April 13: Boston Modern Orchestra plays Zappa!
laura in space
Classical and Rock 'n' Roll
April 13, 2001 at 8pm
Pre-Concert Symposium at 7pm
Jordan Hall at New England
Conservatory
Frank Zappa Dog Breath Variations
Uncle Meat
The Girl in the Magnesium Dress
Steve Mackey Banana Dumptruck
Fred Sherry, Cello
Guus Janssen Verstelwerk
Frank Zappa Outrage at Valdez
Be-Bop Tango
G-Spot Tornado
For tickets, call 617-363-0396, or
call the Jordan Hall Box Office three
weeks before the performance at
617-536-2412.
I'm gonna be there - are you?
see http://www.bmop.org/concert041301.htm for more info
laura
--
I come to you defenses down, with the trust of a child.
Alex Temple
> Clash II: The (Re)Convergence of
> Classical and Rock 'n' Roll
> April 13, 2001 at 8pm
>
> Pre-Concert Symposium at 7pm
> Jordan Hall at New England
> Conservatory
I was there. Actually, I thought the Zappa was the weakest stuff on the
program. But man, that Guus Janssen piece was absolutely brilliant.
I've never heard anything like it before.
laura in space
: laura in space wrote:
: > Clash II: The (Re)Convergence of
: > Classical and Rock 'n' Roll
: > April 13, 2001 at 8pm
: >
: > Pre-Concert Symposium at 7pm
: > Jordan Hall at New England
: > Conservatory
: I was there.
well, hey! me too!
Actually, I thought the Zappa was the weakest stuff on the
: program.
I agree. didn't hold my attention (granted I don't *know* it) like the
rest of the program.
But man, that Guus Janssen piece was absolutely brilliant.
: I've never heard anything like it before.
oh, absolutely! creaky-chair percussion and elephant call-and-response
between the sax and the orchestra - hilarious and brilliant at the same time.
this orchestra is *just great* - I laughed out loud when I read on their
program: "The Music Formerly Known as Classical." !!
they've got another thing goin on next Thursday (May 3) at Symphony Hall,
as part of the Cyberarts Festival. I'm plannin on going. you?? ;-)
laura
--
Breathe,
Breathe in the air.
Don't be afraid to care.
laura in space
Tod Machover is exceedingly cool too - I saw him perform a while ago at the
MIT Media Lab. can't wait to see what a "Hypercello" is!!
everybody in the Boston area oughta be there. I will.
laura
---------------------------------
BMOP [Boston Modern Orchestra Project] AT THE CYBERARTS FESTIVAL
FREE CONCERT
THURSDAY, MAY 3, 2001
SYMPHONY HALL
8PM
Pre-Concert Technology Fair
6:30-8:00 p.m. at Symphony Hall
Oswald: Concerto for Conductor and Orchestra
(WORLD PREMIERE)
Chasalow: Dream Songs
(WORLD PREMIERE)
Jolivet: Concerto for ondes Martenot
Geneviève Grenier, ondes Martenot
Machover: Forever and Ever
Ani Kavafian, Hyperviolin
Antheil: Ballét Mechanique
TICKETS AVAILABLE AT THE DOOR
CALL (617)363-0396 TO RESERVE TICKETS IN ADVANCE
*AND*
TOD MACHOVER'S
HYPERSTRING TRILOGY
SUNDAY, MAY 6, 2001
TSAI PERFORMANCE CENTER AT BOSTON UNIVERSITY
8PM
Begin Again Again...
Matt Haimovitz, Hypercello
Song of Penance
Kim Kashkashian, Hyperviola
Forever and Ever
Ani Kavafian, Hyperviolin
$15 ($7 students and seniors)
TICKETS AVAILABLE AT THE DOOR
CALL (617)363-0396 TO RESERVE TICKETS IN ADVANCE
MORE INFO...
Audiences will have a unique opportunity to glimpse the future of classical
music when the Boston Modern Orchestra Project, under Artistic Director
Gil Rose, performs "Orchestral Music at the Technological Frontier" on
May 3, 2001, at Boston's Symphony Hall. The concert, presented in
collaboration with Immersion Music (immersionmusic.org), will be free to the
public and is a centerpiece of the musical programming of the 2001 Boston
Cyberarts Festival. BMOP will also be involved in the closing concert of the
Boston Cyberarts Festival on May 6th, performing a rare concert of
Tod Machover's complete "Hyperstring Trilogy". (See attached concert
information.)
"The combination of a once-in-a-lifetime program, the Boston Cyberarts Festival,
and a beautiful historic setting is the kind of thing that can only happen in
Boston," said Rose. "We intend to show our audience that the combination of art
and technology is catapulting classical music to new frontiers, and that these
new works will appeal to fans of all kinds of music."
The program will feature the world premieres of two works commissioned
expressly for
this concert. The Concerto for Conductor and Orchestra by Canadian composer John
Oswald, of Plunderphonics fame, will use the "Conductor's Jacket" technology;
this device was developed at the MIT Media Lab by Teresa Marrin Nakra, Immersion
Music's Artistic Director. Gil Rose will perform as conductor and soloist. The
concert also includes the world premiere of "Dream Songs" for orchestra and
digital sound by award-winning composer Eric Chasalow, director of the Brandeis
Electro-Acoustic Music Studio. Literature aficionados will be interested to know
that the text used for the digital portion of "Dream Songs" is based on poems by
the Pulitzer Prize-winning poet John Berryman.
Tod Machover's Forever and Ever (1993), for Hyperviolin and orchestra and part
of the "Hyperstring Trilogy", will be performed with soloist Ani Kavafian.
Machover
launched the Hyperinstrument project at the MIT Media Lab in 1986 with the goal
of designing expanded musical instruments to give extra power and finesse
to virtuosic performers. Forever and Ever is one of Machover's most
sophisticated hyperinstrument pieces, and has been called "as exciting as rock
and as solid as the foundation of a baroque church, [creating] an aura that
expands to become a whole pulsating galaxy" (Boston Globe).
Rounding out the program will be a rare performance of Geogre Antheil's Ballet
Mechanique and the Concerto for Ondes Martenot, composed by Andre Jolivet in the
1940's. An ancestor of the Theremin, the Ondes Martenot was the first successful
electronic instrument and the only one of its generation that is still used by
orchestras today. The soloist is Geneviève Grenier, a rising star from Canada
and the protégé of the leading world expert on the instrument.
In addition to the concert, the doors of Symphony Hall will open at 6:30pm for a
special mini-festival of digital artists presenting their work in the Hatch Room.
The concert is free, but tickets are required. Tickets can be reserved in
advance by calling BMOP at (617) 363-0396, and will be available at the
door.
THIS EVENT AT A GLANCE
WHO: Boston Modern Orchestra Project, Gil Rose, Artistic Director (bmop.org) and
Immersion Music (immersionmusic.org)
WHAT: "Orchestral Music at the Technological Frontier," a glimpse of the future
of classical music at the intersection of art and technology.
WHEN: Thursday, May 3, 2001, at 8:00 p.m. Doors open at 6:30 p.m. for a
mini-festival of digital art.
WHERE: Symphony Hall, 301 Massachusetts Avenue, Boston
INFO: Call (617) 363-0396 or visit www.bostoncyberarts.org. Free tickets should
be reserved in advance but may also be available at the door.
AND ON MAY 6...
On May 6, 2001 at the Tsai Performance Center, the Boston Modern Orchestra
Project, with guest soloists Matt Haimovitz, Kim Kashkashian, and Ani Kavafian
will perform the Boston premiere of Tod Machover's complete Hyperstring Trilogy
under the direction of Gil Rose, Artistic Director. The Hyperstring Trilogy
has not been performed in its entirety since its premiere at The
Lincoln Center Festival in 1996. This encore appearance of the Boston Modern
Orchestra Project at the Boston Cyberarts Festival follows their performance of
Machover's Forever and Ever for Hyperviolin and Orchestra at Symphony Hall on
May 3, 2001 and is the special closing event of the Festival.
The Hyperstring Trilogy has been recognized as one of Machover's most important
works. The international press has called it "fascinating", "assured",
"dramatic", "beautiful", "sexy", and "audacious", and USA Today proclaimed that
"its artistic and technological influence could be profound."
"Working with Tod [Machover] is always exciting. The effect of technology on new
music is staggering and Tod's Hyperinstruments are prime examples of what
happens when new technology and new music are developed in tandem. Like a long
tradition of composers before him, Tod has challenged new music conventions
by increasing the expressive capacity of existing musical instruments, and
as a result he has
successfully broadened the horizon of classical repertoire. It is thrilling to
witness the result of his work first-hand, from technological, musical, and
human perspectives."-Gil Rose
Begin Again Again... for Hypercello, the first of the works that comprise the
Hyperstring Trilogy, was written for Yo-Yo Ma and was premiered at the
Tanglewood Festival in 1991. Kim Kashkashian and the Los Angeles Philharmonic
premiered Song
of Penance for Hyperviola and Chamber Orchestra in 1992. Forever and Ever was
premiered in 1993 by Ani Kavafian and the Saint Paul Chamber Orchestra. Machover
always planned the three works as an evening-long trilogy, loosely based on the
dramatic and psychological sweep of Dante's Divine Comedy. The Trilogy explores
loss and gain, pain and recovery, despair and hope and, in passing, what is lost
and gained by technology. This special, closing concert of the Cyberarts
Festival not only brings the three works together, but reunites two of the
three commissioning soloists, along with cellist Matt Haimovitz, to realize
this rare musical event.
Hyperinstruments were invented by Tod Machover and his team - with the special
collaboration of Joe Chung - at the MIT Media Lab in 1986. Since then, Machover
has designed hyperinstruments for world-famous musical virtuosi, for
non-professional music lovers, as in his Brain Opera, and currently for children
as part of the Toy Symphony project. The hyperstrings developed for the Trilogy
are among the most sophisticated and subtle enhanced instruments ever built,
extending musical nuance, color, and texture through performer control.
Tod Machover has recently been dubbed "America's most wired composer" by the Los
Angeles Times. Writing about Machover's Hyperstring Trilogy, Lloyd Schwartz
affirmed, "What is most exciting about...the hyperconcertos, and Machover's
pieces in general, is how beautiful and moving they are, what lyrical and
exotic melismas keep surfacing (and how scintillatingly
they contrast with the shattering electronic textures), how dramatically they
build, how they haven't a dull moment, and what magnificent opportunities for
performers they provide."
Admission is $15 ($7/students and seniors). Tickets can be reserved in advance
by calling BMOP at (617) 363-0396, and will be available at the door.
THIS EVENT AT A GLANCE
WHO: Boston Modern Orchestra Project, Gil Rose, Artistic Director, with guests
Matt Haimovitz, Kim Kashkashian, and Ani Kavafian
WHAT: Hyperstring Trilogy
WHEN: Sunday, May 6, 2001, at 8:00 p.m. The doors will open for a pre-concert
talk at 7:00 p.m.
WHERE: Tsai Performance Center at Boston University, 685 Massachusetts Avenue,
Boston
INFO: Call (617) 363-0396 or visit www.bostoncyberarts.org. Tickets should be
purchased in advance but may also be available at the door.
--
Master of Thought, set to touch all impenetrable youth ...