creative Capital grant; the prestigious DAAD residency in Berlin; The Ucross/Alpert residency Prize; 2 NEA grants and a record 5 Artist In Residencies from Harvestworks Studio PASS. The radio version of her autobiographical musical piece "O Little Town of East New York" won a 1st Prize in the Prix Futura International Media Competition in Berlin.
Hirsch can be heard on 70 recordings including her own projects . "Singing" (solos/ duos w/David Simons and Samm Bennett) ; the solo CD's "States" and "The Far In Far Out Worlds of Shelley Hirsch"; her autobiographical musical "O' Little Town of East New York" and "Haiku Lingo" (music for both composed with David Weinstein). Her most recent releases are "Where Were You Then?" a suite of songs and stories in collaboration with Swiss composer keyboard player Simon Ho; and improvised music w/guitarist Uchihashi Kasuhisa "Duets" and "Duets 10 Years After"; with turntable player Joke Lanz "Berlin-Brooklyn" and a soon to be released cd w/ Hans Koch, Martin Schuetz and Freddy Studor.
Renowned as an improviser she has performed with dozens of musicians worldwide, including Christian Marclay, Okkyung Lee, Fred Frith, Anthony Coleman, Michael Evans, The Shaking Ray Levis, Tony Buck, Billy Martin, Jon Rose, Butch Morris, Phill Niblock, Roger Turner, Chantal Dumas, Denman Maroney, Matthias Bauer, Ikue Mori, David Watson, Hans Reichel, David Moss, Phil Minton, Sven Ake Johansson, Paul Lovens, Jim Staley, John Zorn, Joey Baron, DJ Olive, Dennis DelZotto, Andrew Lafkas, Tom Cora, Min Xiao Fen.Fred Lyenn, Shahzad Ismaily. Her visual artist collaborators include Christian Marclay, Jim Hodges, Ursula Scherrer, Nicolas Humbert, Simone Fuerbringer, Barbara Bloom, Zoe Beloff, Katherine Liberovskaya. Hirsch has taught workshops, given seminars and private lessons internationally.
Jen Shyu - 2016 Doris Duke Artist, Fulbright scholar, multilingual vocalist-composer-instrumentalist-dancer JEN SHYU is “one of the most creative vocalists in contemporary improvised music” (The Nation). Born in Peoria, Illinois, to Taiwanese and East Timorese immigrants, she was the first female and vocalist as bandleader on Pi Recordings, 2017 DownBeat Rising Star Female Vocalist, producing 7 albums. A Stanford graduate, she’s performed her music at Carnegie Hall, Lincoln Center, BAM, Metropolitan Museum of Art, etc. Her acclaimed album Song of Silver Geese (Pi 2017) was among NY Times’ “Best Albums of 2017” and Nine Doors, one of NY Times’ “5 Standout Shows” (2018).
Seth Parker Woods- Critiqued as “a cellist of power and grace” (The Guardian) and possessing “mature artistry and willingness to go to the brink,” Seth Parker Woods has established a reputation as a versatile artist straddling several genres. Outside of solo performances, he has performed with the Ictus Ensemble (Brussels, BE), Ensemble L’Arsenale (IT), zone Experimental (CH) Basel Sinfonietta (CH), New York City Ballet, Ensemble LPR and Orchestra of St. Luke’s (US). A fierce advocate for contemporary arts, he has collaborated and worked with a wide range of artists ranging from the likes of Louis Andriessen, Elliott Carter, Heinz Holliger, G.F. Haas, Helmut Lachenmann, Klaus Lang, and Peter Eotvos to Peter Gabriel, Sting, Lou Reed, Dame Shirley Bassey, Rachael Yamagata, as well as visual artists Vanessa Beecroft, Jack Early, Adam Pendleton and Aldo Tambellini.
His debut solo album, asinglewordisnotenough (Confront Recordings-London) has garnered great acclaim since its release in November 2016, and has been profiled in the Guardian, 5against4, I Care If You Listen, Musical America, and Strings Magazine amongst others.
Duo with Toronto avant-garde opera vocalist Fides Krucker and guitarist Tim Motzer. This is a record release and first time performance in the US for this duo. Their forthcoming album is entitled Vanishing and is being released on 1k Recordings.
Fides Krucker is an innovative interpreter and creator of vocal music in Canada and abroad. She founded the interdisciplinary performance ensemble URGE; their fifth and final work was published by Playwrights Canada in 2015. Her company, Good Hair Day Productions created and produced the groundbreaking lyric-theatre pieces: Girl With No Door On Her Mouth (Bartley/Carson); CP Salon, an r n’ b love and disability show with Kazumi Tsuruoka, now an NFB film; Julie Sits Waiting (Dufort/Walmsley), a sexual catastrophe, electroacoustic opera nominated for five Doras; and In This Body, an emotional landscape of Canadian pop songs by women sung by Fides and danced by Peggy Baker, Laurence Lemieux and Heidi Strauss. It premiered at Canadian Stage last season and a CD featuring musicians Rob Clutton, Tania Gill and Germaine Liu is available throughfideskrucker.com. Fides has collaborated extensively with Peggy Baker Dance Projects composing vocal scores for the dancers of land/body/breath (at the AGO and National Gallery), locus plot and phase space, for which she received a composition award. She sang like a mermaid for both the theatre production and recording of DIVE (Nik Beeson/Richard Sanger.) Her recording of Berio’s Folk Songs with Vancouver’s Turning Point Ensemble has just been released on the European label Orlando and is available online at Amazon. Fides teaches voice at Humber College and facilitates vocal work for a wide range of Toronto artists including Chicago’s Walkabout Theater. She is editing the final draft of her book, Good Girls Don’t Sing, initially researched through a Chalmers’ Arts Fellowship.
Praised by The Strad magazine for their "effervescent" playing, Parhelion—Sarah Carrier (flute), Ashleé Miller (clarinet), and Andrea Christie (piano)—is a New York City based ensemble dedicated to bringing virtuosic, robust, and impactful contemporary music to diverse audiences. Parhelion is a recent recipient of a 2018 New Music USA grant for their upcoming project Dark Matter: A Tribute to Vera Rubin. The project commissions Angélica Negrón, Danielle Eva Schwob, and Alexandra du Bois to create works in tribute to the late astrophysicist.
In 2016, Parhelion was a semi-finalist in the inaugural M-Prize International Chamber Music Competition, the largest chamber competition in the world, and was offered a one-year management prize. The trio has collaborated in concert with and alongside members of Eighth Blackbird; violinists Eugene Drucker and Philip Setzer of the Emerson String Quartet; composer and singer-songwriter Shara Nova; Danish cellist Henrik Brendstrup; Friction Quartet; and the ensembles Trumpetcello, Unheard-of, and Lydenskab. Parhelion has worked with iconic American composers Jennifer Higdon, Paul Schoenfield, Derek Bermel and Nico Muhly along with one of Australia’s leading choreographers, Ros Warby. The trio was also featured in a June 2016 interview with Dan Dunford on Episode 44 on his music podcast “Divergent Paths,” which can be downloaded on iTunes.
Highlights from past concert seasons include performances at Carnegie Hall, National Sawdust, Metropolitan Museum of Art’s “ETHEL and Friends” Series, Minneapolis Convention Center, Hilton Hotel Chicago, Cornelia Street Café, Southampton Cultural Center, CUNY Graduate Center, and Stony Brook University among many others. Parhelion has held residencies at Avaloch Farm Music Institute, Adelphi University’s “New Music XII”, and New Music For Strings Festival, along with an ensemble fellowship at the 2018 Eighth Blackbird Creative Lab.
“Damn, that was good!!!” — Jennifer Higdon, Pulitzer Prize and GRAMMY Award-winning composer