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DTSTART;TZID=America/New_York:20261018T190000
DTEND;TZID=America/New_York:20261018T210000
DTSTAMP:20261018T130036Z
CREATED:20260810T173132Z
LAST-MODIFIED:20261018T130036Z
UID:10001331-1792350000-1792357200@www.bowerbird.org
SUMMARY:The People United Will Never Be Defeated!
DESCRIPTION:Bowerbird is pleased to present pianist Heather O’Donnell performing Frederick Rzewski’s iconic work The People United Will Never Be Defeated! 36 Variations on the Chilean Song ¡El pueblo unido jamás será vencido! at Trinity at 22nd. \nPROGRAM \nFrederic Rzewski (1938–2021)\nThe People United Will Never Be Defeated! (1975)\n36 Variations on the Chilean Song ¡El pueblo unido jamás será vencido! \nABOUT THE PROGRAM \nFrederic Rzewski composed The People United Will Never Be Defeated! in 1975\, creating one of the monumental works of twentieth-century piano literature. The hour-long cycle consists of thirty-six variations on the Chilean song ¡El pueblo unido jamás será vencido!\, composed by Sergio Ortega and associated with the years surrounding Chile’s 1973 military coup. Over time\, the melody came to symbolize solidarity and the enduring human desire for dignity and self-determination. \nCommissioned for the United States Bicentennial\, the work was premiered by Ursula Oppens at the John F. Kennedy Center for the Performing Arts in Washington\, D.C.\, on 7 February 1976. \nRather than presenting a straightforward set of variations\, Rzewski transforms the song through an extraordinary range of musical languages – from counterpoint to jazz\, minimalism\, improvisation\, virtuosic display\, and moments of profound stillness. The result is a work that continually shifts between the individual and the collective\, certainty and doubt\, struggle and renewal. \nAlthough rooted in a specific historical moment\, the piece has long transcended its original context. Today it is regarded not only as one of the great masterpieces of contemporary piano literature but also as a meditation on resilience\, memory\, freedom\, and the enduring capacity of communities to imagine a different future. \n– H. O’Donnell \nABOUT THE ARTIST \nHeather O’Donnell is an American pianist\, psychologist\, author\, and founder of The Green Room\, a nonprofit organization dedicated to the mental health and professional sustainability of performing artists.\nAs a pianist\, she has appeared throughout Europe\, North America\, Asia\, and the Middle East as recitalist and concerto soloist\, performing with ensembles including the St. Petersburg State Symphony\, the Romanian State Philharmonic\, the Mendelssohn Chamber Orchestra Leipzig\, and the Tanglewood Festival Chamber Orchestra. Her performances have been broadcast by Deutschlandradio\, Radio France\, Deutsche Welle Television\, and other international media. \nInternationally recognized for her commitment to contemporary music\, O’Donnell has given more than thirty world premieres\, including works by Luciano Berio\, John Zorn\, Walter Zimmermann\, and James Tenney. She is the dedicatee of compositions by Michael Finnissy and Frederic Rzewski and received First Prize and the Gaudeamus Prize at the Fifth Krzysztof Penderecki International Competition in Kraków. Her artistic projects have included the commissioning initiatives Responses to Ives and Piano Optophonique\, and she appeared in Alexander Kluge’s cinematic interpretation of Karl Marx’s Das Kapital. \nFollowing a career interruption caused by injury\, O’Donnell completed degrees in psychology and redirected her work toward the wellbeing of artists. She holds an M.Sc. in Prevention and Health Psychology\, is a certified Artistic-Systemic Therapist (DGSF)\, and has become an internationally recognized voice on musicians’ health\, creativity\, identity\, and sustainable artistic careers. \nShe has lectured and presented at institutions including Weill Cornell Medicine\, the University College London-hosted Performing Arts Medicine Association Symposium\, Columbia University\, the Eastman School of Music\, the Max Planck Institute for Human Development\, and the Mozarteum University Salzburg. In addition to her clinical work\, she serves on the Board of the European Network of Cultural Centres (ENCC) and is the author of the forthcoming book Being a Musician: A Life Told in Failures and Renewals. \n\n
URL:https://www.bowerbird.org/event/the-people-united-will-never-be-defeated/
LOCATION:Trinity at 22nd\, 2212 Spruce Street\, Philadelphia\, PA\, 19103\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/08/Rzewski-Oct-18.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261018T090000
DTEND;TZID=America/New_York:20261018T110000
DTSTAMP:20261016T013224Z
CREATED:20261002T145547Z
LAST-MODIFIED:20261016T013224Z
UID:10001343-1792314000-1792321200@www.bowerbird.org
SUMMARY:Follow The Sound
DESCRIPTION:Bowerbird is pleased to present a morning birdwalk at the John Heinz National Wildlife Refuge at Tinicum led by In Color Birding interspersed with two performances by percussionists Salina Kuo and Andy Thierauf. \nPlease take note of the weather and dress accordingly with appropriate footwear.\nMeet at the Environmental Education Pavilion\, to the right of the visitor center\, near the parking lot\, there are toilets and a water fountain nearby. Map \nEstimated run time: 120 minutes\nDistance: approx. one mile\nTerrain: ADA accessible\nFree admission – reservations are encouraged\n \nABOUT THE EVENT \nFollow the Sound is a communal outdoor listening experience that combines a guided nature walk with live music. Each ambulatory program is attuned to the here and now of its site — birds\, bugs\, water\, and wind — creating a moment of shared awareness and presence. \nFollow the Sound events are free and have been hosted at various sites throughout the Philadelphia area including John Heinz National Wildlife Refuge at Tinicum\, the Schuylkill Center for Environmental Education\, Stoneleigh: a natural garden\, and more\, each led by a naturalist with expertise of the local ecosystem. \nEach ~90-minute program entails walking a distance of less than one mile\, usually on flat\, accessible terrain. A wide range of diverse musicians have participated on an array of flutes\, electronics\, violins\, viola da gamba\, and more\, in solo and impromptu duo formats. \n\nABOUT THE ARTISTS \nSalina Kuo is a singer/songwriter\, percussionist\, self-taught guzhengist\, improviser and educator based in Philadelphia (Lenape territory). They have a deep admiration for black American music\, world folk\, free improvisation\, and 60s/70s fem singer/songwriters. They write music that blends genres and utilizes uncommon instrumentation to create a unique yet cohesive and familiar sound. By confronting personal experiences with grief and depression\, Kuo’s storytelling invites listeners into their world and share in their healing. They release music under St. John’s Wort (vibraphone indie/rnb/soul) and River Full of Fruit (freak-folk chamber ensemble). River Full of Fruit’s “Only the Earth” release show will be 11/12 at Asian Arts Initiative. St. John’s Wort’s debut album is forthcoming. \nAndy Thierauf is a Philadelphia-based percussionist specializing in the creation and performance of contemporary music. His work is driven by a commitment to interdisciplinary collaboration\, frequently integrating percussion with theater\, dance\, and technology to create immersive and innovative performances. He is an active member of Arcana New Music Ensemble\, NakedEye Ensemble\, Network for New Music\, and Orchestra 2001\, among other ensembles in the Philadelphia area. In addition to his performance career\, Andy serves as an Artist Teacher of Percussion at The College of New Jersey\, is on faculty of Settlement Music School and is Adjunct Professor of Percussion at Kutztown University.\nwww.andythierauf.com \nIn Color Birding provides an entry point to birding for BIPOC communities in and around Greater Philadelphia. The organization believes that everyone should have safe\, joyful\, and rewarding access to green spaces and the practice of birding. In Color Birding is an inclusive environment for those traditionally marginalized to increase their connections to and appreciation of the natural world through bird walks\, presentations\, funding of transportation costs for classrooms\, teacher mini-grants\, and visits to local sites.\nwww.incolorbirding.org \n  \n\nOrganized in collaboration with World Askew and funded in part by PECO\, Team Pennsylvania\, and Pennsylvania Creative Industries
URL:https://www.bowerbird.org/event/follow-the-sound-oct-2026/
LOCATION:John Heinz National Wildlife Refuge at Tinicum\, 8601 Lindbergh Blvd\, Philadelphia\, PA\, 19153\, United States
CATEGORIES:Special Series
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/03/May-3-Follow-the-sound.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261016T200000
DTEND;TZID=America/New_York:20261016T220000
DTSTAMP:20261018T130026Z
CREATED:20260731T133815Z
LAST-MODIFIED:20261018T130026Z
UID:10001327-1792180800-1792188000@www.bowerbird.org
SUMMARY:Goldberg Variations
DESCRIPTION:Bowerbird is pleased to present John Walthausen in a solo harpsichord performance at University Lutheran Church. In the 1730s\, Bach summed up his artistry writing for keyboards with a new collection: his Clavierübung or keyboard practice. In this multi volume series for harpsichord and organ\, Bach turns every genre of keyboard writing on its head: suite\, concerto\, overture\, prelude and fugue\, chorale prelude. It is in the fourth book of his Clavierübung that Bach explores variation in what would become one of his most beloved works. Exhausting the depths of embellishment possible from a simple ground bass\, Bach challenges the interpreter through thirty variations comprising some of his most virtuosic keyboard writing and some of his most intricate exploration of canon. \n\nABOUT THE ARTIST \nJohn Walthausen has been heard across Europe\, North and South America\, and Asia as a keyboard soloist and ensemble artist. Accomplished as a recitalist in both Baroque literature and contemporary keyboard works\, Walthausen has concertized throughout the world in Paris\, New York\, Washington D.C.\, Chartres\, Bogotá\, Toulouse\, Hamburg\, Milan\, Treviso\, Innsbruck\, Tokyo\, Basel\, and Zurich. From 2015 to 2016\, he served as Organist in Residence at Sapporo Concert Hall in Hokkaido\, where he performed and recorded on the Hall’s four-manual organ by Alfred Kern and in cities across Japan. In 2016\, Sapporo Concert Hall released his debut disc\, “De Fil en Aiguille.” \nA Philadelphia resident\, Walthausen appears regularly as a collaborative artist in his home city\, as well as throughout the East Coast and the Mid-Atlantic region. In 2019\, he co-founded the ensemble Filament with baroque violinist Evan Few and viola da gamba player Elena Smith. In 2022\, they recorded their debut album of the Sonatas Opus 1 of Dietrich Buxtehude\, Alchemy of Another\, called by Fanfare “artistically satisfying on all levels.” \nIn 2012\, he won first prize at the Pierre de Manchicourt International Organ Competition in Béthune\, France\, a competition devoted particularly to North German music of the seventeenth and eighteenth centuries\, featuring an international jury chaired by Michael Radelescu. In 2009 he was awarded first prize in the American Guild of Organists’ Regional Competition for Young Organists. \nWalthausen earned his bachelor’s degree from Oberlin College\, and in 2011 he gained admission to the Conservatoire National Supérieur de Paris. There he studied organ with Olivier Latry and Michel Bouvard\, earning a master’s with highest honors (mention très bien). In 2015\, he studied harpsichord with Jörg-Andreas Bötticher and organ with Lorenzo Ghielmi at the Schola Cantorum of Basel\, Switzerland where he was awarded a Master’s in Historical Performance. In 2024\, Walthausen served as Artistic Director for the first edition of the Philadelphia Organ Festival\, a week-long event sponsored by Partners for Sacred Places. In addition to his concert appearances\, Walthausen currently serves as Director of Music at First Presbyterian Church in Germantown\, Philadelphia\, PA. \n\n
URL:https://www.bowerbird.org/event/goldberg-variations/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/John-Walthausen-oct-16.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261003T200000
DTEND;TZID=America/New_York:20261003T220000
DTSTAMP:20261005T155728Z
CREATED:20260720T153118Z
LAST-MODIFIED:20261005T155728Z
UID:10001324-1791057600-1791064800@www.bowerbird.org
SUMMARY:New Thread Quartet
DESCRIPTION:Bowerbird is pleased to present the New Thread Quartet at University Lutheran Church. \nNew Thread Quartet presents Explorations\, Vol. 9: W[e]ave\, featuring the music of Sam Alvarez\, Dror Binder\, Eduardo Caballero\, Elsie Bae Han\, Kalle Vainio\, and LJ White. The annual Explorations Series\, now in its 9th iteration\, represents our belief in contemporary music as a life-affirming force for good. \nThe works by Binder\, Caballero\, Han\, and Vainio were winners of our 2026 Call for Scores\, which received over 150 submissions. These four pieces were selected for their quality\, originality\, and fit with our programming mission: to propose an expansive view of contemporary music\, its aesthetics and its creators. To these we added Sam Alvarez’s beautiful\, a kind of forgetting\, from 2024\, and commissioned a vital new work from LJ White. \nW[e]ave refers to sound waves and the weaving together of interdependent voices that is chamber music. Alvarez’s work begins with the four alto saxophones producing nearly inaudible cascades of sound\, whose tonal symmetries\, microtonal inflections\, and multiphonic colorations are revealed and then respun to a tenderly dramatic conclusion. White’s piece is timbral meditation on the flickering of fire and the breathing body\, while Binder’s opening pointillistic polyrhythms weave into a new thread of passed long tones and trio pulses. Han’s highly structured 12-tone canon evolves into a highly playful\, improvisatory game on its original material. By braiding together pulsations of widely varying lengths and intensities\, Caballero provokes the acoustic phenomenon of wave interference to visceral effect. Vainio’s deeply meditative work unfurls in a rhythmic canon strictly governed by the Fibonacci sequence. \nPROGRAM \na kind of forgetting (2024) — Sam Alvarez (b. 2001)\nFire and Air (2026) World Premiere — LJ White (b. 1984)\nUnd meine begeisterten Augen\nWeiten sich wieder und blinken und brennen sich wund (2026) — Dror Binder (b. 1993)\neven after all this time…I still don’t know (2022) — Elsie Bae Han\nPuls[o][e]…espectral teatro de reflejos (2023) — Eduardo Caballero (b. 1976)\nWeaving Waves (2026) — Kalle Vainio (b.1986) \n  \n\nABOUT THE ARTISTS \nNew Thread Quartet was formed with the mission to develop and perform impactful new music for the saxophone\, and to provide high level ensemble playing to feature today’s compositional voices. In 14 seasons\, the quartet has commissioned and premiered over 150 new works at such venues as Carnegie Hall\, Roulette\, Dance Theatre of Harlem\, Morgan Library\, Bang on a Can Summer Festival Benefit\, and Monadnock Music. New Thread has performed its annual fall Explorations and spring Electric Sax Series at Manhattan’s Dimenna Center and Cell Theater. \nBased in New York City\, New Thread regularly conducts masterclasses\, residencies\, and performances for student saxophonists and composers at Peabody Conservatory\, University of Virginia\, Berklee Conservatory\, the University of California Los Angeles\, Amherst College\, and New York University. The quartet has recorded on New World Records\, Innova\, and New Focus Recordings. New Thread is a presenting partner of Composers Now. \nEnsemble members are Jonathan Hulting-Cohen (soprano saxophone)\, Noa Even (alto saxophone)\, Erin Rogers (tenor saxophone)\, and Zach Herchen (baritone saxophone). \nwww.newthreadquartet.com/ \n\n
URL:https://www.bowerbird.org/event/new-thread-quartet-oct-2026/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/new-thread-quartet-oct-3.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261002T200000
DTEND;TZID=America/New_York:20261002T220000
DTSTAMP:20260831T180152Z
CREATED:20260817T143839Z
LAST-MODIFIED:20260831T180152Z
UID:10001337-1790971200-1790978400@www.bowerbird.org
SUMMARY:THUMBS
DESCRIPTION:Bowerbird is pleased to present THUMBS at The Rotunda with an opening set by Aaron Pond on horn\, voice\, daxophone\, duck callers\, and surprises. \nPerforming as the duo Thumbs\, multi-reedists David Leon and Yuma Uesaka have developed a peculiar improvised practice. Built around a shared interest in extended timbres and hairpin counterpoint\, their music explores extremes: quiet and loud\, dense and desolate\, serious and silly. \n\nABOUT THE ARTISTS \nYuma Uesaka is a Japanese-American saxophonist\, clarinetist\, improviser\, performer\, and composer based in New York City since 2014. Over the last decade\, Yuma has contributed to scenes that embrace various experimental and historic practices primarily rooted in jazz\, creative improvised music\, and new music. His music often explores the fringes of instrumental and compositional techniques to question traditional musical roles and deconstruct assumed binaries of improvised/composed\, acoustic/electronic\, and music/noise. An active sideperson\, Yuma has performed in groups led by Anna Webber\, Lesley Mok\, and DoYeon Kim\, at venues such as Roulette\, National Sawdust\, and The Jazz Gallery. He can be heard on Pi\, American Dreams\, and NotTwo Records. As a composer\, he has received recognition from the ASCAP Foundation\, Metropolis\, and Either/Or Ensemble. \nDavid Leon is a Cuban-American saxophonist\, woodwinds player\, composer\, and improviser living in Brooklyn\, New York. His work is guided by a persistent search for vitality through autonomy\, contradiction\, hyperbole\, and humor. His work with the saxophone investigates alternate methods for producing a tone\, refinement of these techniques\, and development of a distinct vocabulary using these sounds; he melds this timbral approach with melodic and rhythmic phrasing from Cuban folkloric traditions\, narrative playing\, Free Jazz & avant-garde esthetics\, and microtonality to reveal a personal conceit. In 2024\, David was named a Music Composition Fellow by the CINTAS Foundation and was awarded a Jerome Commission by Roulette Intermedium to support the creation of A Divine Echo\, a hybrid work of chamber music and wordless puppet theatre. In April 2025\, he will present a new solo work for amplified saxophone and electronics as part of his Roulette 2024/2025 Jerome Artist Residency. His work has been recognized by The Jazz Gallery’s Mentoring Series\, and New Music USA. \nAaron Pond is a musician and curator active in the east coast improvised music scene from Philadelphia to Miami. Emerging from a childhood steeped in the rigorous forms of Judaic and classical music\, Pond now plays with and transcends musical genres. Since 2014\, he has dedicated himself to improvisation and oral composition. Utilizing Horn\, Wagner Tuba\, Wood Flutes\, Duck Calls and Daxophone\, he has developed a voice defined by a kaleidoscopic approach to idiom\, multiphonic singing\, and rich tones. \nPond serves as President of People’s Music Supply\, a presenting\, educational\, and social non-profit organization dedicated to Creative Music.
URL:https://www.bowerbird.org/event/thumbs/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/08/thumbs-oct-2.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260929T200000
DTEND;TZID=America/New_York:20260929T220000
DTSTAMP:20260817T154158Z
CREATED:20260817T154124Z
LAST-MODIFIED:20260817T154158Z
UID:10001338-1790712000-1790719200@www.bowerbird.org
SUMMARY:Patterns in a Chromatic Field
DESCRIPTION:Bowerbird is pleased to present cellist T.J. Borden and pianist Mari Kawamura performing Morton Feldman’s evening length work Patterns in a Chromatic Field. Written in the last decade of his life\, this work is a unique example of his late style\, known for long durations and unpredictable repetition. In his maturity\, we find Feldman exploring different ways that ambiguity catalyzes performer interpretation and invites contemplation on the nature of the listener’s perception. Microtonal shadings ring against the equal tempered piano\, creating complex rhythmic constellations that drift slowly through the air. \n\nABOUT THE ARTISTS \nTyler J. Borden is a cellist working with\, in\, and around the constraints of the cello. Formerly from Western NY\, he is now based in Brooklyn NY\, where he spends much of his time finding ways to exploit the strengths and failures of himself and his instrument. Hailed for his “technically polished playing” (Jan Jezioro\, Artvoice) as well as his “astounding performances of superlatively difficult modernist solo works” (Edge of the Center)\, he is a dedicated purveyor of modern and experimental music. \nMari Kawamura is a concert pianist whose curiosity and wide-ranging interests have taken her in a variety of directions. Kawamura is drawn to music which utilizes the entirety of the piano as an expressive device\, enjoying equally music which showcases its tremendous agility\, and its ability to produce spacious resonances.
URL:https://www.bowerbird.org/event/patterns-in-a-chromatic-field/
LOCATION:The Perch\, 2321 Emerald St\, Philadelphia\, PA\, 19125\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/08/feldman-sept-29.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260927T200000
DTEND;TZID=America/New_York:20260927T220000
DTSTAMP:20260921T152949Z
CREATED:20260811T151150Z
LAST-MODIFIED:20260921T152949Z
UID:10001335-1790539200-1790546400@www.bowerbird.org
SUMMARY:Trio Nebbia
DESCRIPTION:Bowerbird is pleased to present Trio Nebbia at University Lutheran Church. \nTrio Nebbia—saxophonist Geoffrey Diebel\, percussionist Ji Hye Jung\, and pianist Winston Choi—embarks on its first-ever tour this fall to four East Coast cities: Philadelphia\, Hartford\, New York\, and Boston. The centerpiece of the program is the world premiere of a new work\, commissioned by the trio\, from MacArthur Fellow and Pulitzer Prize recipient composer Tyshawn Sorey. Works by Georges Aperghis\, Keiko Devaux\, Dai Fujikura\, and Tristan Murail are also featured. \nSorey’s commissioned piece for Trio Nebbia has been a collaborative project since before the pandemic\, and one that neither wanted to lose. This year’s tour seemed to be the perfect opportunity to premiere the work in Philadelphia\, where Sorey now teaches at the University of Pennsylvania. In his signature style of pushing boundaries and extending cultural norms\, Sorey takes his recent Pulitzer Prize-winning saxophone concerto “Adagio: For Wadada Leo Smith” as a point of departure for his new work. With a mood that is even darker and more brooding\, his one-movement trio seeks to restore a nuanced\, reverent\, and inquisitive relationship with sound and music. \n“Tyshawn Sorey’s compositional style demands that the listener drop any expectations in favor of meeting the music on its own terms\,” says Geoffrey Deibel\, saxophonist of Trio Nebbia. “He writes music that offers listeners the opportunity to intentionally engage with his prismatic sound world\, which is presented to the audience in place of the banal virtuosity that often dominates the contemporary music landscape. In our modern world that is both overstimulating and seems hell-bent on reducing every relationship to one of transaction\, Sorey’s music provides an antidote via a multi-layered\, complex work that requires patience and active listening. We can’t wait to premiere this piece.” \nPROGRAM \nGeorges Aperghis: Trio Funambule\nDai Fujikura: Ueno Bueno\nTristan Murail: Cailkoux dans l’eau\nTyshawn Sorey: NEW WORK\nKeiko Devaux: Kintsukuori \nABOUT THE ARTISTS \nTrio Nebbia consists of Ji Hye Jung (percussion)\, Winston Choi (piano)\, and Geoffrey Deibel (saxophone). These three internationally acclaimed soloists combine three instruments less commonly heard together in the concert hall than in the jazz club\, offering a stunning array of sound worlds from the subtly nuanced to the unbridled and radical\, and providing a comprehensive sonic palate that can adapt to the vision of any composer. The trio met and began performing together regularly at the Cortona Sessions for New Music in Italy (one of the premiere summer programs for contemporary music in the world) and decided to begin concertizing regularly in 2019. The trio members are all also active educators in the United States\, teaching at Vanderbilt University\, Roosevelt University\, and Florida State University respectively. Jung is regarded as the world’s finest marimba player\, winning the world’s top two competitions for the instrument. Praised as “spectacular” by the Los Angeles Times and “extraordinary” by the Ventura County Star\, the Times describes her as “a centered player who can give the impression of being very still yet at all places at once.” Choi is chair of the piano department at Roosevelt University. For over twenty-five years\, he has been one of the most in-demand pianists in contemporary music and has won the prestigious Orleans Piano Competition; a recent recording by Choi was given five stars by BBC Music Magazine. Deibel was a first prize winner in both the Fischoff and the NASA Quartet competitions with the h2 quartet\, and has premiered hundreds of works for his instrument by both established and emerging composers. Trio Nebbia has premiered music by Georges Aperghis and Jean-Patrick Besingrand\, and will give the premiere of a new work written for the ensemble by Pulitzer Prize winner and McArthur Genius Grant winner Tyshawn Sorey in 2025.
URL:https://www.bowerbird.org/event/trio-nebbia/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/08/trio-nebbia-sept-27.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260919T190000
DTEND;TZID=America/New_York:20260919T210000
DTSTAMP:20261018T130016Z
CREATED:20260720T152208Z
LAST-MODIFIED:20261018T130016Z
UID:10001323-1789844400-1789851600@www.bowerbird.org
SUMMARY:A Tribute to Leon Bates
DESCRIPTION:Bowerbird is pleased to present Dynasty Battles in a solo piano performance. \nSet in the Germantown neighborhood that Leon Bates once called home\, this deeply personal program celebrates the music that helped shape Dynasty’s artistic journey under Leon’s guidance\, alongside works that reflected Leon’s own distinguished career as a concert pianist. \nThe evening is a tribute to a teacher\, pianist\, and friend whose wisdom and musicianship continue to resonate through the lives of those he inspired. Through this concert\, the audience is welcomed to honor Leon’s enduring legacy and experience the profound way a beloved musician influences lives across generations. \nLeon Bates was one of America’s foremost concert pianists\, acclaimed internationally for performances that took him to major stages throughout the United States\, Canada\, Europe\, and Africa. Equally distinguished as a recitalist and orchestral soloist\, he appeared with many of America’s leading ensembles\, including the Philadelphia Orchestra\, Los Angeles Philharmonic\, and Boston Symphony\, as well as prominent European orchestras such as the Vienna Symphony\, Strasbourg Symphony\, and Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia\, to name a few. Whether in recital or as a soloist with orchestra\, his praises are enumerated in many different languages—but they are all in agreement on one point: Leon Bates was a major artist and one of America’s best. \n\nPROGRAM \nFranz Schubert: Impromptu No.3 in\nG flat major\, Op. 90 D 899 \nLudwig Beethoven: Piano Sonata\nNo. 17 in D minor\, Op. 31\, No. 2\nI. Largo – Allegro\nII. Adagio\nIII. Allegretto \n– intermission – \nChick Corea: Children’s Songs\n(With Improvisation)\nNo. 13\nNo. 10\nNo. 12 \nAlexander Scriabin: Piano Sonata\nno. 4 F sharp major\, Op. 30\nI. Andante\nII. Prestissimo volando \n\nABOUT THE ARTIST \nPianist Dynasty Battles is the recipient of the 2021 Career Advancement Award from the Musical Fund Society of Philadelphia. He has been featured in The Philadelphia Inquirer alongside soprano Marietta Simpson and on music critic David Patrick Stearns’ radio program Creatively Speaking on Philadelphia’s WRTI (90.1 FM). \nCurrent season projects include the world premiere of a concerto for the unusual combination of MIDI keyboard and chamber choir by composer Nina Shekhar with the multi-Grammy Award-winning ensemble The Crossing\, a collaboration spotlighted in The Philadelphia Tribune\, which also profiled Battles. He also recently premiered a composition written for him by multiple Grammy nominee and Pulitzer Prize finalist Ted Hearne. \nRecent engagements include debuts at Walt Disney Concert Hall in a concert curated by John Adams\, the Chicago Cultural Center’s Preston Bradley Hall as a featured artist in the International Music Foundation’s Dame Myra Hess Memorial Concerts\, Benjamin Franklin Hall with the Philadelphia Chamber Music Society\, and the Barbican Centre in London while in residency with the Los Angeles Philharmonic. \nCareer highlights include an invitation to perform composer George Walker’s Piano Sonata No.1 during a private engagement at the distinguished composer’s home. In a project profiled by The New York Times\, Battles also performed in Bowerbird Philly’s ongoing Julius Eastman series. He has served as a guest lecturer at the Curtis Institute of Music and Temple University. \nA native of Philadelphia\, Battles studied with concert pianist Leon Bates and currently studies with pianist Eve Wolf\, Executive Artistic Director of Ensemble for the Romantic Century. He earned a Bachelor of Music in Piano Performance\, cum laude\, from Temple University under Harvey Wedeen as a recipient of the Esther Boyer College Scholarship. \ndynastybattles.com \n\n
URL:https://www.bowerbird.org/event/dynasty-battles-sept-2026/
LOCATION:First Presbyterian Church in Germantown\, 35 W Chelten Ave\, Philadelphia\, PA\, 19144\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/dynasty-battles-sept-19-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260917T200000
DTEND;TZID=America/New_York:20260917T220000
DTSTAMP:20261018T130440Z
CREATED:20260730T160557Z
LAST-MODIFIED:20261018T130440Z
UID:10001326-1789675200-1789682400@www.bowerbird.org
SUMMARY:Henry Solomon
DESCRIPTION:Part of Liminal States → \nBowerbird is pleased to present Liminal States\, an ongoing series of in-person performances designed for deep listening and relaxation. Intended to guide audiences to that magic space between wakefulness and sleep\, these performances invite listeners to lie down and immerse themselves in sound. Sink in\, bliss out. \nThis edition features saxophonist Henry Solomon at the Maas Building. \nPlease bring a blanket\, yoga mat\, or other similarly comfortable option. Chairs will be limited. \n\nABOUT THE ARTISTS \nHenry Solomon is an American saxophonist\, composer\, and music producer based in Los Angeles\, California. Originally from the San Francisco Bay Area\, he has built a career spanning solo work\, collaborative projects\, and session work across jazz\, pop\, and experimental music\, while becoming a driving force behind Los Angeles’ constantly evolving musical identity. \nSince the release of his first project Outside World with Logan Kane in 2018\, Henry has developed an ever-growing catalog of solo and collaborative releases\, including his self-released album Night Time Head Crunch\, Buscando El Sol with David Binney and Mateo Ottonello\, and his most recent project\, Seeing Is Forgetting\, a collaborative record with two-time Emmy-nominated composer Elori Saxl released on True Panther Records in February 2026. \nwww.henrysolomon.com/ \n\nOrganized in collaboration with World Askew
URL:https://www.bowerbird.org/event/henry-solomon/
LOCATION:Maas Building\, 1325 N Randolph St\, Philadelphia\, PA\, 19122\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/henry-solomon-sept-17.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260913T100000
DTEND;TZID=America/New_York:20260913T120000
DTSTAMP:20261018T120214Z
CREATED:20260822T161002Z
LAST-MODIFIED:20261018T120214Z
UID:10001339-1789293600-1789300800@www.bowerbird.org
SUMMARY:POSTPONED: Follow The Sound
DESCRIPTION:THIS EVENT HAS BEEN POSTPONED \nSTAY TUNED FOR A NEW DATE \nBowerbird is pleased to present a morning birdwalk at Awbury Arboretum led by Jason Hall with two performances by Elijah J. Thomas on flute and Tom Kraines on cello. This event is in partnership with  S(tree)twork Project and In Color Birding. \nMeet at the Lightning House at Awbury Arboretum \nDIRECTIONS:\nPlease note that Awbury Arboretum has two main sections divided by Washington Lane. The S(tree)twork structure will be built on the ruin of a former barn located in the Farm at Awbury portion. The site is located near Washington Lane. If you are arriving via car\, the best location for parking is on Ardleigh Street. \nPlease take note of the weather and dress accordingly with appropriate footwear. \nEstimated run time: 120 minutes\nDistance: approx. one mile\nFree admission – reservations are encouraged \nABOUT THE EVENT \nFollow the Sound is a communal outdoor listening experience that combines a guided nature walk with live music. Each ambulatory program is attuned to the here and now of its site — birds\, bugs\, water\, and wind — creating a moment of shared awareness and presence. \nFollow the Sound events are free and have been hosted at various sites throughout the Philadelphia area including John Heinz National Wildlife Refuge at Tinicum\, the Schuylkill Center for Environmental Education\, Stoneleigh: a natural garden\, and more\, each led by a naturalist with expertise of the local ecosystem. \nEach ~90-minute program entails walking a distance of less than one mile\, usually on flat\, accessible terrain. A wide range of diverse musicians have participated on an array of flutes\, electronics\, violins\, viola da gamba\, and more\, in solo and impromptu duo formats. \nABOUT THE ARTISTS \nElijah J. Thomas (he/him) is a Black Philadelphia-born\, Harlem-based flutist\, multi-instrumentalist\, educator\, producer\, and composer/experimentalist. Elijah studied woodwind performance/improvisation with Dick Oatts\, Tim Warfield\, Jr.\, Walter Bell\, and Dr. Cynthia Folio; composition with Kevin Rodgers\, Dr. Cynthia Folio\, and Dr. Maurice Wright; and music education studies with Dr. Rollo Dilworth and Dr. Allison Reynolds. Elijah has held teaching positions with Temple University Music Prep\, Settlement Music School\, Tune Up Philly (Philadelphia Youth Orchestra)\, Education Through Music\, BASIS Independent Schools\, and Carnegie Hall. He creates what he calls “enuff music”: music for Black healing and spiritual transcendence. \nNotable work includes the commission and premier of his site-responsive work For Harlem for the new music organization Music At The Anthology\, or MATA (debuted at the Kente Royal Gallery in Harlem\, NYC\, October 2021); collaboration with the International Contemporary Ensemble for their “Ensemble Evolution” partner program with The New School (2020-2024); winner of “Best Film Score” at the Pure Magic International Film Festival for the documentary short Fan of Cory (awarded February 2021 in Amsterdam\, The Netherlands); and selection as one of ten commissioned composers of color to participate in the inaugural “Composing Inclusion” program\, a joint collaboration between The Juilliard School\, New York Philharmonic\, and American Composers Forum (powered by the Sphinx Venture Fund\, 2022–2024). \nElijah is Musical Director of the non-profit performance-based organization Honk NYC!\, whose mission is to “make events that reclaim\, reuse\, and redefine public space and connect communities through music-making\, pageantry\, audience participation\, and education.” \nThomas Kraines\, a graduate of the Curtis Institute of Music and the Juilliard School\, has gained renown as a versatile cellist\, composer\, and teacher. In addition to the Daedalus Quartet\, he performs often with his wife\, violinist Juliette Kang\, with the Philadelphia-based Network for New Music\, the Arcana Ensemble\, and the improvisatory ensembles Great Blue Heron and Basquiat Blues. Kraines’ solo cello and chamber compositions have been heard around the country. He has performed his own works in collaboration with artists such as Awadagin Pratt\, Mimi Stillman\, Maria Jette\, Ilana Davidson\, and Kinan Abou-afach. Kraines has served on the faculty of the Longy School of Music\, Princeton University\, Peabody Conservatory\, Phillips Academy Andover\, and Yellow Barn. He currently teaches at the University of Pennsylvania and the Settlement Music School in Philadelphia. He has performed chamber music at the Moab Music Festival\, Festival dei Due Mondi (Spoleto\, Italy)\, Bravo! Vail\, Caramoor Summer Music Festival\, Next Generation Festival\, Portland Chamber Festival\, Cape Cod Chamber Music Festival\, Mostly Mozart Festival\, and Bard Music Festival. Kraines studied cello with Frederic Raimi\, Orlando Cole\, and Joel Krosnick\, and composition with Tom Benjamin. He lives in Philadelphia with his wife Juliette and daughters Rosalie and Clarissa. \nJason Hall is a team member of In Color Birding which provides an entry point to birding for BIPOC communities in and around Greater Philadelphia. The organization believes that everyone should have safe\, joyful\, and rewarding access to green spaces and the practice of birding. In Color Birding is an inclusive environment for those traditionally marginalized to increase their connections to and appreciation of the natural world through bird walks\, presentations\, funding of transportation costs for classrooms\, teacher mini-grants\, and visits to local sites. \n\nOrganized in collaboration with World Askew and funded in part by PECO\, Team Pennsylvania\, and Pennsylvania Creative Industries
URL:https://www.bowerbird.org/event/postponed-follow-the-sound-sept-2026/
LOCATION:The Farm at Awbury Arboretum\, 6336 Ardleigh St\, Philadelphia\, 19138\, United States
CATEGORIES:Special Series
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/08/awbury-sept-13.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260911T200000
DTEND;TZID=America/New_York:20260911T220000
DTSTAMP:20260902T143148Z
CREATED:20260810T172055Z
LAST-MODIFIED:20260902T143148Z
UID:10001330-1789156800-1789164000@www.bowerbird.org
SUMMARY:Maria Grand and Shakoor Hakeem
DESCRIPTION:Bowerbird is pleased to present Maria Grand with Shakoor Hakeem at The Perch. Negar Soley will open with a solo set of voice and electronics. \nSample of Maria and Shakoor’s work: \n\n  \n\nABOUT THE ARTISTS \nMaría Grand is a saxophonist\, composer\, educator\, and vocalist. She has performed with her ensembles all over Europe and North America; she has also played and/or recorded with creative music luminaries such as Joel Ross\, Mary Halvorson\, Antoine Roney\, Nicole Mitchell\, and more. Her debut EP “TetraWind” was picked as “one of the 2017’s best debuts” by the NYC Jazz Record and her full-length albums Magdalena\, Reciprocity\, and Anohin were praised by major publications such as the New York Times\, Downbeat\, JazzTimes\, Billboard\, JazzIz\, and others. The New York Times calls her “an engrossing young tenor saxophonist with a zesty attack and a solid tonal range”\, while Vijay Iyer says she is “a fantastic young saxophonist\, virtuosic\, conceptually daring\, with a lush tone\, a powerful vision\, and a deepening emotional resonance.” \nMaría is a recipient of the 2017 Jazz Gallery Residency Commission\, the 2018 Roulette Jerome Foundation Commission\, the 2019 Roulette Residency\, and the 2020 Jazz Coalition Commission Award\, and the 2024 Pulse Foundation Award. She was nominated for the Jazz Journalist’s Association Up-And-Coming Musician of the Year 2018 and named the 2018 Newcomer Musician for the El Intruso 11th Annual Internation Critics Poll\, as well as Best New Artist in the 2018 JazzTimes Reader’s Poll. \nIn 2022\, María was commissioned by the Metropolitan Orchestra to write a chamber piece; she composed a piece mixing elements of healing somatic practices with music titled “your very own sun”. The same year\, she also was a Women In Jazz Organization mentor\, working with a young musician to transmit her knowledge and study ways of overcoming hurdles specific to young women in the music industry. \nIn 2024\, Maria also had her debut as conductor\, directing Roscoe Mitchell’s piece Cards in Mantova\, in the presence of the composer; she also began touring as a sideman with Joel Ross’ Good Vibes. She released an album in December 2024 titled Altered Visions\, a collaborative effort with musicians Marta Sanchez\, Camila Nebbia\, Kanoa Mendenhall\, and Iago Fernandez\, on the recently formed label Lilaila Records\, and is set to release her fourth full-length album\, Both Sides\, in April 2026. \nIn 2025\, she was nominated as Best European Musician by the French Académie du Jazz and voted one of the rising tenor saxophone stars by Downbeat. She is a certified relationship consultant from the ETC school of self-development\, based in Quebec. She has a teaching studio where she teaches Music and Self Knowledge\, and recently premiered an Emotional Deep Dive where musicians and audience created a communal moment to sonically mirror and transform emotions. \nFearless percussionist Shakoor Hakeem\, a prolific up-and-coming talent\, has a gift for making experimental\, Afro-diasporan\, rhythmic improvisational music immediately enjoyable. Hakeem’s unique old soul has him adhering to the cultural traditions of mysticism and folklore\, within which are contained the secrets of his elders. The mythical experience of his stage presence evokes feelings that you are witness to a ceremonial gathering\, of an ancient rhythmic history. In building this\, he has long supported many of the most forward-thinking legendary improvisers\, including Graham Haynes\, Immanual Wilkins\, Joel Ross\, Adam Rudolph\, Bobby Zankel and Wallace Roney. Performing live with these great artists\, he refrains from overplaying and prefers minimalism\, playing with the musical and compositional contexts of colors and texture\, delivering limited solos\, all while occupying the eye of the hurricane. \nNegar Soley is Philadelphi-based composer/performer from Tehran\, Iran. Her practice spans sound\, language\, and performance\, moving between quiet\, delicate moments and bursts of intensity\, with an interest in pushing past emotional limits and exploring how a single work — or a single performer — can hold many different selves at once or none at all. \nShe holds a bachelor’s degree in music composition from Tehran University of Art and completed a master’s degree in Experimental Music/Composition at Wesleyan University in 2025. She is currently a PhD student at Temple University\, residing in Philadelphia\, where she continues to work on composition projects and commissions while maintaining an active composer-performer practice.” \n 
URL:https://www.bowerbird.org/event/maria-grand-and-shakoor-hakeem-2/
LOCATION:The Perch\, 2321 Emerald St\, Philadelphia\, PA\, 19125\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/Maria-Grand-aug-15.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260823T090000
DTEND;TZID=America/New_York:20260823T110000
DTSTAMP:20261018T120211Z
CREATED:20260804T153256Z
LAST-MODIFIED:20261018T120211Z
UID:10001329-1787475600-1787482800@www.bowerbird.org
SUMMARY:Follow The Sound
DESCRIPTION:Bowerbird is pleased to present a morning birdwalk at Wissahickon Park led by Tony Croasdale with two performances by Paul Giess on trumpet and Marquise Lindsey-Bradley on clarinet. \nPlease take note of the weather and dress accordingly with appropriate footwear.\nMeet at the Wissahickon Environmental Center – Tree House. \nEstimated run time: 120 minutes\nDistance: approx. one mile\nFree admission – reservations are encouraged \nABOUT THE EVENT \nFollow the Sound is a communal outdoor listening experience that combines a guided nature walk with live music. Each ambulatory program is attuned to the here and now of its site — birds\, bugs\, water\, and wind — creating a moment of shared awareness and presence. \nFollow the Sound events are free and have been hosted at various sites throughout the Philadelphia area including John Heinz National Wildlife Refuge at Tinicum\, the Schuylkill Center for Environmental Education\, Stoneleigh: a natural garden\, and more\, each led by a naturalist with expertise of the local ecosystem. \nEach ~90-minute program entails walking a distance of less than one mile\, usually on flat\, accessible terrain. A wide range of diverse musicians have participated on an array of flutes\, electronics\, violins\, viola da gamba\, and more\, in solo and impromptu duo formats. \nABOUT THE ARTISTS \nPaul Giess is a Philadelphia-based musician\, producer\, and educator whose versatile musicianship crosses traditional boundaries. Described by Downbeat Magazine as delivering “lyrical\, highly expressive trumpet work\,” Paul brings this quality to his performances with artists including Jamaaladeen Tacuma\, Grant Calvin Weston\, Yolanda Wisher\, and Guthrie Ramsey.\n2024 was a landmark year for Paul’s career. At the top of the year\, Paul was featured on Jamaaladeen Tacuma’s album “The Lighthouse” alongside Odean Pope\, Grant Calvin Weston and Marc Cary. Paul was also a featured composer for a WHYY podcast\, Philadelphia Revealed\, composing a variety of music in addition to the theme which he wrote with a long time collaborator Matthew Jernigan. Later that year\, Paul joined Jamaaladeen Tacauma’s Groove Al a Moroc at the Timitar Festival in Agadir Morocco. That same summer\, Paul joined Jamaaladeen again in his Solar System Boogie Band at the Lancaster Ave Jazz Festival in Philadelphia. Towards the end of the year\, Paul was awarded a grant from Scribe Video to help fund an oral history project he has been pursuing with Chrisitiana Jackson\, Director of African Studies at Rutgers University. By recording interviews with elders from the Philadelphia jazz scene such as Andy Aaron\, Lovett Hines\, and Cullen Knight they aim to document oral history while telling the stories of historic jazz clubs in the city. \nHis discography as leader includes “Hymns Vol. 1” (Ropeadope Records\, 2021)\, featuring vocalist V. Shayne Frederick\, and his debut “U Suite U” (2014). Most Recently\, Paul has been releasing music from live performances of a new project\, Untethered. This group explores the unknown through spontaneous creative composition using blends of sound design\, funk\, and energetic sonic interactions with veteran drummer Grant Calvin Weston alongside emerging Philadelphia talents\, Lee Clarke and Timothy Ragsdale. \nAs a composer\, Paul received the 2018 McKnight Visiting Composer Residency from the American Composers Forum. Paul held a two month residency at MSS collaborating with artists with developmental disabilities\, which culminated in a concert featuring the artists from their program. Additionally “Prayer for Mimi” appears in the Philadelphia Real Book. \nPaul’s work also ventures into the world of theatre. In December of 2015 Paul was the trumpet player in the critically acclaimed performance of the musical Black Nativity\, hosted by Theater Horizon in Norristown. Black Nativity won a Barrymore award for Best Musical Ensemble. In January of 2015 Paul traveled to New Orleans Louisiana to be the musical director for an original theater work\, “AMERICANA”. Most recently Paul produced performed and directed a two person show included in Urban Movements Arts’ offerings for the 2024 Philadelphia Fringe Festival. Rubr Duki Dance Party\, is a piece of immersive theatre which guides audiences through a surreal world to help them discover their inner rubber ducky by way of drawing\, writing\, dancing\, quacking and playing with rubber duckies. \nAs an educator\, Paul teaches through Artsmart\, Mill Creek School\, and The Concept School. He came to these positions following seven years at the Philadelphia Clef Club where he served as Education Coordinator under Lovett Hines\, a prolific jazz educator. Concurrently Paul was also implementing a music program for adults with developmental disabilities at the Center for Creative Works\, establishing Pop Pop Pop Records\, and producing concerts that showcase their talents in the process. \nMarquise Lindsey-Bradley is a clarinetist\, arts administrator\, and Philadelphia native who uses music as a foundation for leadership and community service. He joined PCMS as Marketing & Engagement Director in the 2023-24 season\, where he oversees communications for its 50 annual concerts and fosters partnerships with young professionals\, higher education institutions\, corporations\, and community groups. \nMarquise also serves as the Creative Program Coordinator for the Olney Culture Lab\, of CultureTrust Greater Philadelphia\, where he curates the Live at Roots Garden concert series and the annual Jazz on the Green music festival. \nA passionate advocate for musical literacy and diversity in the arts\, Marquise has gained recognition for his work in the field. He has presented to local and national audiences through collaborations with organizations such as the LA Philharmonic\, the Atlanta Symphony Orchestra\, the Sphinx Organization\, and World Cafe Live. He has also been featured on podcasts\, including The Entrepreneurial Musician with Andrew Hitz\, Audio Olney\, and Tacet No More with Yumi Kendall and Joseph Conyers. \nMarquise holds a Bachelor of Music in Clarinet Performance from the Cleveland Institute of Music\, with a Minor in Business Management from Case Western Reserve University. In 2023\, he earned a certificate in Orchestra Management from The Juilliard School in collaboration with the League of American Orchestras. \nIn his free time\, Marquise enjoys spending time in nature\, exploring Philadelphia’s bar and restaurant scene\, and roller skating with the Philly/Jersey-based crew\, Great On Skates. \nTony Croasdale started birding at about nine years old. Tony has performed field research in the Canadian Arctic\, Alaska\, Brazil\, Peru\, and in the Mid-Atlantic. He was the singer of R.A.M.B.O.\, a hardcore punk band and birded extensively while on tour. Tony works as an environmental educator and co-hosts the Urban Wildlife Podcast www.urbanwildlifecast.com. \n\nOrganized in collaboration with World Askew and funded in part by PECO\, Team Pennsylvania\, and Pennsylvania Creative Industries
URL:https://www.bowerbird.org/event/follow-the-sound-aug-2026/
LOCATION:Wissahickon Environmental Center – Tree House\, 300 W Northwestern Ave\, Philadelphia\, PA\, 19118\, United States
CATEGORIES:Special Series
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/08/follow-the-sound-aug-23.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260815T200000
DTEND;TZID=America/New_York:20260815T220000
DTSTAMP:20260817T161926Z
CREATED:20260728T152515Z
LAST-MODIFIED:20260817T161926Z
UID:10001325-1786824000-1786831200@www.bowerbird.org
SUMMARY:POSTPONED: Maria Grand and Shakoor Hakeem
DESCRIPTION:THIS SHOW HAS BEEN POSTPONED\, STAY TUNED FOR A NEW DATE \n  \nBowerbird is pleased to present Maria Grand with Shakoor Hakeem at The Perch. \nSample of their work: \n\nABOUT THE ARTISTS \nMaría Grand is a saxophonist\, composer\, educator\, and vocalist. She has performed with her ensembles all over Europe and North America; she has also played and/or recorded with creative music luminaries such as Joel Ross\, Mary Halvorson\, Antoine Roney\, Nicole Mitchell\, and more. Her debut EP “TetraWind” was picked as “one of the 2017’s best debuts” by the NYC Jazz Record and her full-length albums Magdalena\, Reciprocity\, and Anohin were praised by major publications such as the New York Times\, Downbeat\, JazzTimes\, Billboard\, JazzIz\, and others. The New York Times calls her “an engrossing young tenor saxophonist with a zesty attack and a solid tonal range”\, while Vijay Iyer says she is “a fantastic young saxophonist\, virtuosic\, conceptually daring\, with a lush tone\, a powerful vision\, and a deepening emotional resonance.” \nMaría is a recipient of the 2017 Jazz Gallery Residency Commission\, the 2018 Roulette Jerome Foundation Commission\, the 2019 Roulette Residency\, and the 2020 Jazz Coalition Commission Award\, and the 2024 Pulse Foundation Award. She was nominated for the Jazz Journalist’s Association Up-And-Coming Musician of the Year 2018 and named the 2018 Newcomer Musician for the El Intruso 11th Annual Internation Critics Poll\, as well as Best New Artist in the 2018 JazzTimes Reader’s Poll. \nIn 2022\, María was commissioned by the Metropolitan Orchestra to write a chamber piece; she composed a piece mixing elements of healing somatic practices with music titled “your very own sun”. The same year\, she also was a Women In Jazz Organization mentor\, working with a young musician to transmit her knowledge and study ways of overcoming hurdles specific to young women in the music industry. \nIn 2024\, Maria also had her debut as conductor\, directing Roscoe Mitchell’s piece Cards in Mantova\, in the presence of the composer; she also began touring as a sideman with Joel Ross’ Good Vibes. She released an album in December 2024 titled Altered Visions\, a collaborative effort with musicians Marta Sanchez\, Camila Nebbia\, Kanoa Mendenhall\, and Iago Fernandez\, on the recently formed label Lilaila Records\, and is set to release her fourth full-length album\, Both Sides\, in April 2026. \nIn 2025\, she was nominated as Best European Musician by the French Académie du Jazz and voted one of the rising tenor saxophone stars by Downbeat. She is a certified relationship consultant from the ETC school of self-development\, based in Quebec. She has a teaching studio where she teaches Music and Self Knowledge\, and recently premiered an Emotional Deep Dive where musicians and audience created a communal moment to sonically mirror and transform emotions. \nFearless percussionist Shakoor Hakeem\, a prolific up-and-coming talent\, has a gift for making experimental\, Afro-diasporan\, rhythmic improvisational music immediately enjoyable. Hakeem’s unique old soul has him adhering to the cultural traditions of mysticism and folklore\, within which are contained the secrets of his elders. The mythical experience of his stage presence evokes feelings that you are witness to a ceremonial gathering\, of an ancient rhythmic history. In building this\, he has long supported many of the most forward-thinking legendary improvisers\, including Graham Haynes\, Immanual Wilkins\, Joel Ross\, Adam Rudolph\, Bobby Zankel and Wallace Roney. Performing live with these great artists\, he refrains from overplaying and prefers minimalism\, playing with the musical and compositional contexts of colors and texture\, delivering limited solos\, all while occupying the eye of the hurricane. \n 
URL:https://www.bowerbird.org/event/maria-grand-and-shakoor-hakeem/
LOCATION:The Perch\, 2321 Emerald St\, Philadelphia\, PA\, 19125\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/Maria-Grand-aug-15.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260726T100000
DTEND;TZID=America/New_York:20260726T120000
DTSTAMP:20261018T120209Z
CREATED:20260718T141400Z
LAST-MODIFIED:20261018T120209Z
UID:10001322-1785060000-1785067200@www.bowerbird.org
SUMMARY:Follow The Sound
DESCRIPTION:Bowerbird is pleased to present a morning birdwalk at the New\, Unnamed Preserve next to Tacony Creek led by Nicole Hameen interspersed with two performances by Sonali Singh and Melinda Rice. \nPlease take note of the weather and dress accordingly with appropriate footwear.\nMeet at the parking lot of Friends Hospital and look for the Bowerbird a-frame sign. \nEstimated run time: 120 minutes\nDistance: approx. one mile\nTerrain: ADA accessible\nFree admission – reservations are encouraged \nABOUT THE EVENT \nFollow the Sound is a communal outdoor listening experience that combines a guided nature walk with live music. Each ambulatory program is attuned to the here and now of its site — birds\, bugs\, water\, and wind — creating a moment of shared awareness and presence. \nFollow the Sound events are free and have been hosted at various sites throughout the Philadelphia area including John Heinz National Wildlife Refuge at Tinicum\, the Schuylkill Center for Environmental Education\, Stoneleigh: a natural garden\, and more\, each led by a naturalist with expertise of the local ecosystem. \nEach ~90-minute program entails walking a distance of less than one mile\, usually on flat\, accessible terrain. A wide range of diverse musicians have participated on an array of flutes\, electronics\, violins\, viola da gamba\, and more\, in solo and impromptu duo formats. \nABOUT THE ARTISTS \nNicole Seahorne Hameen joined the Fairmount Park Conservancy team in January 2021. In her role as Education & Engagement Specialist\, Nicole leads We Walk PHL\, a free walking and social club with 18 locations throughout the city and thousands of annual participants\, and provides critical support for the Conservancy’s community partnerships\, activation events\, volunteer programming\, and natural lands work\, with a strong focus on community-focused health and wellness initiatives. \nBefore joining the Conservancy team full-time\, Nicole worked as a Recreation Speciality Instructor for Philadelphia Parks & Recreation\, leading the We Walk PHL program in collaboration with the Conservancy and performing field research and data collection for Penn State centered on park usage and community input. She worked for the Institute for Community Justice’s workforce and development team\, where she served in client support\, outreach\, program development\, and presentations. \nNicole is a member of the Overbrook Park Civic Association and a volunteer for GirlTrek. She is certified in CPR and mental health first aid\, holds a certification from Temple University as a community health worker\, and studied Applied Behavioral Analysis at Purdue University. Look for her throughout the Fairmount Park system birding\, exploring\, and laughing loudly with family and friends as she hikes trails and hugs trees. \nMelinda Rice loves circles\, metaphorical and literal. Their recent collaborative projects include a performance combining looped string music\, spoken word and cemetery history (re:claim with Heather Bowlan at Laurel Hill Cemetery)\, a song cycle around a personal history of water for piano\, violin\, and voice (Water Cycle with Teri Card Heller)\, and a solo acoustic violin series with a live siren from a local nuclear generating station (siren songs\, and right beneath the moon on Strange Woman Records). Melinda is interested in creating space for genuine reaction in performance\, both in her own works and when working with other composers/musicians. She enjoys digging into new chamber works\, plays with a wedding band\, and directs the string ensemble at Ursinus College. \nFrom busking on Broad street to drumming in a darkened cemetery\, Sonali Singh lets themselves be swept into the madness and passion of Philadelphia’s creative and improvisation scene. They ache to soothe hurt souls\, much like theirs\, on this shared journey. Through foundations of music therapy and the power of improvisation\, Sonali hopes to foster a sense of community\, nurturing and .. aaand.. aaand wow\, I’m sure you get it. Make music with me. Make joy with me. Make space for grief\, anger\, loss\, and pain with me. Or let’s scream for no reason! \n  \n\nOrganized in collaboration with World Askew and funded in part by PECO\, Team Pennsylvania\, and Pennsylvania Creative Industries
URL:https://www.bowerbird.org/event/follow-the-sound-july-2026/
LOCATION:Tacony Creek Park\, 4641 Roosevelt Blvd\, Philadelphia\, PA\, 19124\, United States
CATEGORIES:Special Series
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/07/follow-the-sound-july-26.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260620T180000
DTEND;TZID=America/New_York:20260620T200000
DTSTAMP:20261019T012945Z
CREATED:20260504T174820Z
LAST-MODIFIED:20261019T012945Z
UID:10001320-1781978400-1781985600@www.bowerbird.org
SUMMARY:Follow The Sound
DESCRIPTION:Please note this is an outdoor performance. In case of rain\, the performance will take place Sunday June 21st. \nBowerbird is pleased to co-present Follow the Sound at Stoneleigh: a natural garden. This unique program blends a naturalist-led walk through the garden\, with particular attention focused on birds\, bugs and ‘the here and now’ of the environmental soundscape\, interspersed with site-responsive impromptu performances by trombonist Dan Blacksberg and saxophonist Andrew Urbina along the way. This will be a rare and special opportunity for deep communal listening and attunement in a beautiful setting. \nEstimated run time: 60 minutes \nTicketing link will be available soon.\nThere will be two time-slots to choose from:\n6pm start and 6:30pm start \n$30 – Natural Lands member ticket\n$40 – Non-member ticket\n$20 – Young Adult ticket (30 and under)\n$10 ACCESS ticket \n\nABOUT THE ARTISTS \nGenre-defying and tradition-inhabiting trombonist\, improviser\, and klezmer musician Dan Blacksberg creates a vast musical universe that encompasses everything from the minute variations of a melody that power the unencumbered joy of a Yiddish Dance Party to the hair-raising extended techniques of the most avant-garde jazz and noise rock\, and most everything in between. \nAndrew Urbina (saxophone) is from the suburbs of Philadelphia and of Colombian descent. He is a freelance musician who performs and teaches throughout the United States\, Canada\, and Colombia. He earned a Bachelor of Music from New England Conservatory and a Masters of Music from McGill University both concentration in Jazz Studies. He also completed his PA K-12 Teaching Certification at Immaculata University. In the summer of 2008\, Andrew participated in the Banff International Workshop of Jazz and Creative Music at the Banff Centre led by Dave Douglas in Alberta\, Canada. The following year in January 2009\, Andrew performed at the VI Panama Jazz Festival with an ensemble from New England Conservatory and later from 2012-2016\, he lived in Bogota\, Colombia and was an active performer and educator throughout the country. In January 2016\, he had the opportunity to perform with the Ida y Vuelta ensemble at the X Festival Internacional de Musica in Cartagena\, Colombia. Currently as a performer\, Andrew is an active member of the Norman David Eleventet\, U.S.E. Trio\, Phantasma\, BeUs Quartet and performs regularly with various groups throughout the greater Philadelphia area. He is also an active and passionate educator and has worked in many educational settings such as La Universidad Sergio Arboleda\, McGill University\, PA Governor’s School of the Arts\, and Bala Cynwyd Middle School. He currently is a Music Teacher at Radnor Middle School where he teaches concert band\, jazz band\, general music and music technology. \n\nOrganized in collaboration with World Askew and funded in part by PECO\, Team Pennsylvania\, and Pennsylvania Creative Industries
URL:https://www.bowerbird.org/event/follow-the-sound-at-stoneleigh/
LOCATION:Stoneleigh: a natural garden\, 1829 County Line Road\, Villanova\, PA\, 19085\, United States
CATEGORIES:Special Series
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/05/follow-the-sound-june-20.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260613T190000
DTEND;TZID=America/New_York:20260613T200000
DTSTAMP:20260511T143041Z
CREATED:20260504T173633Z
LAST-MODIFIED:20260511T143041Z
UID:10001319-1781377200-1781380800@www.bowerbird.org
SUMMARY:The Music of Pauline Oliveros
DESCRIPTION:Please note\, this is an outdoor performance. The scheduled performance is Saturday June 13\, 7:00pm with a rain date of Sunday June 14\, 7:00pm \nBowerbird is pleased to co-present the Arcana New Music Ensemble performing music of Pauline Oliveros at Stoneleigh: a natural garden. Pauline Oliveros’ (1932-2016) life as a composer\, performer and humanitarian was about opening her own and others’ sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary dissolving music making. In the ’50s she was part of a circle of iconoclastic composers\, artists\, poets gathered together in San Francisco. In the 1960’s she influenced American music profoundly through her work with improvisation\, meditation\, electronic music\, myth and ritual. \nPROGRAM \nThe Well\nThe Gentle \nARCANA NEW MUSIC ENSEMBLE \nMolly Germer\, violin\nCarlos Santiago\, violin\nAlyssa Almeida\, cello\nTessa Ellis\, trumpet\nJay Krush\, tuba\nNicholas Handahl\, flute\nAndy Thierauf\, percussion \nNOTES \nWritten between 1982-1983 and commissioned by Philadelphia’s Relâche Ensemble\, The Well and The Gentle are two of Oliveros’ Sonic Meditations – text-based\, intuitive pieces rooted in listening with minimal instructions. \nThe performance will take place at the pool house\, an outdoor space in the heart of Stoneleigh’s bucolic campus (seating provided). The garden will open at 5:30 for audience members to come early and enjoy the grounds. Feel free to bring a blanket and picnic! \nTicketing link will be available soon\n$30 – Natural Lands member ticket\n$40 – Non-member ticket\n$20 – Young Adult ticket (30 and under)\n$10 ACCESS ticket \n\nABOUT THE ARTISTS \nPauline Oliveros’ (1932-2016) life as a composer\, performer and humanitarian was about opening her own and others’ sensibilities to the universe and facets of sounds. Her career spanned fifty years of boundary dissolving music making. In the ’50s she was part of a circle of iconoclastic composers\, artists\, poets gathered together in San Francisco. In the 1960’s she influenced American music profoundly through her work with improvisation\, meditation\, electronic music\, myth and ritual. \nShe was the recipient of four Honorary Doctorates and among her many recent awards were the William Schuman Award for Lifetime Achievement\, Columbia University\, New York\, NY\,The Giga-Hertz-Award for Lifetime Achievement in Electronic Music from ZKM\, Center for Art and Media\, Karlsruhe\, Germany and The John Cage award from from the Foundation of Contemporary Arts. \nOliveros was Distinguished Research Professor of Music at Rensselaer Polytechnic Institute\, Troy\, NY\, and Darius Milhaud Artist-in-Residence at Mills College. She founded “Deep Listening®\,” which came from her childhood fascination with sounds and from her works in concert music with composition\, improvisation and electro-acoustics. She described Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life\, of nature\, of one’s own thoughts as well as musical sounds. \n“Deep Listening is my life practice\,” Oliveros explained\, simply. Oliveros founded Deep Listening Institute\, formerly Pauline Oliveros Foundation\, now the Center For Deep Listening at Rensselaer\, Troy\, NY. Her creative work is currently disseminated through The Pauline Oliveros Trust and the Ministry of Maåt\, Inc. \nArcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Founded in 2015\, the chamber ensemble is dedicated to contemporary classical music performing works by living composers and to reexamine music from the past\, often focusing on composers whose work has been overlooked. A hallmark of Arcana’s programming is its frequent use of portrait concerts\, which allow the ensemble to explore a composer’s work in depth. These programs balance music by widely recognized composers with works by those who are less well known or historically underrepresented. \n 
URL:https://www.bowerbird.org/event/the-music-of-pauline-oliveros-at-stoneleigh/
LOCATION:Stoneleigh: a natural garden\, 1829 County Line Road\, Villanova\, PA\, 19085\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/05/oliveros-at-stoneleigh.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T200000
DTEND;TZID=America/New_York:20260605T220000
DTSTAMP:20260720T150628Z
CREATED:20260403T135044Z
LAST-MODIFIED:20260720T150628Z
UID:10001316-1780689600-1780696800@www.bowerbird.org
SUMMARY:Morton Feldman: Three Voices
DESCRIPTION:Bowerbird is pleased to present vocalist Charlotte Mundy performing Morton Feldman’s iconic work Three Voices at University Lutheran Church. \nFeldman’s “Three Voices” was written for the experimental vocalist and composer Joan LaBarbara in 1982. The original concept involved the live performer singing along with two pre-recorded parts projected through on-stage amplifiers\, creating an effect of three individual “voices”\, all with the same origin (Ms. LaBarbara). Three Voices is indeed a challenging and ground-breaking work\, and has very rarely been performed live with three singers due to its nearly impossible demands on the human voice and psyche – impeccable rhythmic concentration\, shrewd attention to tuning\, and the ability to sound as one voice in three parts. The text is based on Frank O’Hara’s poem\, Wind\, and shapes\, twists\, and morphs short phrases from the poem into an hour-long musical experience. \n\nABOUT THE ARTIST \nCanadian soprano Charlotte Mundy has been dubbed a “daredevil with an unbreakable spine” (SF Classical Voice)\, and “mesmerizing” (New York Times). As a founding member of TAK ensemble\, “one of the most prominent ensembles in the United States practicing truly experimental music” (I Care If You Listen)\, Mundy has performed at Lincoln Center and the Library of Congress\, premiering works by Tyshawn Sorey\, Erin Gee\, Eric Wubbels\, Brandon Lopez\, and Natacha Diels. Mundy is also a core member of Ekmeles\, described as “beyond expert – almost frightening in their precision” by Fanfare magazine and recent recipients of the Ernst von Siemens Ensemble Prize. \nMundy’s recent projects as a soloist include site-specific opera Newtown Odyssey by Kurt Rohde and Marie Lorenz; premieres of concert works by Alyssa Regent and Aida Shirazi\, and the debut of a new collaborative multimedia project with Christian Quiñones. Past performances include critically acclaimed renditions of Schoenberg’s Pierrot Lunaire\, Boulez’s Le Marteau sans Maître\, Feldman’s Three Voices\, George Benjamin’s Into the Little Hill\, Iannis Xenakis’ Akanthos\, and a set of music for voice and electronics presented by New York Festival of Song\, described as “an oasis of radiant beauty” by the New York Times. \nAs a recording artist\, Mundy is featured on recordings ranging from contemporary classical music to black metal to prog rock to ambient music. Her recent album with Francisco del Pino\, The Sea\, was named one of the 25 best albums of 2025 by Steve Smith. Mundy is the vocal soloist on the studio recording of Bekah Simms’ Juno award winning composition Bestiary I & II\, and her recordings as a member of TAK and Ekmeles have been widely praised. \nHer compositions have been performed at Roulette\, JACK theater\, University of New Mexico\, Fuse Factory\, and the Higher Ground festival. They include SWEET FLAG!\, whose score consists of home-made rosaries\, The Empress Negligee and Leopard Queen Dream for voice\, piñata/thurible/shakers and percussion\, and the surround sound/light/wind/smell installation\, Light as a Feather\, presented by Harvestworks Digital Media Arts. \nBorn in Toronto and based in Brooklyn\, Mundy studied classical voice at the University of Toronto\, contemporary performance at the Manhattan School of Music\, and is working toward a Doctor of Musical Arts degree at the CUNY Graduate Center. \n\n\n  \n\nFunding provided in part by New Music USA
URL:https://www.bowerbird.org/event/morton-feldman-three-voices-2026/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/04/June-5-three-voices.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T200000
DTEND;TZID=America/New_York:20260604T220000
DTSTAMP:20261019T012956Z
CREATED:20260519T175058Z
LAST-MODIFIED:20261019T012956Z
UID:10001321-1780603200-1780610400@www.bowerbird.org
SUMMARY:MSHR
DESCRIPTION:Bowerbird is pleased to present MSHR with opening set by Grace Villamil at The Rotunda. \nIn collaboration with MUSICA PRACTICA / ELETTRONICA VIVA\, this performance brings together electronic sound artists who investigate cybernetics\, and embodied attunement via custom hardware and lighting networks to create immersive soundscape ceremonies. \n\nABOUT THE ARTISTS \n \nGrace is an interdisciplinary artist working with sound\, performance\, imagery\, and embodied archives. Her practice tends to how infrastructures of language\, urban noise\, sport\, and pedagogy shape how the body listens over time. Drawing from heritage: karaoke culture\, basketball\, and environmental sound\, her work proposes alternative modes of listening that resist pitch discipline\, virtuosity\, and assimilation. \nCurrent projects include mumulak; Interaural Space\, a community installation turned WPRB radio broadcast on noise\, migration\, and oral history; ⎤⎤⎤ (Superpang & Notice Recordings); Her work has been presented with Morphine Records\, Fridman Gallery\, and Black Mountain College Museum\, including community projects with IONE and the Pauline Oliveros Foundation. She’s performed works by Raven Chacon and collaborated live-visuals with Tyondai Braxton. Presentations include Amant\, Elbphilharmonie Kleiner Saal\, Kiosk Radio\, BXL\, The Broad / REDCAT\, Issue Project Room\, among others. \ngracevillamil.com/ \nMSHR is an art collective that collaboratively builds and explores sculptural electronic systems. \nTheir performances and installations integrate electrical signals and human presence\, weaving dense networks of causality to form audiovisual environments that babble with a life-like current. \nThey explore intuitive and technical gradients between sonic and sculptural forms\, using analog circuitry and open-source software to sculpt mutually resonant hyperobjects. \nMSHR was founded by Brenna Murphy and Birch Cooper in 2011 in Portland\, Oregon\, as an offshoot from the collective Oregon Painting Society. \nThe name MSHR is a modular acronym designed to hold varied ideas over time. It can be pronounced as an acronym or like one who meshes. \nMSHR \n 
URL:https://www.bowerbird.org/event/mshr/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/05/MSHR-June-4.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260529T200000
DTEND;TZID=America/New_York:20260529T220000
DTSTAMP:20260720T150443Z
CREATED:20260330T162353Z
LAST-MODIFIED:20260720T150443Z
UID:10001315-1780084800-1780092000@www.bowerbird.org
SUMMARY:Laraaji
DESCRIPTION:ONLINE RSVP’s are filled.\nPlease note:\nDoors for those with online RSVPs will open at 7:15pm and all others may enter at 7:30pm. \nWe are thrilled to welcome back Laraaji\, a key figure in the evolution of ambient music whose distinctive sound has been captivating listeners for decades. Philadelphia-born and New Jersey-raised\, Laraaji has pursued spiritual transcendence through music since the mid-1970s. After years of developing an aesthetic shaped by Eastern philosophies and transcendental research in his longtime Harlem home\, Laraaji’s breakthrough came when Brian Eno discovered him busking in Washington Square Park in 1979\, improvising celestial meditations on his electric zither. This encounter led to a collaboration on Eno’s influential Ambient series\, resulting in the 1980 album Day of Radiance. \nSince then\, Laraaji has become a defining figure in new age and ambient music\, known for his commitment to hand-crafted sounds over synthesizers and his embrace of a human presence in his performances. Whether playing monochord instruments\, singing\, or using electronics-kissed percussion\, his music remains rooted in a cosmic African-American tradition. His soundscapes are as hypnotically beautiful as they are rich with moments of tension and dissonance\, bringing depth to his trance-inducing explorations. For over four decades\, Laraaji’s work has continued to evolve\, inviting listeners into deep states of reflection while remaining grounded in a deeply personal musical journey. \n\n\n  \n\n 
URL:https://www.bowerbird.org/event/laraaji-friday-may-29-2026-at-the-rotunda/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/03/May-29-Laraaji.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260516T190000
DTEND;TZID=America/New_York:20260516T220000
DTSTAMP:20260615T151538Z
CREATED:20260105T174202Z
LAST-MODIFIED:20260615T151538Z
UID:10001298-1778958000-1778968800@www.bowerbird.org
SUMMARY:The Music of Ben Nobuto
DESCRIPTION:Bowerbird is pleased to present the NakedEye Ensemble performing a concert of music by Ben Nobuto. \nPROGRAM \nLucid (2020) for piano and electronics\nTell Me Again (2022) for piano\, electronics\, and film\ntrio (for ivy house) (2024) for flute\, cello\, piano & electronics\nLove Games (2023) for six players\, electronics & video\nThree Studies (2022) for percussion & electronics \nABOUT THE ARTISTS \nBen Nobuto (b.1996) is a British/Japanese composer and pianist from Kent\, UK\, with a distinctive style variously described as ‘postmodern’ (Nonclassical) and ‘utterly contemporary’ (Manchester Collective). His music celebrates the fragmentations from internet and pop cultures that disrupt (enrich?) our lives\, the video games we play to escape (narrate?) ourselves. There is a naturalness in the chaos of quotations that exudes joy\, playfulness\, and a touch of irony that never devolves into judgement. “I try to make music that feels really transparent and clear in its intention because I like the idea that even very complex music can be accessible and enjoyable to anyone if it’s presented in the right way. I think that’s why I’m also drawn to things like brightness\, joy\, humour\, playfulness and kitschy things – it gives the music a lightness and invites the listener in.” (Ben Nobuto\, classical-music.uk) \nAt only 29 years old\, Ben has created a significant body of work seductive in its story-telling and masterful in the way acoustic instruments\, electronic sounds\, and video work together. His Gen Z synthesized world of scattered internet pieces utilizes techniques that echo John Zorn (collage)\, Scott Johnson (phrase-painting)\, minimalism\, but build to an experience that is uniquely Ben Nobuto. “A lot of my inspiration comes from trying to imagine these dreamlike scenarios where random things can coexist\, like a virtual environment where you can place contradictory ideas side by side and somehow make them feel right. It feels a bit like how dreams work\, in that you don’t question why surreal or impossible things happen until after you wake up\, they just seem to make sense in that weird dream-logic way.” Ben graduated from the University of Cambridge in 2019\, where he holds a Bmus and MPhil Distinction-award degree in Music. He was the recipient of the 2019 Bliss Prize for composition. Ben is currently working on recording and producing his first album of original works. \nNakedEye is an electro-acoustic group with classical\, rock\, and jazz DNA on the forefront of cutting-edge and crossover music that defies conventional labels. Founded in 2013 and based out of Lancaster\, PA\, NakedEye has developed a fluid repertoire reflective of its DNA\, commissioning projects\, institutional and artistic collaborations\, and its mission of musical exploration and innovation. NakedEye commissions work from young emerging composers such as Angélica Negrón\, Molly Joyce\, Florent Ghys\, and Monica Pearce\, as well as established composers such as Jerome Kitzke\, Randall Woolf\, and Zack Browning. NakedEye is also fortunate to count among its core members the multi-talented composers Richard Belcastro and Rusty Banks. \nThree albums reflect the group’s stylistic diversity. “Storylines Crossing” (Starkland\, 2018) explores the group’s blues and jazz expressions. This CD received Global Music Awards’ Best Debut Album and Best Ensemble Album of 2018. “Toy” (New Focus Recordings\, 2019) takes the group’s focus on a miniaturist journey with original works featuring music for toy piano and toy instruments. “A Series of Indecipherable Glyphs” (New Focus Recordings\, 2022) offers Zappa-inspired rock inflections and their unique virtuosic rendition of Sinister Footwear II. \nIn addition to its regular season concerts in the Northeast\, NakedEye has been featured at New Music Gathering\, Queens New Music Festival\, The Chamber Music Society of St Louis\, The DCCC New Music Series\, Pikes Falls Chamber Music Festival\, Tribeca New Music\, as well as schools and universities in PA and DE. \nNakedEye Ensemble is led by pianist Ju-Ping Song and is supported in part by The Russo Family Foundation\, PA Council on the Arts\, The Amphion Foundation\, and New Music USA. \n\n\n  \n\nFunding provided in part by New Music USA
URL:https://www.bowerbird.org/event/the-music-of-ben-nobuto/
LOCATION:The Perch\, 2321 Emerald St\, Philadelphia\, PA\, 19125\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/01/Bowerbird-Main-Img-2026-01-05T123652.524.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260515T190000
DTEND;TZID=America/New_York:20260515T210000
DTSTAMP:20260615T151524Z
CREATED:20260105T183121Z
LAST-MODIFIED:20260615T151524Z
UID:10001296-1778871600-1778878800@www.bowerbird.org
SUMMARY:Equinox
DESCRIPTION:Bowerbird is pleased to present Variant 6 performing their program Equinox. \nServing as the centerpiece for this program is Philadelphia composer Benjamin C.S. Boyle’s first Cantata: To One in Paradise. The poem “To One is Paradise” is a poem by Edgar Allan Poe dating from his mature poetic period that features many of the poet’s favorite themes: young love\, divinity\, and death. The Cantata – composed 20 years ago by Boyle – will be performed in an all-new transcription by the composer for four vocal soloists of Variant 6 and pianist Laura Ward. In addition to Boyle’s work\, we will perform works by Brahms and Fauré for voices and piano on themes of love\, loss\, and darkness. \nPROGRAM \nGabriel Fauré:\nMadrigal\nPuisqu’ici-bas toute âme\nPleurs d’Or\nLes Djinns \nJohannes Brahms:\nDie Meere\nSpätherbst\nO Schöne Nacht \nBenjamin C.S. Boyle:\nTo One in Paradise \nVariant 6: \nRebecca Myers\, soprano\nLauren Kelly\, mezzo-soprano\nJames Reese\, tenor\nDaniel Schwartz\, bass \nLaura Ward\, piano \n\nABOUT THE ARTISTS \nVariant 6 explores the expressive potential of the human voice through vocal chamber music that is at once virtuosic\, poignant\, and approachable. Composed of artists with a diverse set of skills and a wide range of expertise\, we seek out repertoire that embodies this potential. We collaborate with artists of many disciplines\, creating refreshing interpretations of music of the past and innovative premieres of new works. Our concerts are unique and intimate musical experiences that foster deep conversation between artists and audience. Variant 6 shares our unique take on vocal chamber music with people all over the city of Philadelphia. Our approachable and collaborative projects create an environment where audiences of different backgrounds will feel inspired to attend our events\, respond to our music\, and get to know us as individuals.\nvariantsix.com \n\n\n  \n\n  \n\nFunding provided in part by New Music USA
URL:https://www.bowerbird.org/event/equinox/
LOCATION:Philadelphia Ethical Society\, 1906 Rittenhouse Square\, Philadelphia\, PA\, 19103\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/01/Bowerbird-Main-Img-2026-01-05T115620.758.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260503T100000
DTEND;TZID=America/New_York:20260503T120000
DTSTAMP:20261019T012934Z
CREATED:20260330T160852Z
LAST-MODIFIED:20261019T012934Z
UID:10001314-1777802400-1777809600@www.bowerbird.org
SUMMARY:Follow The Sound
DESCRIPTION:Bowerbird is pleased to present a morning birdwalk at the John Heinz National Wildlife Refuge at Tinicum led by Tony Croasdale interspersed with two performances by Matt Engle and Juan Castrillón. \nPlease take note of the weather and dress accordingly with appropriate footwear.\nMeet at the Environmental Education Pavilion\, to the right of the visitor center\, near the parking lot\, there are toilets and a water fountain nearby. Map \nEstimated run time: 120 minutes\nDistance: approx. one mile\nTerrain: ADA accessible\nFree admission – reservations are encouraged\n \n\nABOUT THE ARTISTS \nMatt Engle grew up in the Philadelphia area and has been an active member of the creative and improvised music scene for 20 years. Matt defies categorization seamlessly moving among different styles and disciplines. His work extends to the world of electronic music\, featured on his recording with poet Michael Szekely under the name The Alternate View. Recently Matt recorded with the Chad Taylor Quintet for a release on Otherly Love records entitled Smoke Shifter. His love of the acoustic bass matches the intimacy of the pairing of his mind and body to this particular instrument. His deep interest in birds\, waves\, unique people\, esoteric sounds\, the moon and all celestial objects helps to increase the emotional\, spiritual and creative content of his work in music.\nHe has contributed to many situations in music previously performing and/or recording with Chad Taylor\, Bobby Zankel\, Sonic Liberation Front\, Shot By Shot\, Yapp\, Split Red\, Dave Liebman\, Marshall Allen\, Sam Newsome\, Rick Iannacone\, jaimie branch\, Elliott Levin\, Anthony Pirog\, Raymond King\, David Middleton\, Dan Blacksberg\, Vince Johnson\, Muhammad Ali\, Oliver Lake\, Tim Berne\, Pete Angevine\, Thurman Barker\, and Brandon Seabrook among many others. \nMiddleear | Oído Medio\nJuan Castrillón is a multimodal cultural anthropologist\, ethnomusicologist and musician with regional expertise in Türkiye and the Northwest Amazon in Colombia. His research interests include theories of listening\, media archives\, contemporary healing arts\, mimesis\, and modalities of inscription. His multimodal work and performances dialogue with contemporary debates about decoloniality\, heterogenesis\, visual and sound/music cultures\, and indigenous analytics of the person\, space\, magic\, and technology. \nTony Croasdale started birding at about nine years old. Tony has performed field research in the Canadian Arctic\, Alaska\, Brazil\, Peru\, and in the Mid-Atlantic. He was the singer of R.A.M.B.O.\, a hardcore punk band and birded extensively while on tour. Tony works as an environmental educator and co-hosts the Urban Wildlife Podcast <http://www.urbanwildlifecast.com/>. \n  \n\nOrganized in collaboration with World Askew and funded in part by PECO\, Team Pennsylvania\, and Pennsylvania Creative Industries
URL:https://www.bowerbird.org/event/follow-the-sound-may-2026/
LOCATION:John Heinz National Wildlife Refuge at Tinicum\, 8601 Lindbergh Blvd\, Philadelphia\, PA\, 19153\, United States
CATEGORIES:Special Series
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260423T200000
DTEND;TZID=America/New_York:20260423T220000
DTSTAMP:20260615T151557Z
CREATED:20260406T171812Z
LAST-MODIFIED:20260615T151557Z
UID:10001317-1776974400-1776981600@www.bowerbird.org
SUMMARY:Experiments in Neuroaesthetics: Evoking Voices from Biological Systems
DESCRIPTION:Bowerbird is pleased to co-present Gene Coleman’s program Experiments in Neuroaesthetics: Evoking Voices from Biological Systems. \nIn the music of Giacinto Scelsi\, Luigi Nono and Pauline Oliveros\, and in the films of Stan Brakhage\, there was a desire to reveal the “inner voices”. Working with new biodata technologies and systems\, we reach a new reality\, where the inner voices of the body\, mind\, via biological systems\, can be Evoked – seen and heard in unprecedented ways. How can we create music and art in this new reality? This program shows three different approaches\, which are linked by use of The Source\, a Biodata device that can translate electric biorhythms into various media. The program features work by: KAVI (Ilze Briede)\, The Quantum Global Organoid Orchestra (q.GOO)\, and The Neuro Music Ensemble Conjure. \n\nPROGRAM \nKAVI: Emergent Feedback Loops: Cybernetics and the Human Brain \nqGOO (Quantum Global Organoid Orchestra): q.GOO_ PhiladelphiaNeuroMusicAI/42026 \nGene Coleman: EVOCARE (2026) for string quartet and neuro electronics\nConjure Neuro Music Ensemble + Guests\nAdam Vidiksis\, Neuro electronics\nSam Wells\, Neuro electronics\nTom Kraines\, Cello\nGene Coleman (Composition and Direction)\nWith special guests\nMelinda Rice and Molly Germer\, Violins\nMaren Rothfritz\, Viola \n\nABOUT THE PROGRAM \nKAVI (Ilze Briede)\, a Latvian–Canadian artist and researcher working across visual art\, digital design\, interactive installation\, and live audiovisual performance. Her work Emergent Feedback Loops: Cybernetics and the Human Brain\, uses her biodata to generate complex visual structures\, accompanied by improvisational responses from musicians. Her work examines how physiological data—such as brain activity and other biosignals—can function as generative inputs for artistic systems. This performance presents ongoing dissertation research and a research-creation inquiry within computational arts\, exploring the integration of live human brain data into cybernetic systems. Drawing on unprocessed neural signals\, the work resists reductionist models of data interpretation and knowledge construction\, aiming to create more authentic\, unpredictable experiences that foreground emergence\, unpredictability\, and co-evolution. A feedback loop among performers\, the computational system\, and spectators forms a dynamic\, interdependent ecology in which visual\, sonic\, and spatial elements continuously evolve in real time. This research is supported by a developing biophysical sensing device from BioMECI called The Source\, designed to collect and translate physiological signals into performative outputs. Through this system\, brain activity becomes an active agent within a cybernetic environment\, enabling new forms of interaction and perception. Positioned at the intersection of art\, science\, and technology\, this work proposes a framework for data-driven performance centered on relationality\, embodiment\, and collective world-building. \nThe Quantum Global Organoid Orchestra (q.GOO) presents its composition\nq.GOO_PhiladelphiaNeuroMusicAI/42026. This work extends contemporary practice in media art\, neuroscience\, and AI by making perceptible the hidden rhythms of living neural matter and prompting new questions about perception\, agency\, and the future of embodied computation. \nThe Neuro Music Ensemble Conjure performs EVOCARE\, a composition by Gene Coleman for string quartet and neuro electronics. Coleman calls this “Neuro Music” – music modeled on the auditory pathways of the brain and nervous system. EVOCARE reveals the inner voices of the body and mind using a new Biodata technology called The Source\, which translates our nervous system rhythms into sound. EVOCARE is a dynamic dialog between acoustic music and the Biorhythms of perception\, interoception\, affect\, emotion and thought. \nThis program is produced by The Institute for Music and Neuroaesthetics\, Bowerbird and The Rotunda \n\nABOUT THE ARTISTS \nIlze Briede (artist name Kavi) is a Latvian–Canadian artist and researcher working across visual art\, digital design\, interactive installation\, and live audiovisual performance. Her creative and pedagogical practice engages with biophysical sensing\, creative coding\, and projection-based media to explore the aesthetic and epistemological potential of physiological data. Kavi is currently a PhD candidate in Digital Media at York University\, Toronto\, where her research investigates the design of cybernetic systems for performance and immersive narrative environments driven by real-time biophysical signals. Her work examines how physiological data—such as brain activity and other biosignals—can function as generative inputs for artistic systems\, enabling alternative modes of perception\, participation\, and knowledge production.\nwww.ka-vi.com/ \nGene Coleman is a composer\, musician and director. Among his Awards: Guest Composer at Chigiana International Festival (2026)\, Composer in Residence at Contemporanea Monferrato (2024)\, New Jersey Arts Council Fellowship (2024)\, Nichibei Creative Arts Fellow (2021 and 2001)\, Artistic Director of Site/Sound Philadelphia (2019)\, Fromm Foundation Commission (2019)\, Director of Philadelphia Composers Forum (2016-19)\, Guggenheim Fellow in Music Composition (2014)\, Berlin Prize for Music from the American Academy in Berlin (2013) and William Penn Composer in Residence at The American Academy in Rome (2012). He has created many works for various instrumentation and media. Central to his interests is the inventive use of sound\, image and time. He sees Art as a way to create experiences that expand our understanding and feelings of the world. For many years he has explored global transformations of culture with his group Ensemble N_JP and music’s relationship with science\, video and architecture. His most recent research and compositions explore Neuro Music\, Neuroaesthetics and Neurotechnologies. In 2023 his album of Neuro Music compositions called “Exploratorium” was published by the UK label False Walls. He studied painting\, music and film making at the School of the Art Institute of Chicago\, where his teachers included experimental film artists Stan Brakhage and Ernie Gehr\, composer Robert Snyder\, and visual artists Barbara Rossi and Oliver Jackson. Coleman is an Affiliated Researcher for Music and Neuroaesthetics in the META Lab at the University of California Santa Barbara. He is the founder and director of the Institute for Music and Neuroaesthetics\, a research space for musicians\, artists and people in Neuroscience. More at: https://www.genecolemancomposer.com/ and https://www.falsewalls.co.uk/release/exploratorium/  \nThe Quantum Global Organoid Orchestra (q.GOO) is an experimental art–science collaboration that brings together living neural tissue\, generative media\, and networked human participation to explore new forms of emergent\, cross-species creativity. The project centers on brain organoids—lab-grown clusters of neural cells cultivated in partnered neurobiology labs—which produce spontaneous electrical activity. This neural activity is captured through microelectrode arrays (MEAs) and translated in real-time into sound\, visual structures\, and computational behaviors. In this sense\, the organoids function as active “performers” within a hybrid ensemble composed of biological\, human\, and machine processes. \nFeaturing the following contributors: \ntransLAB: Marcos Novak (director)\, Nefeli Manoudaki\, Iason Paterakis\, Mert Toka and Diarmid Flatley\nATMOS Implementation: Lucian Parisi\nn-D::StudioLab: Mark-David Hosale (director) and Ilze [Kavi] Briede\nSBCAST: Alan Macy (director) \nScientific collaborators:\nThe Kosik Neurobiology Lab: Kenneth Kosik (director) and Tjitse van der Molen \nAbstract: \nBeyond AI models\, the constantly and rapidly evolving q.GOO project assembles Superconductivity for Minds: a globally distributed ecology in which actual and artificial brain organoids\, bio-inspired algorithmic and quantum computational processes\, spectral sound\, coupled human-computer collaboration\, and networked planetary environments begin to co-compose intelligence through Agentic Media Ecologies and Perforated Systems. This project explores what becomes thinkable when the “emergent possible” of the hybrid natural-artificial environment itself becomes agentive —reciprocally both data-driven and data-driving— when cognition is distributed across heterogeneous Umwelten\, and when the path toward Superoptimal AGI/ASI runs not through isolated systems\, but through recursively coupled permeable\, porous\, and perforated outer and inner worlds. \nModelled on complex ecosystems such as coral reefs\, rainforests\, and the planet itself\, and also perception\, cognition\, civilization\, and culture as emergent systems\, the project and its variants are structured operationally by the notion of “perforated systems” — systems that\, like living cells\, consist of an autonomous internal behavior protected by a permeable\, porous\, or literally perforated “membrane.” This arrangement allows all parts to maintain their integrity but also to send and receive energy and information to and from each other and from the overall environment. Diverse coordinating processes provide algorithmic environmental homeostasis by adjusting the data flowing through the perforations. \nThis “free-but-perforated” operational strategy is also a statement regarding human collaboration and environmental sustainability. Each participant contributes a “species” that is free to be whatever it needs to be\, provided it remains “perforated” and can receive and send data and information that can alter its behavior. The work thus instantiates a “media ecosystem” where the result is ecosystemically regulated by the health of the whole\, which is always richer and more interesting than the sum of its parts. \nThe Quantum Global Organoid Orchestra (q.GOO) is an experimental art–science collaboration that brings together living neural tissue\, generative media\, and networked human participation to explore new forms of emergent\, cross-species creativity. The project centers on brain organoids—lab-grown clusters of neural cells cultivated in partnered neurobiology labs—which produce spontaneous electrical activity. This neural activity is captured through microelectrode arrays (MEAs) and translated in real-time into sound\, visual structures\, and computational behaviors. In this sense\, the organoids function as active “performers” within a hybrid ensemble composed of biological\, human\, and machine processes. \nq.GOO evolves from the SIGGRAPH 2023 Synaptic Time Tunnel project and the Protonoesis series by collaborators at UCSB’s transLAB (directed by Marcos Novak) and the Kosik Neurobiology Lab (directed by Ken Kosik). These works form closed-loop systems in which organoid signals influence generative algorithms\, which in turn shape the audiovisual environment surrounding the installation. Audience members encounter an immersive\, multi-modal field where neural activity\, machine interpretation\, and human agency intermingle\, suggesting a form of “distributed cognition” that exceeds any one participant. \nThe project invites reflection on the aesthetic and ethical dimensions of working with living neural material\, asking what it means to situate organoids—entities neither fully biological subjects nor inert tools—as participants within artistic systems. q.GOO foregrounds sensation\, emergence\, and relationality. It proposes a speculative model of collective intelligence\, where biological and computational systems co-produce meaning. Through this\, the Quantum Global Organoid Orchestra extends contemporary practice in media art\, neuroscience\, and AI by making perceptible the hidden rhythms of living neural matter and prompting new questions about perception\, agency\, and the future of embodied computation. \n\n\n\nFunding provided in part by New Music USA
URL:https://www.bowerbird.org/event/experiments-in-neuroaesthetics/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T190000
DTEND;TZID=America/New_York:20260412T210000
DTSTAMP:20260408T155027Z
CREATED:20251222T155208Z
LAST-MODIFIED:20260408T155027Z
UID:10001294-1776020400-1776027600@www.bowerbird.org
SUMMARY:Alash Ensemble
DESCRIPTION:**Please note: The performance starts at 7:00pm. Seating and admission to the building for the performance will be on a first come first served basis. Doors will open at 6:15pm. RSVPing helps us to anticipate attendance but does not guarantee entry. If you RSVP but do not check in by 6:50pm\, we may give your spot away to someone waiting in line.** \n  \nBowerbird is pleased to present Philadelphia favorites Alash at The Rotunda for two FREE concerts – 2pm and 7pm. \nAlash are masters of Tuvan throat singing (xöömei)\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. \nPresented with The Rotunda. \n\n\n 
URL:https://www.bowerbird.org/event/alash-ensemble-2026-7pm/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T140000
DTEND;TZID=America/New_York:20260412T160000
DTSTAMP:20260408T154420Z
CREATED:20251222T155726Z
LAST-MODIFIED:20260408T154420Z
UID:10001295-1776002400-1776009600@www.bowerbird.org
SUMMARY:Alash Ensemble
DESCRIPTION:**Please note: The performance starts at 2:00pm. Seating and admission to the building for the performance will be on a first come first served basis. Doors will open at 1:15pm. RSVPing helps us to anticipate attendance but does not guarantee entry. If you RSVP but do not check in by 1:50pm\, we may give your spot away to someone waiting in line.** \nBowerbird is pleased to present Philadelphia favorites Alash at The Rotunda for two FREE concerts – 2pm and 7pm. \nAlash are masters of Tuvan throat singing (xöömei)\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. \nPresented with The Rotunda. \n\n\n 
URL:https://www.bowerbird.org/event/alash-2pm-april-2026/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260411T200000
DTEND;TZID=America/New_York:20260411T220000
DTSTAMP:20260615T151504Z
CREATED:20260105T172236Z
LAST-MODIFIED:20260615T151504Z
UID:10001297-1775937600-1775944800@www.bowerbird.org
SUMMARY:Audra
DESCRIPTION:Bowerbird is pleased to present Audra performing an evening of music for voice and saxophone\, featuring Meredith Monk’s Hocket for Two Voices\, two moody folk-song arrangements by Karin Rehnqvist\, Cecilia McDowall’s dramatic White Fox Woman\, Thomas Kessler’s Cage-inspired Is it?\, Gelsey Bell’s spacious Avatrix\, and Griffin Candey’s love songs\, I Shall Be Coming Back To You. In some pieces\, voice and saxophone are combined into a hyper-instrument\, creating a new\, hybrid sound out of the two performers. In other cases\, the voice is in the story-telling spotlight with the saxophone playing a supporting role. \n\nABOUT THE ARTISTS \nNoa Even (saxophone) and Anika Kildegaard (voice) are Audra\, a genre-defying new music duo exploring the dynamic interplay and sonic intersections between soprano voice and saxophone. Their debut performances in early 2025 included the Spotlight Series at Rowan University (NJ)\, No Exit presents in Cleveland (OH)\, and the Fuse Factory in Columbus (OH). This season’s performances include the Andrea Clearfield Szalon\, Harrison Township Historical Society concert series (NJ)\, 2640 Space in Baltimore\, and Bowerbird in Philadelphia. \n\nFunding provided in part by New Music USA
URL:https://www.bowerbird.org/event/audra-duo/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260328T200000
DTEND;TZID=America/New_York:20260328T220000
DTSTAMP:20260615T151450Z
CREATED:20251215T171028Z
LAST-MODIFIED:20260615T151450Z
UID:10001293-1774728000-1774735200@www.bowerbird.org
SUMMARY:Solo and Chamber Music of Elliott Carter
DESCRIPTION:Bowerbird is pleased to present the Arcana New Music Ensemble performing solo and chamber music of Elliott Carter. \nPROGRAM: \nTwo Thoughts About the Piano\nFigment V for marimba\nEsprit Rude/Esprit Doux II\nEpigrams\nEnchanted Preludes\nGra for clarinet\nCanon for 4 \nARCANA NEW MUSIC ENSEMBLE: \nAnna Lim – violin\nTom Kraines – cello\nNic Handahl – flute\nJonathan Leeds – clarinet\nDavid Hughes – piano\nAndy Thierauf – marimba \n\nABOUT THE ARTISTS \nComposer Elliott Carter (December 11\, 1908 – November 5\, 2012) is internationally recognized as one of the most influential American voices in classical music\, and a leading figure of modernism in the 20th and 21st centuries. He was hailed as “America’s great musical poet” by Andrew Porter and noted as “one of America’s most distinguished creative artists in any field” by his friend Aaron Copland. Carter’s prolific career spanned over 75 years\, with more than 150 pieces\, ranging from chamber music to orchestral works to opera\, often marked with a sense of wit and humor. He received numerous honors and accolades\, including the Pulitzer Prize on two occasions: in 1960 for his String Quartet No. 2 and in 1973 for his String Quartet No. 3. Other awards include Germany’s Ernst Von Siemens Music Prize and the Prince Pierre Foundation Music Award. Carter was the first composer to receive the United States National Medal of Arts\, and is one of a handful of composers inducted into the American Classical Music Hall of Fame. He was recognized twice by the Government of France: being named Commander of the “Ordre des Arts et des Lettres\,” and receiving the insignia of Commander of the Legion of Honor in September 2012. \nFounded in 2015\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places.\nThe Arcana New Music Ensemble is a Philadelphia-based chamber ensemble dedicated to contemporary classical music. Its mission is to perform works by living composers and to reexamine music from the past\, often focusing on composers whose work has been overlooked. A hallmark of Arcana’s programming is its frequent use of portrait concerts\, which allow the ensemble to explore a composer’s work in depth. These programs balance music by widely recognized composers with works by those who are less well known or historically underrepresented. \nFounded in 2015 by musicologist Thomas Patterson\, harpist Elizabeth Huston\, and curator Dustin Hurt\, Arcana was created to provide a platform for Philadelphia’s many skilled performers interested in exploring both new works and important compositions from the past hundred years. Since 2020\, the ensemble has been co-directed by Andy Thierauf and Dustin Hurt.\nIn 2016\, Arcana partnered with Pig Iron Theatre Company to present Samuel Beckett\, Words and Music by Morton Feldman and began a multi-year project devoted to the music of Moondog (Louis Hardin). The following year included a portrait concert of Galina Ustvolskaya\, collaborations with Variant 6 and Prometheus Chamber Orchestra\, and performances of works by Julius Eastman\, including Stay On It\, Femenine\, and Thruway. \nIn 2018\, Arcana presented rare works by Pauline Oliveros and portrait concerts of Tom Johnson\, James Tenney\, and Ben Patterson\, along with a second Moondog program. In 2019\, the ensemble presented concerts focused on Claude Vivier and Johanna Beyer and participated in a program of George Crumb’s chamber works. From 2020 onward\, the ensemble’s programming has included a retrospective of David First\, collaborations with the Wildflowers Composer Festival\, and concerts highlighting Iranian and Iranian-American composers. Recent seasons have featured portrait concerts of Sarah Hennies\, Raven Chacon\, and George Walker\, the launch of the annual Postal Pieces project\, and performances of Pauline Oliveros’s The Well and the Gentle and Lucia Dlugoszewski’s Black Lake. \nSupport for this program provided by the Amphion Foundation and New Music USA
URL:https://www.bowerbird.org/event/solo-and-chamber-music-of-elliott-carter/
LOCATION:The Perch\, 2321 Emerald St\, Philadelphia\, PA\, 19125\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260320T200000
DTEND;TZID=America/New_York:20260320T220000
DTSTAMP:20261019T001640Z
CREATED:20260212T182453Z
LAST-MODIFIED:20261019T001640Z
UID:10001313-1774036800-1774044000@www.bowerbird.org
SUMMARY:Screening: Cunningham Ballett and Channels/Inserts
DESCRIPTION:David Tudor’s musical partnership with the Merce Cunningham Dance Company spanned nearly five decades\, from the company’s founding in 1953 until Tudor’s death in 1996. As a founding member\, Tudor served not only as a virtuoso performer of revolutionary piano works but also as an essential collaborator in shaping the company’s sonic identity. Working alongside John Cage\, Gordon Mumma\, Christian Wolff\, and Takehisa Kosugi\, Tudor helped pioneer a radical approach to the relationship between sound and movement—one in which music and dance coexisted independently yet in the same time and space. This screening\, the second of two film programs dedicated to Tudor’s work with the Cunningham company\, presents “Cunningham Ballett” (1958) and “Channels/Inserts” (1982). \n\nPROGRAM:\nCunningham Ballett (1958) | 24 min\, black & white\, sound\, digital transfer\nPerformance for Camera: Brussels\, Belgium\, 1958. This film for television includes “Changeling” (1957)\, “Suite for Two” (1956)\, and “Springweather and People” (1955). Dancers: Carolyn Brown and Merce Cunningham. Musicians: John Cage and David Tudor.\nChannels/Inserts (1982) | 31:40 min\, color\, sound\, 16 mm film on HD video\nChoreography: Merce Cunningham. Direction/Editing: Charles Atlas. Music: David Tudor\, “Phonemes” \n\nABOUT THE FILMS \nTo create Channels/Inserts\, Cunningham and Atlas divided the Cunningham Dance Company’s Westbeth studio into sixteen possible areas for dancing and used chance methods based on the I Ching to determine the order in which these spaces would be used\, the number of dancers to be seen\, and the events that would occur in each space. Atlas employed cross-cutting and animated mattes or wipes to indicate a simultaneity of dance events occurring in different spaces\, as well as to allow for diversity in the continuity of the image. The sound score is a recording of David Tudor’s PHONEMES. \nDancers are dressed in everyday clothing and at times stop dancing to congregate casually. This cessation\, of course\, is legible neither as dance nor “not-dance\,” but is in-between and liminal\, pointing to Cunningham’s persistent interest in “pedestrian” movement. Movement\, the choreographer seems to indicate\, exists in a continual tension—the everyday appears in the dance phrase and the dance phrase appears in the everyday\, or bear each other’s traces. The dancing body is always-already an everyday body and in turn\, the everyday body always-already contains the potential for movement read as dance. \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/screening-cunningham-ballett-and-channels-inserts/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Screening
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260307T200000
DTEND;TZID=America/New_York:20260307T220000
DTSTAMP:20261019T032515Z
CREATED:20260107T171405Z
LAST-MODIFIED:20261019T032515Z
UID:10001306-1772913600-1772920800@www.bowerbird.org
SUMMARY:Tudor works for Live Electronics
DESCRIPTION:Bowerbird is pleased to present Composers Inside Electronics—Phil Edelstein\, Ron Kuivila\, and Michael Johnsen\, with Daniel Fishkin—performing works by David Tudor. \nComposers Inside Electronics (CIE)\, formed in 1973 with David Tudor\, pioneered a collaborative approach to live electronic music that treated circuits and components as instruments in themselves rather than as tools. This closing concert of A View from Inside: David Tudor at 100 features an evening of Tudor’s electronic compositions spanning 1970 to 1984. \nThe program opens with Pepscillator\, one of Tudor’s sound environments created for the Pepsi Pavilion at Expo ’70 in Osaka\, Japan. Using chains of audio processors creating multiple self-oscillating feedback loops\, Pepscillator exemplifies Tudor’s approach to designing systems of electronic components whose interconnections define both the work’s structure and its real-time performance. Pulsers (1976) explores rhythms created electronically by analog circuitry\, with time-bases that can be varied and destabilized by the performer. Dialects (1984) transforms vowel-like and fricative sound sources—the beating of insects’ wings and modulated alpha waves—through vocoder circuits and percussion generators triggered by Jackie Matisse’s vibrating wire flower sculptures. \nThe concert offers a rare opportunity to experience Tudor’s electronic works performed by artists who worked directly with him and who continue to realize and evolve his vision through their own research and performance practice. \n\nPROGRAM \nDavid Tudor: Pepscillator (1970)\nPhil Edelstein and Daniel Fishkin\, electronics \nDavid Tudor: Pulsers (1976)\nMichael Johnsen\, electronics \nDavid Tudor: Dialects (1984)\nRon Kuivila\, electronics and sculpture by Jackie Matisse \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nARTIST BIOS \nPhil Edelstein in the early 1970s co-founded Electronic Body Arts (EBA)\, a collaboration between choreography\, music\, and engineering\, and is a founding member of Composers Inside Electronics (CIE). He has collaborated on Rainforest IV and CIE projects since their inception in 1973 and on the evolution of the automated installation version Rainforest V\, principally with John Driscoll. Another recent project with Driscoll is their installation Cluster Fields. His work includes compositions\, performances\, software\, and sound installations for architectural spaces and focused sound fields. Recent focus is the development of compositional and orchestration tools for constructing sound fields for installation and performance. Current projects include updates to Impulsion\, where synthetic and encoded reverberant spaces are folded upon themselves and acoustically rendered\, and performances and new realizations of works by David Tudor such as Pepscillator. \nDaniel Fishkin’s ears are ringing. His lifework investigating the aesthetics of hearing damage has received international press (Nature Journal\, 2014)\, and he has been named a “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. He is the only luthier to have studied directly with daxophone inventor Hans Reichel. His instruments have toured internationally\, including Canada\, Norway\, Germany\, France\, Japan\, Kazakhstan\, and Australia. He is the first USA-based artist to receive the P.I.G. Prize (2021) from Henrik Vibskov. He holds an MA in Music Composition from Wesleyan University and a PhD in Composition and Computer Music from the University of Virginia. He is Assistant Professor of Music Production at Ramapo College of New Jersey. His current favorite wood is Gymnanthes lucida (Oysterwood). \nMichael Johnsen is a circuit designer\, performer\, and researcher from Pittsburgh. His recent research concerns circuit-level understanding of David Tudor’s “folkloric” homemade instruments and related lutherie\, resulting in restoration\, cloning\, and performance of vintage circuits\, along with publications and lectures. His performance work is characterized by a relative lack of ideas per se and an intense focus on observation—the way a shepherd watches sheep. As a performer and builder of live electronics\, he cultivates an integrated menagerie of custom devices whose idiosyncratic behaviors are revealed through complex interactions\, producing teeming chirps\, sudden transients\, and charming failure modes\, embracing the dirt in pure electronics. He has shown work at Arter (Istanbul)\, singuhr (Berlin)\, INA GRM (Paris)\, the Getty (Los Angeles)\, MdM Salzburg\, Kagurane (Tokyo)\, MoMA\, SF Cinematheque\, Radio France\, Idiopreneurial Entrephonics (Connecticut)\, The Kitchen (New York)\, High Zero (Baltimore)\, and Musique Action. He co-edits ubu.com/emr\, designs synthesizers for Pittsburgh Modular\, and may be reached at johnsen.rahbek gmail.com. \nRonald Kuivila composes music and designs sound installations involving homemade and home-modified electronics\, software\, and household objects. Homemade devices of his own design pioneered the use of ultrasound (In Appreciation) and sound sampling (Alphabet) in live performance. Other works explore compositional algorithms (Loose Canons)\, speech synthesis (The Linear Predictive Zoo)\, and high-voltage phenomena (Pythagorean Puppet Theatre). Many of his works are sound installations. Radial Arcs\, commissioned by Ars Electronica\, coordinates 96 stun guns; Sparks on Paper uses strings activated by low-power static fields to resonate vellum. Long-term installations have included Visitations at Mass MoCA and Weather at Six at Wesleyan University. Making the World Safe for Piezoelectricity organizes commonplace objects into large-scale time structures. Bellona Times combined telephones and wavefield diffusion with a fragmented presentation of the FBI interrogation of January 6 rioter Danny Rodriguez. His first professional New York performance was in 1978 in two studio events with the Merce Cunningham Dance Company at the invitation of David Tudor. \n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/tudor-works-for-live-electronics/
LOCATION:Community Education Center\, 3500 Lancaster Avenue\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/12/Mar-7-Tudor-Live-Electronics-CIE.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260306T200000
DTEND;TZID=America/New_York:20260306T220000
DTSTAMP:20261019T032505Z
CREATED:20260107T170820Z
LAST-MODIFIED:20261019T032505Z
UID:10001305-1772827200-1772834400@www.bowerbird.org
SUMMARY:Forest Speech and Piano
DESCRIPTION:Bowerbird is pleased to present pianist Amy Williams and a performance of David Tudor’s Forest Speech led by Composer Inside Electronic’s Phil Edelstein with Daniel Fishkin\, Michael Johnsen\, Victoria Keddie\, Eugene Lew\, and Gianna Santucci. \nThis concert celebrates David Tudor’s dual legacy as both a revolutionary pianist and electronic music pioneer. The program opens with Amy Williams performing works by Morton Feldman\, John Cage\, and Earle Brown that were written for and premiered by Tudor in the 1950s. As one of the most sought-after interpreters of piano music in his generation\, Tudor’s performances transformed indeterminate scores into vivid sonic experiences\, establishing new possibilities for what piano performance could be. Williams\, a composer and pianist known for her deep engagement with contemporary repertoire and her acclaimed recordings of Morton Feldman and other experimental composers\, brings her own interpretive insight to these historically significant works. \nMichael Johnsen performs Tudor’s Untitled (1972)\, a seminal work of live-electronic music in which modular electronic components are configured to form feedback loops that generate sounds without exterior input. Composed for simultaneous performance with John Cage’s vocalization of his Mesostics Re Merce Cunningham\, Untitled represents Tudor’s pioneering experiments in creating electronic sound without oscillators\, tone generators\, or recorded natural sound materials. \nThe evening concludes with Forest Speech (1976)\, a rarely performed work from Tudor’s Rainforest family that uses amplified objects as “instrumental loudspeakers.” Developed in 1976 and expanded as a group version in 1978\, Forest Speech transforms sound into vocal-like illusions through formant resonances and vocoder-like circuit networks. This performance version utilizes everyday objects fitted with sonic transducers—metal barrels\, plastic tubing\, found materials—that resonate and shape electronic sound\, creating a dense acoustic environment where physical materials become active participants in the composition. \n\nPROGRAM \nMorton Feldman: Intermission 6 (version 1) (1953)\nEarle Brown: Four Systems (1953)\nMorton Feldman: Extensions 3 (1952)\nJohn Cage: Water Music (1952)\nMorton Feldman: Intermission 6 (version 2) (1953)\nAmy Williams\, piano \nDavid Tudor: Untitled (1972)\nMichael Johnsen\, electronics \nDavid Tudor: Forest Speech (1976)\nwith Phil Edelstein\, Daniel Fishkin\, Michael Johnsen\, Victoria Keddie\, Eugene Lew\, Gianna Santucci \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nARTIST BIOS \nPhil Edelstein in the early 1970s co-founded Electronic Body Arts (EBA)\, a collaboration between choreography\, music\, and engineering\, and is a founding member of Composers Inside Electronics (CIE). He has collaborated on Rainforest IV and CIE projects since their inception in 1973 and on the evolution of the automated installation version Rainforest V\, principally with John Driscoll. Another recent project with Driscoll is their installation Cluster Fields. His work includes compositions\, performances\, software\, and sound installations for architectural spaces and focused sound fields. Recent focus is the development of compositional and orchestration tools for constructing sound fields for installation and performance. Current projects include updates to Impulsion\, where synthetic and encoded reverberant spaces are folded upon themselves and acoustically rendered\, and performances and new realizations of works by David Tudor such as Pepscillator. \nDaniel Fishkin’s ears are ringing. His lifework investigating the aesthetics of hearing damage has received international press (Nature Journal\, 2014)\, and he has been named a “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. He is the only luthier to have studied directly with daxophone inventor Hans Reichel. His instruments have toured internationally\, including Canada\, Norway\, Germany\, France\, Japan\, Kazakhstan\, and Australia. He is the first USA-based artist to receive the P.I.G. Prize (2021) from Henrik Vibskov. He holds an MA in Music Composition from Wesleyan University and a PhD in Composition and Computer Music from the University of Virginia. He is Assistant Professor of Music Production at Ramapo College of New Jersey. His current favorite wood is Gymnanthes lucida (Oysterwood). \nMichael Johnsen is a circuit designer\, performer\, and researcher from Pittsburgh. His recent research concerns circuit-level understanding of David Tudor’s “folkloric” homemade instruments and related lutherie\, resulting in restoration\, cloning\, and performance of vintage circuits\, along with publications and lectures. His performance work is characterized by a relative lack of ideas per se and an intense focus on observation—the way a shepherd watches sheep. As a performer and builder of live electronics\, he cultivates an integrated menagerie of custom devices whose idiosyncratic behaviors are revealed through complex interactions\, producing teeming chirps\, sudden transients\, and charming failure modes\, embracing the dirt in pure electronics. He has shown work at Arter (Istanbul)\, singuhr (Berlin)\, INA GRM (Paris)\, the Getty (Los Angeles)\, MdM Salzburg\, Kagurane (Tokyo)\, MoMA\, SF Cinematheque\, Radio France\, Idiopreneurial Entrephonics (Connecticut)\, The Kitchen (New York)\, High Zero (Baltimore)\, and Musique Action. He co-edits ubu.com/emr\, designs synthesizers for Pittsburgh Modular\, and may be reached at johnsen.rahbek gmail.com. \nVictoria Keddie is an interdisciplinary artist working across sound\, video\, installation\, performance\, and research. Her practice investigates architectures of communication—acoustic\, spatial\, and technological—and how gesture\, noise\, and interference shape experience. For over a decade she co-directed E.S.P. TV\, a mobile platform for hybrid media and broadcast performance. She teaches at the University of Pennsylvania\, where she designed a spatial sound studio for Fine Arts\, and directs the Spatial Sound Consortium with Harvestworks\, linking international studios. She has performed and exhibited at the Whitney Museum of American Art\, Pioneer Works\, Fridman Gallery (US)\, the Barbican (UK)\, Berghain (DE)\, Goethe-Institut (NY/CO)\, and MAPS (DK). Fellowships include NYSCA/NYFA (2022)\, Max Planck Institute for Empirical Aesthetics (2023)\, and the Bemis Center (2024). In 2025 she was Composer-in-Residence at EMS\, Stockholm. \nEugene Lew is a Philadelphia-based guide\, producer\, educator\, and organizer engaged in performance\, design\, access\, management\, transformation\, (attempted) capture\, storage\, and playback of shared IRL experiences\, with a sound/music bias. His practice centers on fleeting moments\, aggregate independent decision-making\, and stochastic phenomena. He values serendipitous collaborations and long-term partnerships exploring cycles of remembering\, learning\, forgetting\, and reconstructing. \nGianna Santucci is an interdisciplinary artist and percussionist from Merritt Island\, FL\, based in Philadelphia. She received an MFA in Painting (University Fellowship) from Tyler School of Art and a BFA in Fine Arts and BM in Music Performance from Florida Southern College. Her work has been exhibited at Icebox Project Space\, Vox Populi\, and Cherry Street Pier in Philadelphia. Recent performances include New Ear::SPATIAL at Fridman Gallery\, the Low Tech Electronics Faire at the Charles Library\, and Chilladelphia at Thunderbird Hall. Through multimedia installations\, her work engages militarized sound\, subculture\, transmission\, and rhythm. \nAmy Williams is a composer of music described as “simultaneously demanding\, rewarding and fascinating” (Buffalo News) and “fresh\, daring and incisive” (Fanfare). Her works have been presented internationally by leading soloists and ensembles including the Pittsburgh Symphony Orchestra\, Buffalo Philharmonic Orchestra\, JACK Quartet\, Ensemble Aleph\, Dal Niente\, Wet Ink\, Talujon\, International Contemporary Ensemble\, and pianist Ursula Oppens. Recordings appear on Albany\, Parma\, VDM (Italy)\, Blue Griffin\, Centaur\, and New Ariel. She has a deep connection to Morton Feldman—her father and Feldman were close colleagues at the University at Buffalo. As half of the Bugallo-Williams Piano Duo\, she has performed worldwide and recorded six CDs for Wergo (Nancarrow\, Stravinsky\, Varèse/Feldman\, Kurtág). She has taught at Bennington College and Northwestern University and is currently Associate Professor of Composition at the University of Pittsburgh. \n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/forest-speech-and-piano/
LOCATION:Community Education Center\, 3500 Lancaster Avenue\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Tudor
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