The Music of Talib Rasul Hakim

Saturday, May 18, 2024
2:00 PM to 4:00 PM
The New York Public Library for the Performing Arts

RSVP for FREE tickets
EO Event Page

PROGRAM
Talib Rasul Hakim, composer

Currents (1967)
string quartet
Four (1965)
clarinet, trumpet, trombone, piano
Music for Nine Players and Soprano Voice (1977)
soprano, alto flute, English horn, bass clarinet, horn, trombone, piano,
cello, double bass, percussion
Psalm of Akhnaten; ca. 1365-1348 B.C. (1978)
mezzo soprano, flutes, piano
Scope-Seven (1965)
piano solo

Either/Or (EO) and International Contemporary Ensemble (ICE) co-present and collaborate on a program of works by legendary Society of Black Composers co-founder Talib Rasul Hakim. Following the performance, a panel discussion featuring three MacArthur composers— Courtney Bryan, Tyshawn Sorey, and ICE AD George Lewis — and EO’s Richard Carrick and Chris McIntyre will discuss the history and ongoing impact of Hakim’s work.

Before his untimely passing, Talib Rasul Hakim (1940-88) was already becoming a widely influential composer, one who suffused his music for chamber and orchestral forces with intense deliberation, considered improvisations, dynamic rhythmic profiles, and purposeful silences. Hakim saw his compositions as more than just music: he saw music performance as the equivalent to an almost religious awakening. In the 1978 book The Black Composer Speaks, Hakim maintained, “It is hoped that whenever [my] music is performed, both performer and listener will experience some degree of inner stirring, that they will experience some philosophical, religious, political, emotional, intellectual experience.”

In this program, ICE and Either/Or present five diverse aspects of Hakim’s artistry that consider music as an encounter with the divine. The program includes performances of Psalm of Akhnaten; ca. 1365-1348 B.C. (1978), an imposing trio work that features a searching articulation of faith, mysticism, and spirituality; Currents (1967), his masterful entry to the string quartet canon; Scope-Seven (1965), an enigmatic solo piano work recently discovered within the vast holdings of the Library for the Performing Arts; Four (1965) for quartet; and Music for Nine Players and Soprano Voice (1977), which features the combined forces of ICE and Either/Or performers.

PERSONNEL
Either/Or
Richard Carrick, conductor
Jennifer Choi, violin
Jonathan Finlayson, trumpet
Pala Garcia, violin
Madison Greenstone, clarinet
Chris McIntyre, trombone
John Popham, cello
Kal Sugatski, viola

International Contemporary Ensemble
Fay Victor, mezzo-soprano
Isabel Lepanto Gleicher, flute
Nicolee Kuester, horn
Cory Smythe, piano
Clara Warnaar, percussion

Panel
Courtney Bryan, composer; Tyshawn Sorey, composer; Richard Carrick, Director, Either/Or ; Chris McIntyre, Curator, Either/Or; George Lewis, Artistic Director, ICE

Image of Mr. Hakim from the William A. Brown Collection, courtesy of the Archives & Special Collections at Columbia College Chicago

Supported by the John D. and Catherine T. MacArthur Foundation, committed to building a more just, verdant, and peaceful world. More information at macfound.org.

Made possible in part through lead support from Arlene and Larry Dunn Fund for Afrodiasporic Music and the Cheswatyr Foundation.  

Detail from Joanna Ward's London plane tree hid me from the sun (2022)

Either/Or presents:
Sowings & Affinities
Wednesday, November 15th, 2023, 8:00pm

University Settlement Speyer Hall
184 Eldridge St, New York, NY 10002

EO Event Page
TICKETS

On November 15th, Either/Or returns to University Settlement’s historic Speyer Hall with an expansive program of works created by an international group of individual compositional voices. Comprised primarily of pieces written since 2000, the concert introduces new voices to the EO fold (Hannah Kendall, Leroy Jenkins), deepens several recently established relationships (Inga Chinilina, Joanna Ward, Jō Kondō), and pays homage to the great Kaija Saariaho. This event also features a special guest appearance by Downtown legend Kathleen Supové.

PROGRAM
Hannah Kendall Tuxedo: Crown; Sun King (2021) violin solo
Jō Kondō Forme semée (1982)* trombone & piano
Inga Chinilina Wear And Tear (2020) percussion solo
Kaija Saariaho Dolce Tormento (2004) piccolo solo
Leroy Jenkins Thar He (2002) violin & piano
Joanna Ward A London plane tree hid me from the sun (2022)* tutti
* US Premieres

PERFORMERS
Jennifer Choi, violin; Russell Greenberg, percussion; Christopher McIntyre, trombone; John Popham, cello; Special guest - Kathleen Supové, piano 
 

EO plays Infrequent Seams Festival
Monday, December 19, 2022
8:00 PM 9:00 PM
Roulette event page

Either/Or folds into the evening-length Infrequent Seams Festival at Roulette with Profiles, a wide ranging program of works by a multi-generational group of composers. Its set includes chamber music rarities by Talib Rasul Hakim (1940-88) and Jō Kondō, a recent solo cello work by James Díaz, and an evocative graphic score by Kathernine Yo.

PROGRAM
Talib Rasul Hakim - Duo (1963) for flute & clarinet
James Díaz - en tiempos de voz pasiva (2019) for cello & elec.
Jo Kondo - A Scribe (1985) for flute, trombone, piano, perc
Talib Rasul Hakim - Profiles (1964) for clarinet, trumpet, trombone, cello
Katherine Young - For Autonauts, For Travelers (2012) - tutti

PERSONNEL
Richard Carrick - piano; Jonthan Finlayson - trumpet; Madison Greenstone - clarinet; Margaret Lancaster - flute; Chris McIntyre - trombone; Chris Nappi - percussion; John Popham - cello 

Pioneer Works: False Harmonics #12
TILT Brass & Zeena Parkins
7:00p Doors
8:00p Performance
$20 adv. $25 day-of
PW Event Page

Performing music by Julius Eastman, Phill Niblock, and Zeena Parkins
Featuring compositions & solo set by Ms. Parkins (harp)
Special guests James Fei (analog electronics) and Josh Henderson (violin)

Brooklyn’s own TILT Brass presents a program of works by legendary New York composers including the premiere of a new transcription of Julius Eastman’s brutalist If You’re So Smart, Why Aren’t You Rich? (1977) for a 13 piece orchestra of brass, strings, and chimes (featuring violinist Josh Henderson), the premiere of TILT’s massed brass version of Phill Niblock’s Exploratory (2019), and Zeena Parkins’ Whistling in the Dark Wind (2019) for TILT Brass sextet and two improvisers (Parkins on harp & polymath musician James Fei on analog electronics.) Ms. Parkins will also present a solo harp set of two new works, one of her own creation, the other by her Mills College composer colleague John Bischoff.

Images: TILT Brass by Stefan Rudata; Zeena Parkins by Jeff Preiss; Julius Eastman by ©David Oliver; Phill Niblock by Ramin Talaie; Josh Henderson by Kristofer Bergman

Eithere/Or is proud to present Process and Potentiality, a celebration of new and historic works exploring the limits of interpretation, notation, and musical communication.

The program includes the world premieres Wereds for solo flute (2019) by Jessie Cox (with whom E/O premiered his experimental opera As a Song of the World in 2020), and Graphic Series:Lead Sheets #50 by Artistic Director Richard Carrick. In addition, EO presents performances of works by Katherine Young, Raven Chacon, Roman Haubenstock-Ramati, Roland Kayn, and Tom Johnson.

Performers
Richard Carrick - piano; Jennifer Choi - violin; Margaret Lancaster - flute; Chris McIntyre - trombone; John Popham - cello

Program
Jessie Cox Wereds - solo bass/piccolo flute (2019)
World Premiere
Tom Johnson Sequenza Minimalista (1992)
> CJM solo trombone
Richard Carrick Graphic Series: Lead Sheets Selections (2019)
World Premiere
Raven Chacon Whisper Trio (2008)
Roland Kayn Inerziali (1964)
Katherine Young For Astronauts, For Travelers (2012)
Roman Haubenstock-Romati Konstellationen, selections (1971) 
 

Roland Kayn, detail from Inerziali (1964)

 

Either/Or: 2021 Spring Festival

June 21, 3:00pm EST
LIVE at Seaport District Pier 17 [Part of Make Music New York]
June 24, 8:00pm EST
Streamworks: Part 1 [online event]
June 26, 8:00pm EST
Streamworks: Part 2 [online event]

FOR IMMEDIATE RELEASE
New York experimental music ensemble Either/Or emerges from the pandemic hiatus with the 2021 iteration of its acclaimed Spring Festival programming. The Festival features three events during the last week of June.

First, on Monday, June 21, EO presents an in-person, outdoor concert on the Upper Square of the Seaport District’s Pier 17. As part of the annual Make Music New York extravaganza, tellar EO members (Margaret Lancaster, Richard Carrick, and Chris McIntyre) are joined by special guests Jonathan Finlayson and Zeena Parkins to perform works by renowned composers Anthony Braxton, Ms. Parkins, EO Director Carrick, and Julius Eastman. The closeness of EO to these creators’ music adds to the auspiciousness of the group’s return and is a heartfelt offering of joy to all citizens of our beloved city.

Either/Or - Live at Seaport District Pier 17
Part of Make Music New York
June 21, 3:00pm
Location:
Pier 17 - 89 South St, New York, NY 10038 [map]
Program:
Anthony Braxton - No. 40(O) (1975)
Zeena Parkins - Selections from Lace Pieces (2008 - ongoing)
Richard Carrick - Graphic Series:Lead Sheets (2021)
Julius Eastman - Joy Boy (1974)
Personnel:
Richard Carrick - e. guitar & keyboard; Jonathan Finlayson - trumpet; Margaret Lancaster - flute; Chris McIntyre - trombone; Zeena Parkins - harp & electronics

EO’S Spring Festival continues with two internet presentations on June 24th and 26th, featuring two of Either/Or’s most adventurous players, Vasko Dukovski (clarinets) and Margarget Lancaster (flute). Both artists have explored the possibilities of the online context during the pandemic period, developing videographic skills along the way. These events feature the results of this research, offering wide swath of musical and visual thought: Lancaster gathering several works created in collaboration with composer colleagues, Dukovski (along with EO Director Carrick) assaying and selecting newly discovered works from an international call-for-scores in April, both deeply involved in each video realization. That call gives these two online experiences their title: Streamworks Vols. 1 & 2.

Each of the two events will be followed by a live discussion of the music with the composers and performers. Carrick and EO Curator Chris McIntyre will host, taking and directing questions from the audience. A Zoom link will be distributed at the end of each presentation.

Streamworks - vol. 1
June 24, 8:00pm EST [online event]
Inga Chinilina (Providence, Moscow) sky every day [Dukovski - bass clarinet]
Nina Fukuoka (NYC, Japan/Poland) 13<x & x<11 [Dukovski - bass clarinet]
Elizabeth Hoffman (NYC) for margaret: bloom back brighter [Lancaster - flute]
Elizabeth Hoffman (NYC) deep dark dive (world premiere) [Lancaster - flute]
Ryan Carraher (Seattle) i wanted to fly from the roof and i fell, monodrama for solo clarinetist [Dukovski - clarinet]

Streamworks - vol. 2
June 26, 8:00pm EST [online event]
Yuma Uesaka (NYC, Detroit) Dual Duel [Dukovski - clarinet]
Jacob TV (Netherlands) Farewell Feathered Friends [Lancaster - piccolo]
Irene Tanuwidjaja (Indonesia) Stocks [Dukovski - bass clarinet]
Juraj Kojš (Miami, Slovakia) The Foyer from The Apartment of Earthly Delight [Lancaster - flute] Tianyu Zou (Beijing) two shameful moments of my day [Dukovski - bass clarinet]

Both Streamworks programs are free and will be broadcast on Either/Or’s YouTube Channel: https://www.youtube.com/user/eitherorensemble
Either/Or's Concert Seasons are made possible by the generous support of the BMI Foundation, the New York State Council on the Arts (a New York State agency), and by our private donors. Either/Or is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
 

25 September, 2019: Miller Theatre
COMPOSER PORTRAITS: Anthony Braxton

IPR Event Page
FB Event Page



SYNCRETICS SERIES:
HPRIZM: PRESSURE WAVE / JOSH SINTON: KRASA
Fri 15 Mar, 2019, 8pm
($15 - 12) ALL-ACCESS
ISSUE Project Room
22 Boerum Place, Brooklyn, NY 11201

Friday, March 15th, ISSUE continues its Syncretics Series with acclaimed composer and performer Hprizm (Kyle Austin) performing PRESSURE WAVE, an evening length audio/visual piece. Saxophonist, bass clarinetist, and creative musician Josh Sinton also presents krasa, a series of investigations exploring the amplification and sound magnification of the contrabass clarinet.

Curated by Chris McIntyre, Syncretics Series is a programming platform that unites differentiated musical practices on each concert event. Comprised primarily of solo and duo performances by artists culled from a wide swath of the field, Syncretics presents a manifold range of work including virtuosic improvisations, immersive audio/visual environments, and keenly focused programs of recent and contemporary repertoire.

Recently staged in Philadelphia by Bowerbird, Hprizm’s PRESSURE WAVE uses the amplified resonance of urban spaces and the intersectional place between Sonic Activism, Musique Concrète, and Rap’s early roots to examine the dense environments and circumstances that birthed Hip Hop. Scored with generative programming and degenerative tape loops PRESSURE WAVE is the magnetic memory of era long past.

Hprizm adds:
“Nam June Paik, Steve Reich, and Public Enemy were all working with burgeoning tape-based technologies to make overtly political statements. Most of my remembrances of the Black Nationalists struggle are also informed by the tape medium. Building on the works of my chief influences helped me to re-contextualize the sounds and images of Black Nationalism and present them in a nuanced, non-linear form.”

Josh Sinton provides context for his work, krasa:
“krasa is the name I’ve applied to a series of investigations… of the creative potential of the electric amplifier... I decided right away that this work would be done with a contrabass clarinet, an instrument I rarely play and have limited facility on... I deliberately wanted to use an instrument that I was familiar with but not overly so… [to avoid] habits built from muscle memory and over-familiarity… I immediately discovered [that] I was able to put very, very small sounds under a kind of audio microscope… Small inhalations of breath, a key click, tiny perturbations in an expelled air stream, all these things could be magnified and therefore distorted… Inconsequential, “boring” sounds could be made the center of my imaginative focus. The detritus of my musical practice became the very stuff I used for extended, improvised performances.

I’ve used this Rube Goldberg of a biofeedback system (to quote Evan Parker) as a springboard for extended improvisations… I alternate between barren, Beckett-esque soundscapes and walls of sound that seem to be conjuring some kind of Jungian archetypes from our collective unconscious. In fact, all I am doing is examining the sounds that spontaneously occur. It is very much like Isaac Newton’s boy on the beach diverting himself with the vast quantity of pebbles he finds before him.”

Because of the “draconian conditions” Sinton places on the process (i.e. a purposefully unfamiliar amplifier, limited mic-ing, etc.), he characterizes the krasa material as:
“…a methodical and deliberate act of boxing myself into a tight corner and seeing what spontaneous creative solutions occur when asked to perform."

Hprizm (Kyle Austin) is a American composer/performer hailed as an innovator by the likes of TIME, NY TIMES and Rolling Stones. His pioneering synthesis of Hip Hop, Avant Jazz and Electronic Composition often draws comparison to Afrofuturist visionary Sun Ra. As the founder of the seminal collective [Antipop Consortium] he has shared the stages and spaces with the like of Public Enemy, Radiohead, Ornette Coleman, Roscoe Mitchell and many more. His pieces have been presented in the Met, The Whitney, Lincoln Center, The Philadelphia Museum Of Modern Art, The African American Museum, Venice Biennale, Sharjah UAE, The Walker Museum, The Penn ICA, & Theatre Du Chatelet.

Josh Sinton is a creative artist, composer and musical performer. Based in Brooklyn since 2004, he has collaborated with some of the brightest lights of the current NYC creative music scene including Nate Wooley, Ingrid Laubrock, Anthony Braxton, Jon Irabagon, Mary Halvorson and Tom Rainey to name just a few. He has worked as a composer, sound designer and actor in Chicago with Steppenwolf Theater, Bailiwick Theater and the choreographer Julia Mayer and traveled throughout the world performing in small villages in Western India as well as on large stages in Amsterdam, Rio de Janeiro and Milan. His current research has led him to investigate the creative potential of the baritone saxophone as well as contemplating the various cul de sacs of improvised music here in New York City. He has led the bands Ideal Bread, musicianer and holus-Bolus and currently leads his Predicate Trio as well performing regularly with the trio What Happens in a Year and clarinetist and composer Guillermo Gregorio. His most recent projects are the albums “making bones…,” the essay “Four Hypotheses” for SoundAmerican.org and the solo document, “krasa.” You can find out more about Sinton and his work at joshsinton.com

FONT Event Page Page
Mannes website

TILT Brass returns to the annual FONT Festival to present an all-trumpet program featuring Julius Eastman’s recently realized work Trumpet from 1970 and Lois V. Vierk’s rarely heard sextet Cirrus (1987), along with compositions by Jon Gibson and TILT Director Chris McIntyre, and Eastman’s Joy Boy (1974). The performance takes place at Mannes School of Music at The New School. Brass students from the school will participate in a workshop with members of TILT and will join the group in performing Joy Boy and Gibson’s Multiples (1972.)

TILT Brass Trumpets performing Julius Eastman's Trumpet (1970) at The Kitchen[/caption]

TILT Brass Trumpets:
Jaimie Branch
Chris Bubolz
Wayne du Maine
Jonathan Finlayson
Gareth Flowers
Sam Jones
Tim Leopold
Hugo Moreno
Chris McIntyre, conductor & musical director

PROGRAM
Julius Eastman - Joy Boy (1974)
Chris McIntyre - Presencing Piece No.1 (Mannes Siting) (2014/18)
Julius Eastman - Trumpet (1970)
Lois V. Vierk - Cirrus (1987)
Jon Gibson - Multiples (1972)

Ron Hammond's 1970 image of Eastman and the first page of the original score for Trumpet

PRESS for Trumpet
NY Times Review of 2/3/18 performance

McIntyre NY Times interview

SYNCRETICS SERIES: ERIC WUBBELS / ADAM TENDLER
Chris McIntyre, curator

Sat 17 Feb, 2018, 8pm
Tickets
($15 - 12) ALL-ACCESS

ISSUE Project Room
22 Boerum Place, Brooklyn, NY 11201

Saturday, February 17th, ISSUE presents the second evening of our recently inaugurated Syncretics Series, a series of concerts featuring solo and duo performances by artists at highest level of their craft curated by Chris McIntyre. The evening features Eric Wubbels, acclaimed composer, pianist, and co-director of the Wet Ink Ensemble, performing his own compositions including the premiere of a new solo piano work and a recent duo for trombone and piano, as well as pianist Adam Tendler performing a repertoire of works from David Lang, Elodie Lauten, Frances Rose White, and Tom Johnson.

Eric Wubbels presents the first work in a major new project of music for the piano, which will eventually encompass ten to fifteen virtuosic works written for a cohort of some of the most forward-thinking, technically adept, and creative pianists currently working in New York City (including Conor Hanick, Conrad Tao, Kris Davis, Craig Taborn, and Matt Mitchell). He also presents his 2016 piece contraposition for trombone and piano. Written for and performed here by trombonist Weston Olencki, the work explores concerns of virtuosity, synchronization, and hybridization using unique languages developed through Wubbels’ and Olencki’s intensive long-term collaboration.

Adam Tendler presents a selection of unique works chosen especially for ISSUE. Tendler explains, “When [curator] Chris McIntyre invited me to participate in this concert, I felt grateful and honored. But mostly relieved. It's true. I explained at the time that I had accrued a virtual lagoon of pieces that I’d either learned or wanted to learn, but that seemed to only fit a platform like ISSUE, and that I found myself only gently nudging for opportunities to present but mostly waiting for the right one. Finally, with this February 17th concert, a couple of them will have a home.”

He continues, “these works, I felt, required a certain intimacy space-wise, but also austerity in the environment. They themselves must fill the space—not a grand concert hall, but not a house salon, either. They have a darkness, or perhaps need darkness. They pulse with a raw, hungry, ambitious immediacy. They are seminal. Young. A little reckless. They pull from the world around them and demand a lot from the performer and listener. They’re anomalies. Islands. At once extroverted and yet also cerebral and intensely personal. Even if in retrospect these works appear unique in each composer’s output, or “of a time,” it is precisely that time and feeling that I want to capture in this brief set of works for piano, and piano/tape from the 70s and 80s.”

Tendler’s notes on his presented repertoire are shown below, highlighting the idiosyncratic character of each piece:

David Lang: while nailing at random (1983)
I think of this as Lang’s Sequenza, his Piano Variations. His “ten minute monster,” to borrow Copland’s term.The only work on the program without a tape element, the piece (I think, importantly) shows a younger Lang composing music with the tenderness of a buzzsaw. And yet one can still hear glimpses of the understated, obsessive, often melancholy work that would later, some might argue, come to define the composer’s unique sound.

Elodie Lauten: Imaginary Husband (c.1983)
I hope that this realization will represent the first of several to follow. A lovely, haunting chord progression blends with ghost voices and drones from a subtle tape part. I will attempt to track down any sketches or a possible surviving tape, however I think the piece can be effectively recreated while capturing the energy of Lauten’s legendary live performances and fluid compositional approach.

Frances Rose White: Still Life with Piano (1989)
For over two years I've stared at White's Still Life with Piano hoping to play it. She wrote the work for her now-husband, James Pritchett, during the beginning of their relationship, and he premiered it. Spare but feisty pointillistic piano gestures flit above a bed of warm electronica. Ahead of its time and seldom performed, this is the kind of piece my mind conjures when I think of what I want a tape/piano piece to sound and look like. And I adore Frances Rose White.

Tom Johnson: Triple Threat (1979)
This is a barn-burner of a piece that is truly for tape and piano, with the performer using a 4-track cassette recorder to overdub spoken text and an interlocking piano texture. As one might expect from Johnson, the text is about the piece, and namely about how difficult it is to perform, with memorized text to be recited during the rewinding portions. If it works, it works! If it doesn't, well... then the piece proves itself right. But I think this will serve as a fun, cheeky and quite-perfect postcard from the loft-concert era, where composers emerged from the watershed freedoms of minimalism to push, blur and destroy concert-hall boundaries and expectations, exploring new horizons of sound and technology.

Eric Wubbels (b.1980) is a composer, pianist, and 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, Kupka's Piano (AUS), Berlin PianoPercussion, Ensemble Linea (FR), New York New Music, SCENATET (DK), Hong Kong New Music Ensemble, and Talea Ensemble, and featured on festivals including Huddersfield Festival, Chicago Symphony MusicNOW, New York Philharmonic CONTACT, MATA Festival, and Zurich Tage für Neue Musik. The recipient of a 2016 Charles Ives Fellowship from the American Academy of Arts and Letters, Wubbels has been awarded commissioning grants from Chamber Music America's Classical Commissioning Program, ISSUE Project Room, MATA Festival, Barlow Endowment, Jerome Foundation, New Music USA, and Yvar Mikhashoff Trust, and residencies at the MacDowell Colony (2011, 2016), Djerassi Resident Artists Program, and Civitella Ranieri Center. 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, Alex Mincek, Sam Pluta, Katharina Rosenberger, and Kate Soper.He has recorded for Carrier Records, hatART, Spektral (Vienna), New Focus, Albany Records, and Quiet Design and has held teaching positions at Amherst College and Oberlin Conservatory.

Adam Tendler has been called “a virtuoso pianist” by The Village Voice, "exuberantly expressive" by the Los Angeles Times, a "modern music evangelist" by Time Out New York, "musical mastermind" by the Houston Press, and a “quietly charismatic... intrepid... outstanding... maverick pianist” by The New Yorker. He has performed solo recitals in all fifty states, including engagements at Carnegie Hall, Lincoln Center, The Kitchen, (le) poisson rouge, National Sawdust, Rubin Museum, Philadelphia Museum of Art, Rothko Chapel, Joe’s Pub, The Fisher Center at Bard College, Maverick Concert Hall, and James Turrell's Skypace in Sarasota, Florida. His memoir, 88x50, was a 2014 Kirkus Indie Book of the Month and a Lambda Literary Award Nominee. 2015 saw the release of Tendler's premiere recording of Edward T. Cone’s “21 Little Preludes” for piano, and he will record an album of works by Robert Palmer for New World Records in 2018. He also appears on the Tido digital music app, produced by Edition Peters. Adam Tendler lives in Brooklyn, serves on the faculty of Greenwich House Music School and Third Street Music School Settlement, and performs in the radical new music collective, Tenth Intervention. He is working on his second book.

Photo: Eric Wubbels’ being-time, released in November 2017.

Yamaha CFX concert grand piano graciously provided by Yamaha Artist Services, New York.

The Kitchen Event Page
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On February 3rd, 2018, TILT Brass gives the modern premiere of Julius Eastman's Trumpet (1970), a work for trumpet septet not heard since 1971, at The Kitchen during That Which Is Fundamental, a multi-event festival focused on the work of this now-revered composer and performer. The program on 2/3 includes Ekmeles performing Macle (1971), Prelude to The Holy Presence of Joan d'Arc (1981), a solo by Julian Otis, and ACME playing the 10 cello piece The Holy Presence of Joan D'Arc (1981).

Personnel for Eastman's Trumpet at The Kitchen:
Trumpet - Gareth Flowers, Jaimie Branch, Wayne du Maine, Mike Gurfield, Tim Leopold, Hugo Moreno, Nate Wooley
Director - Chris McIntyre

EITHER/OR: TOMBEAU FOR ANA-MARIA AVRAM


From IPR Event Page:
"Romanian composer, pianist, and conductor Ana-Maria Avram (1961-2017) died at the age of 55 on Tuesday, August 1st, 2017. Avram was a truly gifted idiosyncratic composer and musician, co-conductor of The Hyperion Ensemble, and Artistic Director of the Spectrum XXI festival (which she founded to showcase innovative Romanian music).

In tribute and commemoration of her artistic contributions, ISSUE presents a “tombeau” program of Avram’s works performed by Either/OR, who produced a week-long festival of Romanian Spectralism in 2016 which brought Ana-Maria Avram and Iancu Dumitrescu to New York City for the first time. The ensemble features Mario Diaz de Leon (Electric Guitar), Vasko Dukovski (Clarients), Yarn/Wire member and former ISSUE Artist-In-Residence Russell Greenberg (Percussion), Margaret Lancaster (Flutes), and Zach Rowden (Bass).

Since 1988, Ana-Maria Avram had been a member and co-conductor of Hyperion Ensemble with her husband Iancu Dumitrescu, who together pushed the Romanian avant-garde into the hyper-spectral realm. She has composed somewhere around 150 works and over 300 combined with Dumitrescu, including compositions for soloists, orchestras, and chamber ensembles, as well as works based in electronics and computers.

Avram explained the concept of spectralism to Philip Clark in The Wire 308: “Spectralism is not just a trend but a specific attitude towards sound,” she told Philip. “There isn’t one spectral approach, but many different viewpoints. Radulescu’s sound plasma, the music of the French spectralists, and our music are often defined as post-spectral or hyperspectral: but above anything it is transformational music.”

PROGRAM:
Penumbra (III) (2016) for bass clarinet
Quatre études d’ombre (1992) for bass flute
Axe VII (2004) for double bass

Intermission

Metalstorm (IV) (2016) for ensemble and computer sounds
Textures Liminales (I) (2013) electronic music

From ISSUE Project Room's Event Page

"Drawing its participants from the first 10 years of ISSUE Project Room’s Artists-In-Residence Program, AIR Alumni Collaborations is a performance that brings together former ISSUE resident artists in striking new combinations. Eccentric, interdisciplinary, and deeply experimental, the new collaborations showcase the wide-range of approaches found within the ISSUE community, amplifying each artist’s personal aesthetics while drawing unexpected parallels between their work.

Thursday, January 19th, ISSUE presents three first-ever collaborative performances by former ISSUE Artists-In-Residence focusing on highlighting their parallel and divergent performance strategies. Cellist, vocalist, and electronics producer Audrey Chen performs alongside two key members of the collaborative ensemble Ne(x)tworks: renowned vocalist Joan La Barbara and composer, improviser and electro-acoustician Miguel Frasconi. Berlin-based composer and synthesist Doron Sadja pairs his particular style of multi-channel spatialized sound, pristine electronics, dense noise, and immersive light projections with multimedia artist Rauel De Nieves’ encompassing narrative and multimedia performance style. MV Carbon performs a new collaboration with media artist Bradley Eros sharing the role of manipulating sound and image on a new project called The Mystery of Spiders -- a sound & projection performance conceptualizing scores based on spider webs.

Curated by Lea Bertucci and Chris McIntyre

TILT Brass Sextet
l to r: Tim Leopold, Mike Gurfield, Will Lang, Jen Baker, Gareth Flowers, Chris McIntyre

POP-UP CONCERTS
Wild Ones - TILT BRASS
Tuesday, December 8, 2015, 6pm
Miller Theatre at Columbia University
FREE

Facebook Event Page

PERSONNEL
TILT Brass Sextet
trumpet – Gareth Flowers, Mike Gurfield, Tim Leopold
trombone – Jen Baker, Will Lang, Chris McIntyre

PROGRAM
James Tenney Swell Piece for Alison Knowles (1967)
Sextet
Liza Lim Wild Winged One (2007)
Gareth Flowers, solo trumpet
Anthony Coleman A Fistful of Footfalls (2015) World Premiere
Sextet
Catherine Lamb overlay/smear (2015) World Premiere
Sextet
Chris McIntyre Dedifferentiation for Brass No. 3 (2015) World Premiere
Sextet and sound score