About the Concert
Under the direction of Strategic Partner Pauline Kim Harris, five superb EXO musicians have joined our Creative Team who have worked together in curating and designing a new chamber music series of three concerts. This will inaugurate the Ensemble Residency Series at Carnegie Hill Concerts in the 2023 Spring Season -- a new music chamber music series in New York City - Manhattan, co-curated by Nicholas Zork and Pauline Kim Harris. CHC Season runs on a calendar year, alternating between featuring Composers and Ensembles/Artists every other year. Participating artists are invited back to join the CHC Chamber players in future programs.
In this collaboration with CHC, EXO will present three concerts curated by our newly formed 2022-23 Creative Team: Alex Fortes, Lady Jess, Sami Merdinian, Michelle Ross and Henry Wang. In delving deeper into the overall theme of our 2022-23 season of “discovery,” EXO’s Creative Team has carefully molded an intertwining experience through the lens of storytelling. Over the course of three concerts, the audience will embark on new ways to experience and participate in the music. The residency continues on Thursday, April 27 at 7:30pm, with “PLAY."
We invite you to satiate your inner child on Thursday, April 27 at 7:30pm, by exploring our musical playground with “PLAY” — a program that builds audience decisions into a choose your own adventure evening of game pieces by Iannis Xenakis “Linaia-Agon”and Julius Eastman’s “Stay on It." Through these works, it will be unveiled how audience participation and musicians’ choices can shape the musical stories of an evening. Rules for each piece will be read out loud and the audience will divide into teams and groups as needed, giving everyone a stake in the performance.
Xavier Smith (Voice); Samuel Yulsman (Piano); Mika Godbole (Percussion); Pauline Kim Harris (Violin); Wilden Dannenberg (French Horn); Dan Peck (Tuba); Kalun Leung (Trombone)
Iannia Xenakis LINAIA-AGON (1972)
Julius Eastman STAY ON IT (1973)
ABOUT THE PROGRAM:
"Linaia-Agon (1972), scored for the unusual combination of trombone, French horn & tuba, was an unduly neglected work because of performance problems in the printed score. Those remained unresolved until a computer interface was developed recently by IRCAM in collaboration with Benny Sluchin. Linaia-Agon is a “game” piece in which 3 musicians, representing the legendary Greek musician Linos [trombone] against the god Apollo [French horn & tuba], battle each via musical strategies in the score. No two versions of this piece will be the same."
-- MODE RECORDS
"Stay On It is one of the first works to introduce pop tonal progressions and free improvisation in an art context... Applying minimalism's additive process to the building of sections, he developed a composing technique he called 'organic music,' a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures."
-- NEW WORLD RECORDS
Concert Details TBD
Church of the Advent Hope
The world-première recording of “The Prison,” a choral symphony written in 1930 by the English composer Ethel Smyth, arrives as demands for a more representative, equitable canon are mounting. For too long, Smyth has been relegated to footnote status: an ardent suffragist who was jailed for her efforts and a prominent lesbian, she wrote what was, until 2016, the only work by a female composer to be staged at the Metropolitan Opera (“Der Wald,” in 1903). “The Prison” exerts a metaphysical gravity, not just because of the text by Henry Brewster but also because Smyth’s music calls to mind Brahms, Elgar, and even Mahler at their most visionary and searching. The conductor James Blachly elicits splendid work from the vocal soloists, Sarah Brailey and Dashon Burton, and from the Experiential Orchestra and Chorus.