About This Event
Minimum Age:All Ages
Doors Open:6:30 PM
Show Time:7:30 PM
Standing: $20 advance, $25 day of show
Seated: $25 advance, $30 day of show
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Jóhann Jóhannsson is an Icelandic composer. Jóhann´s background is in Iceland’s vibrant alternative music scene, but his best known work combines classical orchestration with electronic music. He created a unique blend of chamber music and electronics on the album “Englabörn” in 2002 and has since released 5 solo albums on the labels Touch and 4AD, including “Virthulegu Forsetar” (2004), scored for a brass ensemble, electronic drones and percussion, and the orchestral albums “Fordlandia” (2008) and “IBM 1401 – A User’s Manual” (2006), a composition which uses sounds produced from the electromagnetic emissions of an old IBM 1401 mainframe computer.
Jóhann has written scores for 9 international feature films and has won awards for his film music at the Rhode Island and Sapporo IFFs. Jóhann has also composed actively for theatre and contemporary dance.
Jóhann is a founder of the Reykjavik Kitchen Motors label / think tank / art collective and of the group Apparat Organ Quartet. He has performed in venues all over the world with his ensemble, including Centre Pompidou, London Barbican, Brussels Palais des Beaux Arts, and the Prague Rudolfinum.
Led by artistic director and cellist Clarice Jensen, the American Contemporary Music Ensemble (ACME) is dedicated to the outstanding performance of masterworks from the 20th and 21st centuries, primarily the work of American composers. The ensemble presents cutting-edge literature by living composers alongside the “classics” of the contemporary. ACME’s dedication to new music extends across genres, and has earned the group a reputation among both classical and rock crowds. Time Out New York calls the group “one of New York’s brightest new music indie-bands.” The New York Times describes ACME’s performances as “vital,” “brilliant,” and “electrifying.”
ACME has performed at Le Poisson Rouge, Carnegie Hall, Brooklyn Academy of Music (BAM), Noguchi Museum, Whitney Museum, Guggenheim Museum, Columbia University’s Miller Theatre, Stanford Lively Arts in California, Flynn Center for the Performing Arts in Burlington, VT, and All Tomorrow’s Parties in the UK, among others. ACME’s instrumentation is flexible, and includes some of New York’s most sought-after, engaging musicians. Core ACME members include violinists Caleb Burhans, Ben Russell, and Caroline Shaw, violist Nadia Sirota, cellist Clarice Jensen, flutist Alex Sopp, pianist Timo Andres, and percussionist Chris Thompson.
ACME does not subscribe to one stylistic movement or genre; its concerts present all genres of contemporary music in the same light and with the same conviction. Time Out New York reports, “[Artistic Director Clarice] Jensen has earned a sterling reputation for her fresh, inclusive mix of minimalists, maximalists, eclectics and newcomers.” Since its first New York concert season in 2004, the ensemble has performed works by John Adams, John Luther Adams, Louis Andriessen, Gavin Bryars, Caleb Burhans, John Cage, Elliott Carter, George Crumb, Jacob Druckman, Jefferson Friedman, Philip Glass, Charles Ives, Donald Martino, Olivier Messiaen, Nico Muhly, Michael Nyman, Steve Reich, Terry Riley, Frederic Rzewski, Arnold Schoenberg, Toru Takemitsu, Kevin Volans, Charles Wuorinen, Iannis Xenakis, Chen Yi, and more.
ACME has also collaborated with bands and artists including Grizzly Bear (in concert and on their best-selling album, Veckatimest, featuring strings by Nico Muhly); electronica duo Matmos (on The Rose Has Teeth In The Mouth Of A Beast, with strings by Jefferson Friedman); Craig Wedren (former frontman of the avant-rock band Shudder To Think); prepared-pianist Hauschka; composers/performers Jóhann Jóhannsson, Max Richter, and Dustin O’Halloran, and Micachu & The Shapes.
2012-2013 highlights for ACME include July performances with otherworldly indie-duo A Winged Victory for the Sullen in Chicago’s massive Millennium Park and at Le Poisson Rouge; a special September 11 performance of Steve Reich’s complete string quartets, the world premiere of the all-live version of WTC 9/11, at Le Poisson Rouge; a three-night run in October as part of BAM’s Next Wave Festival, performing the world premiere of Phil Kline’s Out Cold with vocalist Theo Bleckmann; as well as performances presented by the Library of Congress in Washington, DC and The Morgan Library in New York. In April 2013, the ensemble was in residence at Dartmouth’s Hopkins Center workshopping a new opera about Nikola Tesla with Phil Kline and filmmaker Jim Jarmusch. In February 2013, ACME released Joseph Byrd: NYC 1960-63 – music by a rediscovered contemporary of La Monte Young and Morton Feldman and a player in the Fluxus art movement – on New World Records.
Other recent highlights include performances in Boston at Jordan Hall and at Harvard’s Sanders Theatre, opening two sold-out concerts by rock singer and guitarist Jeff Mangum; a 12-city tour across the US with A Winged Victory for the Sullen performing at venues including The Satellite in Los Angeles, Triple Door in Seattle, and the Cedar Cultural Center in Minneapolis; a performance at Stanford Lively Arts in the world premiere of a new work commissioned from Ingram Marshall for ACME with acclaimed male a cappella group Lionheart; a performance in the UK at the popular All Tomorrow’s Parties festival, playing Gavin Bryars’ Jesus Blood Never Failed Me Yet for an audience of over 1000 people; and a two-night run at The Kitchen, presenting a world premiere by avant-guitarist and composer Mick Barr alongside the premiere of William Brittelle’s chamber cycle Loving the Chambered Nautilus, ACME’s recording of which was released in June 2012 on New Amsterdam Records.
Important past performances include ACME’s Carnegie Hall debut performing the world premiere of Timo Andres’ Senior with the New York Youth Symphony in Stern Auditorium; a month-long residency at the Whitney Museum presented by the Wordless Music Series, for which ACME tailored a contemporary classical program to complement the indie-rock or electronica performer sharing the concert; and in Nico Muhly’s Tell the Way at St. Ann’s Warehouse.
ACME was founded in 2004 by cellist Clarice Jensen, conductor Donato Cabrera, and publicist Christina Jensen, and has received support from The Aaron Copland Fund for Music, the Cary New Music Performance Fund, and the Greenwall Foundation.
By Ryuhei Shindo
Angélica Negrón & los Objetos Maravillosos
Composer and multi-instrumentalist Angélica Negrón was born in San Juan, Puerto Rico in 1981 and is currently based in Brooklyn, NY. Interested in creating intricate yet simple narratives that evoke intangible moments in time, she writes music for accordions, toys and electronics as well as chamber ensembles and orchestras. Her music has been described as “wistfully idiosyncratic and contemplative” (Q2) and “mesmerizing and affecting” (Feast of Music) while The New York Times noted her “capacity to surprise” and her “quirky approach to scoring”. She was recently selected by Q2 and NPR listeners as part of “The Mix: 100 Composers Under 40” and by Flavorpill as one of the “10 Young Female Composers You Should Know”.
Her music has been performed by TRANSIT Ensemble, Face the Music, Janus Trio, Iktus Percussion Quartet, Hotel Elefant, NYU Symphony Orchestra and the Puerto Rico Symphony Orchestra at various venues and festivals such as the Bang On A Can Marathon, Ecstatic Music Festival, Kennedy Center and Symphony Space. Negrón also has written music for documentaries, feature length films, theater and modern dance. She frequently collaborates with the experimental theater company from Puerto Rico Y No Había Luz writing music for their plays, which often incorporate puppets, masks and unusual objects. Other recent collaborations include So Percussion, Noveller, Sxip Shirey and toy pianist Phyllis Chen.
A long time member of the Puerto Rican indie music scene, Angélica is a founding member of the electro-acoustic pop outfit Balún and the ambient chamber ensemble Arturo en el Barco. Her new project “Angélica Negrón & los Objetos Maravillosos” is inspired by tiny objects collected over the years and explores electroacoustic soundscapes through unusual instruments and magical realism. In this new endeavour Negrón fully takes on the composer/performer role by bringing together her new music sensibility with her love for ambient pop.
Angélica Negrón official site
Angélica Negrón on soundcloud