Delighted to be the featured guest at this year’s Shockingly Modern Saxophone Festival!
February 21-22, 2020
Augustana College
639 38th St
Rock Island, IL 61201
Stay tuned for more info!
Solo show @DMG – please come!
Sunday, February 16th
Downtown Music Gallery
13 Monroe St
New York, NY 10002
Part of the DMG FREE Weekly In-Store Performance Series.
6pm: NICK FRASER / TONY MALABY / BRANDON LOPEZ – Drums / Tenor Sax / ContraBass
7pm: CHERYL PYLE / ROBERT DICK – Flute Duo
8pm: ERIN ROGERS – Solo Sax
More info HERE
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
Saturday, February 8, 2020 // Greenwich House Music School
46 Barrow St
New York, NY 10014
More info HERE
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
