Composers Concordance Festival 2012

January 27 – February 6, 2012, New York City & NJ

The Most Eclectic Contemporary Music Festival of the Season
Transversing genres, locales and aesthetic modes throughout NYC and beyond

Festival Website:

Click here for a PDF version of the press release:

With a 28-year history of leading-edge concert production in NYC, Composers Concordance presents The Composers Concordance Festival 2012. This will be a whirlwind of five innovative contemporary music concerts in ten days, including over 40 of NYC’s most distinctive and accomplished composers. This festival spotlights the composer in different contexts, engaging the audience and performer in the creative process, and contending with the dizzying multiplicity of styles within today’s music scene. All the while, Composers Concordance puts a premium on distinguishability, that factor by which we remember and denote individual identity – and it’s that aspect, the distinction and breadth of the composer’s message, on which we’ll chiefly focus.

The first concert, ‘Songs‘, shows the various vocal styles the composer writes songs for. From the traditional western classical soprano and baritone, to the modern pop/r&b diva, to voices of other world cultures that stretch the boundaries of notation and pitch.

The Composers Play Composers Marathon‘ shows the composer as a performer of his or her own music. A common practice in baroque, classical and romantic periods but rarer in the mid 20th century. Toward the end of the century and into the new 21st century, the art of the composer-as-performer is re-emerging, and on this marathon we hear no fewer than 27 composers interpreting their own works.

New Blues‘ asks the composer to show his or her compositional skill and voice in this very particular genre that influenced so much of the music in the 20th century. With the 100-year anniversary of the first publication of a blues piece by W.C. Handy, we look at how the 21st century composer is influenced by this style.

The development of technology was quick in the 20th century, and it inspired composers to create brand new timbres and sonorities with the possibilities electronic manipulation of sound provided. We see what the 21st century composer has to offer to progress further the art of computers, amplifiers, and circuits in the ‘Electronics‘ concert of the festival.

With the final concert: ‘Ensemble‘, we witness the composer in an ensemble setting, performing each others’ music. The ensemble in question is the Composers Concordance Ensemble (which is the ensemble-in-residence at William Paterson University), made up of the directors of comp cord as well as regular performers and composers associated with the group.

NOTE: There will be a press conference before the first performance on January 27th, at 5:30pm at The Turtle Bay Music School. Members of the press are invited to attend and learn more about the festival. RSVP:

Festival Schedule:

Composers Celebrate the Diversity of Song
Part of the Turtle Bay Visiting Artist Series

January 27th at 6:30pm

Turtle Bay Music School
Em Lee Concert Hall
244 East 52nd St, NYC
(212) 753-8811
Admission: Free

Composers: Cody Brown, Dan Cooper, Charles Coleman, Luis Cobo, Duke Ellington/Pritsker, Milica Paranosic, Gene Pritsker, and Bob Rodriguez

Performers:  Bobby Avey, Gernot Bernroider, Cody Brown, John Clark, Charles Coleman, Dan Cooper, Mat Fieldes, Laura Kay, Taka Kigawa, Milica Paranosic, Edmundo Ramirez, Chanda Rule, Sean Satin, and Keve Wilson

The 3rd Annual Composers Play Composers Marathon
Composers Performing Their Own Music
January 29th at 7pm

85 Ave A, NYC
(212) 777-1157
Admission: $20

Composer/Performers: Cristian Amigo, Loop B, Dan Barrett, Eve Beglarian, Svjetlana Bukvich-Nichols, Peter Breiner, David Chesky, Luis Cobo, Valerie Coleman, Dan Cooper, Jed Distler, Patrick Grant, Franz Hackl, Sara Holtzschue, Peter Jarvis, Andrew M. Lee, Peri Mauer, Daniel Palkowski, Milica Paranosic, Gene Pritsker, David Saperstein, Larry Simon, David Soldier, Rubens Salles, Eleonor Sandresky, Ezequiel Viñao, and Michael Wolff

Marking 100 Years of the Blues
Composers Bring the Genre into the 21st Century
Performed by The International Street Cannibals Ensemble
January 31st at 9pm

62 Ave C, NYC
(646) 546-5206
Admission: $10

Composers: Dan Barrett, John Clark, Dan Cooper, Glenn Cornett, Patrick Grant, Robert Johnson, Earl Maneein, Milica Paranosic, Gene Pritsker, and Joseph Pehrson

Performers: Dan Barrett, Lynn Bechtold, John Clark, Dan Cooper, Glenn Cornett, Glenn Cornett, Jennifer DeVore, Patrick Grant, Earl Maneein, Cesare Papetti, Milica Paranosic, Gene Pritsker, and Malik Work

Music for Electronics and Electro-Acoustic Ensemble
Composers Working with New Media
February 3rd at 8pm

Gallery MC
549 West 52nd Street, 8th Floor
(bet. 10th & 11th Ave), NYC
(212) 581-1966
Admission: $10

Composers: Loop B, Lynn Bechtold, Glenn Cornett, Dan Cooper, Dinu Ghezzo, Patrick Grant, Lainie Fefferman, Franz Hackl, Mari Kimura, Daniel Palkowski, Milica Paranosic/Joel Chadabe, Gene Pritsker, and Eric Somers

Performers: Loop B, Glenn Cornett, Lynn Bechtold, Gene Pritsker, Daniel Palkowski, Lainie Fefferman, Peter Christian Hall, Mari Kimura, Milica Paranosic, and Franz Hackl

Visual projections: Carmen Kordas

Composers Performing within an Ensemble
The Composers Concordance Ensemble at William Paterson University
February 6th at 7pm

William Paterson University
300 Pompton Road Wayne, NJ
(973) 720-2315
Admission: $5

Composers: John Cage, Dan Cooper, Robert Dick, Patrick Hardish, Peter Jarvis, Otto Luening, Milica Paranosic, Joseph Pehrson, and Gene Pritsker

Performers: Dan Barrett, Lynn Bechtold, Robert Dick, Peter Jarvis, Milica Paranosic, Gene Pritsker, and Michiyo Suzuki

For press inquiries, contact Composers Concordance

Complete iNFO at:

Let’s Get Bent

Yesterday at work, I edited a podcast segment that made mention of the new Privia PX 130 keyboard from Casio. It’s a new digital piano meant to feel more closely like the real instrument, and you can hook it up to your Mac or PC via USB. The Times reviewer seemed to dig it after trying the keyboard out at Sam Ash.

But then I tried to remember the Casio keyboard my brother and I played with when we were kids…I believe it was that plastic chunk of cheesy goodness known as the PT-80.


Oh my…now Mom and Dad bought this for us way before either one of us youngsters was any good at playing the piano. So, to get any actual “music” out of it, my brother would play the demo over and over and over again. Do you remember those chintzy drum patterns? If you don’t, the closest thing I could find is a demo from another mini-keyboard of the same era, the Casio PT1 (which I think we also owned):

Can you imagine listening to THAT for about an hour or two? (My brother and I eventually graduated to a Korg Poly 61, but we would just run the arpeggiator when we were too lazy to actually do our lessons. I guess my parents figured, as long as there was music coming out of the playroom, we must be practicing.)

Well I realized, with all the enthusiasm out there for circuit bending children’s toys, calculators and other vintage synths, surely somebody must have hacked this little retro Casio or its 80’s siblings. And a whole bunch of DIY sound mechanics have done just that. Below are a couple of my favorite souped up Casios:

The bass on that one is pretty insane – this next one gets sort of funky in its own laid-back way:

You can find more one-of-a-kind musical projects like these at Circuit Bent Instruments, where several are being sold on eBay. And if your own kids insist on playing with some noisy toy that makes a relentless racket around the house, maybe you can get back at them with this terrifying circuit-bent Furby with Atari joystick controller.


A Chat with Downtown Piano Queen, Kathy Supove


This week I visited with pianist, Kathy Supove, who commands the 88 keys like nobody’s business. For years, Kathy’s virtuosic keyboard skills have been put to work by contemporary composers working in an interactive performance environment.

In her bio, Kathy’s Exploding Piano Series is described as a “multimedia experience using electronics, theatrical elements, vocal rants, performance art, staging, and collaboration with artists from other disciplines…her Exploding Piano concerts almost always have original monologues and theatrical sketches surrounding the pieces.”

With her dramatic and energetic playing as a centerpiece (and her trademark flaming red bob), Kathy crushes the old definition of a piano recital under her shiny boots. So I asked her point of view on working with electronics and various media in her shows.

Listen to Kathy’s comments and excerpts of her music here:

If you’re curious, the controller called the monome that Kathy mentions is demonstrated in this clip:

You can visit Kathy Supove on her MySpace page.

– Jocelyn