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DTSTART;TZID=America/New_York:20241103T160000
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SUMMARY:Sō PERCUSSION
DESCRIPTION:GET TICKETSFor twenty years and counting\, Sō Percussion has redefined chamber music for the 21st century through an “exhilarating blend of precision and anarchy\, rigor and bedlam” (The New Yorker). They are celebrated by audiences and presenters for a dazzling range of work: for live performances in which “telepathic powers of communication” (The New York Times) bring to life the vibrant percussion repertoire; for an extravagant array of collaborations in classical music\, pop\, indie rock\, contemporary dance\, and theater; and for their work in education and community\, creating opportunities and platforms for music and artists that explore the immense possibility of art in our time. \nTheir commitment to the creation and amplification of new work\, and their extraordinary powers of perception and communication have made them a trusted partner for composers\, allowing the writing of music that expands the style and capacity of brilliant voices of our time. Sō’s collaborative composition partners include Caroline Shaw\, David Lang\, Julia Wolfe\, Nathalie Joachim\, Dan Trueman\, Kendall K. Williams\, Angélica Negrón\, Shodekeh Talifero\, Claire Rousay\, Leilehua Lanzilotti\, Bora Yoon\, Olivier Tarpaga\, Bobby Previte\, Matmos\, and many others. \nSō Percussion \nThe concert is followed by a reception where you can meet the artists.\nAll are encouraged to attend. \nProgram\nEric Cha-Beach\n4+9 \nLeilehua Lanzilotti (b. 1983)\nsending messages pt 1 \nOlivier Tarpaga\nBush Taxi\nFour in Three from FēFē \nPauline Oliveros (1932–2016)\nFuture of Anonymity \nBryce Dessner (b. 1976)\nMusic for Wood and Strings \nProgram subject to change. \nProgram Notes\n4+9 – Eric Cha-Beach \n4+9 was written for the So Percussion Summer Institute 2017.  The piece explores all the ways that a bar of 9/4 can be subdivided:  There are 36 sixteenth notes in the bar (9 beats x 4 sixteenth notes per beat) – and 36 can be divided evenly by 2\, 3\, 4\, 6\, 9\, 12\, and 18.  The various combinations of different overlapping divisions in the bar make the underlying groupings of 16th notes constantly sound different.  I used this basic idea in a piece for So Percussion’s project ‘A Gun Show’ in 2016\, but Four and Nine explores simply the pure process of hearing each possible combination in turn. \n— Eric Cha-Beach \nsending messages – Leilehua Lanzilotti \nsending messages draws inspiration from the ceramic work of Toshiko Takaezu. Born in Pepe‘eko\, Hawai‘i to Okinawan parents\, Takaezu drew inspiration from the colors and textures around her. Her mastery of glazes turned her clay forms into gorgeous 360-degree landscapes. \nWhen asked\, “What makes your work relevant to the world today?” Takaezu answered\, “The unknown element that comes from my work without my knowing it\, the unknown intangible things that happe[n]\, and that make me want to see if I can do [them] over again to see if I can pursue it and get the perfect piece. It’s the unknown\, the intangibles . . . the sound.” \nPaul J. Smith\, longtime director of the Museum of Contemporary Crafts\, explains: “The artist wraps a small piece of clay in paper and drops it into the shape before closing it. This practice—which she refers to as ‘sending messages’—has become a ritual for the artist and an essential part of making the closed forms. After firing\, the paper burns away from the small clay addition\, which then is loose within the form.” \nThis piece responds to Takaezu’s interest in the unknown\, intangible\, sound elements of her work. \nAs a Flexible Commission\, the work exists in two forms: as the first half of the sky in our hands\, our hands in the sky\, a largescale installation work I created using recordings of Takaezu’s closed forms in honor of a retrospective exhibition of the artist Toshiko Takaezu\, and as this percussion quartet. \n — Leilehua Lanzilotti \nFēfē – Olivier Tarpaga  \nBush Taxi \nThe dust\, the potholes\, the heat\, the super old green Mercedes with hole in the bottom\, the nine passengers in a four-seater vehicle. \nTarpaga’s four in three   \nThis is my contemporary offering of Koreduga played on modern drums and wood. This complex rhythm derived from the Koreduga rhythm\, is my favorite triplet from the Mandingo empire. \n— Olivier Tarpaga \nFuture of Anonymity – Pauline Oliveros \nPauline Oliveros’ life as a composer\, performer and humanitarian was about opening her own and others’ sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary dissolving music making. In the ’50s she was part of a circle of iconoclastic composers\, artists\, poets gathered together in San Francisco. In the 1960’s she influenced American music profoundly through her work with improvisation\, meditation\, electronic music\, myth and ritual. \nMusic for Wood and Strings – Bryce Dessner \nFor several years I have been experimenting with simple chorales in my music that utilize triadic chord inversions that are aligned in complex rhythm patterns to create a kaleidoscopic effect of harmony. These feature heavily in my work for orchestra and two guitars\, St Carolyn by the Sea (2011)\, and the writing for my song cycle\, The Long Count (2009). \nWhile I have used this technique on guitars and strings\, I have not had the opportunity to apply it to percussion instruments. For this new So Percussion piece I have been working with instrument builder Aron Sanchez (Blue Man Group\, Buke and Gase) to design four dulcimer-like instruments to be played by the quartet.  These are simply designed double course string instruments which are played like a dulcimer\, but which are specifically built and tuned to implement a more evolved hybrid of the chorale hocket. Each instrument is amplified using piezo pickups and will have 8 double-course strings tuned to two harmonies.  With the use of dulcimer mallets\, the quartet players can easily sound either harmony\, or play individual strings\, melodies\, and drone tremolos.  There are alto\, two tenors and a bass instrument which can play fretted chromatic bass lines. With these elements as well as a few pieces of auxiliary percussion – bass drum\, wood block – the work is about 30 minutes long. \n— Bryce Dessner \nAbout the Artist\nSō Percussion \nErik Cha-Beach\nJosh Quillen\nAdam Sliwinski\nJason Treuting \nFor twenty years and counting\, Sō Percussion has redefined chamber music for the 21st century through an “exhilarating blend of precision and anarchy\, rigor and bedlam” (The New Yorker). They are celebrated by audiences and presenters for a dazzling range of work: for live performances in which “telepathic powers of communication” (The New York Times) bring to life the vibrant percussion repertoire; for an extravagant array of collaborations in classical music\, pop\, indie rock\, contemporary dance\, and theater; and for their work in education and community\, creating opportunities and platforms for music and artists that explore the immense possibility of art in our time. \nTheir commitment to the creation and amplification of new work\, and their extraordinary powers of perception and communication have made them a trusted partner for composers\, allowing the writing of music that expands the style and capacity of brilliant voices of our time. Sō’s collaborative composition partners include Caroline Shaw\, David Lang\, Julia Wolfe\, Nathalie Joachim\, Dan Trueman\, Kendall K. Williams\, Angélica Negrón\, Shodekeh Talifero\, Claire Rousay\, Leilehua Lanzilotti\, Bora Yoon\, Olivier Tarpaga\, Bobby Previte\, Matmos\, and many others. \nIn 23/24\, Sō returns to Carnegie Hall for its biennial Zankel show\, offering world premieres by composers Vijay Iyer\, Angélica Negrón\, and Olivier Tarpaga\, as well as a sprawling performance of the latest flexible work by Sō’s Jason Treuting\, Go Placidly with Haste. Other dates this season include Hancher Auditorium at the University of Iowa\, Oklahoma Philharmonic (for David Lang’s man made\, written for Sō\, and featured in their latest recording with the Cincinnati Symphony and Louis Langrée); concerts with composer/performer Shodekeh Talifero at the Library of Congress; in Berlin with Caroline Shaw; performances in Burkina Faso with Olivier Tarpaga; and more. \nRecent highlights have included performances at the Elbphilharmonie Hamburg\, Big Ears\, Cal Performances\, at the Palau de la Musica Catalana in Barcelona\, at the Barbican in London\, the Kennedy Center for the Performing Arts\, Penn Live Arts in Philadelphia\, University of North Carolina\, Chapel Hill\, and at The 92nd Street Y\, New York. \nTheir Nonesuch recording\, Narrow Sea\, with Caroline Shaw\, Dawn Upshaw\, and Gilbert Kalish\, won the 2022 Grammy for Best Contemporary Classical Composition. Other recent albums include the co-composed cycle with Caroline Shaw\, Let the Soil Play its Simple Part; A Record Of… on Brassland Music with Buke and Gase\, and – on new imprint Sō Percussion Editions – an acclaimed version of Julius Eastman’s Stay On It\,  plus Darian Donovan Thomas’s Individuate. This adds to a catalog of more than twenty-five albums featuring landmark recordings of works by David Lang\, Steve Reich\, Steven Mackey\, and many more. \nIn Fall 2023\, Sō Percussion began its tenth year as the Edward T. Cone performers-in-residence at Princeton University. Rooted in the belief that music is an elemental form of human communication\, and galvanized by forces for social change\, Sō enthusiastically pursues a range of social and community outreach through their nonprofit umbrella\, including partnerships with local ensembles including Pan in Motion and Castle of Our Skins; their Sō Laboratories concert series; a studio residency program in Brooklyn; and the Sō Percussion Summer Institute\, an intensive two-week chamber music seminar for percussionists and composers.
URL:https://howlandmusic.org/events/so-percussion-2024/
LOCATION:Howland Cultural Center\, 477 Main Street\, Beacon\, NY\, 12508
CATEGORIES:Fall Concerts
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