Old First Concerts, a series founded in 1970 in a Presbyterian church in San Francisco, presented two exceptional young chamber ensembles performing contemporary music in late March. Both concerts demonstrated O1C’s commitment to emerging and mid-career artists who are exploring non-standard repertoire.
By acting as a clearing house for collaborative work and by moving concert music to different venues, Jacqueline Perrin’s Classical Reinvention project is bringing music to a new audience.
Mohammed Fairouz’s Anything Can Happen—which was given its Boston premiere on March 17 by the Back Bay Chorale, one of the work’s co-commissioners—is a piece of music in which multiple strategies for communicating connotations of seriousness are utilized with unusual skill.
I attended a Google hangout with members of the Calder Quartet as part of a new audience engagement initiative supporting the Studio Classics series at the Mondavi Center for the Performing Arts in Davis, California. The series showcases new music and I was curious to know why the Mondavi Center chose Google hangouts to promote the series, and what they hoped to accomplish.
One of the barometers of new-music status in Boston—anywhere, really, but especially here—is whether a group’s concerts feel as much like networking events as performances. BMOP is in that strata; the Boston Composers’ Coalition is, as of yet, not.
Despite the nip in the Chicago air, there are plenty of shows this weekend hot enough to leave the house for.
Chris Cogburn recently curated the 10th annual No Idea Festival with six concerts in Austin and San Antonio. Hailed by the Paris Transatlantic as “one of the finest improvised festivals in the world,” this year’s gathering featured performances by nineteen musicians who made domestic treks from Austin, Houston, Jackson, and New York, as well as those who braved customs with loads of arcane gear from New Zealand, Germany, France, and Mexico.
From the moment that Ensemble Dal Niente announced that George Friedrich Haas’s widely admired work in vain would be the cornerstone of their 2012-13 season, Chicago has been buzzing about the performance.
Ainadamar is Opera Parallèle’s first production since changing its name from Ensemble Parallèle. This small company, founded in 1993 by Nicole Paiement, has turned their focus to contemporary opera with several successful productions over the past few seasons.
The Kronos Quartet wrapped up a three-year residency at the Yerba Buena Center for the Arts this month with a program devoted to San Francisco composers Dan Becker, Stephen Prutsman, Nathaniel Stookey, and Pamela Z.