Mimesis Ensemble are at Merkin Concert Hall on May 4 at 8:30 PM playing a Lynchian elegy by Caleb Burhans, a cruelly sarcastic take on eco-disaster by David T. Little, powerful and historically aware chamber pieces by Fairouz as well as other works. Based in New York City, Hannah has performed in venues such as Carnegie Hall, Merkin Hall, Symphony Space, Merce Cunningham Studios, the DiMenna Center, and The Stone. Last night at the Firehouse Space in Greenpoint, two young composers, Fjola Evans and Alex Weiser challenged that stereotype in an eclectic composer portrait concert of chamber works performed with verve by an inspired, talented cast of similarly up-and-coming talent. /* If html does not have either class, do not show lazy loaded images. September 29, 2019 It’s hard to imagine a more consistently thrilling new orchestral work played anywhere in this city this year: it deserves a vast audience. Dread and apprehension are everywhere, even in its most robust moments. The composer herself played Augun, more or less a tone poem, solo on cello. The trio handled its challenging whoops, microtones and exotic ornamentation while the chorus grounded the piece with equal parts lushness and austerity, bolstered by Rima Fand’s darkly ambered string score.
You need to enable JavaScript to use SoundCloud, Apocrypha - for violin, viola, and electronic sounds, composed by David Bird, performed by andPlay (Hannah Levinson and Maya Bennardo), February 25, 2017, at the Dimenna Center for Classical Music, NY As was du Bois’ String Quartet No. Folk and rock guitarists have been doing that since forever, but unorthodox tunings are a relatively new phenomenon in the chamber music world. Keep listening and discover the sound of music without limits. The string quartet played Weiser’s Quake, meant to illustrate a tectonic system on the verge of completely coming apart, an insistently polyrhythmic, artfully dynamic exploration up to an agitatedly galloping coda. Then, in mid-journey, it had to withdraw when it was in danger of transgressing certain boundaries established by a mysterious law. The highlights included Hysteria, a witheringly funny commentary on medieval (and much more recent) patriarchal attempts to control womens’ sexual lives, along with a wry, guardedly optimistic, brand-new number contemplating the hope tbat today’s kids will retain the ability to see with fresh eyes. ... violist Hannah Levinson and violinist Maya Bennardo – with some help from their Rhythm Method buds Meaghan Burke and Leah Asher, on harmonica and melodica, respectively – evoked a ghost world that was as playful and bracing as it was envelopingly sepulchral. At just 13 years old, Hannah Levinson has had a successful 8 year career: on stage, screen, and in animation voicing. 'jetpack-lazy-images-js-enabled' Tension-packed runs down a memorably uncertain scale set off an increasingly agitated series of variations that ended surprisingly quietly, but no less hauntingly. You can scroll down for a brief history and explanation of what we do here.
For the most part, this isn’t easy listening, but it’s an awful lot of fun for people who gravitate toward stark, edgy harmonies and textures.
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The latter took a comfortable, homespun folk tune and made an ecstatically swinging, sometimes stomping celebration out of it – with some hilariously goofy vocalisms midway through. Recent highlights include a five-city tour in Sweden performing their Translucent Harmonies program, appearances on the Oh My Ears Festival (Phoenix) and Re:Sound Festival (Cleveland), and a recording residency at EMPAC (Experimental Media and Performing Arts Center, Troy, NY). Hannah is also an active teacher, and is on faculty at Western Connecticut State University.
Her primary teachers include Nadia Sirota, Martha Strongin Katz, and Karen Ritscher.
Email * Email. âApocrypha" was written for andPlay (Hannah Levinson and Maya Bennardo), and was developed in the summer of 2016 at the Avaloch Farm Music Institute. It’s less a narrative than a series of brooding crescendos leading to horror, whether sheer terror or heart-stopping stillness. photo by Shervin Lainez. Contrasting nebulous ambience with tricky polyrhythmic counterpoint, the duo rode its dynamic shfits confidently through exchanges of incisive pizzicato with muted austerity, to a particularly tasty, acerbic, tantalizingly brief coda.
It was released on 15 October 2013 on Whirlwind Recordings. Leave a comment. Apocrypha - for Violin, Viola, and Electronic Sounds, Users who like Apocrypha - for Violin, Viola, and Electronic Sounds, Users who reposted Apocrypha - for Violin, Viola, and Electronic Sounds, Playlists containing Apocrypha - for Violin, Viola, and Electronic Sounds, More tracks like Apocrypha - for Violin, Viola, and Electronic Sounds.
The station streams influential music of many pedigrees 24 hours a day. Violin- Maya Bennardo, She is a founding member of the violin/viola duo andPlay, described by I Care If You Listen as “enthusiastic champions for new music and collaboration.” I had never before been so aware of its vast presence, its powerful, inexorable silence breathing evenly through its waves. to receive our email newsletters and get updates on news, events, articles, and opportunities. Violist Hannah Levinson is an active performer of contemporary and classical music in New York City. Clara Ionatta’s partita Limun, Levinson explained, was inspired by the Italian concept of lemon as a panacea. The Fair Trade Chamber Music Society is a 501(c)(3) not-for-profit organization. Frequent, it seems that there are more than two instruments playing. As an orchestral musician, she has played under the baton of Pierre Boulez, Peter Eötvös, Jeffrey Milarsky, David Robertson, and Robert Spano. Pianist Yumi Suehiro’s grim, fanged, revolving phrases, both on the keys and inside the piano, contrasted with that hazy sustain, first from the strings and then the rest of the full ensemble. andPlay has collaborated closely with numerous composers, including Robert Honstein, Scott Wollschleger, Clara Iannotta, David Bird, Bethany Younge and Sky Macklay, and consider those relationships to be an integral part of their artistic process. Contact Info View agent, publicist, legal on IMDbPro STARmeter. Evans proved to be influenced in a very good way by Wolfe’s relentless purposefulness and and often grim terseness, refusing to waste a single note. The former was pinpoint-precise, full of quirky staccato, dizzying polyrhythns, a delightfully dancing groove and the occasional playful, hair-raising accent leaping in unexpectedly. Fairouz, who amid innumerable projects is reinvigorating the venerable art-song catalog, likes to collaborate with poets (maybe because his compositions tend to be remarkably terse and crystallized). How do violin/viola duo andPlay manage to create such otherworldly, quietly phantasmagorical textures? At the release party for their new album Playlist at the Metropolis Ensemble‘s second-floor digs at 1 Rivington St. last night, violist Hannah Levinson and violinist Maya Bennardo – with some help from their Rhythm Method buds Meaghan Burke and Leah Asher, on harmonica and melodica, respectively – evoked a ghost world that was as playful and bracing as it was envelopingly sepulchral. They have given performances and masterclasses at Arizona State University, UC Santa Cruz, Western Connecticut State University, Bowling Green State University and are Artists-in-Residence at the Snow Pond Composers Workshop (Sidney, ME). The two percussionists, Josh Perry and Chris Graham, had a blast, their whirs and buzzes and a momentary, thunderous boom from a large collection of strikable items punctuating a dancing, flickering parade of fragmentary imagery. Posted by delarue | All donations are tax-deductible to the full extent of the law. andPlay’s performances have been described as “sheer virtuosity” (Cinemusical), “otherworldly” (New York Music Daily) and “an awful lot of fun for people who gravitate towards stark, edgy harmonies and textures” (Lucid Culture). After a brief flirtation with blogging about global politics, we begin covering the dark fringes of the New York rock scene that the indie rock blogosphere and the corporate media find too frightening, too smart or too unfashionable.
View rank on IMDbPro Filmography. music | Anybody who might mistakenly believe that all 21st century serious concert music is stuffy or wilfully abstruse needs to check out the programming here. More than one person in the crowd remarked that the way she rose from a completely unadorned, intimate delivery to striking highs with just a tinge of gentle vibrato made it seem as if she was singing directly to everyone individually.
It couldn’t have ended more perfectly, as the wail of an ambulance echoed down Kingsland Avenue outside. Insistent, kinetic riffage that rose to frantic levels and a creepy chase scene midway through contrasted with tense, minimalist call-and-response over a pulse that began on the cowbell and then made its way through less comedically evocative instruments. Apocrypha - for violin, viola, and electronic sounds, composed by David Bird, performed by andPlay (Hannah Levinson and Maya Bennardo), February 25, 2017, at the Dimenna Center for Classical Music, NY "Apocrypha" is written for violin, viola, and electronics, and is loosely inspired by Stanislaw Lem's 1961 novel "Solaris".
Browse Music, Video, Interviews and more. Your current browser isn't compatible with SoundCloud. Last night at the newly opened and sonically exquisite National Sawdust in Williamsburg, approximately fifty of those voices performed an exhilarating, richly dynamic program of new works for choir and chamber ensemble by four of this era’s outstanding women composers.
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