SFCMP in Concert – October 2016

SFCMP in Concert – October 2016

AnnaThorvaldsdottir

Anna Thorvaldsdottir Credit Saga Sigurðardóttir

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.

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 UenoSawdust 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

 

SCHEDULE

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

SFCMP in Concert October 2017

SFCMP in Concert October 2017

 

SFCMP’s season-opener concert will juxtapose three looks at musical color, three sonic landscapes, and three provocative composers. The concert will feature the west coast premiere of a new work by Philippe Leroux, as well as a world premiere by California composer Nicole Mitchell, whose work celebrates African-American culture while reaching across genres, and “Schnee” by Danish composer Hans Abrahamsen, a work esteemed as one of the first classics of 21st-century music.

This event will feature Nicole Mitchell in the “How Music Is Made” composer talk segment.

This concert is part of our “On Stage” series, which brings to the stage some of the most influential contemporary classical composers of the 20th and 21st centuries.

CONCERT PROGRAM

Philippe LEROUX
Postlude à l’Épais (2016) 9’ (West Coast Premiere)
Tod Brody, flute; Peter Josheff, clarinet; Kate Campbell, piano; Hrabba Atladottir, violin; Stephen Harrison, cello

Nicole MITCHELL
Procession Time (2017) 15’ (World Premiere)
Tod Brody, alto flute; Jeff Anderle, bass clarinet; Kate Campbell, piano; Stephen Harrison, cello

Hans ABRAHAMSEN Schnee (2008)  57’
Tod Brody, piccolo/alto flute; Kyle Bruckmann, English horn; Bill Kalinkos, eb/bass clarinets; Christopher Froh, percussion; Kate Campbell, piano 1; Allegra Chapman, piano 2; Hrabba Atladottir, violin; Meena Bhasin, viola; Helen Newby, cello

View the Concert Program Booklet PDF 

#sfcmpinconcert

SCHEDULE

HOW MUSIC IS MADE
(free and open to the public)
4:00 pm Open Dress Rehearsal of Procession Time by Nicole Mitchell
4:30 pm – 5:20 pm Composer Talk:  Nicole Mitchell in conversation with Steven Schick

CONCERT
(open to ticket buyers)
6:45 pm Pre-concert discussion with Artistic Director Steven Schick and Players
7:30 pm Concert
9:00 pm Post-concert party

Season Subscriptions and Memberships are on sale now through October. >>> Learn more

SFCMP in Concert – January 2017

SFCMP in Concert – January 2017

In this program, we explore the voice in its broadest sense: from a premiere of a song cycle by San Francisco composer Richard Festinger to an invocation of the voices of nature in Michael Pisaro’s evocative ricefall for 16 players and various resonant metal and wooden objects.  Anchoring the program is a pair of composers – one emerging and another established: Kate Soper’s Door features voice and electric guitar alongside a rare performance of Gyorgy Ligeti’s landmark Chamber Concerto, which features the voices of 13 concertante soloists.

Encouraging and mentoring the next generation of new music performers, SFCMP will once again join San Francisco Conservatory of Music students on this program.

Richard Festinger

Composer Richard Festinger

Daniel Cilli Baritone

Baritone Daniel Cilli

Richard Festinger Careless Love (2016) (18’)
SFCMP commission
featuring Daniel Cilli, Baritone
Daniel Cilli, baritone; Peter Josheff, clarinet; Alex Camphouse, horn; Roy Malan, violin, Susan Freier, viola; Stephen Harrison, cello; Kate Campbell, piano 

Michael Pisaro ricefall (2010) (18’)
Featuring Steven Schick; Tod Brody; Kyle Bruckmann; Peter Josheff; Alex Camphouse; Kate Campbell; Roy Malan; Susan Freier; Stephen Harrison; Richard Worn; Andrew Friedman, SFCM student; David Tanenbaum; Clio Tilton; Albert Yan, SFCM student; Trevor van de Velde, UC Berkeley student; Zhoushu Ziporyn, UC Berkeley student

Kate Soper Door (2007) (11’)
Amy Foote, soprano; Tod Brody, flute; Kevin Stewart, tenor sax; Karen Hutchinson, accordion; David Tanenbaum, electric guitar

György Ligeti Chamber Concerto (1969) (21’)
Tod Brody, flute; Kyle Bruckmann, oboe; Peter Josheff, soprano clarinet; Alex Camphouse, horn; Richard Worn, double bass; Kate Campbell, piano and celesta; Allegra Chapman, harpsichord/B3 organ; Roy Malan, violin; James Encarnacion, tenor trombone; Clio Tilton, viola; Helen Newby, cello; Andrew Friedman, SFCM student, bass clarinet; Albert Yan, SFCM student, violin

Conductor’s Notes
Program Notes

Free and open to the public
4:00 – 4:30 pm Open Dress Rehearsal of new piece by Richard Festinger
4:30 – 5:20 pm Composer Talk with Richard Festinger and Kate Soper facilitated by Steven Schick

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

Please join us for a post-concert reception.
At the conservatory is Cafe Creme, where meals, beer, and wine may be purchased prior to the concert.  With 10 minutes’ walk is Hayes’ Valley area with several local restaurant choices.

SFCMP in Concert – February 2017

SFCMP in Concert – February 2017


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.

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

Conductor’s Notes
Peter Evans Program Notes

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