Sat, Oct 8, 2016  Works by Ken Ueno, Toru Takemitsu, Joe Pereira, Anna Thorvaldsdottir

On Stage Series

In our On Stage series we bring to the stage some of the most influential national and international contemporary classical composers of the 20th and 21st centuries

 

 

Sat, Oct 8, 2016
Venue: Taube Atrium Theater Veterans Building  4th floor 401 Van Ness Ave, San Francisco, CA 94102

Free and open to the public
4:00 – 4:30 pm  Open Dress Rehearsal of Sawdust on Ararat by Ken Ueno
4:30 – 5:30 pm  Composer Talk, “How Music is Made” with composers Ken Ueno and Joe Pereira, facilitated by Steven Schick

Open to ticket-holders
6:30 – 7:00 pm  Informal pre-concert discussion with Steven Schick and musicians
7:30 pm  CONCERT

Eventbrite - SFCMP in Concert: Works by Takemitsu, Thorvaldsdottir, Pereira and Ueno $35/$15 students
*limited tickets available at the door
*online sales end at noon on 10/8

Eventbrite - SFCMP 2016-17 Season Subscription
*season subscriptions available at the concert

This work by Icelandic composer Anna Thorvaldsdottir is among the most important new pieces of recent years and anchors a program of intense luminosity, including colorful and evocative new works by California composers Ken Ueno and Joe Pereira. The San Francisco Contemporary Music Players also returns to a composer we have longed championed, Toru Takemitsu performing his sublime classic, Toward the Sea.

AnnaThorvaldsdottir

Anna Thorvaldsdottir Credit Saga Sigurðardóttir

Joe Pereira Glimpse (2015) (17’) *world premiere
Alto flute, bass clarinet, piano, violin, cello
Tod Brody, alto flute; Peter Josheff, bass clarinet; Kate Campbell, piano; Susan Freier, violin; Stephen Harrison, cello

Toru Takemitsu Toward the Sea (1981) (12’)
Guitar, alto flute
David Tanenbaum, guitar; Tod Brody, alto flute

Ken Ueno Sawdust on Ararat (2016) 20’ *west coast premiere
Flute, oboe, clarinet, 2 cellos, 2 percussion
Tod Brody, flute; Claire Brazeau, oboe; Bill Kalinkos, clarinet; Thalia Moore, cello; Crystal Pascucci, cello; Nick Woodbury, percussion; Loren Mach, percussion

Anna Thorvaldsdottir In the Light of Air (2013) (40’)
Viola, cello, piano, harp, percussion, fixed electronics
Susan Freier, viola; Stephen Harrison, cello; Kate Campbell, piano; Karen Gottlieb, harp; Nick Woodbury, percussion

 

Fri, Feb 17, 2017 Works by Igor Stravinsky, Peter Evans and Guest Improvisers

On Stage Series

In our On Stage series we bring to the stage some of the most influential national and international contemporary classical composers of the 20th and 21st centuries

 

 

Fri, Feb 17, 2017
Peter Evans & Guest Improvisers Nava Dunkelman, percussion and India Cooke, violin
Venue: Herbst Theatre 401 Van Ness Ave, San Francisco, CA 94102

Free and open to the public
4:00 – 4:30 pm Open Dress Rehearsal of Stravinksy Interpolations with Peter Evans
4:30 – 5:30 pm Composer Talk with Peter Evans facilitated by Steven Schick

The Herbst Theatre Lounge will be open from 5:30pm – 7:30pm. Come early for wine, beer and snacks.

Open to ticket-holders
6:45 pm  Pre-concert discussion with Steven Schick and musicians
7:30 pm  CONCERT

Eventbrite - Works by Richard Festinger, Michael Pisaro, Kate Soper, and Gyorgy Ligeti   $35/$15 students

Conductor’s Notes
Peter Evans Program Notes

In a departure from the usual way of presenting Stravinsky’s iconic L’Histoire du Soldat, now approaching its centennial, we will replace the dramatic action and much of the original Ramuz text with improvised interpolations featuring trumpet virtuoso supreme, Peter Evans. Performing with Evans on various movements will include a number of exceptionally talented improvisers, including special guests Nava Dunkelman (percussion), and India Cooke (violin) as well as SFCMP’s own Kyle Bruckmann (oboe) and William Winant and Steven Schick on percussion.

The result will be an Evans/Stravinsky mash-up in which two musics will speak to each other across a century—responding and resonating, cajoling and interrupting—in a conversation about the eternal issues of good and evil; war and peace.

Igor Stravinsky L’Histoire du Soldat (1918) 
Hrabba Atladottir, violin; Richard Worn, bass; Jeff Anderle, clarinet; Dana Jessen, bassoon; Brad Hogarth, trumpet; Brendan Lai-Tong, trombone; Christopher Froh, percussion

Peter Evans Lover’s War (2016)
Improvised Interpolations of L’Histoire du Soldat

Peter Evans, trumpet (soloist); Kyle Bruckmann, oboe; William Winant, percussion; Steve Schick, percussion; Nava Dunkelman, percussion; India Cooke, violin

India Cooke

Nava Dunkelman

 

 

 

 

 

 

 

Stravinsky Interpolations
Peter Evans, Lover’s War
Igor Stravinsky, L’Histoire du Soldat (The Soldier’s Tale)

Peter Evans                                                  Solo: For Eddie Slovik

Igor Stravinsky                                              The Soldier’s March

Peter Evans                                                  Trio:  For Lewis Mumford

Igor Stravinsky                                              Music to Scene I

Igor Stravinsky                                              Music to Scene II

Peter Evans                                                  Quartet:  For Michelle Alexander

Igor Stravinsky                                              Music to Scene III

Igor Stravinsky                                              The Soldier’s March

Peter Evans                                                  Duo: For Sarah Kendzior

Igor Stravinsky                                              The Royal March

Igor Stravinsky                                              Little Concert

Igor Stravinsky                                              Three Dances

Peter Evans                                                  Solos: For Cecil Taylor

Igor Stravinsky                                              The Devil’s Dance

Igor Stravinsky                                              The Great Choral

Peter Evans                                                  Septet:  For James Baldwin

Igor Stravinsky                                              Triumphal March of the Devil

Peter Evans                                                  Septet:  For James Baldwin, part 2

 

About Peter Evans

With Peter Evans on Trumpet, Only the Shape Is Familiar
New York Times

His reputation among freethinking trumpet players is ironclad, a function of superhuman precision and a trailblazing technical vocabulary. But Mr. Evans would rather not be known strictly on those merits. “Sometimes it bothers me that the physical intensity and the crazy sounds are what people focus on,” he said a couple of weeks after his concert, over coffee near the carousel in Bryant Park. “Actually that’s not really the point for me.” Mr. Evans, 35, has the look of a systems analyst and the instinct of a righteous outlier, questioning preconceptions at every turn.

Growing up outside of Boston, he studied classical music alongside jazz, a pattern he continued at the Oberlin Conservatory of Music. He was serious about solo trumpet performance even then, drawing from both contemporary composers like Luciano Berio and boundless improvisers like the trumpeter Bill Dixon. “I moved to New York in 2003, and that’s one of the few things I had that was ready to go,” Mr. Evans said. “I didn’t know anybody, but I could sit down at some coffee shop and play a solo set.”

The jazz trumpeter and composer Dave Douglas was among those who quickly noticed Mr. Evans, commissioning him to perform on the Festival of New Trumpet Music. “The kinds of things he was doing, hardly anybody was doing,” Mr. Douglas said. “He has now further developed those techniques into some sounds that are wholly his own. That doesn’t happen too often.” >> Read full New York Times article