Maya Beiser: TranceClassical Maya Beiser: TranceClassical

Tue September 13th, 2016


Main Space

Minimum Age: All Ages

Doors Open: 6:00PM

Show Time: 7:00PM

Event Ticket: $15 / $20

Day of Show: $20 / $25

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free for members
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Table Seating: $20 advance / $25 day of show
Standing Room: $15 advance / $20 day of show

Maya Beiser performs music from her new album TranceClassical (out July 29) at Le Poisson Rouge. In TranceClassical, Maya explores music for cello that entrances, and that transforms and transcends boundaries, styles, and centuries.

Scroll down to read more about Maya Beiser and TranceClassical!


Ticketing Policy

 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.

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Maya Beiser: TranceClassical

Maya Beiser Official Website | Maya Beiser on Facebook | @cellogoddess on Twitter | @cellogoddess on Instagram | Maya Beiser on Youtube

TranceClassical includes selections by a wide array of composers, brought to common ground by Maya’s unique artistic vision. Maya’s performance of J.S. Bach’s Air on G evokes the sound of an old LP, spinning on a distant turntable. Michael Gordon’s All Vows takes the Jewish Yom Kippur prayer, the Kol Nidrei (which translates to All Vows) and reimagines it entirely. Maya melds cello and electronically transformed vocals, sung simultaneously while she plays, in Imogen Heap’s mesmerizing Hide and Seek. Composer and drummer Glenn Kotche of Wilco contributes Three Parts Wisdom, a rhythmic and multilayered new work for Maya, described as “a soaring, gorgeous tour de force for solo cello” by The Washington Post. In Lou Reed’s Heroin, arranged by David Lang, Maya sings the haunting confessional over her cello’s arpeggios in a startlingly moving take on the original. Julia Wolfe’s Emunah (or “belief”) is an ancient-feeling vocal and cello duo expressing and expounding on the idea of devotion. Arab-American composer Mohammed Fairouz’s new Kol Nidrei, in which Maya sings the text in Aramaic, also engages echoes of ancient cantorial styles, and has been described as “simply gorgeous” (The New York Times) and “luxuriant” (San Francisco Chronicle). David T. Little’s driving Hellhound, written for Maya, is based on legendary bluesman Robert Johnson’s 1937 song Hellhound On My Trail, which tells the story of a man pursued by demons. TranceClassical closes with Maya’s plaintive but ardent arrangement of Medieval visionary Hildegard von Bingen’s O Virtus Sapientiae.

Of this very personal project, Maya says, “TranceClassical started from a washed-out still photo in my mind – me, as a little girl curled with a blanket on her parents’ sofa, hearing Bach for the first time, hanging on to every mysterious note coming out of the scratchy LP. TranceClassical is the arc my mind sketches between everything I create and Bach – David Lang and Bach, Glenn Kotche and Bach, Michael Gordon and Bach. No matter how far I venture, how rebellious, or avant-garde or electronic, my artistic mooring stays with the creation of this immense genius. Was it his music? Or just being an impressionable young girl, trying to partake in her parents’ worship? Probably both. But the pieces I bring here give me a sense of trance – a reverie and meditation on his place in my heart.”

Cellist Maya Beiser defies categories. Passionately forging a career path through uncharted territories, she has captivated audiences worldwide with her virtuosity, eclectic repertoire, and relentless quest to redefine her instrument’s boundaries. A featured performer on the world’s most prestigious stages including Lincoln Center, Carnegie Hall, London’s South Bank Centre, Sydney Opera House, Big Ears, and the Barbican’s Sound Unbound, she has collaborated with a wide range of artists across many disciplines, including Brian Eno, Philip Glass, Steve Reich, Robert Woodruff, Bill Morrison, among many others. Maya Beiser is a 2015 United States Artists Distinguished Fellow. Her 2011 TEDTalk has been watched by close to one million people and translated to 32 languages.

Praise for TranceClassical:

“The pulsating bass line ticks away, reminding us of the timelessness of [Bach’s] music” –NPR

“a kickass new record” –WNYC

“Maya Beiser’s aptly titled new album indeed casts a spell.” –Blogcritics

“simply one of the most interesting, most stunning albums of contemporary music I have heard in a while” –Audiophile Audition

“rockstar glam and personal magnetism … endlessly inventive and a joy to listen to” –San Francisco Classical Voice

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