Home EventsArchive: 2019
Feb 5, 2019
Synchromy and Tuesdays @ Monkspace
, , , , ,

Synchromy and Tuesdays at Monkspace "say I am not far enough"

A night of readings, art, and music inspired by the life and work of late Amercian writer Ursula K. Le Guin.

Date and performance times: Tuesday, February 5, 2019 | 6 pm and 8 pm

Location: Monk Space (4414 West 2nd St., Los Angeles, 90004)

Synchromy and Tuesdays @ Monkspace present “say I am not far enough”, a night of readings, art, and music inspired by the life and work of late American novelist Ursula K. Le Guin. Born in Berkeley, California in 1929, Le Guin’s unique voice broke barriers in the realms of science fiction and fantasy in the 1960s and 70s, lending a feminist slant and refreshing approach to genres dominated by macho male protagonists and space battles.

6 pm First Set

Free Show (reservation recommended)

Reservations can be made here

Food and Drink will be available (details to follow)

Elinor Armer’s Lockerbones/Airbones and excerpts from Joseph Schwantner's Wild Angels of the Open Hills, improvisation by Miller Wren, and works by Laura Brackney and Stephen Taylor. Featuring mezzo-sopranos Amy Fogerson and Megan Ihnen, and actors Amielynn Abellera, June Carryl, and Arye Gross. Conductor Stephen Tucker makes his first Synchromy appearance on both programs.

8 pm Second Set

Ticketed as usual by T@MS / Tickets on sale now

Cost: $20 student / $25 adult

More excerpts from Joseph Schwantner’s Wild Angels of the Open Hills with mezzo-soprano Megan Ihnen, flutist Sara Andon, and harpist Ellie Choate. The world premieres of Jason Barabba’s say I am not far enough with Choate and baritone Scott Graff and Australian composer Naima Fine’s A non-euclidean view of California as a cold place to be. Pianist/composer Vicki Ray will improvise with readings of Ursula K. Le Guin’s version of the Tao Te Ching, along with more readings from Abellera, Carryl, and Gross.

Please visit the Tuesdays @ Monk Space website for more details

Feb 24, 2019 3:00 pm
Boston Philharmonic Youth Orchestra performs, "New Morning for the World,"
Boston Symphony Hall, , , , ,

Benjamin Zander- Conductor


The Young Person’s Guide to the Orchestra

New Morning for the World

The Planets

All three of the works on this program display an astounding mastery of the colors and the virtuosity of a modern large orchestra. But of special interest is the second piece, Joseph Schwantner’s New Morning for the World, a gorgeous kaleidoscope of sound, or rather an opulent sonic wave that rolls in from afar and gradually inundates you with its radiance. But there is struggle in those sounds, and defiance as well. And at the heart of it all are spoken words, the words of Dr. Martin Luther King, Jr., taken from his speeches and other writings. Those inspired words pointed towards an uplifting way forward through difficult times when they were first heard during the 1960s, and they have just as much relevance during our time – particularly at this very troubled moment in our history.

In the spirit of equality for all that was at the heart of King’s message we have preceded Schwantner’s work with Benjamin Britten’s A Young Person’s Guide to the Orchestra. A solo for each of the principal players in the orchestra is embedded in this ingenious piece, each one a variation on the theme by Henry Purcell that forms the basis of the work. Ever since Britten composed it in 1945 it has been a favorite work for explaining to children what the different instruments are, and it has been a favorite with audiences for its beauty and variety and its thrilling finale.

And the second half of the program is Holst’s The Planets, which hardly needs an introduction. Some years back it was voted the second most popular piece of classical music – narrowly nudged out of first place by the Beethoven Fifth. Holst used the astrological associations of the planets as a kind of program – or rather pretext – for the work, but the real substance is its range of sounds, the huge spectrum of orchestral timbres and combinations (how often does one get to hear a bass oboe?), from the grandiose to the eerie, culminating in a wordless, almost inaudible women’s chorus way in the distance, as if from the farthest reaches of the solar system