Daniel Schreiner (piano), Philip Snyder (flute), Mayumi Tsuchida (piano), and Myya Inor (dance)
When: Saturday, June 1st at 7:30 PM
Where: Renee Weiler Concert Hall, Greenwich House Music School, 46 Barrow St, New York, NY 10014
Tickets: $15 general admission; $10 students
Join us in a bracing and innovative recital featuring music by John Cage, Donnacha Dennehy, Tristan Murail, Missy Mazzoli, Sean McFarland, and John Adams.
Many of us have become accustomed to the idea of “progression” in Western Classical music – that is, the governing principle that music must grow, develop, or “go” somewhere, tracing a defined arc of rise and fall, conflict and resolution. Over the past century, however, Western composers have increasingly challenged the hegemony of linear, forward-moving structures: often influenced by non-Western music traditions, these composers divorced harmonies from their function, focused on color, texture, and resonance, and created long, essentially static musical forms marked by the gradual accumulation and/or transformation of elements, i.e. “process music.”
But are these concepts of “process” and “progress” mutually exclusive? Can music ever truly avoid any sense of movement or development altogether? The works included in the program all grapple with these ideas, experimenting with the listener’s perceptions of sound over time and warping our collective experience of time itself...
John Cage: Two (1987)
Philip Snyder, flute; Daniel Schreiner, piano
Donnacha Dennehy: Reservoir (2007)
Daniel Schreiner, piano
Tristan Murail: Le Fou à Pattes Bleues (1990)
Philip Snyder, flutes; Daniel Schreiner, piano
Missy Mazzoli: Heartbreaker (2013)
Mayumi Tsuchida, piano
Sean McFarland: 49 Pulses for the Victims of Pulse Nightclub (2016)
Daniel Schreiner, piano; Myya Inor, dance
John Adams: Hallelujah Junction (1996)
Mayumi Tsuchida, piano; Daniel Schreiner, piano
Pianists Daniel Schreiner and Georgia Mills present a riveting program of late 20th and early 21st-century works for solo piano and two pianos.
Pieces include: John Adams’ Hallelujah Junction (1996), Nina C. Young’s
Kolokol (2010), Donnacha Dennehy’s Reservoir (2007), and Tigran Hamasyan's
Markos and Markos (2017).
The program explores the effect of dense,
polyphonic musical layers and how they progress over time.
Show 2/2 for panSonus' May concerts! We are joined by some of our favourite musicians, and are looking forward to the premiere of new works from the US and Australia!
Chris Cerrone - I will learn to love a person (with Tyler Neidermayer and Daniel Schreiner)
Lei Liang - Lakescape (with Daniel)
Bethany Younge - Doublespeak (with Tyler)
Sarah Hennies - Psalm 1
Jakob Bragg - "..." [first draft]
Anahita Abbasi - Seven Impressions
Presented by the Ferrara International Piano Festival and St. John’s in the Village, pianists Daniel Schreiner and Sophia Zhou will present “Studies,” a program of 20th-century piano solo and duo works including Etudes by Claude Debussy and György Ligeti, Olivier Messiaen’s Petites Esquisses d’Oiseaux, selections from Ligeti’s Musica Ricercata, and selections from György Kurtág’s Játekok.
"I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after."
- Wallace Stevens from Thirteen Ways of Looking at a Blackbird
Join soprano Alexandra Porter, pianist Daniel Schreiner, percussionist Jon Clancy, and flutist Joshua Weinberg for an intimate evening exploring the sonic ramifications of “inflection” versus “innuendo”. Defined by Merriam-Webster as a “change in pitch or loudness of the voice,” inflection is direct expression, mediated and manipulated, yet nonetheless purposeful; by contrast, an innuendo is “an oblique or veiled allusion, hint, or insinuation” -- in other words, the antithesis of directness. How does this dichotomy between expression and suggestion play out in composed music, where the passage of time constantly warps and re-contextualizes our perception of the present moment? And how do we interpret the seemingly “direct” expressions of the natural world (like birdsong, for instance) without any trace of human subjectivity?
Joined by percussionist Jon Clancy, we will perform Lukas Foss’s 1978 masterpiece "Thirteen Ways of Looking at a Blackbird," based on Wallace Stevens’ poem of the same name. Also included on the program are: Psalm 2 for snare drum by Sarah Hennies, selections from Olivier Messiaen’s extensive works based on birdsong, including "Le Merle Noir" (The blackbird) for flute and piano and "Petites esquisses d'oiseaux" (Little bird sketches) for solo piano; Kaija Saariaho’s "Dolce Tormento" for solo piccolo; and finally, Kate Soper’s theatrical and virtuosic duo "Only the Words Themselves Mean What They Say" for soprano and flute.
13 Ways of Looking at a Blackbird (1978) for soprano, flute, percussion, and piano - Lukas Foss
Psalm 2 (2010) for snare drum - Sarah Hennies
Le Merle Noir (1952) for flute and piano - Olivier Messiaen
Petites Esquisses D’Oiseaux (1985) for piano - Olivier Messiaen [12'00]
Dolce Tormento (2004) for piccolo - Kaija Saariaho
Only the Words Themselves Mean What They Say (2012) for soprano and flute - Kate Soper