Jun
07
Thu June 7th, 2018
9:00PM
Main Space
Minimum Age: 21+
Doors Open: 8:30PM
Show Time: 9:00PM
Event Ticket: $20
VIP Tickets (6:30pm doors, includes dinner, VIP reception & party): $300
“Night of Awesomeness” Tickets (8:30pm doors, entry for party only): $20
Join So Percussion on Thursday, June 7 for our annual VIP Benefit (beginning at 6:30pm) and then a TRULY spectacular NIGHT OF AWESOMENESS, offering a lineup of incredible performers and performances, thanking you, our friends, fans, donors, supporters, for all that you do to support our mission of sharing amazing new works and collaborations with engaged listeners everywhere.
VIP Tickets (which include dinner, a special performance by Sō, open bar, and a celebration of the incredible Sara Coffey!) are $300 per person.
THEN, at 8:30pm, doors open to the public for NIGHT OF AWESOMENESS (included in the VIP ticket, or available for $20 per person).
What does this mean?
A “Night of Awesomeness” is a variety show of our favorite music and people. It has no consistent theme other than “awesomeness,” which is arbitrated by what we like. Some of the most fascinating people we’ve ever known and worked with have agreed to join us for this party, It ranges from hard-hitting contemporary classical music to toe-tappers and show stoppers.
The incredible lineup includes:
Balún, with Angelica Negron, a collaborator we’ve known for awhile. Angelica will be writing a new work for So Percussion this summer. Balun grew out of the indie scene in San Juan, Puerto Rico.
Grey Mcmurray is featured on our studio album “Where (we) Live.” His guitar mastery and sensitive composition makes him an enthralling figure in our scene.
Damsell is a unique neo-folk duo whose songwriting style borrows from bluegrass, folk, contemporary classical, and many other influences.
Sandbox Percussion represents the next generation of frighteningly gifted chamber music groups, a wave that has followed our work.
Dither Quartet is the ensemble-in-residence for this year’s So Percussion/New Music USA residency program. We share the kinship of “four-of-the-same” groups. We have worked with many of the same composers from the New York and Brooklyn scenes.
Bobby Previte wrote “Terminals,” one of the most sprawling and ambitious pieces we’ve ever played. Having made his way in the jazz and experimental “downtown” scenes, he also retains a love for the percussion ensemble tradition of John Cage.
Shara Nova, aka My Brightest Diamond, is a true force of nature. We are delighted that she agreed to take a break from her tour with tune-yards to join us! Our collaborative project “Timeline” has toured to Carnegie Hall, The University of Texas at Austin, UCLA Live, and other venues. She travels between the indie rock and classical worlds with grace, glory, and tremendous joy!
So Percussion
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Our Mission:
Sō Percussion is a percussion-based music organization that creates and presents new collaborative works to adventurous and curious audiences and educational initiatives to engaged students, while providing meaningful service to its communities, in order to exemplify the power of music to unite people and forge deep social bonds.
Our Vision:
To create a new model of egalitarian artistic collaboration that respects history, champions innovation and curiosity, and creates an essential social bond through service to our audiences and our communities.
Ensemble Bio:
Sō is: Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting
With innovative multi-genre original productions, sensational interpretations of modern classics, and an “exhilarating blend of precision and anarchy, rigor and bedlam,” (The New Yorker), Sō Percussion has redefined the scope and vital role of the modern percussion ensemble.
Their repertoire ranges from “classics” of the 20th century, by John Cage, Steve Reich, and Iannis Xenakis, et al, to commissioning and advocating works by contemporary composers such as David Lang, Julia Wolfe, Steve Mackey, and Caroline Shaw, to distinctively modern collaborations with artists who work outside the classical concert hall, including Shara Nova, the electronic duo Matmos, the choreographer Susan Marshall, Wilco’s Glenn Kotche, The National’s Bryce Dessner, and many others.
Sō Percussion also composes and performs their own works, ranging from standard concert pieces to immersive multi-genre programs – including Imaginary City, Where (we) Live, and A Gun Show, which was presented in a multi-performance presentation as part of BAM’s 2016 Next Wave Festival. In these concert-length programs, Sō Percussion employs a distinctively 21st century synthesis of original music, artistic collaboration, theatrical production values and visual art, into a powerful exploration of their own unique and personal creative experiences.
In the current season, Sō performs the New York premiere of David Lang’s man made with Louis Langrée and the Mostly Mozart Festival Orchestra; tours a new work by Caroline Shaw with Dawn Upshaw and Gil Kalish to the Kennedy Center, San Francisco Performances, UCLA, Penn State, and elsewhere; returns to Carnegie Hall with the JACK Quartet in a program of new works by Donnacha Dennehy and Dan Trueman; tours the United Kingdon with its original production exploring the community and culture of English coal mining country, From Out a Darker Sea; and more.
Recent highlights include an acclaimed Trilogy portrait at the Lincoln Center Festival; appearances at Bonnaroo, the Eaux Claires Festival, MassMoCA, and TED 2016; international tours to Poland and Ireland; performances of man made with Gustavo Dudamel and the LA Phil; Bryce Dessner’s Music for Wood and Strings at the Barbican in London; and an original score for a live performance and broadcast of WNYC’s Radiolab with Jad Abumrad and Robert Krulwich at BAM.
Rooted in the belief that music is an essential facet of human life, a social bond, and an effective tool in creating agency and citizenship, Sō Percussion enthusiastically pursues a growing range of social and community outreach. Examples include their Brooklyn Bound presentations of younger composers; commitments to purchasing offsets to compensate for carbon-heavy activities such as touring travel; and leading their SōSI students in an annual food-packing drive, yielding up to 25,000 meals, for the Crisis Center of Mercer County through the organization EndHungerNE.
Sō Percussion is the Edward T. Cone Ensemble-in-Residence at Princeton University, where they offer educational work and present an annual series of concerts. They are also Co-Directors of the percussion department at the Bard College-Conservatory of Music, and run the annual Sō Percussion Summer Institute (SōSI, now in its ninth year), providing college-age composers and percussionists an immersive exposure to collaboration and project development.
Photo Credit: Evan Monroe Chapman