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Posts Tagged ‘yukiko takagi’

SICPP 2013!

In concerts, SICPP on June 14, 2013 at 12:16 pm

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SICPP 2013 HAS ARRIVED!  We are thrilled to welcome BnG Composer-in-Residence Rand Steiger this summer at SICPP, as well as guest artist Winston Choi. Our evening concerts pack a punch this year — performances by Steve DruryYukiko TakagiWinston ChoiScott DealStuart Gerber,Corey HammAdrienne ArdittiJessie LaFargue, and yours truly, the Callithumpian Consort, Sunday eve through Friday eve. We end the week as usual: with the legendary SICPP Iditarod on Saturday, June 22, which runs from 4pm until whenever (last year it ended around 3am; this year may look to be a little more sane!).

In addition to the evening concerts, SICPP participants will perform solo repertoire in midday concerts at 11:30am on MondayWednesdayThursday, and Friday at Boston’s Isabella Stewart Gardner Museum (280 The Fenway). Museum admission fee is waived if you tell them at the door that you are attending the SICPP concert in Calderwood Hall. The Gardner is closed on Tuesdays, so Tuesday’s midday concert will be in Williams Hall, and will feature the percussionists of SICPP.

All concerts are free, except for Thursday’s SICPP/GuitarFest at the Fenway Center.


Sunday, June 16 @ 8pm, Jordan Hall
Stephen Drury, piano; Elizabeth Keusch, soprano; Jessi Rosinski, flute
Charles Ives: Concord Sonata
Helmut Lachenmann: Got Lost

Monday, June 17 @ 8pm, Jordan Hall
Winston Choi, piano
Elliott Carter: Two Diversions
Hans Thomalla: Piano Counterpart
Jacques Lenot: Cités de la nuit; Ils traversent la nuit
Brian Ferneyhough: Lemma–Icon–Epigram
Conlon Nancarrow: Two Canons for Ursula

Tuesday, June 18 @ 8pm, Jordan Hall
Yukiko Takagi, piano, electronics, video; Stephen Drury, piano;
Scott Deal, Stuart Gerber, percussion; & members of the Callithumpian Consort

Johannes Kreidler: Klavierstück 5 für Klavier und 4-kanalige ZuspielungStudie für Klavier, Audio- und Videozuspielung
John Zorn: Camarón for piano and four percussion (from Aporias)
Franco Donatoni: Hot
Béla Bartók: Sonata for Two Pianos and Percussion

Wednesday, June 19 @ 8pm, Jordan Hall
Corey Hamm, piano; & members of the Callithumpian Consort
Rand Steiger (composer-in-residence): RésonateurA Menacing Plume
Tristan Murail: La Barque Mystique
Dorothy Chang: Ephemera; Echoes; Toccatina (from Five)
György Ligeti: L’Arrache-Coeur
David Rakowski: Étude No. 8: Close Enough for Jazz
Noël Lee: Étude No. 5 in A Minor, Op. 70: Legatospielen
Dai Fujikura: Étude No. 1: Frozen Heat
Earle Brown: Available Forms I

Thursday, June 20 @ 5pm, Fenway Center
$10 gen. admission / FREE students, seniors, NEC & NEU alumni
SICPP/Boston GuitarFest: Redcoat Reversal, New Music 
Clarence Barlow: …Until…
Rand Steiger: A Good Diffused
Rebecca Saunders: Vermillion
Jonathan Harvey: Still
More information here.

Thursday, June 20 @ 8pm, Jordan Hall
Yukiko Takagi, Stephen Drury, Corey Hamm, piano;
Scott Deal, Stuart Gerber, percussion; Keith Hamel, Caroline Park, electronics;
Adrienne Arditti, soprano; Jessie LaFargue, dancer; Callithumpian Consort

Rand Steiger (composer-in-residence): A Good DiffusedWoven Serenade
Elainie Lillios: The Rush of the Brook Stills the Mind
Keith Hamel: Touch
Kaija Saariaho: Six Japanese Gardens
Caroline Park: Music For Phrases

Friday, June 21 @ 4pm, Pierce Hall
Electronic Workshop Concert
Fresh new works for fixed and live/interactive electronics
by the participants in SICPP’s 2013 Electronic Workshop.

Friday, June 21 @ 8pm, Brown Hall
Stuart Gerber, percussion; & members of the Callithumpian Consort
Mathias Spahlinger: música impura
Alan Sentman: Patchwork
Iannis Xenakis: RebondsOkho
Adam Roberts: Anakhtara
Ulrich Kreppein: Abendlich auf schattenbegleiteten wegen

Saturday, June 22 @ 4pm, Brown Hall
THE SICPP IDITAROD: music starts at 4pm, come and go as you please!
a 6-hr-plus marathon concert featuring performances by the Fellows of the Institute, including music by Morton Feldman, Earle Brown, Luciano Berio, Frederic Rzewski, Karlheinz Stockhausen, Rand Steiger, George Crumb, Scott Deal, Charles Ives, Roger Miller, Mathias Spahlinger, Steve Reich, and the composers of the SICPP New Works program.

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Cage, Brown, Poliks, Caballero, Lucier

In concerts on January 22, 2013 at 12:41 am

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Brown, Caballero, Cage, Lucier, Poliks
Saturday, January 26, 2013
Jordan Hall at the New England Conservatory
8 PM | Free

Earle Brown: String Quartet
Eduardo Caballero: What is time, please? Convergencias III for piano and live electronics
Marek Poliks: tress/burl (2012 SICPP commission)
Alvin Lucier: Braid (written for the Callithumpian Consort)
John Cage: String Quartet in Four Parts

Fresh from the Earle Brown Symposium, we’re thrilled to give another performance of Earle Brown‘s simultaneously “graphic” and “mobile” String Quartet (1965). As the String Quartet explores flexibility within sub-structures (Brown is known for pioneering open form), no two performances are intended to be identical.

Following the Brown is Mexican composer Eduardo Caballero‘s What is time, please? Convergencias III for piano and live electronics. Callithumpian’s Yukiko Takagi will be the soloist.

Marek Poliks‘s unrelenting tress/burl was first performed at the 2012 Summer Institute for Contemporary Performance Practice (SICPP) as the featured SICPP Composition Fellow commission. At its premiere, tress/burl was described by the Boston Globe’s Matthew Guerrieri as the “harsh, entertainingly maddening insistence of a conspiracy theorist.”

Last spring, we were fortunate to have Alvin Lucier in residence here at NEC; we premiered his beautiful septet, Braid (2012), written for us, later that year at SICPP. Bearing in mind Lucier’s emphasis on the propagation and flow of sound itself, Braid promises to be beyond exquisite in a space like Jordan Hall.

We close the program with a performance of John Cage‘s String Quartet in Four Parts (1950); for now, we’ll leave you with this:

“After reading the work of Ananda K. Coomaraswamy, I decided to attempt the expression in music of the ‘permanent emotions’ of Indian traditions: the heroic, the erotic, the wondrous, the mirthful, sorrow, fear, anger, the odious and their common tendency toward tranquility.” —John Cage

Join us this Saturday, January 26
at 8:00 PM in Jordan Hall.

We’d love to see you there.

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Cage, Bartok, & Reich in Idaho

In concerts on September 20, 2011 at 1:17 pm

Hello from Moscow, Idaho!  We’re performing tonight at 7:30 pm at the University of Idaho with a piano-and-percussion heavy program, kicking off the 2011-2012 Auditorium Chamber Music Series.  On the bill tonight: Cage’s Credo in Us, Bartok’s Sonata for Two Pianos and Percussion, and Reich’s Sextet.  Our touring ‘Thumpers this time around are our own Stephen Drury and Yukiko Takagi on piano, as well as our rockstar percussionists Scott Deal, Jeffrey Means, Bill Solomon, and Nick Tolle.

We’re in residence this week, giving demos, masterclasses, and concerts to the folks here in Moscow.  Feel free to come by if you’re in the area, and don’t be shy — we’ll be hanging around after the concert for a meet-and-greet.  More information on our residence can be found here and here.

See you tonight!

webbottress

Countdown: Stockhausen/Boulez

In concerts, upcoming on February 24, 2011 at 5:33 pm

design © CPARK 2011

So, by now you’ve probably seen the posters and heard about this MANTRA / MARTEAU explosion we’re preparing on Wednesday, March 2nd — but what are these pieces all about?  For the questioning, ever-curious avant-garde enthusiasts out there, fear not: Prof. Adam Roberts, on board with us at Callithumpian while on faculty at Istanbul Technical University, has written an enlightening set of program notes, from which select excerpts are shared below:

Le Marteau consists of nine movements and sets three poems by the surrealist French poet René Char (1907-1988), “L’artisanat furieux”, “Bourreaux de solitude”, and “Bel édifice et les pressentiments”. While the contralto voice (and therefore sung text) is only present in the third, fifth, sixth, and ninth movements, each poem is used as a point of departure for multiple movements of the work, creating three unequal cycles. Le Marteau is striking in its percussion-heavy instrumentation, scored for contralto, alto flute, violin, guitar, vibraphone, xylorimba, and a variety of other percussion instruments… [creating] a spectrum of timbres from voice to percussion (i.e. breath, exemplified by voice and flute flow into solo lines played by flute and viola, which transform into plucked strings such as viola and guitar, which turn into resonating sounds played by the guitar and vibraphone, which finally, connect to struck instruments as in the vibraphone and xylorimba).  Each movement of Le Marteau is orchestrated differently, creating a sense of rotation, and the voice is often used in an instrumental manner. Due to its angular lyricism, exotic sound, and delicate beauty, Le Marteau has become one of the most performed works of its time.

Completed sixteen years later, Stockhausen’s Mantra is a work scored for two ring-modulated pianos, with each player also being equipped with a set of chromatic crotales, a wood block, and one player being equipped with a short-wave radio. Nearly 70 minutes long,  Mantra  is comprised of thirteen distinct sections, each emphasizing a different texture, character, and sound.  In fact, Mantra is the first of Stockhausen’s compositions to use what the composer calls a “formula”, a concept that replaces the notion of row, creating a new set of connotations around Stockhausen’s serialized materials (significantly, Stockhausen would compose with such “formulas” until the end of his life). Stockhausen’s formula is 13 notes long as it begins and ends with the note “A”, creating a sense of implied closure not previously found in serial structures. Each note of the formula also has an attached characteristic and each note is assigned a dynamic that is inversely proportional to its assigned duration. Each of the piece’s thirteen sections is dominated by one of the notes and its attached characteristics, creating a set of wild and distinctive musical experiences. Although it seems clear that the piece is highly structured, the most immediately striking aspect of the piece is its sound: the ring modulated pianos combined with percussive attacks create an otherworldly sonic space that is completely unique.”    — Adam Roberts

The countdown begins!  See you in Jordan Hall at 8pm on Wednesday, March 2nd for an experience extending to the stars and beyond.

Admission?  Free.
wbbttrss.

Boulez Festival in Boston

In Uncategorized on November 9, 2010 at 9:14 pm

Thank you to all who came to our Harvard Group for New Music concert last Saturday!  Our classic ‘Thumpers – Jessi Rosinski, Rane Moore, Gabriela Diaz, Benjamin Schwartz, and Jeffrey Means – performed music by Harvard composers Trevor Bača, Josiah Oberholtzer, Ian Power, Sivan Cohen-Elias, Sabrina Schroeder and Ann Cleare.  We came across kind remarks by Richard Green, who expressed his admiration in Callithumpian’s liveliness and tightness in “thorny pieces” — read the rest of his review here.

This week we’re over at Boston Conservatory for the 2010 Boulez Festival.  Thursday night will kick us off, with the amazing Jennifer Ashe performing Le marteau sans maître (1954), Improvisation sur Mallarmé I, II (from Pli selon Pli, 1962), and Jean Barraque‘s Sequence (1956), with Jeffrey Means conducting.  Friday’s concert will be a variety of Boulez’s acoustic and electroacoustic works, with Michael Norsworthy in Dialogue de l’ombre (1985) for clarinet and tape, Gabriela Diaz in Anthems 2 (1997) for violin and electronics, and Sonatine for flute and piano (1946) with Sarah Brady and Yukiko Takagi.  Cellist Rhonda Rider, on faculty at Boston Conservatory and at Boston University, will be performing Messagesquisse (1977) with conservatory cello students.

All concerts are FREE, starting Thursday evening at 8pm, Seully Hall at the Boston Conservatory: 8 The Fenway, Boston MA.  For more information and concert details, click here.


Hope to see you there!

your friendly
webbottress.

Post-Iditarod

In Uncategorized on June 21, 2010 at 2:55 am

Congratulations, SICPP 2010!  We managed to finish the IDITAROD before midnight (saw a good number of iced coffees floating around) for a total of 7.5 hours of rad music — hope everyone slept in!

Callithumpian is now on Flickr!  Take a look at the SICPP Iditarod set (other sets from the Thursday and Friday concerts are up as well).  A few Iditarod groups were missed (webbottress is still part human), but we’ll be adding onto the photostream soon [also, quick disclaimer: let’s just say the blurred effect in some of the photos only emphasizes the real-time experience].

Reviews are starting to emerge: Boston Musical Intelligencer has released two on SICPP — one on the June 15th Schleiermacher concert (review by Fred Bouchard), and one of Callithumpian‘s Chaya Czernowin concert on June 17th (review by Mary Wallace Davidson).

Time flies when you’re having fun.  Many, many thanks to the following people: Chaya Czernowin, Steffen Schleiermacher, Corey Hamm, Yukiko Takagi, Nick Vines, Mathias Reumert, John Andress, Scott Deal, John Mallia, Jennifer Bewerse, Sean Hagon, Bob Winters, Aaron Dana, Lisa Nigris, Mike Kemp, Corey Schreppel, Jeremy Sarna, Andrew Hawk, Melissa Schoenack, Heather Mumford, Sarah Casados, and especially our SICPP program director, Elaine Rombola.

More soon; in the meantime, please check out the SICPP Iditarod set on Flickr!  Safe travels to all our Sick Puppies, and thank you all for a wonderful week.

webbottress.

Click to view the SICPP Iditarod set on Flickr!

Twitter! and Saariaho!

In Uncategorized on June 13, 2010 at 9:59 pm

Yep — we have a Twitter account as well. Follow us: @callithumpian.

Meanwhile, percussionists Scott Deal, Mathias Reumert, Joseph Becker, and Nick Tolle have just finished their first rehearsal for Kaija Saariaho‘s Trois Rivieres (Wednesday at 8pm in Jordan Hall). Jeffrey Means will be conducting.

Quite the powerhouse percussion group here: Scott Deal is very much involved in music and technology and is the founder of the Telematic Collective, a networked group of artists and empiricists.  He’s performed all over North America and in Europe and is currently on faculty at Indiana University Purdue University Indianapolis (IUPUI).  Danish percussionist Mathias Reumert won 1st prize at Gaudeamus in 2007 and has performed at major festivals in the USA, France, Holland, Poland, and throughout Scandinavia.  Joseph Becker, a recent alum of New England Conservatory and Boston University, has performed with Xanthos Ensemble at Roulette in NYC, and has also performed and recorded Carter during his time as a Tanglewood Fellow in 2008 (Carter’s 100th).  And Nick Tolle is no stranger to the new music scene: he directs the Ludovico Ensemble in the sounds of Feldman, Lachenmann, Kurtág, and more.  Tolle also performs with Ensemble XII, previously known as the Lucerne Festival Percussion group, an international gathering of 12 hand-picked percussionists guided by Pierre Boulez and Ensemble Intercontemporain.

Jeffrey Means will get his own spot in due time — he’s accomplished quite a lot (severe understatement) as a percussionist, director, and conductor himself.

More soon!
— your friendly webbottress.

P.S.  Don’t forget!  TOMORROW, Monday June 14th at 8pm in Jordan Hall at NEC: Stockhausen’s MANTRA with pianists Stephen Drury and Yukiko Takagi.  Admission is free.  Bring your toddlers, grandparents, and short-wave receivers.

Percussionist SCOTT DEAL’s appearances include venues, festivals and conferences in North America and Europe. A performer who presents “a riveting performance (Sequenza 21), his recent recording of the music of John Luther Adams has been described as “a soaring, shimmering exploration of texture and tone…an album of resplendent mood and incredible scale” (Musicworks).  Continually inspired by new and  emerging artistic technologies, Deal is the founder of the Telematic Collective, a networked group of artists and empiricists. He hasperformed at Almeida Opera, Supercomputing Global, SIGGRAPH, Arena Stage, Chicago Calling, Ingenuity Festival, Moscow Alternativa, and with groups that include ART GRID, Another Language, Percussion Group Cincinnati, Digital Worlds Institute and the Helsinki ComputerOrchestra. He is a Professor of Music and Director of the Donald Tavel Arts and Technology Research Center at Indiana University PurdueUniversity Indianapolis (IUPUI).  He holds degrees from the Universityof Miami, University of Cincinnati College-Conservatory of Music, and Cameron University.

SICPP begins…

In Uncategorized on June 13, 2010 at 2:14 am

The Callithumpian Consort has finally entered the blogging world.  Watch out.

We’ve just finished DAY ONE of the famous (or perhaps infamous) SICPP: Summer Institute of Contemporary Performance Practice 2010, or Sick Puppy for those more familiar.  In brief: the festival, held at the New England Conservatory, is an intense week of rehearsals, masterclasses, and workshops of avant-garde and otherwise amazing music, with concerts every single night.  The week concludes with a marathon “Iditarod” on Saturday, June 19th, which lasts from 4pm until midnight.

This year, our composer-in-residence is the Israel-born Chaya Czernowin, who won the 1992 Darmstadt Kranichsteiner Musikpreis and has received commissions from IRCAM and the Rockefeller Foundation, among others.  She is now on the faculty of Harvard University, and we’re very happy to be performing so much of her music this summer.

That being said, we are also performing the music of Karlheinz Stockhausen, Kaija Saariaho, Nicholas Vines, Helmut Lachenmann, Georges Aperghis, Wolfgang Rihm, Mischa Salkind-Pearl, and many, many more.

Our first concert will be on Monday, June 14th in Jordan Hall, with Karlheinz Stockhausen’s MANTRA performed by pianists Stephen Drury and Yukiko Takagi.  Admission is free.

More soon: stay tuned!
webbottress.