Talujon and Popebama (Erin Rogers and Dennis Sullivan) team up for an evening of exciting and adventurous music!
Saturday, March 14, 2026 at So Percussion Studio
20 Grand Ave – Brooklyn, NY 11205
[exact time tbd]
More Info
Recah Pecahan – Dewa Alit
Made in Canada – Erin Rogers
Pulsating skin – Justina Repečkaitė
***Popebama set tba***
Concert no. 2: Columbia Composers x International Contemporary Ensemble (ICE)
New works by Kristupas Bubnelis, Artun Çekem, Ihlara McIndoe, Alyssa Regent, Marcus Rock, and Corie Rose Soumah
March 24, 2026 at 6:30PM
St. Paul’s Chapel at Columbia University
1160 Amsterdam Avenue
New York, NY
Tues, Mar 31 | 7:30 PM
Erin Rogers and Matt Ward (BM ’98), Co-Artistic and Administrative Advisors
Program COMING SOON
Free, No tickets required
Livestream HERE
Ades Performance Space
Manhattan School of Music
130 Claremont Avenue
New York, New York 10027
Hypercube joins students from Berklee’s Composition and Electronic Production and Design Departments once again, performing new works for instruments and electronics.
The International Contemporary Ensemble returns to Roulette to celebrate the World Premieres of this season’s Call For___ composers. This year’s composers are Lester St. Louis and Camila Agosto.
Wed, Mar 11 // 8:00 pm
Roulette
509 Atlantic Ave
Brooklyn, NY
More Info/Tickets:
International Contemporary Ensemble: The Shape of Forgetting
February 10, 2026 // 8pm
Arts + Archives
2220 Beverly Blvd.
Los Angeles, CA 90057
More Info + Tickets
House on Fire, a trio consisting of Andrew Anderson, Wells Leng, and Richard An, was formed around their common interest in new music and is centered around their shared focus as pianists. When performing or commissioning repertoire for three pianists, we frequently encounter the matter of homogeneity: How do you write for three people who ostensibly do the same thing? The pieces on this program each contend with the “three pianist” conundrum in different ways. Some put the performers on keyboards of distinct timbres to encourage a multiplicity of sounds. Others play into the “sameness” and employ the implicit uniformity of the keyboard to create a selfsame texture.
PROGRAM:
Tristan Perich – qsqsqsqsqqqqqqqqq
Erin Rogers – Cold Countries (world premiere commission)
Wells Leng – new work, for two pianos and percussion
Erich Barganier – selections from Interstate Glitches
Matthias Kranebitter – Pitch Study no. 2
Richard An – new work, for two pianos and percussion
Yifeng Yvonne Yuan – I wrote you a letter. (A letter is what I wrote to you.)
BIOGRAPHY:
House on Fire is a new music ensemble consisting of Wells Leng, Richard An, and Andrew Anderson. Though centered around their shared focus as pianists, each member’s multi-instrumentalism allows for expanded repertoire including cello, percussion, toy piano and other keyboard instruments.
Close friends since their time at the California Institute of the Arts, the group was formally introduced in December 2021, and is dedicated to the performance of new and experimental music, as well as the work of Southern California composers, championing the music of its own members and close collaborators.
We get along like a house on fire.
House on Fire is the Piano Spheres 2025-26 Emerging Artist.
I/O Fest is the Williams College Department of Music’s annual immersion in the music of today and a multi-day exploration of adventurous music presenting new voices, fresh perspectives, and creative modes of musical expression. Tactus (MSM’s Contemporary Performance Program) joins I/O Ensemble, and the Copland Ensemble (Queens College Aaron Copland School of Music) in multiple concerts over the 3-day festival.
Matthew Gold, Director
Jeffrey Miller, Stage and Orchestra Manager
Williams College
1000 Main St
Williamstown, MA 01267
MORE INFO
1/16 – 4:30pm – Sawyer Library Reading Room
This performance features David Lang’s the little match girl passion which sets Hans Christian Andersen’s story ‘The Little Match Girl’ in the format of Bach’s Saint Matthew Passion, interspersing Andersen’s narrative with Lang’s versions of the crowd and character responses from Bach’s Passion. The student performers of Ephemera are directed by Anna Lenti. (performance repeats on 11/17)
1/16 – 7:30pm – ’62 Center for Theatre & Dance: CenterStage
The I/O Ensemble offers Marcos Balter’s meltDown Upshot, a magnetic mix of heady beats, catchy pop, absorbing post-minimalism, angular melodies, and fireworks of free jazz.
1/16 – 9pm – St. John’s Episcopal Church
I/O Ensemble together with organist Nathaniel Welsh ‘26 perform Voiceless Mass (2021) for pipe organ and large ensemble.
Voiceless Mass considers the spaces in which we gather, the history of access of these spaces, and the land upon which these buildings sit. In exploiting the architecture of the cathedral, Voiceless Mass considers the futility of giving voice to the voiceless, when ceding space is never an option for those in power. Voiceless Mass won the 2022 Pulitzer Prize in Music.
***
DAY TWO
SATURDAY January 17
1/17 – 4:30pm – Sawyer Library Reading Room
This performance features David Lang’s the little match girl passion which sets Hans Christian Andersen’s story ‘The Little Match Girl’ in the format of Bach’s Saint Matthew Passion, interspersing Andersen’s narrative with Lang’s versions of the crowd and character responses from Bach’s Passion. The student performers of Ephemera are directed by Anna Lenti.
1/17 – 7:30pm – ’62 Center for Theatre & Dance: CenterStage
Music for Many Musicians features music by Steve Reich and live music with silent film. Performed by I/O Ensemble, Tactus (Manhattan School of Music Contemporary Performance Program), and the Copland Ensemble (Queens College Aaron Copland School of Music).
***
DAY THREE
SUNDAY January 18, 3pm
1/18 – 3pm – Clark Art Institute, Conforti Pavilion
The electric guitar quartet DITHER performs music from Laurie Spiegel’s The Expanding Universe, as well as works by Morton Feldman, inti figgis-vizueta, Julius Eastman, and Eve Beglarian. They are joined by musicians from I/O Ensemble, Tactus, and the Copland Ensemble.
Tickets $10 ($8 members, free for college students and children 17 and under).
https://events.clarkart.edu/detail/1826
***
I/O BONUS EVENT
Thursday, January 22, 6pm
1/22 – 6pm – Clark Art Institute Auditorium
Shadow Visionaries Film Series: The Fall of the House of Usher
with new live score by Paul de Jong and Matthew Gold.
Tickets $10 ($8 members, free for college students and children 17 and under).
https://events.clarkart.edu/detail/1754
A thingNY Production // Presented in association with Amanda+James, Anti-Social Music and MATA
Plucked from the tradition of the medieval storytelling bard, MANO A MANO is an operatic monodrama about toxic masculinity, needling Anglo-Saxon epics with personal anecdote, pseudo-history, Antonio Banderas movies, tangents about the Romans, boxing, and stories about New Jersey.
Writer/performer Paul Pinto embodies all the characters across a five-octave range of timbres: sweet, throaty and viscerally guttural. Posing the question “what if Sir Gawain and Beowulf were fighting over killing the same dragon?” he answers with ninety minutes of virtuosic chants, rants, song and spectacle, as he bobs and weaves between passages of puckishly quick verbiage and aching melancholia. Director Kristin Marting stages it in the round with the audience immersed in the action, surrounded by a mix of wild saxophone and percussion improvisation.
Written, Composed and Performed by Paul Pinto
Developed with and Directed by Kristin Marting
Lighting and Projection Design by Jeanette Oi-Suk Yew
Sound Design and Mixing by Philip White
Associate Lighting Design by Alex deNevers
Performed with Erin Rogers (sax), Zach Herchen (sax), and Dennis Sullivan (percussion)
Line Produced by Amanda+James
Production Managed by Erica Schnitzer
Technical Directed by Ben Elling
Stage Managed by Katie Scibelli
A thingNY Production // Presented in association with Amanda+James, Anti-Social Music and MATA
Plucked from the tradition of the medieval storytelling bard, MANO A MANO is an operatic monodrama about toxic masculinity, needling Anglo-Saxon epics with personal anecdote, pseudo-history, Antonio Banderas movies, tangents about the Romans, boxing, and stories about New Jersey.
Writer/performer Paul Pinto embodies all the characters across a five-octave range of timbres: sweet, throaty and viscerally guttural. Posing the question “what if Sir Gawain and Beowulf were fighting over killing the same dragon?” he answers with ninety minutes of virtuosic chants, rants, song and spectacle, as he bobs and weaves between passages of puckishly quick verbiage and aching melancholia. Director Kristin Marting stages it in the round with the audience immersed in the action, surrounded by a mix of wild saxophone and percussion improvisation.
Written, Composed and Performed by Paul Pinto
Developed with and Directed by Kristin Marting
Lighting and Projection Design by Jeanette Oi-Suk Yew
Sound Design and Mixing by Philip White
Associate Lighting Design by Alex deNevers
Performed with Erin Rogers (sax), Zach Herchen (sax), and Dennis Sullivan (percussion)
Line Produced by Amanda+James
Production Managed by Erica Schnitzer
Technical Directed by Ben Elling
Stage Managed by Katie Scibelli
A thingNY Production // Presented in association with Amanda+James, Anti-Social Music and MATA
Plucked from the tradition of the medieval storytelling bard, MANO A MANO is an operatic monodrama about toxic masculinity, needling Anglo-Saxon epics with personal anecdote, pseudo-history, Antonio Banderas movies, tangents about the Romans, boxing, and stories about New Jersey.
Writer/performer Paul Pinto embodies all the characters across a five-octave range of timbres: sweet, throaty and viscerally guttural. Posing the question “what if Sir Gawain and Beowulf were fighting over killing the same dragon?” he answers with ninety minutes of virtuosic chants, rants, song and spectacle, as he bobs and weaves between passages of puckishly quick verbiage and aching melancholia. Director Kristin Marting stages it in the round with the audience immersed in the action, surrounded by a mix of wild saxophone and percussion improvisation.
Written, Composed and Performed by Paul Pinto
Developed with and Directed by Kristin Marting
Lighting and Projection Design by Jeanette Oi-Suk Yew
Sound Design and Mixing by Philip White
Associate Lighting Design by Alex deNevers
Performed with Erin Rogers (sax), Zach Herchen (sax), and Dennis Sullivan (percussion)
Line Produced by Amanda+James
Production Managed by Erica Schnitzer
Technical Directed by Ben Elling
Stage Managed by Katie Scibelli