TACET resurrects NYC's downtown music and art scene by presenting the music John Cage, Morton Feldman, Christian Wolff, and Earle Brown as well as new student works with visual art created in this historical tradition.
Andrew will be performing his own music as well as that of the composers mentioned above.
Andrew will make his Carnegie Hall debut playing celeste with the New York Youth Symphony (NYYS). Visit the NYYS's website for more information.
The Orchestra closes its season celebrating American Composers including Bernstein, Barber and Copland. 2012 Avery Fisher Career Grant winner, Benjamin Beilman, makes his Carnegie debut performing Samuel Barber’s Violin Concerto.
Joshua Gersen, conductor
Benjamin Beilman, violin
Bernstein: Overture to Candide
Harrison Hollingsworth, conductor
Conrad Winslow: All Decays (world premiere)
Barber: Violin Concerto, op. 14
Copland: Symphony No. 3
Andrew will conduct Cristóbal Martinez's chamber orchestra work Tres Miniaturas de Amor (Three Love Miniatures). Andrew will also play tuba in Martinez's new piece for brass quintet.
Facebook event here.
This month, Reinterpretations continues with its examination of classical performance practice, focusing on Morton Feldman's graphic and indeterminate scores from the early 1950's and 60's, and including a presentation of new work for violin, tuba, and piano. Ramin Arjomand is joined by Andrew Niess and Sarah Segner.
Music is a performing art, full of spontaneity, and born of the moment. Musical notation has always implied and relied upon a rich performance practice around it to supply the critical quantity of musical instinct necessary to creating a true musical experience. In other words, notation has never been truly specific, nor is it able to give a complete indication of the musical conception it represents: this can only come into being in a specific moment in time by informed performers. As such, certain viable approaches to notation, developed by composers to elicit specific responses from performers and to achieve precise effects in the moment of performance, were abandoned because they never developed an adequate performance practice around them to draw from.
The afternoon will include a discussion of these ideas, tracing Feldman's musical syntax back to that of Webern, whose language was at once antique, in its embodiment of the spirit of contrapuntal discourse practiced by the Flemish School, and modern, being rooted in a harmonic environment in which tonal dissonance had been prolonged to such an extent that the notion of its resolution had been forgone, and forgotten even. The afternoon will feature performances of Feldman's 'Projection 4' for violin and piano, his Durations 3 for violin, tuba, and piano, and a new work by Ramin Arjomand for violin, tuba, and piano.
The Reinterpretations series at Spectrum, curated by composer/pianist Ramin Arjomand, works to redefine concert and classical performance practice, promising a unique experience that comes out of the trust, mutual understanding and transparent silent exchange between audience and performers vis à vis the artistic propositions offered in the works performed.
Monthly evenings showcase musical and multi-disciplinary work that celebrates intelligence before technique, structure over material, and possibility above finality.
Interspersed between evenings devoted solely to performance, the series offers discussion evenings dedicated to the experiential presentation of key ideas and concepts that concern composers, and the examination of their effect on classical performance practice. Audience members are invited to participate in a critical discourse around the issues, and to engage directly in a thought process that will tie in to their experiences on future evenings.
The series establishes the performance space as a place of even dialogue and communication, of possibility and growth.
Visit Ramin Arjomand's website.
A two-day concert series premiering works by 16 graduate and undergraduate composers from universities in and around New York City. Andrew will play tuba on Kyle Tiemann-Strauss' What Happens Next and Sam Reising's DIDI.
What Happens Next | Kyle Tieman-Strauss | NYU
Homenaje | Andrés Martínez de Velasco | Bard
DIDI | Sam Reising | NYU
Clover Syllabary | Obadiah Wright | Bard
- INTERMISSION -
Incidents (dataset hcs08: table 8) | Julian Sharifi | Sarah Lawrence
What is there to Understand? | Brian Erickson | Mannes
Triptych | Eric Segerstrom | Juilliard
Gumption | Ryan Buchanan | NYU
The NYU Symphony Orchestra will present its annual collaboration with the NYU Tisch Maurice Kanbar Institute of Film and Television on Friday, April 11 at 8 p.m. The program will feature a multi-media presentation of the award winning works of Steinhardt Film Score Composition winners, played in tandem with film imagery provided by Tisch film students.
For the first time, this presentation will take place at the Peter Norton Symphony Space located at 2537 Broadway at 95th Street in Manhattan.
The NYU Symphony will be led by the world-renown German-born conductor Jens Georg Bachmann, who has most recently served as assistant conductor of the Boston Symphony Orchestra and as resident conductor of the NDR Sinfonieorchester in Hamburg, Germany.
Scores by the 2014 NYU Steinhardt Film Score Composition Competition winners Sam Warfield, Tianran Zhang, Meng-Mei Kuo, Robert Randazzo, and Wonkyung Lee will be performed to animated films by NYU Tisch students and alumni: Fighting Spirits by Gene Kim, Araignée by Jeremy Jensen, Owl and Mouse by Emma Nobel, Moon by Dan Costales, and Bears by Dan Costales.
The concert will open with a work by 2014 NYU Steinhardt Composition Competition winner Vincent Calianno and will conclude with Antonín Dvořák’s monumental Cello Concerto in B minor, featuring the 2013 NYU Steinhardt String Competition winner Emirhan Tunca.
The performance is free and open to the public. For further information please visit Symphony Space.