#marcos balter

[jgthirlwell]

08.23.24 Alarm Will Sound play Marcos Balter's Code-Switching, 2022-23 for the Time Spans Festival at the Dimenna Center in NYC.

[nofatclips-home]

We Carry Our Homes Within Us by yMusic

[nofatclips]

[ We Carry Our Homes Within Us ] ...which enables us to fly by yMusic - Documentary directed by Meade Bernard

[samelnicomposer]

"Wicker Park" by Marcos Balter, Ryan Muncy

Wicker Park By Marcos Balter, Ryan Muncy From the album Æsopica: Music of Marcos Balter Added to Favorite Classical Works/Movements playlist by Sam Melnick on January 9, 2019 at 02:50PM Listen on Spotify

[maquina-semiotica]

Marcos Balter, "Bladed Stance"

[earinfluxion]

Deerhoof & Dal Niente: Balter/Saunier (New Amsterdam)

I remember sharing Deerhoof's Friend Opportunity in 2006 with Marcos Balter, a friend of mine in Chicago, who immediately fell in love with it; I was also pleasantly surprised by the angular, jaunty tunes of that same album after having explored earlier albums like Reveille, wherein they sounded more like a curious ADHD experiment than an accomplished performance outfit (though in hindsight, perhaps both). Friend Opportunity changed my perception of Deerhoof as far more a force to be reckoned with, tightening and honing their sound while firmly proclaiming their technical prowess. Imagine my delight then, over 10 years later, to hear Marcos’s compositions performed by Deerhoof and contemporary performance ensemble Dal Niente. It’s a collaboration that is curious on so many levels: it bridges the often perceived wide chasm between contemporary ensemble music and experimental rock; it marries the microtonality of Balter's compositions with the often textural and non-melodic sound-making of Deerhoof’s most difficult material; it pairs Balter, a contemporary composer who draws outside the lines, with Greg Saunier, a drummer whose musical ambition and enthusiasm is easily as big as a veteran like Stuart Copeland (and arguably to far more interesting ends musically). Much has been made of rock's crossover successes into more score and composition-oriented ensemble music, Jonny Greenwood’s scores in particular. But there is something more wholly complementary about the creative forces involved with this project.

Balter / Saunier by Dal Niente & Deerhoof

Balter’s “Meltdown Upshot” in seven parts comprises the majority of the recording, and the performances from Deerhoof and Dal Niente bring the music to life such that it’s hard to imagine it any other way. Deerhoof vocalist Satomi Matsuzaki blends seamlessly with vocalists from the 22-piece ensemble, and Saunier’s deft drumming feels like the perfect backbone to Dal Niente’s spry musical maneuvering through Balter’s compositions. The echoing staccato patterns of “No. 4, True/False” feel like a natural fit for the ensemble and Deerhoof’s own sensibilities, sort of a rapid-fire call and response, while “No. 6, Cherubim” is driven far more overtly by Saunier’s drumming and its 5/4 time signature, sounding more plausibly like a Deerhoof session. The push and pull between the various performers and Balter’s writing is what makes the entire recording so successful, as if there was no ego in the equation whatsoever. Instead it feels like a real marriage of sensibilities and enthusiasm for performance, whether across “Meltdown Upshot” or Balter’s other brief microtonal piece in Portuguese, “Pois que nada que dure, ou que durando” (“Since nothing that lasts or that, lasting…”). The final piece on the album turns the tables, featuring Deerhoof pieces interpreted in exciting and often beguiling new ways for twenty minutes. In its sprawl, it is less a series of reinterpretations and more so a new spin on the entirety of Deerhoof's vast œuvre, eschewing any of the band's own playing while Dal Niente bring Saunier's new arrangements to life. It's a compelling take on the band's music, yet again emphasizing that the divide between so-called academic performance and indie rock is not so pronounced after all. The whole thing is immensely satisfying, though Balter’s compositions shine brightest by virtue of the chemistry shared with his collaborators. Highly, highly recommended.

Buy it: Bandcamp

[verisimile]

wow!! need to hang out here more!!!

[therealandyhat]

Fun concert of new works by American composers. I loved the apt program note on the Zorn piece.

[orbemnews]

Get Dressed With the Postal Service and Listen to Classical Music Here is a sampling of the week’s events and how to tune in (all times are Eastern). Note that events are subject to change after publication. Monday Catch up on “Mission: Commission,” a new podcast from Miller Theater at Columbia University. Hosted by Melissa Smey, the executive director of Miller Theater, the series follows three composers as they create new classical works from scratch. Listeners will be privy to the ups and downs of classical music composition through intimate conversations with the composers Courtney Bryan, Augusta Read Thomas and Marcos Balter. The podcast is free, and will release new episodes during the month of May. When Anytime Where missioncommissionpodcast.com Tuesday Enjoy a conversation about books and art between the author and illustrator Sandra Boynton, the musician Yo-Yo Ma and the author Ann Patchett. The event, presented by Symphony Space, will celebrate Ms. Boynton’s latest children’s book, “Jungle Night,” and will delve into Ms. Boynton’s journey from publishing her first book in 1977 to her collaborations with Mr. Ma. Tickets are $15, and this presentation is available to stream after the event. When 7 p.m. Where symphonyspace.org/events/a-cartoonist-an-cellist-and-a-novelist-walk-into-a-bar Celebrate and learn about the history of Cinco de Mayo. Jessie Vallejo, an ethnomusicologist at California State Polytechnic University and a mariachi musician, will lead a discussion about the holiday’s importance in Southern California and its role in racial justice and civil rights in the United States. The discussion, which is presented by the Michi and Walter Weglyn Multicultural Studies Chair, will be followed by a musical performance from the school’s mariachi students. This event is free. When 3 p.m. Where eventbrite.com/e/152436095465 Wednesday Explore the future of Chinatowns across the United States with a panel discussion presented by the Smithsonian Associates in collaboration with the Smithsonian Asian Pacific American Center and the Smithsonian’s National Museum of Asian Art. The panel will include the food writer and James Beard Award-winning cookbook author Grace Young, the author and chef Brandon Jew, and Jennifer Tam and Victoria Lee, co-founders of “Welcome to Chinatown,” an initiative supporting New York City’s Chinatown businesses, among others. The group will discuss the role Chinese food plays in American culture and how to preserve the legacy of Asian cuisine, particularly in the wake of recent Asian-American discrimination. This event is free and is the first of the four-part series CULINASIA, which will explore the future of Asian food in the United States. When 6:30 p.m. Where smithsonianassociates.org/ticketing/tickets/saving-chinatown-and-our-legacies Listen to a discussion about the culinary giant, James Beard. The Food Network’s Ted Allen and John Birdsall, the author of “The Man Who Ate Too Much,” a biography about Beard, will explore who Beard was behind his public persona and then open up the floor for questions. This event, presented by Southern Arizona Senior Pride, which supports L.G.B.T.Q.+ adults 55 and over, is free to attend, but donations are accepted. When 1 p.m. Where soazseniorpride.org/event/in-the-kitchen-closet/ Thursday Tune in to a 10th anniversary screening and discussion of the film “Pariah,” a coming-of-age story following Alike, a Brooklyn teenager navigating her sexuality. Members from the cast and crew, including Dee Rees, who wrote and directed the film, will discuss the process of making the movie, which Stephen Holden, writing in The New York Times, called “an acutely observed examination of strait-laced parents trying to deny a child’s homosexuality while all the time knowing better.” This event is free. When 8 p.m. Where academymuseum.org/en/programs/pariah Watch an ice skating performance presented by the Ice Theater of New York. The broadcast will feature two new repertory pieces and videos detailing the theater’s experience through the pandemic, followed by a discussion with Kaitlyn Weaver, Elladj Baldé and Jason Brown and moderated by Doug Haw. Tickets to this event are free, but donations are encouraged. When 8 p.m. Where icetheatre.org Saturday Craft flores de papel, or paper flowers, a traditional Mexican craft, in a class hosted by 18th Street Arts Center, an artist residency in Santa Monica, Calif. and sponsored by WE RISE, a month-long campaign in Los Angeles County around mental health awareness. The artisan Carmela Morales will teach participants how to make the flowers using recycled materials they can find at home. This event, which is free, will be taught in Spanish with live English translations. When 2 p.m. Where 18thstreet.org/event/flores-de-papel Sunday Help your little ones make a special Mother’s Day brunch with an on-demand cooking class from The Kids’ Table, a cooking school in Chicago. Participants will have the option to make recipes such as raspberry-lemon scones and asparagus-dill quiches in kid-friendly courses. Classes, which cost $4, are open to children of all ages. When Anytime Where kids-table.com/on-demand-classes Source link Orbem News #classical #dressed #Listen #Music #Postal #Service

[markdavidchristenson]

Meltdown Upshot: No. 3, Ready by Marcos Balter

[alexkrasnoskulov]

Dreamcatcher by Marcos Balter

[mastcomm]

6 Classical Music Concerts to See in N.Y.C. This Weekend

Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.

JAY CAMPBELL AND CONOR HANICK at the 92nd Street Y (Feb. 14, 9 p.m.). Two of the most interesting young artists around play in a concert of three premieres: “Kern,” a piece for cello and prepared piano by Marcos Balter; John Zorn’s “The Rule of Three,” for which they are joined by the flutist Tara Helen O’Connor and the vibraphonist Sae Hashimoto; and Natacha Diels’s “Flight Patterns.” Also at the Y, Amanda Majeski and Philippe Sly join the pianist Julius Drake for Wolf’s “Italienisches Liederbuch” (Wednesday, 7:30 p.m.). 212-415-5500, 92y.org

‘COSÌ FAN TUTTE’ at the Metropolitan Opera (Feb. 15, 12:30 p.m.; Feb. 18, 7:30 p.m.; through March 14). Phelim McDermott’s Coney Island fairground production, cast with a retinue of sideshow performers, returns with Ben Bliss as Ferrando, Luca Pisaroni as Guglielmo, Gerald Finley as Don Alfonso, Nicole Car as Fiordiligi, Serena Malfi as Dorabella and Heidi Stober as Despina. Harry Bicket is on the podium, making him a rather busy man at the moment, given that he is also conducting the Met’s “Agrippina.” Speaking of Handel operas, devotees will note that Juilliard is putting on “Rinaldo” this Monday at Alice Tully Hall, with Nicholas McGegan leading a concert performance. 212-362-6000, metopera.org

DANISH STRING QUARTET at Alice Tully Hall (Feb. 14 and 18, 7:30 p.m.; Feb. 16, 5 p.m.). These three young Danes and their Norwegian friend conclude their survey of the Beethoven string quartets with some of the works that have drawn them such widespread acclaim. On Friday, they perform pieces such as the Op. 127; on Sunday, they do an immense program of the Op. 132 and the Op. 130, with the “Grosse Fuge” as its finale; and on Tuesday, they follow Op. 131 with Op. 135. Tickets are limited, so act now. 212-875-5788, chambermusicsociety.org

[Read about the events that our other critics have chosen for the week ahead.]

KIRILL GERSTEIN at Zankel Hall (Feb. 20, 7:30 p.m.). Gerstein has emerged in recent years as one of our most thoughtful pianists, beyond his immense technical ability, and this recital is a perfect example of his gift for programming. Much of it is rooted in folk music, particularly pieces by Haydn, Brahms and Liszt; some is contemporary, including a handful from Gyorgy Kurtag’s “Jatekok” and an arrangement drawn from Thomas Adès’s “The Exterminating Angel”; and the whole lot is balanced by works demanding the utmost virtuosity, above all Liszt’s Sonata. 212-247-7800, carnegiehall.org

NEW YORK PHILHARMONIC at David Geffen Hall (Feb. 20, 7:30 p.m.; Feb. 21-22, 8 p.m.). Jaap van Zweden conducts Bruckner’s Symphony No. 4 in these subscription concerts, but the real action comes before that. As if Renée Fleming singing Björk were not enough, there are also two songs by Anders Hillborg and the premiere of “When the World as You’ve Known It Doesn’t Exist” by Ellen Reid, winner of the Pulitzer Prize for music last year. 212-875-5656, nyphil.org

ORCHESTRE RÉVOLUTIONNAIRE ET ROMANTIQUE at Carnegie Hall (Feb. 19-20, 8 p.m.; through Feb. 24). John Eliot Gardiner and this ensemble released one of the more consequential recordings of the Beethoven symphonies ever made back in 1994, one that remains notable for its sleek, fast period-instrument approach. They reprise that effort over five concerts here, in the first — and likely the more interesting — of two Beethoven cycles at Carnegie this season. Wednesday’s performance puts the Symphony No. 1 in the context of works like “The Creatures of Prometheus” and excerpts from the opera “Leonore”; the other four concerts pair the remaining eight symphonies in numerical order. 212-247-7800, carnegiehall.org

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[fileunder]

Marcos Balter: Pessoa