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pro/cess, pro/gress

pro/cess, pro/gress

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

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