[Ear Heart Presents] Flexible Music and Cadillac Moon Ensemble: Stasis v. Motion
Tuesday, November 20, 2012
General Admission: $15
The members of Flexible Music are undaunted by the repertoire’s formidable demands. The results are varied and vital, a feast of intimate musical possibilities.
– Gramophone, August 2009
Flexible Music’s program features work by two fascinating proteges of Louis Andriessen, the influential Dutch minimalist. Peter Adriaanz’s (current composition faculty, Royal Conservatory of the Hague) companion works Fraction and Phrase, commissioned by Flexible Music, explore the fascinating and hypnotic world of microtonal beatings within a dense rhythmic context. Employing tuning hammers inside the piano, detuning the guitar during the piece, and unorthodox writing for hammered dulcimer, Adriaanz creates a landscape in which the fabric of pitch and rhythm that we so often take for granted becomes the dynamic focus of the piece. Seung-Ah Oh’s (current composition faculty, De Paul University) Fragments blends pentatonic material played inside of the piano and on guitar harmonics with pleading microtonal saxophone and slide guitar lines. Liberal use of guitar loops, chinese bowls, and built instruments craft a sound world that is both deliberate and unique.
Inspired by Louis Andriessen’s piece Hout for saxophone, guitar, piano and percussion, Flexible Music has been performing its dynamic brand of repertoire for this versatile instrumentation since 2003. The group has commissioned over thirty pieces by some of the most respected mid-career composers active today. Recent seasons have included concerts on the Macau International Music Festival in China, at the Kennedy Center’s Millenium Stage, and in the Mid-American Festival of New Music New Focus Recordings released their debut CD FM in March 2009 to critical acclaim. They can be heard on another release from New Focus, Sustenance, as well as on releases on Capstone and Albany records.
The Cadillac Moon Ensemble follows suit with a program exploring motion in its many different forms: how things move, where they move, and what can move. The concert features three world premieres by Caleb Burhans, Alex Weiser, and Osnat Netzer, as well as two other works that were written for CME in 2012 by Florent Ghys and Thomthy Andres. Ghys’ work is named after a métro station in Paris and is about smooth transitions between two worlds. Also about the subway, Weiser’s piece is a multi-movement work exploring memories of growing up in New York, associated with different subway lines. A game of musical telephone, Andres’ piece germinated as a short melody on an airplane which passes from one player to the next, mutating slightly each time. More abstractly, Osnat Netzer uses the concept of motion to work out her fascination with hip hop, using the instruments rhythmically to propel the piece.
With its unique combination of flute, violin, cello, and percussion, Cadillac Moon Ensemble is dedicated to retaining the intimacy and artistry of traditional chamber music, while expanding its palette of sonic possibilities. The group formed in 2007 and is focused on commissioning new works and developing integral relationships with emerging composers. Cadillac Moon Ensemble has commissioned and premiered over fifty works to date with recent pieces by Timothy Andres, Caleb Burhans, Angélica Negrón, David Claman, Amy Beth Kirsten, Lukas Ligeti, and Zack Browning. Season highlights from 2011-12 include collaborations with Blind Ear Music and Random Access Music, and the release of CME’s debut album Atlas on New Dynamic Records, recorded during a week-long residency at Indiana University-Southeast. The group can also be heard playing Zack Browning’s music on Innova Records.
EAR HEART MUSIC
The “innovative Ear Heart Music series has become a staple in the New York new music soundscape.” (Time Out NY) Curated by Amelia Lukas, Ear Heart Music is a modern chamber music series for modern ears. A showcase of adventurous and cutting-edge performers, composers, and collaborative artists, this is where curious New Yorkers get their aural fix. By presenting high-quality new music that engages and entertains, we nurture our audience. By facilitating open dialogue, we provide context for our work. Shows often combine music with other artistic elements such as electronic processing, performance art, film, and dance. Through unique artist pairings, eclectic programming, and the integral incorporation of the new, Ear Heart Music plays a major role in reshaping the chamber music landscape for the 21st century.
“one of our favorite new music series”
All quotes from Time Out New York.
About curator Amelia Lukas
“a fine balance of virtuosity and poetry” – The New York Times
“a buoyancy of spirit that comes out in the flute, a just beautiful sound” – The Boston Globe
An accomplished and adventurous flutist, Amelia’s recent projects include performances at Carnegie’s Zankel and Weill Halls, the Stone, Bargemusic, Le Poisson Rouge, the Norfolk Chamber Music Festival, the Orford Sound Art Festival, and premieres of works by Columbia University Composers at Lincoln Center. Amelia has appeared with such orchestras as the London Sinfonietta and the Boston Symphony Orchestra. In addition to producing chamber music concerts throughout New York City, she is a Promotion Associate for music publisher G. Schirmer, representing their chamber and dance music catalogues. Amelia holds a Master’s degree in Contemporary Flute Performance from the Manhattan School of Music, and a Bachelor’s degree from the Royal Academy of Music in London, England where she won three prizes for musical excellence.