Posts Tagged ‘Concerts’

The calendar is live! So use it to go to Andrew McIntosh’s CD release party tonight.

I’ve been working on getting a better event calendar together to this site for quite a while, and am extremely pleased to say that the new one is live. If you’re on a computer, look to the right. If you’re on a phone, scroll down. Or simply click Calendar on the site’s menu to check it out.

If you’re reading this post today, you’ll see an event called Gnarwhallion listed. That’s Gnarwhallaby’s concert celebration of Andrew McIntosh’s new record, Hyenas In The Temples of Pleasure. It came out today, and we’ll have a feature on it out soon. You can beat us to it by going and grabbing your own copy at tonight’s show.

I’m still working out the most efficient way to take calendar submissions. Stay tuned for that. In the meantime, if you post a Facebook event to our forum page, we’ll make sure it gets listed.

People Inside Electronics presents Kathleen Supové this weekend

This Saturday, October 11, People Inside Electronics kick off their season with Kathleen Supové’s Digital Debussy program, featuring music by Matt Marks, Annie Gosfield, Jacob Cooper, Eric KM Clark and Randall Woolf. Supové’s playing is something everyone should see live. Her performance of LA local composer Carolyn Yarnell’s The Same Sky is stunning – so much so that I actually went to MySpace to find the video of it I’d seen way back when.

The show starts at Art Share at 8, and tickets – which are cheaper in advance – are available at http://www.brownpapertickets.com/event/851884.

Listen to Sō Percussion premiere a concerto by David Lang; see them at Green Umbrella tonight

A couple of days ago percussion quartet extrodinaire Sō Percussion premiered a new concerto, man made, by David Lang. It’s awesome, and was paired with Mahler 5, all conducted by Dudamel. If you missed it, NPR has you covered. You can hear the whole concert here:

http://www.npr.org/event/music/351416658/la-philharmonic-live-dudamel-mahler-and-new-music

Even better than sitting at home listening, you can hear the ensemble tonight on the LA Phil’s Green Umbrella series, in a performance of Lang’s The So-Called Laws of Nature and Michael Gordon’s Timber. The show is at Disney Hall at 8, and tickets are available at http://www.laphil.com//tickets/green-umbrella-percussion-marvels/2014-10-07.

Concert tonight: Gnarwhallaby at Boston Court

Gnarwhallaby open their season tonight at Boston Court, with premieres from Colin Wambsgans and Nick Deyoe, and music by Martin Smolka, Edison Denisov, and Henryk Gorecki.

These guys rock. Here’s an example of why:

Tickets are at http://www.bostoncourt.com/events/221/gnarwhallaby, and you get $5 off with the code “MUSIC2014”.

Tonight at Monk Space: a Mark Robson harpsichord premiere, Ligeti, Cowell, and old music

Tuesdays at Monk Space, the series run by Aron Kallay and Jason Heath in K-town, has a really cool mix of old and new happening tonight at 8. The first half of the program features Ensemble Hotteterre performing music by Couperin, Telemann and Phillidor on period instruments. The second is a Mark Robson solo harpsichord show, with pieces by Henry Cowell, Alexander Tcherepnin, Maurice Ohana, György Ligeti, and a premiere from Robson himself, along with selections from Froberger, Rossi, Scarlatti, and Giovanni de Macque for flavor.

Full info on the show is available at http://tuesdaysatmonkspace.org/shows/oldmusic-newmusic.

Interview: WasteLAnd’s Nick Deyoe, Matt Barbier, Scott Worthington, Brian Griffeath-Loeb, and Elise Roy

WasteLAnd‘s second season at ArtShare starts this Friday, September 19 (tomorrow) at 8 PM, with percussionist Justin DeHart performing John Luther Adams’ The Mathematics of Resonant Bodies in its entirety. Their first season at the venue was a blast, and drew great crowds for dense and challenging music. We managed to track down the series’ co-directors for an interview about the series and what’s coming up.

What was the impetus to start this series?

Scott: I think we had all individually dreamed of having a series that played music we wished would get played more ’round these parts. Then we realized that multiple heads can be better than one. Our programming is sort of a mash up of all of our desires. For example. I mostly just recommend pieces that are long enough to be the whole concert.

Matt: A lot of the music I really love has a tendency to fall in the cracks between different series in town, so for me, an exciting part of wasteLAnd is getting to focus upon music that I really love that is just outside of the mission of a lot of the series and groups I play with. It’s exciting to get to listen to other performers interested in this type of music and hear what they want to play, but don’t get to, and help provide a space for them.

Nick: I’ve been talking about wanting to do this for years.  I’ve never really wanted to run an ensemble, but have wanted to run either a series or a venue for quite a while.  In fact, I would love it if, at some point down the road, it became possible for wasteLAnd to have its own space.  I had discussed this off and on for some time with Scott, Brian, and Matt, but nothing ever got started until Scott finally found an opportunity through ArtShare that looked promising as a way to launch wasteLAnd.

Is there a central mission, theme, or idea you program your concerts around, or is each one a beast of its own?

Scott: We try to focus on local performers the most (their repertoire interests and, of course, performances), local composers second, and then music that doesn’t seem to show it’s face much around Los Angeles. From there we try to put together concerts that we want to go to.

Matt: Frequently a programming decision is made around the idea of “I really want to hear/perform this one piece, but it’s too much for me to throw together a concert.” With wasteLAnd that’s frequently become a central kernel for a concert. We have an idea for one or two pieces one of us really loves and that gives us a bend and ensemble to build around. Or at least that’s how I think…

Nick: Basically what Scott said…  We love LA and want to show how special the things that happen here are while also presenting music by composers around the country/world who excite us.  The five of us (Elise, Brian, Matt, Scott, myself) have pretty different aesthetic positions.  For anything to be programmed, all five of us have to be on board with it, rather than a simple majority vote.  This is something I feel strongly about because it helps to keep our overall output broad and requires that we all give serious consideration to all of the ideas that are brought to the table (or G-chat conference).

I’ve heard Barbier joke that the directors are Deyoe’s minions. How do you guys divide responsibilities?

Brian: This is a classic example of Barbier’s inability to grasp infinite recursion. As one of the directors himself, Deyoe clearly makes this so-called “joke” an ontological cow pie.

Matt: Well maybe I’m just Deyoe’s minion, or at least try to be.

Nick: the division of responsibilities is an ongoing project for us.  For season one, everyone kind of did everything. For each set of tasks that came up, we’d email around with a list of “what needs to be done” and divvy up the responsibilities.  This will always be some version of how we do it (especially during concert weeks), but we are also working on better defining our individual roles within the organization to make certain aspects more efficient.

What do we have to look forward to in the coming season?

Nick: LOTS to look forward to! We’re excited to finally be at the point of announcing things (coming out this afternoon along with our kickstarter). We’ve been thinking about the concerts (programs/personnel/logistics) since April.  We have 25-30 local performers playing and are presenting something around 30 composers.  Some highlights are The Formalist Quartet with Erika Duke-Kirkpatrick in October, Mark Menzies and Stephanie Aston with the wasteLAnd musicians performing Ferneyhough’s Terrain and Etudes Transcendantales, Italian violinist/violist Marco Fusi playing a solo program of young Italian and Angelino composers, and the world premiere the brass version of James Tenney’s Saxony….and lots of other things.  Check our website www.wastelandmusic.org for full season 2 details.

Matt: What Nick wrote. This year is exciting because it’s a wonderful mix of pieces I’ve wanted to play for a long time (Terrain, Saxony, Hölszky’s WeltenEnden, EARTH) and that I’ve always dreamed of hearing like- particularly Ferneyhough’s Etudes Transcendantales. So for me it’s very exciting and I think this year’s programs will have that for a lot of people.

Is Elise Roy having any issues with being the only beardless member?

Brian: All conditions are impermanent. My beard, for instance, has grown substantially in the last few days. Elise was brought on for her deep existential wisdom; I doubt she’d fall prey to fears of beardlessness as a permanent state of being…

Nick: I think there’s still plenty of beard to go around.  Having Elise as a part of the team has been great so far. She came in once most of the season was already planned, but will be instrumental in our planning for season 3 and has also offered a lot of very useful insight as we prepare to raise the funds for the current season.

Anything else you’d like to share?

Scott: Please be on the look out for our Kickstarter which will help prolong wasteLAnd’s life and wellbeing.

Matt: Well one can braid top-of-head hair into a beard with quite successful results.

Elise: If you find yourself at any of our concerts, please introduce yourself or say hi to us.  For the five of us, one of the joys of hosting this series is seeing the new music community of Southern California come together!

Discount code today for Synchromy’s Friday concert

Synchromy’s concert tomorrow with Brightwork and Mark Robson at Occidental College’s Bird Studio is looking like it’s going to be rad. They’ve put up a discount code for tickets that will work through 10 PM tonight. If you haven’t grabbed yours yet, enter 6OFFFRIDAY on the ticket page for $6 off.

Tickets are available at http://synchromyrelaunch.brownpapertickets.com.

See you tomorrow.

9/8 – 9/14: Event picks this week

Tuesday, 9/9

Southland Ensemble plays Oliveros at Human Resources

Southland Ensemble and guest duelist Jake Rosenzweig as we explore the work of Pauline Oliveros on Tuesday September 9th at Human Resources!! From tape pieces to a duel for Double Basses (with referee), these are some very beautiful and odd pieces by the wonderful Pauline Oliveros.

Ticket price: $12

Sonic Rorschach
Thirteen Changes
Double Basses at Twenty Paces
Rock Piece
Bye Bye Butterfly
Song for Margrit

http://humanresourcesla.com/calendar-events/
http://southlandensemble.com/upcoming.html


Thursday, 9/11

Earth @ Hollywood Forever Cemetary

For those of you who like your metal drone-y and minimal, these guys are not to be missed.

$20


Friday, 9/12

Synchromy – re:Launch

Synchromy returns in 2014 with re: Launch, a concert of 21st Century chamber music at Occidental College’s historic Bird Studio in the Eagle Rock neighborhood of Los Angeles. The program includes the works of Jason Barabba, Tom Flaherty, John Frantzen, Vera Ivanova, Shaun Naidoo, Nick Norton, Ben Phelps and Mark Robson.

Synchromy is proud to be partnering with Brightwork newmusic, a recently-formed sextet of world class instrumentalists on reLaunch. Brightwork will be bringing Shaun Naidoo’s Ararat to the program, as well as participating in several other works, marking the beginning of a long-term collaboration between the two organizations. Brightwork newmusic is Sara Andon, Aron Kallay, Roger Lebow, Tereza Stanislav, Nick Terry and Brian Walsh.

Tickets: http://www.brownpapertickets.com/event/793348

Free parking is available in the structure, entrance on Campus Road, one half block up the hill from Bird Road on Campus Road.


Saturday, 9/13

Ezralow Dance/wild Up

Following his success choreographing for the 2014 Sochi Olympics opening ceremonies, Daniel Ezralow brings his LA based Ezralow Dance to the Ford, featuring a commissioned premiere with live music by contemporary music collective wild Up. “Unforgettably gutsy” (NY Times) and hailed as “One of the best American dancer-choreographers now working on an international scale” (Chicago Tribune), Ezralow has created choreography and aerial choreography for theatre, film, opera and television around the world. He choreographed The Beatles LOVE by Cirque du Soleil, Broadway’s Spider-Man: Turn off the Dark, the film Across the Universe and for Hubbard Street Dance Chicago, Batsheva Dance Company and Paris Opera Ballet among others. Ezralow is a co-founder of ISO Dance and an original dancer/choreographer of MOMIX.

Tickets: http://fordtheatres.org/en/events/details/id/779

LA, I Have Missed You SO Much

You might remember a couple of years ago, when New Classic LA was posting a few items a week, keeping totally up-to-date concert listings, and generally being an active website about our town’s scene. It was great. There was a lot going on to cover. So why did we stop?

In short, I moved out of town. I had to for the first couple of years of my PhD in composition. Going back to school was a great decision for me, and I’m glad I did it, but man did I miss what was going on here. I tried to keep active with our scene from Santa Barbara (a mere two hours North), but getting into town on weeknights was really challenging, as was finding time to write for the site with classes and projects and such taking priority.

By the end of the second year there, being away from Los Angeles was driving me nuts. There was SO MUCH going on here. The LA Phil had an LA composers’ concert, and wild Up got onstage at Disney Hall. What’s Next? Ensemble brought Jacob TV over from the Netherlands for a weeklong residency. Gnarwhallaby played Carnegie Hall. The Industry blew everyone’s collective mind with their interactive staging of Chris Cerrone’s Invisible Cities at Union Station. Nick Deyoe, Matt Barbier, Brian Griffeath-Loeb, and Scott Worthington founded WasteLAnd (which is quickly becoming my favorite concert series). Populist records has been putting out amazing records left and right. Aron Kallay founded Brightwork newmusic. People Inside Electronics partnered with the Hear Now Festival for their largest festival yet. Julia Adolphe got a piece played by the New York Phil. Synchromy – which I’m now a part of – reconfigured themselves for a fantastic upcoming season. Oh, and Alex Ross said we had the best orchestra in the US. Not that this is a competition.

Why am I saying all this? Because I want to say thanks, and let everyone know that New Classic LA is back. Thanks for keeping the seat warm while we were gone. I moved back to LA last week, and intend to get the site going full steam again in short order. We’ll have a new, easier-to-navigate concert listing. We’ll post sounds way, way more often. We’ll plug your shows, and interview composers and musicians who are doing interesting things.

I was sitting at Intelligentsia in Pasadena today and thinking that, while this is the most-hyped coffee in the US, it entirely deserves and lives up to the hype. So does LA’s new music scene. It’s great to be back. See you at the Southland Ensemble’s all Pauline Oliveros show on Tuesday.