Pittsburgh New Music Net

cutting-edge music in the ’burgh and beyond

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loadbang returns to Pittsburgh on October 27th.

Maybe it’s ’cause I’m a retired trombone player who wishes I could have played like Will Lang. Ever. Maybe it’s that and how the combination of trumpet, trombone, voice, and bass clarinet is such a refreshing sound for new music in a “Pierrot (or subset thereof) + percussion” world. Maybe it’s because Andy Kozar is a native of the Burgh. Maybe it’s because loadbang is just really, really good. Probably that.

loadbang is in Pittsburgh, this Thursday night at CMU. Here are the details of their show. Have I crossed the line into hype? Yes. Yes I have.


October 26, 2011 at 1:04 pm Comments (0)

Martin Bisi Headlines at Thunderbird

November 9, 2011
9:00 pm

Thunderbird Cafe

Tickets, $5, 21+

also appearing

Velcro Shoes, Maurice Rickard, Raw Blow

A toast! To Martin Bisi!

Legendary perform and producer Martin Bisi returns to the Burgh for a concert at Thunderbird Cafe.  (Check out the PNMNet interview with Martin from 2010).

As a performer and record producer in New York City, Martin Bisi has been at a crossroads of indie/punk, avant garde, noire/cabaret rock, and electronic music since the early 80’s. He has realized albums by Sonic Youth, Swans, John Zorn, Africa Bambaataa, The Dresden Dolls, Herbie Hancock’s Rockit, Boredoms, Helmet, White Zombie, Cop Shoot Cop, Jon Spencer’s Boss Hog, Material/Bill Laswell, Foetus, Serena Maneesh and others. In the live performances he combinesheavier post-rock psychedelia with upbeat story-telling indie fare, and unique sound layering. 
 Bisi is readying a new release for 2012, titled Ex Nihilo - Latin for “out of nothing”. A darker tone dominates the new release, compared to ’08’s Sirens Of The Apocalypse and ’09’s Son Of A Gun EP -more an exploration of the psyche, with cathartic resolution. “Ex Nihilo” means “from, or out of nothing” -usually used in reference to creation by artists or God. The opening track “Suffer The Moon”, is a return to the ritualistic quality of his 1988 album Creole Mass. With this new recording, Bisi’s continues his history of sonic excess in the studio, which can be ambient and disorienting – as with the art-noise of Sonic Youth, or the industrial sensibilities of Swans and Foetus. 
 Bisi began his story in the downtown-meets-uptown scene of New York in the late 70’s, where hip hop from The Bronx coexisted with avant garde experimentalism, the punk/glam of CBGB’s, New Wave art-rock, and aggressive, nihilistic No Wave. In this world Bisi met Brian Eno who helped him start a recording studio in 1981, and he has since covered all these areas in his work.


October 26, 2011 at 12:50 pm Comments (0)

October 19: Ned Rothenberg and Mivos Quartet, Ben Opie’s LP Release

This concert is getting a lot of buzz for a lot of good reasons. Here’s David Bernabo’s preview, and here’s a City Paper interview with Ben Opie.


October 18, 2011 at 12:27 pm Comments (0)

PNME Hosts an Evening with Steven Stucky

Pittsburgh New Music Ensemble will be hosting An Evening with Steven Stucky at 7:30 p.m. on Thursday, October 20 at the James Laughlin Music Center Welker Room, Chatham University. The $50 per person fundraiser will benefit PNME. Join members of the PNME team for a special evening featuring music, refreshments, and an opportunity to spend time with Steven Stucky. It’s great that Steven Stucky is extending himself to support new music and Pittsburgh, and it’s an excellent opportunity to support Pittsburgh New Music Ensemble. Complete details available here.


October 15, 2011 at 3:37 pm Comments (0)

IonSound Project: From the Mundane to the Macabre

November 20, 2011
7:00 pm

Bellefield Hall Auditorium
Tickets at the door only: $15 for general admission, $10 for students and seniors.

Sight meets sound in IonSound Project‘s second program of the season, “From the Mundane to the Macabre.”  Packed with world premieres, this concert represents the first installment of IonSound’s Commissions for the Future project—a fundraising initiative to finance new compositions.  The group will perform commissions by three Pittsburgh composers, Christian Kriegeskotte, Philip Thompson, and Nizan Leibovich. Each work on the program is inspired by, or created in collaboration with a visual art form as promised by this season’s theme:  “aMuse, a Season of Inspiration and Entertainment.”

The range of inspiration spans from 16th century woodcuts to a brand new video collaboration. Christian Kriegeskotte’s Dances of Death explores the sonic possibilities of unusual instrument pairings, and are inspired by the wonderful miniature illustrations of 16th century German painter and engraver Hans Holbein.  In stark contrast, Nizan Leibovich’s Schéhérazade – “…Elle vit apparaître le matin. Elle se tut discrètement” is inspired by the colorful and joyous papercut work by French painter and artist Henri Matisse.  The title roughly translates to:  “…She lived to see the morning appear. She discreetly fell silent”, and evokes the intrigue and mystery of the compelling tale of Arabian princess Scheherazade that has influenced artists and composers for centuries. The third world premiere on the program, Kecow hit tamen, is a multimedia collaboration by composer Philip Thompson and artist Ryan Day which explores one of the popular legends surrounding the origins of the Lumbee Tribe of North Carolina—namely that they are descended from the Hatteras (or Croatan) and Raleigh’s Lost Colony. Thompson, whose father is a member of the Lumbee Tribe, based his instrumental and electroacoustic music on the few remaining words of Carolina Algonquian language spoken by the Hatteras, while Day used common images from Lumbee art to create a multi-layered digital animation. Kecow hit tamen can mean either “What is this? or “What is your name?”

A visual collaboration between Rob Frankenberry’s new arrangement of Modest Mussorgsky’s Pictures at an Exhibition  and a presentation of musically inspired artwork by students from the Falk School completes the program.   IonSound musicians will visit with the students in the preceding weeks to encourage them to create artwork that focuses on two main ideas–recreating their own versions of Hartmann’s existing artwork, the inspiration behind Pictures at an Exhibition and replicating the experience of viewing an exhibit through video.  Join us on Sunday, November 20th at 7:00 pm at Bellefield Hall Auditorium in Oakland for this exciting program!

October 15, 2011 at 3:23 pm Comments (0)

PSO plays Stucky’s Radical Light

October 21, 2011
8:00 pm
October 23, 2011
2:30 pm

Heinz Hall
Tickets

The next Pittsburgh Symphony Orchestra Concert featuring Composer of the Year Steven Stucky takes place October 21 and 23. The program includes Stucky’s Radical Light along with Prokofiev’s Violin Concerto No. 2 and Schumann’s Symphony No. 4.

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October 15, 2011 at 2:53 pm Comments (0)

Morton Feldman Festival!

November 3, 2011
8:00 pm
November 4, 2011
10:00 amto12:30 pm
2:00 pmto4:00 pm
8:00 pm

Do you love Morton Feldman? Well then, make your way to the Wood Street Galleries in early November for some top-rate performances and to the University of Pittsburgh for a day-long Symposium  comprising scholars from around the country and musicians who worked closely with Feldman. If you don’t like Morton Feldman, come anyway, and we’ll tell you why you should!

The works of Morton Feldman (1926-1987) occupy a central place in the American experimental tradition, not just within the music world. Feldman was very often inspired by non-musical sources, including Persian rugs, abstract expressionist paintings by Mark Rothko, Willem de Kooning and Philip Guston, and texts of Samuel Beckett, John Ashbery and Frank O’Hara. Kyle Gann remarked that, “in the current Babel of musical styles, Feldman is almost the only composer whose music appeals across stylistic boundaries, among minimalists, postserialists, 12-tone holdouts, electronic composers, academics, Downtowners, MAX programmers, DJ artists, and other miscellaneous wastrels.” Why does this music have such a broad appeal? This is one of the questions that will be explored during the symposium. The first session will include scholars whose research places Feldman within a larger historical context. The second session will call upon performers and composers who worked intimately with Feldman in the 1970s and 1980s.  The symposium will be framed by two concerts presenting two late chamber pieces, Patterns in a Chromatic Field and Crippled Symmetry.

View the complete symposium schedule here.

This celebration of Feldman’s musical legacy comes to Pittsburgh via another legacy—the one passed from percussionist Jan Williams to his daughter, composer/pianist Amy Williams. Jan Williams premiered many of Feldman’s works, while Amy Williams is a widely performed and commissioned composer and one half of the critically acclaimed Bugallo-Williams Piano Duo. The father/daughter duo first performed Crippled Symmetry in Buffalo in April 2011 and Amy Williams, a member of the composition and theory faculty at Pitt, is the driving force behind the two-day exploration of Feldman’s work. Jan and Amy Williams will be joined be Pittsburgh New Music Ensemble flutist Lindsey Goodman and cellist Jonathan Golove.

In keeping with the interdisciplinary nature of Feldman’s inspiration, the two concerts will take place at Wood Street Galleries rather than a traditional concert venue, and feature readings by Jan Beatty, poet and host of WYEP’s Prosody, and Lynn Emmanuel, poet and Professor of English at Pitt.

Come out to the Galleries on Thursday November 3rd at 8 p.m. to hear Jonathon Golove (cello) and Amy Williams (piano) perform Patterns in a Chromatic Field (1981). Before this 80-minute work, New York School poetry will be read aloud by Jan Beatty, poet and host of WYEP’s radio show, Prosody.

Join us once more on Friday, November 4th at 8 p.m. to take in a performance of Crippled Symmetry (1983) by Lindsey Goodman (flute), Amy Williams (piano) and Jan Williams (percussion). Before this 90-minute work, New York School poetry will be read aloud by Lynn Emanuel, poet and Professor of English at the University of Pittsburgh.

For tickets, visit www.proartstickets.org or call 412-394-3353. Those attending both concerts can take advantage of a special Festival package rate:

  • $20 for general admission and $15 for students and seniors for both nights when purchased in advance through ProArtsTickets
  • $30 and $20 for both nights at the door.
  • Individual concerts: $15 for general admission and $10 for students and seniors when ordered in advance through ProArtsTickets.
  • Individual concerts at the door: $20 for general admission and $15 for students and seniors.
  • Pitt students: free with valid ID.
October 14, 2011 at 12:39 am Comments (0)

Loadbang Returns!

October 27, 2011
8:00 pm

CMU’s Kresge Hall
Free

 

loadbang returns to Pittsburgh on October 27th.

Trumpeter and Pittsburgh native Andy Kozar returns with loadbang for a concert at CMU’s Kresge Theatre. The New York City-based new music ensemble (comprising trumpet, trombone, bass clarinet, and baritone voice) showcases the breadth and variety of their repertoire with a program of recent commissions and avant-garde classics.

Reiko Füting’s Land of Silence and Alexandre Lunsqui’s Guttural both exploit the air-based sound production employed by the ensemble as a whole, calling on the baritone to act as an instrument, and the instrumentalists to act as vocalists, blurring and blending the sounds. As a complement to these commissions, John Cage’s classic Living Room Music also calls on the players to speak and play household items as instruments. Paul Pinto’s Goodbye Dido is a kind of foggy remembrance of a small portion of the lament of Dido from Purcell’s Dido and Aeneas, stretching and exploring the spaces between the original notes. With How to breathe underwater, Chris Cerrone has written a kind of wordless ambient pop song for loadbang; Nick Didkovksy’s Firm, soapy hothead on the other hand is a wild and jittery computer-composed setting of faux aphorisms. To round out the program, loadbang splits into its component parts as an instrumental trio and vocal solo. Timothy McCormack’s Disfix explores the limits of notation and its link to the physical activity of loadbang’s instrumentalists; Aaron Cassidy’s I, purples, spat blood, laugh of beautiful lips pushes the voice similarly, battling with an ever-changing computer counterpart.

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October 13, 2011 at 8:45 pm Comments (0)

10/19: Ned Rothenberg Quintet + Ben Opie Ensemble + Anthony Braxton LP release

October 19, 2011
8:00 pm

Frick Fine Arts Auditorium
Tickets: $15 at the door. $10 advance at Paul’s CDs, Caliban Books, William Pitt Union Box Office, Dave’s Music  Mine, and The Exchange (Squirrel Hill, Downtown).

Wednesday October 19 is a triple threat New Music/avant-garde jazz night for three great reasons:

1) It’s the first appearance in Pittsburgh in over a decade for NYC-based multi-reedist Ned Rothenberg. Over the past three decades, Rothenberg has worked with the likes of Fred Frith, Evan Parker, John Zorn, Marc Ribot, and Elliott Sharp. Now he’s on tour with the Mivos Quartet, a string ensemble specializing in contemporary composition. The five musicians will perform his Quintet for Clarinet and Strings which was released on John Zorn’s Tzadik Records in 2010: http://www.tzadik.com/index.php?catalog=7267For information on Rothenberg, check:http://www.nedrothenberg.com/http://en.wikipedia.org/wiki/Ned_Rothenberg

2) Local saxophonist Ben Opie will open the evening with his own ensemble. It was Opie who organized the entire visit of legendary MacArthur Genius Grant-winning composer and saxophonist Anthony Braxton to Pittsburgh in 2008. In addition to recording a double CD with Opie, playing with his Septet at the Manchester Craftsman Guild, with CAPA High School’s Antithesis Ensemble and with the birds at the Aviary, Braxton conducted a group of local musicians (“The Three Rivers Tri-Centric Ensemble”) in one of his compositions. The results were recorded, and will be released on October 19 as a limited edition (300 copies) vinyl LP on stalwart local experimental label SSS Records (as catalog # SSS-60). This concert is the release party – you’ll definitely want to pick it up.

3) This concert is sponsored by the University of Pittsburgh’s award-winning college radio station, WPTS-FM. Although the station has been known for many years for bringing great indie bands to campus (ranging from the Silver Jews to Of Montreal), this is the first time it has stood solidly behind an avant-garde jazz/New Music event. Here’s hoping they do so regularly in the future.

Here are the event details:
Ned Rothenberg & Mivos Quartet
Ben Opie Ensemble
Anthony Braxton LP release
Wednesday October 19 8 pm all ages welcome
Frick Fine Arts Auditorium, University of Pittsburgh
$15 at the door. $10 advance at Paul’s CDs, Caliban Books, William Pitt Union Box Office, Dave’s Music  Mine, and The Exchange (Squirrel Hill, Downtown).

Originally posted by Manny Theiner.

October 11, 2011 at 1:00 pm Comments (0)

A Moment of Silence for Steve Jobs

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

October 6, 2011 at 8:20 am Comments (0)

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