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Posts tagged 'Katharina Rosenberger'

PSNY Recent Recordings: Part III

We're back with another post featuring recent recordings of works by PSNY composers. This round begins with Mario Diaz de Leon's  Sanctuary, a 2017 album performed by the TAK Ensemble, which contains a unified, album-length piece created in collaboration with the performers. Sanctuary continues Diaz de Leon's exploration of intensities—of timbre, including the extensive use of electronics alongside acoustic instruments and the human voice; of rhythm, contrasting the bubbling arpeggios of electronic instruments to the cycles of breath and bow; and of the expressive possibilities of melody, carefully interwoven between instruments and voices. As Seth Colter Walls wrote in the New York Times, "The edgy electronic timbres can serve a range of compositional functions: contrasting dramatically with the purity of a soprano’s sound, in one moment, before finding, in the bass clarinet, a partner in grain." Check out "Sanctuary" below. 

In 2017, Alex Mincek also released a major album that collects recordings of several recent works, entitled Torrent. Released by Sound AmericanTorrent includes recordings of several works performed by members of the Wet Ink Large Ensemble, Yarn/Wire, and the Mivos Quartet. These works were all composed in the past seven years, and include Pendulum VII, which is available from PSNY. Check out an excerpt below: 

Katharina Rosenberger also released a major album in 2017, Shift, performed by memebrs of Los Angeles's wasteLAnd and Rage Trombones (Matt Barbier & Weston Olencki). Released on famed expeirmental label HatHut records, Shift explores spatialization, long-form improvisation, and modularity, and was immaculately recorded by Tom Erbe at the University of California, San Diego. Check out an excerpt below.  

Scott Wollschleger's Soft Aberration, a major release on New Focus Records, collects beautiful performances of many of the composer's works, perfomed by soprano Corrine Byrne, trumpeter Andy Kozar, violist Anne Lanzilotti, cellist John Popham, pianist Karl Larson, Mivos Quartet, and Longleash trio. Check out an in-depth review at I Care If You Listen, which praises Wollschleger's works such as Soft Aberration, Brontal Symmetry, Bring Something Incomprehensible Into This World!, America, and String Quarter No. 2 "White Wall."

And finally on this roundup of dedicated composer portrait albums, we're pleased to feature The Music of Fred Lerdahl, Volume 5, released on Bridge Records. The four performances on this album present works from Lerdahl's long career, including Episodes & Refrains (1982), Quiet Music (1994 arr. 2001), Times 3 (2012), and Time and Again (2014). Check out an excerpt of Quiet Music below.

Katharina Rosenberger Featured in Berlin - Los Angeles, Witten Chamber Music Festival

In her own words, Katharina Rosenberger's family history ranges "from Berlin to Hamburg to Zurich and from East Prussia to the river banks of the Rio de la Plata in Uruguay"— an international heritage that has inspired the composer to participate in several international collaborations. Recently, Rosenberger has been featured by the sister cities of Berlin and Los Angeles, who celebrated their 50th anniversary as sister cities in 2017. Berlin - Los Angeles has interviewed Rosenberger about her collaborative, interactive VIVA VOCE project, which premiered in 2013 in Los Angeles' Human Resources gallery. Created with Berlin-based video artist Heiko Kalmbach, Rosenberger produced an interactice interface that celebrates experimental vocal performance art, with interviews, oral histories, and peformances by three esteemed vocalists in three separate cities: Juliana Snapper (Los Angeles), Shelley Hirsch (New York), and Pamela Z (San Francisco). Check out video from the premiere below: 

Across the Atlantic, Rosenberger's compositions have also recently been featured in the Wittner Tage für neue Kammermusik [Witten Days of New Chamber Music]. The festival featured the world premiere of her new work surge, for clarinet, cello, and piano, and also featured an installation of her video work, Quartet

Back in Los Angeles, on May 7th, Rosenberger will oversee the American premiere of SHIFT, conducted by Nicholas Deyoe and featuring trombonists Matt Barbier and Weston Olencki, along with students at the California Institute for the Arts, in a program that also features student compositions and György Ligeti's Violin Concerto. 

Christopher Cerrone in New York and Los Angeles, New Work from Kate Soper, and More!

Christopher Cerrone's music has quickly become a staple of New Music ensembles' repertoire across the country. From electro-acoustic works commissioned and premiered by NYC's Red Light New Music, to chamber operas performed in Virginia, Connecticut, and Oklahoma, Cerrone has gained a huge presence in the past few years. Little wonder, then, that pianist Vicky Chow and percussionist Owen Weaver will be performing his piece for piano and electronics, Hoyt-Schermerhorn, and percussion and electronics, Memory Palace, alongside the New York premiere of John Luther Adams' 2010 work, Four Thousand Holes, on April 22nd at Le Poisson Rouge. Chow and Weaver have been performing Cerrone's works together since 2012's Fast Forward Austin festival; Weaver commissioned and premiered Memory Palace in that same year.

Weaver comments: “We think John Luther Adams’ and Chris Cerrone’s works both compliment and contrast each other. Chris's music focuses on color and simple, elegant forms that allow time and space for ideas to shift and grow. John's music often provides stasis through complex layers of rhythm--so much happening that things blur together to give a slow moving picture with a long-minded trajectory. In different ways, they both draw the listener into their world with a patient, yet focused approach.”

Listeners on the West coast also have an opportunity to hear Cerrone's works this weekend during the Los Angeles Philharmonic's "Brooklyn Festival." On April 18th, 20th, and 21st, Cerrone's Invisible Overture will be performed alongside Hannah Lash's Hush, a world premeire by Ted Hearne, and Aaron Copland's Symphony for Organ and Orchestra. Originally concieved as an overture for his opera, Invisible Cities, based on Italo Calvino's novel of the same name, Invisible Overture is a standalone piece, recalling the drama and interrogation of sonic experience which Cerrone explores in the opera. 

Cerrone writes, "My ideas for the overture began by listening to the resonance of decaying sounds on the piano. By holding down certain notes in the low register while playing, sympathetic vibrations create an unearthly halo of sound. The resonance is both beautiful and unstable, hovering just above silence." 

Check out recordings of these two works here:

 We at PSNY are also pleased to announce the availablity of Kate Soper's powerful work, Only The Words Themselves Mean What They Say. Soper's work, which often revolves around questions of expression, semiotics, vocality, and communication, sees its full manifestation in this work, for flute and voice, with a text by Lydia Davis. This is the first time that Soper's work is available to the public, and we don't doubt that it will hold an invaluable place in any contemporary singer's repertoire. 


And, last but not least, Katharina Rosenberger's Viva Voce project is finally completed! An interactive sound and video installation, Viva Voce involves compositions by Rosenberger for some of the most vital experimental vocal performers in the field, including Juliana Snapper, Shelley Hirsch, and Pamela Z. Keep your eyes out for more videos and documentation of this project at

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