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Posts tagged 'Phillips Collection'

Upcoming Performances of Wollschleger, Cerrone

Schumann's Dichterliebe famously begins: "Im wunderschönen Monat Mai"—in the wonderful month of May. What follows is a masterful collection of discrete, yet interrelated compositions: a chain linked by its proximity to rebirth and spring. Schumann's song cycle is nice metaphor for what's happening with two of our PSNY composers this month: over the next few weeks, Scott Wollschleger and Christopher Cerrone will see a blooming and bountiful group of performances, all up and down the East coast. A wonderful month of May, indeed! 

Kicking things off in a lower register, Scott Wollschleger's trio for marimba, bass clarinet, and bassoon, Density is a Kind of Love, will see its New York Premiere at ShapeShifter Lab on May 9th, performed by Transient Canvas and Chris Watford. Keep an eye out for Density is a Kind of Love, which will soon be published on PSNY. 

Watford will also be performing Timothy McCormack's monumental BODY MATTER, which Watford commissioned in 2015—a nearly thirty-minute long exploration of the bassoon that pushes the instrument and its player to their limits. 

The very next day, Wollschleger's second string quartet, "White Wall", will be performed by the MIVOS Quartet alongside Helmut Lachenmann's String Quartet No. 3 ("Grido") at Roulette, as a part of the Darmstadt Institute New York's 70 Year Anniversary Celebration. Performing on a packed program that also includes the International Contemporary Ensemble performing works by Ashley Fure, Chaya Czernowin ,and Luigi Nono, MIVOS's performance of "White Wall"—a piece they commissioned from Wollschleger—will offer a "brontal" meditation on the process of becoming-sound, with quiet but intense energies circulating among the quartet members, sounding their own time. Check out MIVOS performing the first half of this quartet: 

If Wollschleger's "White Wall" plunges us into the sound-world of the instruments themselves, Christopher Cerrone's "Memory Palace", which sees two performances in the same week, brings us to the sound-world of the composer firmly rooted in space. Or, more properly, as the movement titles suggest, spaces: Harriman, the Long Island Expressway, Foxhurst. On May 8th, the Metropolis Ensemble, featuring percussionist Ian Rosenbaum, performs the Washington, DC premiere of "Memory Palace" at the Phillips Collection. Moving up the coastline, Rosenbaum will also perform the work in Baltimore at An Die Musik on May 10th, with Cerrone giving engaging in an intimate pre-concert conversation. The following week, on May 16th, Rosenbaum will again perform "Memory Palace" at the American Irish Historical Society—an innovative concert program that asks, "what would a house sound like if it could sing?". Check out Rosenbaum performing "Memory Palace" below. 

Timo Andres at the Phillips Collection

The Phillips Collection in Washington, DC is one of the most intimate places to view modern art in America, housed in a small, but vibrant museum in the Dupont Circle neighborhood of our nation's capitol. And alongside modern art, the collection has featured performances of modern music, as well.

PSNY composer and pianist Timo Andresrecently returned to the Phillips Collection on January 17th, alongside violinist Yevgeny Kutik, to perform works by Stravinsky, Nico Muhly, and the World Premiere of his own Words Fail. Check out Andres performing works by Philip Glass last year at the Phillips. 

Timo Andres at the Phillips Collection

Pianist-composer Timo Andres has been busy in 2015: in the first three weeks of this new year, he's already performed five times, across the nation. These include performances at the University of North Carolina, Chapel Hill, Meymandi Concert Hall in Raleigh, NC, The Slowdown in Omaha, Nebraska, and also the Phillips Collection in Washington, DC. 

Known for its collection of impressionist and modern art, the Phillips has been holding concerts in its intimate galleries that speak to its curatorial mission of combining old and new, presenting works from the 19th century next to 20th century works, creating an emergent dialogue across time.

In his performance on January 11th, Timo Andres achieved a similar feat: he performed works by Franz Schubert and Philip Glass, along with his own work, "At The River". No stranger to the interplay between the European canon and contemporary composition (see his updated version of Mozart's "Coronation Concerto"), Andres "approached these works [...] gingerly, as if they were part of a living dialogue," wrote Anne Midgette in the Washington Post

Check out Andres performing "At The River" in his Brooklyn home: 

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