twoSunday, January 25, 2015 – Project TenFourteen: Concert #2 – The second TenFourteen concert included the World Premiere of Polish composer Agata Zubel‘s where to as well as the World Premiere of Slow Portraits 3 by Du Yun. Also on the program, two works by Harrison BirtwistleThe Axe Manual and Gigue Machine. Special guest pianist Nicholas Hodges joined the SFCMP ensemble and Steven Schick on percussion at Cal Performances Hertz Hall in Berkeley.


 

Program

Agata Zubel – where to – WP, Comm

Harrison Birtwistle  Variations from the Golden Mountain – 9′ US Premiere Nicolas Hodges, piano

Harrison Birtwistle – Ax Manual – 25’ – Nicolas Hodges and Steven Schick, piano and percussion

Harrison Birtwistle – Gigue Machine  – 15’ – Nicolas Hodges, piano

Du Yun – Slow Portraits 3 – WP, Comm


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About Project TenFourteen

Under the artistic leadership of internationally acclaimed musician and educator Steven Schick, SFCMP 2014-15 season was anchored by Project TenFourteen – four concerts with world premieres from ten distinctive composers all challenged to “reflect upon and address the human condition, common to us all.” The ten composers participating in this project are of extraordinary caliber – George Crumb, Elena Ruehr, Gabriela Ortiz, Ken Ueno, Gabriela Ortiz, Du Yun, Agata Zubel, Koji Nakano, Lei Liang, Laurie San Martin, and Chou Wen-Chung. Collectively, they represent cultures ranging from China, Japan, Taiwan, and Thailand, to Mexico, Poland, and several regions of the U.S. and span music styles from lyric to extended techniques to the forefront of electro-acousticism.

The four concerts — in November 2014 and January, February and March 2015 — took place at Hertz Hall on the UC Berkeley campus. They were presented in collaboration with Cal Performances. A pre-concert talk preceded each performance, and a post-concert reception allowed audience members to engage with the composers and artists.

Read more about Project TenFourteen

polish institute

Agata Zubel’s participation in this San Francisco concert was supported in part by the Polish Cultural Institute New York