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SFCMP in Concert – February 2017
February 17 @ 4:00 pm - 9:30 pm at Herbst Theatre$15 - $35
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.
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
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
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