European American Music Distributors Company is a member of the Schott Music Group

Information Regarding COVID-19:
Our New York City office remains closed to protect the health and safety of all of our employees. During this time, we are doing everything possible to minimize disruptions to our daily operations. All employees are working remotely from home and remain fully contactable. If you have had to cancel or postpone a performance of a work from our catalogue, or are considering live streaming performances or streaming archival material, we are prepared to assist you in facilitating changes. Please direct all questions or concerns to rental@eamdc.com.

Please note:

  • All materials from canceled or completed performances should be returned to our Verona, New Jersey library only.
  • Please do not return materials to our New York office. Unfortunately, we cannot be responsible for lost materials that are returned to our New York office while it is closed. If materials are lost, we will have to charge the full replacement value.

Composers

Blog Archive

2020201920182017201620152014201320122011

Newsletter

Anthony Cheung's "Twin Spaces, Intertwined" Premieres in Chicago

The University of Chicago has long been held as the paragon of "the life of the mind." Established as a graduate research university in 1890, it has graduated classes of students every three months in quarterly convocation ceremonies; these ceremonies have taken place in the 1,800-seat-capacity Rockefeller Chapel since its construction in the 1920s. On December 11th, the newest class of graduates will mark the completion of their degrees by hearing the world premeire of Anthony Cheung's Twin Spaces, Intertwined — a new work for spatialized chamber ensemble, written specifically for the gothic cathedral space.

Performed by members of the Civic Orchestra of Chicago under the baton of Michael Lewanski, Twin Spaces, Intertwined consists of separate wind and brass quintets spread out throughout the interior space of the chapel, along with two percussionists above the altar. Cheung writes: 

The idea is to fill the chapel with echoes and refrains, with the sensation of calls and responses, especially in the horns. […] The tone of the piece, while in many ways celebratory because of this specific occasion and reflected in quite jubilant passages at its climaxes, is also one of contemplation, reflection, and mystery.
 

 Check out a few excerpts from Cheung's recent work for ensemble, Time's Vestiges:

Related Posts