The friendship between late artist Sol LeWitt and Pulitzer-Prize winning composer Steve Reich will be celebrated at a special performance to benefit The Aldrich here at (Le) Poisson Rouge.
This innovative evening, co-hosted by The Aldrich, Paula Cooper, and Lori and Janusz Ordover on the occasion of the exhibition Sol LeWitt: The Music Collection, will benefit the Museum’s pioneering exhibitions and public programs.
Save the date now! Steve Reich will perform Clapping Music and lead a recital of Drumming, a work forever linked to LeWitt. The growing success of the LeWitt’s career in the late 1960s and early 1970s allowed him to purchase scores directly from musicians in order to support their efforts in a world that wasn’t as highly commodified as that of visual art. Reich lacked the funds for the first performance of Drumming, and LeWitt, in a now legendary gesture, purchased several of Reich’s scores, allowing him to acquire the necessary, but expensive, glockenspiels.
This performance will complement Music, the Museum’s semester-long series of exhibitions and related events that explore the intersection of art and music in photography, installation, sculpture, new media, performance, and archives.
Table seating 8 guests ($840 tax deductible) · $1000.00
Table seating 4 guests ($420 tax deductible) · $500.00
Table seating 2 guests ($110 tax deductible) · $150.00
STANDING only ($30 tax deductible) · $50.00
**TICKETS FOR THIS EVENT WILL NOT BE AVAILABLE FOR PURCHASE AT THE LPR BOX OFFICE**
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Steve Reich Benefit Concert to Support The Aldrich
Steve Reich was recently called “our greatest living composer” (The New York Times), “America’s greatest living composer.” (The Village VOICE), “…the most original musical thinker of our time” (The New Yorker) and “…among the great composers of the century” (The New York Times).. From his early taped speech pieces It’s Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot’s digital video opera Three Tales (2002), Mr. Reich’s path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,” states The Guardian (London). (read more here here)
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