Composers Concordance Presents
Thu January 26th, 2017
Minimum Age: All Ages
Doors Open: 6:00PM
Show Time: 7:00PM
Event Ticket: $20 / $15 / $10
Day of Show: $25 / $20 / $10
Table Seating: $20 advance, $25 day of show
Standing Room: $15 advance, $20 day of show
Standing Room – Student Ticket: $10 (must present student ID at will call)
On January 26th, Composers Concordance will feature the string quartet ETHEL and the percussion ensemble TALUJON in a program entitled ‘RoundTable’ at (Le) Poisson Rouge. The concert will include a roundtable panel of celebrated artists, musicians, and poets, who will be onstage providing commentary. The panel will include Beth Fertig (contributing editor, WNYC), Mark Stewart (guitarist), David Baker (poet), Charles Coleman (composervocalist), and Paul Mills aka Poez (poet). The audience will be invited to tweet their immediate reactions to the music, which includes several premieres. Tweets, favorable and critical, will be projected live onscreen during the performance.
The concert will feature new and recent compositions by Svjetlana Bukvich, Dan Cooper, Melissa Grey, Peter Jarvis, Robert Levin, Milica Paranosic, Gene Pritsker, and Randy Woolf.
Performers include ETHEL: Ralph Farris Artistic Director, viola; Kip Jones violin; Dorothy Lawsen Artistic Director, cello; and Corin Lee violin. TALUJON percussion quartet: Ian Antonio, David Cossin, Matthew Gold, Tom Kolor, Michael Lipsey, and Matt Ward. Robert Voisey Twitter master.
Acclaimed as “downtown’s reigning string quartet” (The New Yorker), and “one of the most exciting quartets around” (The Strad), ETHEL invigorates the contemporary music scene with exuberance, intensity, imaginative programming, and exceptional artistry. Described by the New York Times as an ensemble possessing an “edgy, unflagging energy”, TALUJON has been mesmerizing audiences since 1990.
TABLE SEATING POLICY Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Acclaimed as “unfailingly vital” (The New York Times), “brilliant,” “downtown’s reigning string quartet” (The New Yorker), and “one of the most exciting quartets around” (The Strad), ETHEL invigorates the contemporary music scene with exuberance, intensity, imaginative programming, and exceptional artistry. At the heart of ETHEL is a quest for a common creative expression that is forged in the celebration of community. As cultural and musical “pollinators,” the quartet invigorates today’s indie-classic scene through genre and culture-crossing initiatives, inventive repertoire, and innovative community engagement activities. ETHEL advances the work of a diverse community of artists through commissions, collaborations, and recordings.
While on tour and at home, ETHEL offers in-depth residency and community outreach programming to connect a broad spectrum of audiences and students to its music. Founded in 1998 and based in New York City, ETHEL is comprised of Ralph Farris (viola), Dorothy Lawson (cello), Kip Jones (violin), and Corin Lee (violin).
Known worldwide for transcending the limits of tradition, ETHEL actively, aggressively, and joyfully adapts its masterful skill-set to the presentation of virtuosic, boundary-crossing works of musical and cultural diversity.
The group ongoingly champions the music of emerging artists, and performs adventurous music by celebrated contemporary composers such as Philip Glass, Julia Wolfe, Phil Kline, Andy Akiho, David Lang, John King, John Zorn, Steve Reich, Anna Clyne, Kenji Bunch, JacobTV, Don Byron, Marcelo Zarvos, Evan Ziporyn, Judd Greenstein, Terry Riley, James Kimo Williams and Mary Ellen Childs. Over the past five years, ETHEL has premiered 150+ new works, many of them commissioned by the quartet.
ETHEL’s 2015-16 season celebrates the diversity of regional American music, anchored by a national tour of the evening-length ETHEL’s Documerica, described by The New York Times as “new music bonding with old images in rich, provocative and moving ways.” ETHEL will tour several critically-acclaimed signature programs throughout the season, ranging from The River, a collaboration with Taos Pueblo flutist Robert Mirabal, to an introspective program Grace, featuring ETHEL’s arrangements of music by Ennio Morricone and Jeff Buckley. Other highlights include the world premiere of Pulitzer Prize winner Julia Wolfe’s “Blue Dress for String Quartet,” commissioned by ETHEL, at National Sawdust; performances of new and existing repertoire as the Resident Ensemble at The Metropolitan Museum of Art’s Balcony Bar, and interdisciplinary activities as Ensemble-in-Residence at Denison University.
Described by the New York Times as an ensemble possessing an “edgy, unflagging energy”, Talujon has been mesmerizing audiences since 1990. For well over two decades, Talujon has committed itself to the growth of contemporary percussion music through diverse performance, commissioning, educational, and outreach activities.
Highlights of Talujon’s recent engagements include appearances at the Brooklyn Academy of Music’s Next Wave Festival, Bang on a Can Marathon, Carnegie Hall, ISSUE Project Room, Miller Theatre, and New York Historical Society. International performances include Taipei’s Lantern Festival, Italy’s Sound Res Festival, and a tour with Steve Reich and Musicians. In addition to its diverse performance schedule, Talujon has conducted residencies, clinics, and master classes at institutions across the US, including Harvard, Juilliard, Manhattan School of Music, Stanford, and the universities of Virginia, Oregon, and Buffalo. Notable commissions and premiers include collaborations with composers Dewa Alit, Nick Brooke, Chien Yin Chen, Louis Karchin, Alvin Lucier, Eric Moe, Steve Ricks, Ralph Shapey, Henry Threadgill, Ushio Torikai, and Julia Wolfe.
Locally, Talujon engages in a series of residencies in the New York City Public Schools though the Department of Cultural Affairs After School Adventures program, as well as through a collaboration with the Midori and Friends organization. The ensemble’s playing can be heard on the Cantaloupe, Tzadik, New World, Bridge, Albany, and Capstone record labels. Talujon proudly uses Mike Balter sticks and mallets and Black Swamp Percussion instruments.
Staying in rotation for thirty two years in NYC is a rare feat. In the case of a new music presenting organization, it requires not only diligence and cognizance of achievements of the past, but also an ethic of keeping one’s ear to the ground for emerging stylistic and technological developments, as well as talented new composers on the scene. Composers Concordance strives to present contemporary music in innovative ways, with an emphasis on thematic programming. It has also created a record label, Composers Concordance Records, with distribution by Naxos. Directors Gene Pritsker and Dan Cooper co-curate the programs, and lead the CompCord Ensemble, Chamber Orchestra, String Orchestra, and Big Band. Associate Directors are Milica Paranosic, Peter Jarvis, Svjetlana Bukvich, and Melissa Grey. Composers Concordance’s overriding vision is to promote contemporary music, composers, and new works as a rightful and respected part of society. Good music, performed and recorded well, pushing the boundaries of sound and composition.
“For the past 30 years, Composers Concordance has been a booster for local composers, through both its concerts across the city and a record label.” – The Wall Street Journal. “Enterprising new music organization” – The New York Times. “The Composers Concordance folks are unpredictable and at times refreshingly irreverent in a reverent sort of way….ingenious fun” – Classical-Modern Music Review. “Edgy…boisterous…demanding our attention” – San Diego Story. “These men and women are creating exciting music with elements of jazz, world music and many experimental techniques blended with equal parts classical tradition and playing techniques.” – Asbury Park Press. “There is considerable evidence to show that Composers Concordance may be one of the most exciting labels in American contemporary music. – JazzdaGama.