Composers
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- Fred Lerdahl
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- Wang Lu
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- Katharina Rosenberger
- Huang Ruo
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- Howard Shore
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- Stanislaw Skrowaczewski
- Elijah Daniel Smith
- Kate Soper
- Gregory Spears
- Morton Subotnick
- Dobrinka Tabakova
- Karen Tanaka
- Ken Ueno
- Stewart Wallace
- Shelley Washington
- Kurt Weill
- Scott Wollschleger
- Katherine Young
- Ellen Taaffe Zwilich
Blog Archive
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(11 posts)
- Alvin Singleton's "Sweet Chariot" at the National Museum of African American History & Culture
- Joan La Barbara Performs "Music for Merce" in Minneapolis & Chicago
- Praise for Kate Soper's "Ipsa Dixit"
- Æolus Quartet Performs Keeril Makan's "Washed by Fire"
- Mario Diaz de Leon Premieres "Sacrament" with Talea Ensemble
- Ann Cleare's "eyam v (woven)" Premieres at RTÉ National Symphony Orchestra
- Music from Copand House: Pierre Jalbert, "Secret Alchemy"
- Kettle Corn New Music Presents Scott Wollschleger's "Brontal Symmetry"
- Third Coast Percussion Premieres Christopher Cerrone's "Goldbeater's Skin"
- Anthony Cheung in Residency at 113 Composers Collective
- Kate Soper's "Ipsa Dixit" Premieres at Dixon Place
- ▼January (4 posts)
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(5 posts)
- Andrew Norman's "Play", Revised & Ready for Action at the LA Phil
- Ann Cleare's "eyam ii" Premiered by Argento Ensemble
- Contemporary Piano Video Library features Lei Liang's "Garden Eight"
- Ted Hearne's "The Source" in Los Angeles and San Francisco
- Ethan Iverson interviews Alvin Singleton on "Do The Math"
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(6 posts)
- New Works by Kate Soper and Mario Diaz de Leon at the LA Phil
- Lerdahl and Carrick Performed by Sound Icon in Boston
- Yale Choral Artists Perform Hannah Lash's "Requiem"
- Ann Cleare's "Mire |...| Veins" at the Festival of New Trumpet Music
- Ted Hearne: Sounds from the Bench
- Erin Gee Featured at the Resonant Bodies Festival
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(6 posts)
- Lei Liang: Deriving Worlds
- Pierre Jalbert's "Howl" Recorded by Pro Arte Quartet
- Gregory Spears' "Fellow Travelers" Premieres at Cincinnati Opera
- New Releases of Morton Subotnick's Works for "Ghost Electronics"
- Timo Andres' "Comfort Food" in New York
- Anthony Cheung's "Dystemporal" Now Available from Wergo
- ▼May
(8 posts)
- Hannah Lash at the New York Philharmonic Biennial
- Jennifer Koh's "Shared Madness"
- World Premiere of Mario Diaz de Leon's "O Ignis Spiritus" by the TAK Ensemble
- Hannah Lash's "Beowulf" Premiered by Guerilla Opera
- Josh Modney in the PSNY Greenroom
- Alex Mincek: "On The Outside, Looking Out"
- Awards Season for PSNY Composers
- Upcoming Performances of Wollschleger, Cerrone
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(6 posts)
- Christopher Cerrone's "High Windows" on Q2 Music's "LPR Live" Podcast
- "In The Chamber" with Kamran Ince, Pierre Jalbert, and Christopher Cerrone
- Alex Mincek Portrait Concert at Miller Theatre
- Ted Hearne Premieres "Baby (an argument)" with Ensemble ACJW
- Kate Soper's OITOITOI Premiered by Ogni Suono Duo
- Marilyn Nonken Debuts Richard Carrick's "la touche sonore sous l'eau"
- ▼January
(7 posts)
- Kate Soper Profiled on NewMusicBox
- Timo Andres at the Phillips Collection
- Sleeping Giant at Carnegie Hall and Le Poisson Rouge
- Josh Modney Performs at Spectrum NYC
- Lei Liang Performed by the Mivos Quartet
- Gregory Oakes Performs Ken Ueno at the 2016 New Music Gathering
- PSNY Remembers John Duffy (1926-2015)
- ▼December (3 posts)
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(7 posts)
- Ted Hearne's "Law of Mosaics" in Chicago; "The Source" CD Release
- "The Branch Will Not Break" at Present Music
- Two New Works by Timo Andres
- Soper, Lash, and Pintscher Performances on the East Coast
- Sound Icon Performs Ken Ueno's "Zetsu"
- Andrew Norman Premieres "Switch" at Utah Symphony
- PSNY Around America
- ▼October
(8 posts)
- New Works on PSNY: Wollschleger, Ueno and Cerrone
- New Works and Performances by Ann Cleare
- Hannah Lash Premieres Two Works with ACO and Ensemble Intercontemporain
- Keeril Makan's "Persona" Premieres at National Sawdust
- JACK Quartet and ACO Premiere New Alex Mincek Concerto
- Rufus Wainwright's "Prima Donna" on Deutsche Grammophon
- New Works by Timo Andres on PSNY
- Vijay Iyer Joins PSNY!
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- Opera News from PSNY Composers
- Introducing the PSNY Greenroom
- "Invisible Cities" named 2014 Pulitzer Prize Finalist!
- New Works from Evan Ziporyn, Lei Liang, René Leibowitz, Christopher Cerrone, and Hannah Lash
- The British Are Coming! To PSNY!
- A Keeril Makan Premiere, Conducted by Richard Carrick
- Tobias Picker on Tzadik Records
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Newsletter
Posts tagged 'Steven Schick'
New Works on PSNY: Wollschleger, Ueno and Cerrone
PSNY is pleased to announce the addition of several major works from three of our composers, ranging from pieces for solo clarinet to a new work for piano and string orchestra. Four of these new works by Scott Wollschleger, Ken Ueno and Christopher Cerrone were composed and premiered within the past year.
Scott Wollschleger's Soft Aberration No. 2, for piano and viola, explores Wollschleger's concept of a "broken echo"—imitation between instruments that is refracted and softened by the act of communication in performance. Meditative and insightful, this work illustrates the diffusion of tonality with expressive, lyrical harmonies in the piano that are echoed in the viola's muted melodies.
As in Soft Aberration No. 2, Wollschleger's Meditation on Dust presents the listener with a transfigured aural landscape of tonality through expressive, gestural motifs—though in this piece the piano is accompanied by a full string orchestra. Wollschleger imagines Straussian tone-poems petrifying in the desert, taken out of their fin-de-siècle Viennese context and into the future, where they still sound through a layer of dust. This isn't a "dusting" of tonality; rather, it is expressive tonality rendered into granules—pulverized, decayed, transfigured into an enigmatic refrain. Check out a video of pianist Karl Larson with the String Orchestra of Brooklyn premiering the work in June:
In addition to these works by Wollschleger, we're very happy to make available three works by Ken Ueno, all of which embody Ueno's innovative use of extended techniques, multiphonics, and bold compositional voice. Ueno's Watt, for baritone saxophone, percussion, and CD Boombox, is an early example of Ueno's journey into multiphonics. Taking inspiration from John Coltrane's late albums such as Interstellar Space (1967), Watt shows Ueno's reconciliation of multiple symbolic, timbral, and functional systems into a kind of "flow", which he likens to a "manifold—like playing Scrabble and Mahjong at the same time."
Another work that features a reed instrument, this time a solo amplified Bb clarinet, is I screamed at the sea until nodes swelled up, then my voice became the resonant noise of the sea. The title of this piece comes from lore from the Korean tradition of Pansori singing, in which it is said that singers develop their trademark vocal timbre by screming at the sea until they develop nodes in their vocal chords. Ueno's work explores this idea through the clarinet, developing new techniques for overblowing, multiphonics, and the limits of humans and machines.
Ueno's interest in reed instruments, multiphonics, extended techniques, electronics, and the limits of sound, all come together in his stunning 2015 concerto for violin and chamber ensemble, Zetsu. This work not only asks its performers to push the boundaries of what is possible with their instruments—it also asks them to play new instruments designed by the composer, such as percussion idiophones tuned to the microtonal intervals particular to the piece's harmonic spectrum, and the "hookah sax"—a saxophone with a 7-ft length of plastic tubing that extends its range. Check out a video of the premiere below:
Finally, we are pleased to publish Christopher Cerrone's new song cycle, The Naomi Songs, in two versions: for voice and piano, and voice and 11 players. This cycle sets the poetry of Bill Knott, an enigmatic poet whose works were often short, metrical, and deeply self-depricating. In 1968, two years after announcing his own death, he published The Naomi Poems, a short volume that he often gave away for free and circulated via mimeograph. Cerrone's settings of these deeply personal poems matches their affect: the Naomi Songs are unified by the key of F, though their mode switches, and each song expresses a different aspect of joy, melancholy, longing, and desire. Check out an excerpt below:
Lei Liang's "Trans": Immediate Publication on PSNY
One of the great things about digital publishing is the immediacy of it: a new work can be both premiered and made available to the public on the very same day. And we've done just that: Lei Liang's "Trans," for solo percussion and audience, premiered on Saturday, February 1st, and we've made it instantly available on the very same day.
Commissioned and premeired by percussionist Steven Schick, "Trans" is a score with three staves, representing three states of mind: "outward," "inward," and "immovable". The audience is given 60 pairs of small rocks, with which they create "sonic clouds," which create a relation between the percussionist's actions on stage and the sonic environment in which she suddenly finds herself. The performance attempts to unify these sonic fields, along with the performer's interpretation of Liang's three states of mind. Forging boldly into areas of relational aesthetics, interaction, and embodiment, "Trans" is a perfect percussion work for performers and audiences of all varieties.
Here is a video of Steven Schick performing one of his favorite works, Xenakis' Psappha.