Following her recent, critically acclaimed New York Carnegie Hall debut, pianist Jenny Q Chai has been selected to appear at New York’s Le Poisson Rouge. The concert will take place on Sunday, November 4 at 7:30pm (doors at 6:30pm). Ms. Chai will perform works by Satie, Schoenberg, Stockhausen, Scarlatti, Stroppa, and more. Le Poisson Rouge is located at 158 Bleecker Street in New York City. For more information or tickets ($15/$20).
For her debut at Zankel Hall, pianist Jenny Q Chai was praised by the New York Times’ Anthony Tommasini for her “resourceful technique and sensitivity” as well as playing that is “admirable for its refinement and directness.” Of her performance at the Keys to the Future Festival, Zachary Woolfe wrote, also in the New York Times: “Jenny Q Chai opened the concert playing two of Ligeti’s Études with rich tone and rhythmic clarity; especially strong was her “Cordes à vide.” Chai is an active pianist specializing in contemporary music, and in addition to Carnegie Hall, Jenny has played at New York venues such as Roulette, Symphony Space, the Stone and recently made her Chicago debut playing Schumann’s Kreisleriana at the Dame Myra Hess Series. Recipient of the Yvar Mikhashoff Trust’s 2011 Pianist/Composer Commissioning Project, first prize winner of the Keys to the Future Contemporary Solo Piano Festival, and recipient of the DAAD Arts and Performance award in 2010, Chai has premiered, most notably, Life Sketches and Five Pieces (for Jenny Q Chai) by Nils Vigeland, Intimate Rejection by Ashley Fu-Tsun Wang, Messiaen’s Canteyodjaya (China premiere) and Marco Stroppa’s Innige Cavatina (US premiere). Chai has also premiered “Marriage (Mile 58) Section F” from The Road by Frederick Rzewski in Ghent, Belgium, where she was given the Logos Award for the best performance of 2008. Chai played the first contemporary solo piano concert in China this June at the National Performing Arts Center in Beijing; and she recently had the privilege of introducing the concept of prepared piano to a Chinese audience, with the world premiere of Mallet Dance by John Slover, in Shanghai Concert Hall.
Satie Three Gymnopedies
Schoenberg Op.11 Drei Klavierstücke
Stockhausen Klavierstucke Nr.8
Scarlatti two sonatas
Stroppa Innige Cavatina
John Cage the Wonderful Widow of Eighteen Springs/nowth upon nacht
CUBE celebrates 25 years with a program of music by Jimmy Lopez on Thursday, September 20th at 7:30 pm. They will be joined by members of the New Millennium Orchestra and friends, and Philip Morehead will conduct. The program will include Lopez’ Fiesta and Avec Swing for chamber orchestra as well as Ojos Oscuros by Brandon Bruscata (Merit School of Music). The performance will take place at Grace Place, 637 S. Dearborn, Chicago and tickets are $25 ($15 students). Buy online at www.cubeensemble.com.
Tickets are also available, at $17.50, for a lunch with Jimmy Lopez and critic Andrew Patner at The Arts Club of Chicago on September 19th. The 11:30 am luncheon will be followed by a discussion at 12:15 pm. For more information email: email@example.com.
Jimmy López was born in Lima, Peru in 1978. From 1998 until 2000 he studied with Enrique Iturriaga at the National Conservatory of Music in Lima. From 2000 till 2007 he studied with Veli-Matti Puumala and Eero Hämeenniemi at the Sibelius Academy in Helsinki, from where he obtained his Master of Music Degree in 2007. Mr. López completed his Ph.D. in Music at the University of California-Berkeley in May 2012, where he worked with Professor Edmund Campion. His works have been performed by ensembles such as Chicago Symphony Orchestra, Philadelphia Orchestra, Boston Symphony Orchestra, St. Paul Chamber Orchestra, Atlanta Symphony Orchestra, Fort Worth Symphony, Helsinki Philharmonic, Symphony Orchestra of Chile and the National Symphony Orchestra of Peru, among others; and in venues such as Aspen Music Festival, Tanglewood Music Festival, Darmstadt Music Festival, Donaueschingen Music Festival and the 2010 Youth Olympic Games in Singapore.
He has been awarded numerous prizes: First Prize – 2012 Nicola de Lorenzo Music Composition Contest for “Synesthésie”; First Prize – 2011 Nicola de Lorenzo Music Composition Contest for “15 Études for String Octet”; 2009 Georges Ladd Prix de Paris (UC Berkeley), Kranichsteiner Musikpreis at the ‘2008 Darmstadt International Course for Contemporary Music’ (Germany); 2008 Morton Gould Young Composer Award (New York) for his concertino for piano, strings, brass and percussion titled “Epiphany”; Second Prize – 2008 Nicola de Lorenzo Music Composition Contest (UC Berkeley) for “Epiphany”; Orchestra Composition Award – SävellYS 2006 Composition Competition (Finland) for his orchestral work “The Plea”; Stipendienpreis at the International Course for Contemporary Music, Darmstadt 2006 (Germany) for his chamber work “Kraftmaschine”; Honorable Mention at the Irino Composition Prize for Chamber Music 2005 (Japan) for his string quartet “La Caresse du Couteau”; First Prize – ALEA III 2003 International Composition Competition (USA) for his piece “K’asa” for violin and piano; and the Orchestra Prize – CCA International Composition Competition 2002 (Taiwan) for his orchestral work “Carnynx”.
Pianist Inna Faliks performs at Beethoven Festival: Revolution 2012 on Thursday, September 13 at 3:00pm. The program includes the following works by Beethoven: Fantasy Opus 77, Eroica Variations Opus 35 and Sonata Opus 111. The performance will take place at the National Pastime Theater, 941 W. Lawrence Ave, Chicago, and passes for the day start at $25, click here to purchase or for more information.
Called “adventurous” and “passionate” by The New Yorker and “poetic” by Time Out New York, Ukrainian-born, New York City based pianist Inna Faliks has established herself as one of the most passionately committed, exciting and poetic artists of her generation. After her debut with the Chicago Symphony Orchestra, she has performed on many of the world’s great stages, with numerous orchestras, in solo appearances, and with conductors such as Leonard Slatkin and Keith Lockhart. Critics praise her “courage to take risks, expressive intensity and technical perfection” (General Anzeiger, Bonn), “poetry and panoramic vision” (Washington Post), and “riveting passion, playfulness” (Baltimore Sun). Her acclaimed CD on MSR Classics, “Sound of Verse”, was released in 2009.
Ms. Faliks has performed numerous recitals and concerti in prestigious venues in the US and internationally. She has been featured on radio and international television broadcasts, and has performed in major venues such as Carnegie Hall’s Weill Concert Hall, Metropolitan Museum of Art, Paris’ Salle Cortot, Chicago’s Orchestra Hall, Moscow’s Tchaikovsky Hall and in numerous important festivals.
Committed to innovative programming, Faliks has premiered 13 Ways of Looking at the Goldberg, has performed and recorded the unknown piano works of Russian poet Boris Pasternak, and has premiered new works by Ilya Levinson and Lev ‘Ljova’ Zhurbin.
She was the winner of many prestigious competitions, including the International Pro Musicis Award 2005. Ms. Faliks is also the founder and curator of Music/Words.
Celebrated pianist Inna Faliks is the founder and curator of the award-winning interdisciplinary series Music/Words, which explores the connections between poetry and music. She is joined by Valzhyna Mort, winner of Poetry magazine’s Bess Hokin Prize and the author of Factory of Tears and Collected Body, as well as Vera Pavlova, whose first poetry collection in English, If There Is Something to Desire, was a bestselling title in 2010. Faliks will perform works by Gubaidulina, Tchaikovsky, Lera Auerbach, Shchedrin, and Schumann.
Manhattan Saxophone Quartet, along with special guest performers Mika Godbole and Aleksandr Karjaka, will perform works by composers Jacob T.V., Lee Hyla, Quinn Collins, David Noon, and Inhyun Kim at the Leonard Nimoy Thalia theater at Symphony Space, 2537 Broadway, New York City on Saturday, November 10th, 2012 at 7:30 pm. Tickets are $20; Members, Students, Seniors are $10; Children are free. For more information, call (212) 864-5400 or visit www.symphonyspace.org.
Ear to Mind is a New York City based arts organization which strives to present innovative programs that allow the public to experience contemporary music in non-traditional contexts, as well as by producing publications that allow the public to gain intimate knowledge of the contemporary music field, simultaneously providing composers and performers with a platform for their work.
The Program (* denotes World Premieres) includes:
Quinn Collins, *Growl, Spit, Shriek, & Pout (AATB w/percussion)
David Noon, *Six Bagatelles (SATB w/percussion)
Inhyun Kim, *Saw Sunrise frequencies emanate (tenor saxophone solo, Jordan P. Smith)
Lee Hyla, We Speak Etruscan (Jay Rattman, with clarinetist Aleksandr Karjaka)
Jacob T.V. Post Nuclear Winterscenario No. 12 for saxophone quartet
Manhattan Saxophone Quartet was formed in 2008 and is committed to the highest artistic performance standards of saxophone quartet music, new and old. Its members represent a diverse background of classical, jazz, and contemporary music traditions. MSQ has performed at the Bruno Walter Auditorium at Lincoln Center, the Metropolitan Museum of Art, Citigroup Center, Yale University, Messiah College, Rutgers University, College of New Jersey, New York University, International Saxophone Symposium (Fairfax, Virginia), and North American Saxophone Alliance regional conference, among other public and collegiate venues. American composer David Froom has remarked that MSQ plays “with both precision and passion, and always with terrific musicianship!” and composer David Noon pronounced “I am continually inspired, in truth, by your quartet’s artistry.” The quartet has premiered works by Marc-Antonio Consoli, Robert McMahan, David Noon, Jeffrey Nytch, and Rex Isenberg among others and can be heard on Carrier Records with the premiere recording of Inhyun Kim’s Saxophone Quartet. Today’s performance at the Leonard Nimoy Thalia at Symphony Space includes the premiere of new works by Quinn Collins and David Noon for saxophone quartet and percussion. The Manhattan Saxophone Quartet is Jordan P. Smith, Dennis Schafer, Dan Kochersberger, and Jay Rattman.
Percussionist Mika Godbole has performed with the Philadelphia Orchestra, the Curtis Symphony Orchestra, the Richmond Symphony, the Maryland Symphony Orchestra, the Lancaster Symphony Orchestra in addition to various other groups in the Philadelphia and New York areas. She has also been involved in summer music programs such as the Aspen Music Festival, So Percussion Summer Institute, the Artosphere Festival, and the China International Summer Music Academy. She has collaborated with conductors and artists such as Sir Simon Rattle, Michael Tilson Thomas, Charles Dutoit, Martha Argerich, Yefim Bronfman, Christoph Eschenbach, James DePriest, David Robertson, James Conlon, Jorge Mester, among other musicians.
A Chicagoland native, clarinetist Aleksandr Karjaka has appeared with Stony Brook Contemporary Chamber Players, Lunatics at Large, Feist, Emperor X, Music From China, Eon Contemporary Ensemble, and is a former member of the Tactus Ensemble, Bowling Green New Music Ensemble and Perrysburg Symphony. He recently has recorded music videos with Mason Jar Music and CollegeHumor.Com. Performing staples of the contemporary literature by such composers as Louis Andriessen, Alban Berg, De Falla, Jacob Druckman, Gyorgi Ligeti, Withold Lutoslawski, Arnold Schoenberg and Igor Stravinsky, Mr. Karjaka has also been recorded on Albany Records on the upcoming New Music from Bowling Green CDs.
More on the Compositions:
Growl, Spit, Shriek, & Pout, by Quinn Collins is a sassy and hyperactive cartoon romp. A montage of semi-improvised gestures, honks, clunks, cherry bomb explosions, and nose-thumbing noisemakers, it chucks darts at paint-filled balloons, puts on a scuba mask, finishes the empties at the end of the night, and pours sugar in your gas tank. The piece was originally written for a reading session at the 2009 Oregon Bach Festival Composers Symposium and this evening’s premiere performance was recently revised for the Manhattan Saxophone Quartet and Mika Godbole.
Composer David Noon on his Six Bagatelles:
“After hearing the expert performance of my Saxophone Quartet #1 by the Manhattan Saxophone Quartet, I eagerly wrote my Saxophone Quartet #2 for the group and dedicated it to them…One of my long-term projects is to write pieces for every instrument and standard instrumental ensemble with percussion, rather than piano. As of this date, I have written sonatas for violin, viola, piano, English horn, bass clarinet, French horn, and trombone with percussion. It only seemed natural to think of writing for saxophone quartet and percussion…My Six Bagatelles, op. 244, was written in New York City in the summer of 2012…Each of the bagatelles is designed to highlight a different aspect of the artistry of the Manhattan Saxophone Quartet to whom the piece is joyfully dedicated. “
Lee Hyla’s We Speak Etruscan, for baritone saxophone and bass clarinet was written for saxophonist Tim Berne, bass clarinetist Tim Smith and Norm Roberson, Etruscan enthusiast, tour guide and portiere at the American Academy in Rome. The piece was written in 1992 in New York following Hyla’s Rome Prize residency at the American Academy, and was premiered by Berne and Smith in 1993 at Jordan Hall in Boston. The title of the piece has multi-layered and ironic connotations, exemplified by the fact that the ancient Estruscans spoke a language that is now lost (only the alphabet is decipherable). The music’s jazz-like riffs contrasting with moments of lyrical stillness provide a vehical that is a tour de force for these wind-instruments cousins.
Jacob T.V.’s Postnuclear Winterscenario, opus 49, was written on January 23, 1991, shortly after the outbreak of the Gulf War. The media during this time predicted apocalyptic consequences for the climate and the environment, similar to the effects of a nuclear war. They called it a postnuclear winterscenario. Ter Veldhuis decided to express his speechlessness in music. In only a few hours time the piece, for piano solo was written and is perhaps “simplest” piece he has ever written. All musical material was reduced to a minimum and the ‘melody’ consists of one single note, that is repeated constantly. The harmonic accompaniment consists of only four different notes and there are no real rhythmic, melodic, or harmonic developments. The main way of expression is in the repetition and the delivery, sometimes harsh and brutal, and other times poignant and melancholy. Postnuclear Winterscenario No. 10, based on the string quartet version, was arranged in the summer of 2001 at the request of the Aurelia Quartet.
New York/Chicago/San Francisco based Arts Consultant Peter McDowell offers a variety of strategic services to performing artists (primarily music and dance) as well as arts organizations with the goal of greater exposure, as well as sustainable and functional business development. Primary deliverables include: