Last season's Equinox was "aglow with promise" (Milwaukee Journal Sentinel), contrasting light and dark, death and life, and this year is no different as Present Music presents Equinox: light and dark, March 20, 2016. Performing the brooding, atmospheric Night Scenes from the Ospedale by Robert Honstein (written as part of the Vivaldi Project, the goal of which was to weave early and new music together seamlessly) will make an intriguing contrast to Vivaldi’s sunny L’Estro Armonico. Judd Greenstein’s Clearing, Dawn and Dance (“…an epically high flying work reminiscent of Glass's dance and cinema pieces while never abandoning Greenstein's own signature palette of sounds” - wqxr), Andrew Norman’s Music in Circles (a “5 minute static electricity storm” - Pitchfork) and music by Ligeti and Gubaidulina will connect as we cross the divide from winter to spring.
(Program subject to change. This concert is not intended for children under 10.)
Hungarian Rock by Georg Ligeti
Night Scenes from the Ospedale by Robert Honstein
Various movements from concertos by Antonio Vivaldi
Meditations on a Bach Chorale by Sofia Gubaidulina
The Light That Fills The World by John Luther Adams
Music in Circles by Andrew Norman
Clearing, Dawn, Dance by Judd Greenstein
Celebrated for his “roiling, insistent orchestral figuration” (New York Times) and “glittery, percussive pieces” (Toronto Globe and Mail), composer Robert Honstein is a composer of orchestral, chamber, and vocal music. His works have been performed throughout North America. He has received an Aaron Copland Award, multiple ASCAP awards and other honors from SCI, Carnegie Hall, and New Music USA. He has also received residencies at Copland House, the Kimmel Harding Nelson Center, I-Park, the Bang on a Can Summer Institute, and the Tanglewood Music Center.
Robert co-produces Fast Forward Austin, an annual marathon new music concert in Austin, TX and is a founding member of the New York based composer collective Sleeping Giant. Upcoming projects include commissions from cellist Ashley Bathgate, a consortium of pianists for a solo piano work, and a new work for Eighth Blackbird as part of a collaborative project with Sleeping Giant. He is also composer-in-residence, along with his Sleeping Giant colleagues, with the Albany Symphony Orchestra, as part of a Music Alive grant from New Music USA and the League of American Orchestras.
Norman is a Los Angeles-based composer of orchestral, chamber, and vocal music. A lifelong enthusiast for all things architectural, Andrew writes music that is often inspired by patterns and textures he encounters in the visual world. He has a passion for musical notation, its long history, and the many ways its boundaries can be pushed to find new modes of expression. He also loves collaborating with performers to explore the act of interpreting notation and he is fascinated by the translation of written symbols into physical gesture and sound. Andrew is increasingly interested in story-telling in music, and specifically in the ways non-linear, narrative-scrambling techniques from cinema, television, and video games might intersect with traditional symphonic forms. His distinctive, often fragmented and highly energetic voice has been cited in the New York Times for its “daring juxtapositions and dazzling colors,” in the Boston Globe for its “staggering imagination,” and in the L.A. Times for its “Chaplinesque” wit.
Sofia Gubaidulina is, together with Schnittke and Denisov, one of three major Moscow composers of the post-Shostakovich era. Of half-Tartar, half-Slav extraction, her music strikingly combines spiritual and dramatic, with daring and transparently original colours. One of earliest Soviet composers to show a deep interest in religious themes, Gubaidulina's music can at one extreme be improvisatory (her music has been labeled "irresponsible" for it's exploration of alternatue tunings) such as Garden of Joys and Sorrows for flute, viola and harp, and at the other extreme be strictly organised on ancient mystical principles such as the orchestral works Symphony: Stimmen… verstummen and Zeitgestalten. She has a particular interest in setting visionary and prophetic texts by T.S.Eliot, Marina Tsvetaeva and Gennadi Aigi. Her aural imagination developed through sonic experiments in her film music. Gubaidulina has been commissioned by world’s finest performers including Gidon Kremer, Yuri Bashmet, Mstislav Rostropovich, the Kronos and Arditti Quartets, Gennady Rozhdestvensky and Sir Simon Rattle.
Judd Greenstein is a composer of structurally complex, viscerally engaging works for varied instrumentation. A passionate advocate for the independent new music community across the United States, much of Judd’s work is written for the virtuosic ensembles and solo performers who make up that community and is tailored to their specific talents and abilities.
Judd’s philosophy as both a composer and a curator involves music that is an organic blend of multiple styles, sounds, and instruments, open to all influences. Standout groups that reflect this “post-genre” sensibility, including yMusic, Roomful of Teeth, and NOW Ensemble, all counted Judd among their earliest commissions and continue to perform his work to this day. In addition to his work as a composer, Judd is active as a promoter of new music in New York and around the world. He is the co-director of New Amsterdam Records/New Amsterdam Presents, an artists’ service organization that supports post-genre musicians through the development of performances and new recordings. He is the curator of the Ecstatic Music Festival in New York’s Merkin Hall, an annual showcase of new collaborative concerts between artists from different musical worlds, and he is a founding member of NOW Ensemble, the composer/performer collective that develops new chamber music for their idiosyncratic instrumentation. In 2014, he co-curated the first Apples & Olives festival in Zurich, Switzerland, bringing to Europe the post-genre ethos of the Ecstatic Music Festival and New Amsterdam.
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