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.
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, UCLA’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.
photo credit: 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