Audio / Video

About This Event

Minimum Age:

All Ages

Doors Open:

7:00 PM

Show Time:

8:00 PM

Description:

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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.
 
This event will be streamed live online through LPR’s streaming channel, beginning at 8pm.

Artists

Craig Leon

Craig Leon’s seminal synthesizer albums Nommos and Visiting are finally re-editioned in definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.’s archival series.
 
Issued respectively by John Fahey’s Takoma record label in 1980 and Leon’s Arbitor private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard Craig Leon. Leon’s production was pivotal in realizing the debut recordings by Ramones, Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound, Leon’s own debut album was arguably, if not literally, more alien.
 
In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?
 
Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of Roger Linn’s nascent drum-machine, the LM-1.
 
Issued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, Nommos now stands as an innovative example of cosmic-synth composition that wasn’t made for its time or any other. For this edition, Leon has in fact re-animated Nommos by re-recording the exact audio signals as preserved in the album’s original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio from an album whose masters were lost in major label merger milieu years ago.
 
Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leon’s Anthology of Interplanetary Folk Music (the title was an homage to Harry Smith’s influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.
 
While questionable reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as the first ever version authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. The second details Leon’s adventure in creating the Anthology of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one seamless synth classic.
 
Craig Leon’s Anthology of Interplanetary Folk Music Vol. 1 will be released June 24, 2014 as a double LP set on RVNG Intl.

American Contemporary Music Ensemble (ACME)

The American Contemporary Music Ensemble (ACME), celebrating its tenth season in 2014-2015, is dedicated to the outstanding performance of masterworks from the 20th and 21st centuries, primarily the work of American composers. The ensemble presents fresh work by living composers alongside the classics of the contemporary. ACME’s dedication to new music extends across genres, and has earned them a reputation among both classical and rock crowds. NPR calls them “contemporary new music dynamos,” and The New York Times describes ACME’s performances as “vital,” “brilliant,” and “electrifying.” 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.”
 
ACME has performed at leading venues across the country including (Le) Poisson Rouge, Carnegie Hall, BAM, Joyce Theater, Noguchi Museum, Whitney Museum, Guggenheim Museum, Columbia University’s Miller Theatre, The Metropolitan Museum of Art, Symphony Space, Stanford Live, UCAL’s Royce Hall, Virginia Tech, Newman Center at the University of Denver, Flynn Center, South Milwaukee Performing Arts Center, Montclair’s Peak Performances, and All Tomorrow’s Parties in the UK, among others. ACME can be heard on the New World Records and New Amsterdam Records labels.
 
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, Caroline Shaw (winner of the 2013 Pulitzer Prize in Music), and Laura Lutzke; violists Nadia Sirota and Caitlin Lynch; cellist and artistic director Clarice Jensen; flutists Alex Sopp and Andrew Rehrig; pianist Timo Andres; and percussionist Chris Thompson.
 
Highlights of the 2014-2015 season include performances at The Stone in New York of the music of Lisa Bielawa, a visit to Constellation in Chicago to perform the music of Joseph Byrd and Mick Barr, a performance as part of Boston Conservatory’s New Music Festival, and a run with The Richard Alston Dance Company at Montclair State University’s Peak Performances in Benjamin Britten’s Les Illuminations. In February 2015, ACME joins forces for the first time with vocal ensemble Roomful of Teeth — with which they share member violinist, vocalist and Pulitzer Prize in Music winner Caroline Shaw — at Peak Performances. Their joint program will feature the world premiere of a new version of Shaw’s Ritornello, written for both groups to perform together, as well as the music of Gavin Bryars and Henry Purcell. In March 2015, also with Roomful of Teeth, ACME will perform the world premiere of Drone Mass by Icelandic composer Jóhann Jóhannsson, commissioned by ACME and presented by The Metropolitan Museum of Art in the Temple of Dendur. In April 2015, ACME travels to Duke University to perform a concert of the chamber music of Caroline Shaw. In May, the ensemble will be presented in Brooklyn by Five Boroughs Music Festival in a concert featuring the music of ACME members Caroline Shaw, Caleb Burhans, and Timo Andres. ACME will also perform the chamber music of Timo Andres at Columbia University’s Miller Theatre in June 2015.
 
This season, ACME records its fourth studio album, featuring the music of avant-rock guitarist and composer Mick Barr. The album will include the string trio ACMED which ACME commissioned from Mick Barr in 2012. ACME’s discography also includes Joseph Byrd: NYC 1960-63, the first commercial recording of the music of American composer Joseph Byrd – a rediscovered contemporary of La Monte Young and Morton Feldman and a player in the Fluxus art movement – on New World Records. ACME has recorded William Brittelle’s electro-acoustic chamber work Loving the Chambered Nautilus and Jefferson Friedman’s On In Love with vocalist Craig Wedren for New Amsterdam Records.
 
Highlights of ACME’s 2013-2014 season included the world premiere of Shaw’s Ritornello for string quartet presented by Arts Brookfield and WNYC’s New Sounds Live at the Winter Garden, a performance of Schoenberg’s Pierrot Lunaire with actress Barbara Sukowa at The Metropolitan Museum of Art, and a concert celebrating the centennial of Polish composer Witold Lutoslawski which paired his chamber music with that of Lutoslawski expert Steven Stucky presented by the Polish Cultural Institute New York at Symphony Space. In spring 2014, ACME toured Jóhann Jóhannsson’s celebrated work The Miners’ Hymns with film by Bill Morrison to at UCLA’s Royce Hall, Virginia Tech, and the University of Denver, and performed with A Winged Victor for the Sullen in Wayne McGregor’s Random Dance production Atomos. Other recent highlights include performances with A Winged Victory for the Sullen in Chicago’s massive Millennium Park; a special September 11 performance of Steve Reich’s complete string quartets including the world premiere of the all-live version of his WTC 9/11 at Le Poisson Rouge which was live webcast by NPR; 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; and 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. Important past concerts include performances in Boston at Jordan Hall and at Harvard’s Sanders Theatre, opening two sold-out concerts by the much-admired 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; the world premiere of Psalmbook by Ingram Marshall for ACME with Lionheart at Stanford Live; a performance in the UK at the fabled All Tomorrow’s Parties festival, playing Gavin Bryars’ Jesus Blood Never Failed Me Yet for an audience of over 1000 people; 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 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 Nico Muhly’s Tell the Way at St. Ann’s Warehouse.
 
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, Caroline Shaw, Toru Takemitsu, Kevin Volans, Charles Wuorinen, Iannis Xenakis, Chen Yi, and more. ACME has also collaborated with bands and artists including Grizzly Bear, Low, Matmos, Craig Wedren, Micachu & The Shapes, and composers/performers Hauschka, Jóhann Jóhannsson, Max Richter, and Dustin O’Halloran.
 
ACME was founded 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.
 
photo credit: Ryuhei Shindo

Robert Aiki Aubrey Lowe

Robert Aiki Aubrey Lowe (b. 1975) is an artist and multi instrumentalist that works with voice in the realm of spontaneous music often under the moniker of Lichens. Most recently, creating patch pieces with modular synthesizer and singing to them has been a focus of live performance and recordings.
 
Quality of sound through the marriage of synthesis coupled with voice has allowed for a heightened physicality in the way of ecstatic music, both in a live setting and recorded. The sensitivity of analogue modular systems echoes the organic nature of vocal expression which in this case is meant to put forth a trancelike state. To usher in Deep Listening through sound and feeling. Losing one’s self in sound while being acutely self aware.
 
By way of a recent meeting and collaboration with artist Patrick Smith, Robert has begun to utilize projections with live performances. The current video piece is called “Clouds” which is a vector driven animation made by Patrick Smith.
 
Through collaboration Robert has worked with Ben Russell, Ben Rivers, Rose Lazar, Hisham Akira Bharoocha, Tarek Atoui, Ben Vida, Mark Borthwick, Lucky Dragons, Alan Licht, Michael Zerang, Doug Aitken, Patrick Smith, Monica Baptista, Lee Ranaldo, White/Light, Kevin Martin, Chris Johanson, Tyondai Braxton, David Scott Stone, Genesis P­Orridge and Rose Kallal, as well as many others.

presented by LPR and Wordless Music
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