Join Hypercube and ICEBERG New Music for a night of world premieres and OPEN BAR in the heart of NYC. Admission includes unlimited open bar and a meet and greet after the show.

Saturday, February 15, 2020 // 8pm
Tenri Cultural Institute
43 W 13th St
New York, NY 10011
Tickets HERE

Hailed by The Washington Post as “Jarring and compelling,” Hypercube is an ultra-virtuosic quartet comprised of Erin Rogers (saxophone), Jay Sorce (guitar), Andrea Violet Lodge (piano & accordion), and Chris Graham (percussion).

On February 15, Hypercube joins forces with composers with ICEBERG New Music to present a program of world-premiere music, great drinks, and good times. Come join us!

PROGRAM
Victor Baez – “Bosquejo Bop serio” *
Max Grafe – “Peal” *
Stephanie Ann Boyd – “Hypartita” *

-Intermission-

Jug Marković – “Poison Comes in Small Bottles”
Drake Andersen – “Courses” *
Derek Cooper – “Reverence, Lost” *

* = World Premiere

Presented by the Flauto d’Amore Project, Rear View Mirror Vol. II features premieres for flauto d’amore, strings and electronics by Nirmali Fenn, Howie Kenty, Erin Rogers, Clint Needham and James-David Stoker Johnsen-Young.

Saturday, February 8, 2020 // 7:00 PM
Greenwich House Music School
46 Barrow St
New York, NY 10014

 “What is ‘New Music’?”

Thursday, 1/23/20, 8pm

Featuring: Sugar Vendil, Jean Carla Rodea, Popebama (Erin Rogers and Dennis Sullivan)

Curated by Brian McCorkle. Post concert discussion at 9:00 pm

“New music. New listening. Just an attention to the activity of sounds.” – John Cage “If a composer dies, throw it out.” – Robert Ashley “Music thus stages its own postconceptual structure as the crisis and disintegration of the concept of music itself.” – Peter Osborne, “The Terminology is in Crisis” The term “New Music” has been around since the 1940s, and has become the banner behind which anyone working in the “classical” “contemporary” “tradition” can rally. Gone are the modernist movements of form which defined the structure of what one expected to hear, now all we know is that it will be “New” (with a capital N), and by “New” it is usually meant: post-World War II, almost 100 years ago now. But how does it feel be a part of the “New Music” community? Why is the term useful? What sort of things can it describe beyond “Newness”? Inspired by the Peter Osborne essay “The Terminology in is Crisis” – how do composers and performers of this “New Music” understand their practice and work in relation to this term, which flies the flag of “music” in the face of beautiful work that problematizes its identification as such? Composer and performer of “New Music” Brian McCorkle (Panoply Performance Laboratory, Varispeed Collective) invites friends, collaborators, and interested strangers to Areté for an evening of music and discussion surrounding this delightfully ambiguous term which encompasses such a variety of sounds.

More info HERE

Monday, January 20, 2020 // 7pm-12am
Downstairs @Bph bushwick party house
1288 Myrtle Ave
(Across the street from M train Central Ave stop)
New York, NY 11221
$10 suggested donation

7pm Dave Miller – drums
Robert Boston – keyboard
Daniel Carter – woodwinds
Tom Kotik – bass

8pm Stephen Gauci – tenor saxophone
Adam Lane – bass
Kevin Shea – drums

9pm Hans Tammen – buchla
David Rothenberg – woodwinds/electronics
Jay Nicholas – bass
John Wirczorek – drums

9:45pm Welf Dorr – alto saxophone
Santiago Leibson – keyboard
Kenneth Jimenez – bass
Kevin Shea – drums

10:45pm Ayumi Ishito – saxophone
Daniel Carter – woodwinds
Stelios Mihas – guitar
Demian Richardson – trumpet
Josh Rosenberg – keyboard

11:30pm Alec Goldfarb – guitar
Carlos Aguilar – flutes
Simone Baron – accordion
Caitlin Cawley – percussion
Robert Fleitz – keyboard
Carrie Frey – viola
Giancarlo Latta – violin
Helen Newby – cello
Erin Rogers – saxophones

Downstairs @ Bushwick Public House
http://bushwickpublichouse.com/
gaucimusic.com

Saturday 11 January // 08:00pm
FERUS FESTIVAL: LUCY DHEGRAE “A BARELY ARCHING BRIDGE”
7pm doors • 8pm show

Gelsey Bell and Erin Rogers perform “Building Canyons” from Skylighght.

Part II: A Barely Arching Bridge is the second installment in The Processing Series. This concert confronts sexual violence squarely and unapologetically, and explores how one can transform one’s abuse into a tool of healing. Eve Beglarian’s She Gets to Decide, which combines personal history, the painting Thérèse Dreaming by Balthus, and the words of Judge Rosemarie Aquilina during the trial of Larry Nassar — “Leave your pain here, and go out and do your magnificent things” — is the centerpiece of a program which also features works by Amadeus Regucera, Philippe Leroux, Georges Aperghis, Peter Kramer, Guillaume de Machaut, and Francis Poulenc.

Tickets & More Info