At 9pm, CJM joins Jen Baker and Sam Kulik to peform Niblock's A Third Trombone from 1979.

Roulette Event Page
 

Lea Bertucci

TILT Brass premieres Vertical Motion, a new site-responsive acoustic work for brass octet composed by Lea Bertucci, amongst sculptures by Alexander Calder and paintings by Ellsworth Kelly at Lévy Gorvy Gallery’s landmarked building at 73rd and Madison in Manhattan.

TILT Brass personnel on 11/28
Trumpet - Jonathan Finlayson, Gareth Flowers, Tim Leopold
Trombone - Jen Baker, Will Lang, Chris McIntyre
Tuba - John Altieri, Dan Peck

LEFT: Alexander Calder. Red Maze III, 1954. Sheet metal, wire, and paint, 56 x 72 inches (142.2 x 182.9 cm). Courtesy Calder Foundation, New York / Art Resource, New York. © 2018 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photo: Tom Powel Imaging. RIGHT: Ellsworth Kelly. Red White, 1962. Oil on canvas, 83 1/2 x 67 inches (212.1 x 170.2 cm). Courtesy San Francisco Museum of Modern Art. © Ellsworth Kelly Foundation. Photo: Katherine Du Tiel.

Charles Waters (curator, composer, clarinet); Mary Cherney (flute); Christopher McIntyre (trombone)

johnkingmusic.com

More Duos
String Noise: Conrad Harris, Pauline Kim Harris (violins) Chris McIntrye, Jen Baker (trombones) Aleksandra Vrebalov, John King (prepared piano 4-hands)
String Noise: Conrad Harris and Pauline Kim Harris premiere Triple Threat for 2 violins; Chris McIntrye and Jen Baker premiere BONES2BONES for 2 trombones; Aleksandra Vrebalov and John King premiere new pieces for prepared piano 4-hands.

Americas Society Event Page
> CJM performed on Paraskevaídis' trombone quartet Magma II with Will Lang, Daniel Linden, and James Rogers 

This concert will draw from the experimental chamber music composed in the 1960s by fellows at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Instituto Di Tella in Buenos Aires, which was a major meeting point for composers from Latin America. Composer Alberto Ginastera founded the center in 1962 and directed it until it closed in the early '70s. The program is co-curated by Americas Society's Music Director Sebastián Zubieta and musicologist Laura Novoa (Buenos Aires), and will feature performances by Momenta Quartet, among others.

Program
Graciela Paraskevaídis (Argentina, 1940–2017) Magma II (1968) for four trombones
Jorge Sarmientos (Guatemala, 1931–2012) String Quartet no. 1, op. 37 (1966)
Mariano Etkin (Argentina, 1943–2016) Entropías (1965) for two horns, trumpet, two trombones, and tuba
Estáticamóvil II (1966) for string trio

CJM playing trombone on a new work by composer Max Dulaney.

St. Peters Chelsea
346 W 20th St
New York, NY 10011

Talea In New York
Courtney Bryan: new work (2018) *World Premiere
Max Dulaney: new work (2018) *World Premiere
Rebecca Saunders: murmurs (2009) 

Sunday, March 18, 2018 - 1pm
Entry is $25 for a child with an accompanying adult
Entry for additional participant is $10

Tickets - $25 - 20

ISSUE Project Room
22 Boerum Place, Brooklyn, NY 11201

Facebook Event

From ISSUE Project Room Event Page:
"March 18th 2018, ISSUE hosts an interactive performance of the rhythmic game and composition Stridulations For The Good Luck Feast with Billy Martin, joined by TILT Brass and fellow musicians as a part of 2018’s Tilt Kids Festival, produced by the Cultural Services of the French Embassy and the French Institute Alliance Française (FIAF). Stridulations, a study of musical phrasing, counterpoint and improvisation, is a suite of percussion compositions that functions as a collaborative game. The game is not performed to win or lose, but created by players whose primary challenge is collective improvisation.

As the final event of the 2018 Tilt Kids Festival, the event is a celebration of the week’s activities and is designed for children aged 5 through 10 years old. The event shares how rhythmic phrasing contributes to our musical vocabulary and our ability to listen, with musicians from TILT Brass also demonstrating how we apply tonality to these rhythmic patterns. Participants gain a heightened sense and purpose about making music, connecting with others and how to communicate using sound.

Instrumentation includes small bamboo sticks harvested from Martin’s bamboo grove in New Jersey, woodblocks, and recycled bottles as instruments. The event also includes performative demonstrations from Billy Martin’s “Whirlygig Dragons,” a percussion ensemble featuring Martin, Payton MacDonald, Misia Vessio, Kalun Leung, as well as TILT Brass performing a rendition of Stridulations, featuring Chris McIntyre (trombone, Director), Chris DiMeglio (trumpet, voice), Hugo Moreno (trumpet), and Jen Baker (trombone).

Among the most valuable undertakings in Billy Martin’s ongoing artistic exploration is teaching. “When I teach,” he explains, “I learn and discover methods to build my vocabulary and style, and I love to help others do the same.” His experiences as a teacher, student, and musician led him to create and direct Life on Drums, a cinematic exploration of percussion and the creative process with his childhood drum instructor, Allen Herman."

Installation view of Anthony McCall's solid light works

Four Simultaneous Soloists:
A series of performances organized by David Grubbs

Doors: 7PM
Performance: 7:30PM
Tickets: $15

March 2:
Jules Gimbrone – Objects and Electronics
Okkyung Lee – Cello
Chris McIntyre – Trombone and Synthesizer
Yoshi Wada – Bagpipes and Sirens

Full Schedule:
   FRI, JAN 19, 7PM
   FRI, FEB 2, 7PM
   FRI, FEB 16, 7PM
   THU, MAR 2, 7PM

From Pioneer Works' Event Page
"In much the same way that Anthony McCall’s solid light works when exhibited together are experienced individually and as a group, this series of musical performances scheduled to take place within the exhibition imagines four performers—four soloists—experienced individually or as an ensemble.

For each performance, four musicians are dispersed equidistantly throughout Pioneer Works’ 130-foot main hall, each situated adjacent to a solid light piece. The musicians play at a modest volume—either acoustically or with self-contained amplification—such that visitors are compelled to explore the space in order to realize different musical combinations through a succession of aural vantage points. There is no single location from which to garner an all-over sound perspective; visitors must actively bring smaller sounds into focus by approaching them within Pioneer Works’ main hall.

Each of the four musicians on a given performance can be understood alternately as a soloist paired with a solid light work or as part of an ensemble. The selection of musicians, all of whom have extensive experience as improvisers, is motivated by the idea of the first-time encounter—none of the collections of performers will have previously performed in a given configuration.

Each of these performances begins with Anthony McCall’s solid light works already running, and McCall’s pieces continue after the last concertgoer has left. In this way it is established that Four Simultaneous Soloists—not an inaccurate way to describe the four vertical works on display in the main hall—is a performance project in which Anthony McCall’s works function as preexisting entities whose mode of operation imprints itself upon the musicians.

For full schedule:

January 19:
Maria Chavez – Turntables
David Grubbs – Electric Guitar
Sarah Hennies – Percussion
C. Spencer Yeh – Violin and Voice

February 2:
Susan Alcorn – Pedal Steel Guitar
Eli Keszler – Drums and Percussion
Tomeka Reid – Cello
Nate Wooley – Trumpet

February 16:
MV Carbon – Cello
Che Chen – Woodwinds and Tape Machine
Miya Masaoka – Mono Chord, Objects and Koto, Computer
Ben Vida – Electronics

March 2:
Jules Gimbrone – Objects and Electronics
Okkyung Lee – Cello
Chris McIntyre – Trombone and Synthesizer
Yoshi Wada – Bagpipes and Sirens"

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
Facebook Event Page

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

CJM joins Yoshiko Chuma (with Dane Terry and Jason Kao Hwang) to perform during The Poetry Project's 44th Annaul New Year’s Day Marathon Benefit Reading on New Year's Day, 2018. Time TBD.




 

Music by Cage, Kotik, and Eastman: 45 Years Later
S.E.M. Ensemble at Paula Cooper Gallery
Facebook Event

John Cage: Song Books I, II (1970)
Petr Kotik: There is Singularly Nothing (1971-72)
Julius Eastman: Macle (1971-72)

Kamala Sankaram, Jeffrey Gavett, Jake Ingbar, Adrian Rosas, Nathan Repasz (voice soloists); Petr Kotik (flute, voice); Christopher McIntyre, Will Lang (trombone, voice)

Tickets available here: https://cagekotikeastman.brownpapertickets.com/

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*PREVIEW CONCERT* - free (suggested donation)
December 3, 4:30, Willow Place Auditorium (26 Willow Pl., Brooklyn).
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Lea Bertucci and I meet up at Standards in Milano, IT, to revisit material from our Dec. 2016 collaboration at ISSUE Project Room. 

www.standardstudio.it
FB Page

Festival Event Page

PROGRAMME:

Julius Eastman – Joy Boy (1972) [Polish premiere]
Petr Kotik – There is Singularly Nothing (1971-72) [Polish premiere]
Julius Eastman – Piano 2 (1986) [Polish premiere]

***
John Cage – Song Books I, II (1970)
Julius Eastman – Macle (1971-72) [Polish premiere]
Julius Eastman – Our Father (1989) [Polish premiere]

S.E.M. Ensemble
Petr Kotik - Director, flutes, voice, electronics
Joseph Kubera - piano, voice, electronics
Charlotte Mundy - voice
Jeff Gavett - voice, electronics
Chris McIntyre - trombone, voice, electronics
Nathan Repasz - voice, electronics