BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA - ECPv6.15.17.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.bowerbird.org
X-WR-CALDESC:Events for BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20100314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20101107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20110313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20111106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20120311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20121104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20130310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20131103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20140309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20141102T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130111T210000
DTEND;TZID=America/New_York:20130112T230000
DTSTAMP:20260425T233411
CREATED:20190429T163252Z
LAST-MODIFIED:20190429T163252Z
UID:10000964-1357938000-1358031600@www.bowerbird.org
SUMMARY:John Cage: Film Without Subject
DESCRIPTION:Created the year he died\, Cages only feature-length film One11 (1992) was composed entirely using 1\,200 random operations devised by a computereach determining the movements of a crane-mounted camera and the qualities of lighting within an empty room. A meditation on the perception of emptiness that harks back to Cages much earlier 433 (1952)\, One11 is a film without subject\, persons or things\, offering instead a sublime impression of another\, timeless place. For this performance\, a video of Cages own realization will be accompanied by a recording of its companion piece\, 103 (for a large orchestra).
URL:https://www.bowerbird.org/event/john-cage-film-without-subject/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/one_11_and_103_cage_film_poster_walkerart.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130111T170000
DTEND;TZID=America/New_York:20130111T190000
DTSTAMP:20260425T233412
CREATED:20190429T163532Z
LAST-MODIFIED:20190429T164008Z
UID:10000965-1357923600-1357930800@www.bowerbird.org
SUMMARY:Songs & Harmonies with Relache
DESCRIPTION:Relache\, longtime champions of Cages music in Philadelphia\, present an interactive and multimedia evening including Hymnkus (co-commissioned by Relache in 1986)\, Lecture on the Weather\, the vocal work Litany for the Whale\, and a brand new arrangement of Apartment House 1776\, a worked based on early American fuguing tunes.
URL:https://www.bowerbird.org/event/songs-harmonies-with-relache/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Cage_Whale.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121216T140000
DTEND;TZID=America/New_York:20121216T160000
DTSTAMP:20260425T233412
CREATED:20190429T163822Z
LAST-MODIFIED:20190429T163822Z
UID:10000966-1355666400-1355673600@www.bowerbird.org
SUMMARY:Margaret Leng Tan performs Cage's Sonatas and Interludes
DESCRIPTION:Pianist Margaret Leng Tan returns for a performance of one of John Cage’s most important works\, Sonatas and Interludes (1946 – 48). Percussive and rhythmic\, Sonatas and Interludes is a collection of twenty pieces – sixteen sonatas and four more freely structured interludes – composed for prepared piano\, a Cagean innovation that uses screws\, bolts\, pieces of rubber and plastic\, to reimagine the piano as an orchestra of percussive sounds. Inspired by Indian philosophy and music\, the aim of the pieces is to express the eight permanent emotions of the rasa Indian tradition. Preview some audio of Margaret performing the work here.
URL:https://www.bowerbird.org/event/margaret-leng-tan-performs-cages-sonatas-and-interludes/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Margaret_Leng_Tan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121209T200000
DTEND;TZID=America/New_York:20121209T220000
DTSTAMP:20260425T233412
CREATED:20190429T164237Z
LAST-MODIFIED:20190429T164237Z
UID:10000967-1355083200-1355090400@www.bowerbird.org
SUMMARY:Cage: Variations I - III
DESCRIPTION:• Variations I (1958)\nperformed by Christopher Colucci and Jorge Cousineau \n• Variations II (1961)\nperformed by Nate Wooley and Susan Alcorn \n• Variations III (1962)\nperformed by Bonnie Jones and Jesse Kudler \nWith vastly open and indeterminate scores and happenings\, Variations I – VIII (1958 – 1967) is a series of compositions that foreshadows both Song Books and the Fluxus movement performance pieces. Sometimes scored as broadly as “for any number of players and any sound producing means\,” Variation IV also includes 0’00”\, Cage’s second version of 4’33”. \nThis event starts at 8pm sharp. Due to unforeseen circumstances\, C Spencer Yeh and Maria Chavez will not be performing as previously planned.
URL:https://www.bowerbird.org/event/cage-variations-i-iii/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Cage_Variations.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121208T120000
DTEND;TZID=America/New_York:20121208T160000
DTSTAMP:20260425T233412
CREATED:20190429T165114Z
LAST-MODIFIED:20190429T165245Z
UID:10000968-1354968000-1354982400@www.bowerbird.org
SUMMARY:The BSC performs John Cage's Song Books in Miniatures
DESCRIPTION:As with many of Cage’s works\, Song Books is indeterminate with regard to performance. In order to highlight the immense and open possibilities of the score\, Cage: Beyond Silence offers audiences a rare opportunity to experience multiple versions of this work\, further inviting audiences to engage with the ephemeral qualities of music so important to Cage.\nThe fourth and final version of Cage’s Song Books brings the BSCs members to the mainstage of the Philadelphia Museum of Art’s Dancing Around the Bride exhibition\, for a series of intimate performances inspired by the backdrop of Raschenberg’s Walkaround Time. \n  \nThe BSC\nBhob Rainey – Soprano Saxophone\, Director;\nGreg Kelley – Trumpet;\nJames Coleman – Theremin;\nLiz Tonne – Voice;\nChris Cooper – Guitar and Electronics;\nVic Rawlings – Cello and Electronics;\nMike Bullock – Bass \n  \n  \nABOUT SONG BOOKS \n“One might think of Song Books as Cage’s Art of Fugue\, an exhaustive demonstration of the diverse approaches to music-making that the composer had practiced over his long career. Of course\, Cage–unlike J. S. Bach–continued his career for more than two decades after he completed the piece. But although he found new ways to extend his artistic vision in ways that surprised even him\, he would only occasionally match the diversity and ambitious scope that he achieved so brilliantly in Song Books.” ~ Rob Haskins \nReplete with text and music materials quoted from Marcel Duchamp\, Erik Satie\, David Thoreau\, Buckminster Fuller\, Norman O. Brown\, and even Mozart and Schubert\, John Cages 1970 composition Song Books is a two-volume collection of eighty-nine short solos. \nSome of these solos call for singing\, conventional or otherwise. Other solos require no singing at all\, but rather reproduce the word-game actions of Cage’s Theater Piece (1960). Still other Solos are examples of another kind of theater altogether\, one which clearly reflects the influence of the neo-Dadaist Fluxus movement. Instructions for some of these Solos ask the performer simply to “prepare something to eat” or to “perform a disciplined action that fulfills an obligation to others.” \nEach realization of Song Books is performed to fill a predetermined duration\, with any number of performers\, each responsible for choosing their own music. Additionally\, Cage indicated that a performance of Song Books may also include simultaneous performances of other indeterminate music such as Winter Music (1957)\, Concert for Piano and Orchestra (1958)\, Indeterminacy (1959)\,or Rozart Mix (1965).
URL:https://www.bowerbird.org/event/the-bsc-performs-john-cages-song-books-in-miniatures/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/BSC_Bhob_Rainey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121207T200000
DTEND;TZID=America/New_York:20121207T220000
DTSTAMP:20260425T233412
CREATED:20190429T165732Z
LAST-MODIFIED:20190429T165826Z
UID:10000969-1354910400-1354917600@www.bowerbird.org
SUMMARY:The BSC performs John Cage's Song Books
DESCRIPTION:ABOUT THE EVENT \nPushing the boundaries of instrumental performance techniques and electro-acoustic sound production\, the New England-based seven-member ensemble The BSC offers a bold interpretation of Cage’s Song Books. \nRipe with texts by Thoreau\, Satie\, Duchamp\, Buckminster Fuller and Merce Cunningham\, this performance will fill the beautiful acoustic space of the Philadelphia Episcopal Cathedral\, inviting audiences to enjoy the surprising beauty of Cage’s most important score. \n  \n  \nThe BSC \nBhob Rainey – Soprano Saxophone\, Director; \nGreg Kelley – Trumpet; James Coleman – Theremin; \nLiz Tonne – Voice; \nChris Cooper – Guitar and Electronics; \nVic Rawlings – Cello and Electronics; \nMike Bullock – Bass. \n  \n  \nABOUT SONG BOOKS \n“One might think of Song Books as Cage’s Art of Fugue\, an exhaustive demonstration of the diverse approaches to music-making that the composer had practiced over his long career. Of course\, Cage–unlike J. S. Bach–continued his career for more than two decades after he completed the piece. But although he found new ways to extend his artistic vision in ways that surprised even him\, he would only occasionally match the diversity and ambitious scope that he achieved so brilliantly in Song Books.” ~ Rob Haskins \nReplete with text and music materials quoted from Marcel Duchamp\, Erik Satie\, David Thoreau\, Buckminster Fuller\, Norman O. Brown\, and even Mozart and Schubert\, John Cages 1970 composition Song Books is a two-volume collection of eighty-nine short solos. \nSome of these solos call for singing\, conventional or otherwise. Other solos require no singing at all\, but rather reproduce the word-game actions of Cage’s Theater Piece (1960). Still other Solos are examples of another kind of theater altogether\, one which clearly reflects the influence of the neo-Dadaist Fluxus movement. Instructions for some of these Solos ask the performer simply to “prepare something to eat” or to “perform a disciplined action that fulfills an obligation to others.” \nEach realization of Song Books is performed to fill a predetermined duration\, with any number of performers\, each responsible for choosing their own music. Additionally\, Cage indicated that a performance of Song Books may also include simultaneous performances of other indeterminate music such as Winter Music (1957)\, Concert for Piano and Orchestra (1958)\, Indeterminacy (1959)\,or Rozart Mix (1965). \n  \n  \nABOUT THE BSC \nThe BSC was formed by composer / improviser Bhob Rainey in August\, 2000. Comprised of seven improvisers with a variety of musical backgrounds\, the ensemble’s intent has been to confront the challenges of large group improvisation while engaging with contemporary repertoire that is geared towards innovative\, electroacoustic sound production. \nThe BSC has been a mainstay of concert series that promote both improvised and composed music\, often involving collaboration with international artists and with the New England Conservatory. Fruits of these collaborations include a recording for Mode records with composer Christian Wolff as well as a recently released performance from RPI’s EMPAC center with Pauline Oliveros on accordion. \nThe BSC’s idiosyncratic approach to performance has made it attractive to composers working in the electroacoustic idiom. This interest has led to workshops and performances at both Princeton and Wesleyan Universities\, where students in composition scored works for the ensemble. \nIn 2010\, Bhob Rainey commissioned four writers from different disciplines to contribute to a book on the BSC’s improvisational practices. The book\, Manual\, which received a grant from Loyola University New Orleans’ “Year of the Writer” program\, was released along with a full-length album at the end of 2011
URL:https://www.bowerbird.org/event/the-bsc-performs-john-cages-song-books/
LOCATION:Philadelphia Episcopal Cathedral\, 23 S 38th St\, Philadelphia\, PA\, 19104
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/BSC_2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121202T120000
DTEND;TZID=America/New_York:20121202T160000
DTSTAMP:20260425T233412
CREATED:20190429T170057Z
LAST-MODIFIED:20190429T170057Z
UID:10000970-1354449600-1354464000@www.bowerbird.org
SUMMARY:Behind Song Books
DESCRIPTION:Talks\, Workshops\, and Hands-On Activities. Unpack Song Books with our expert guides. This beautiful score includes over 90 solos exploring a wide range of notational systems\, including pictures\, maps\, and text. Participate in workshops and talks with Joan La Barbara\, Richard Kostelanetz\, and David Patterson
URL:https://www.bowerbird.org/event/behind-song-books/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Cage_SongBooks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121201T120000
DTEND;TZID=America/New_York:20121201T160000
DTSTAMP:20260425T233412
CREATED:20190429T170332Z
LAST-MODIFIED:20190429T170332Z
UID:10000971-1354363200-1354377600@www.bowerbird.org
SUMMARY:Joan La Barbara and Ne(x)tworks perform Cage's Song Books in Miniatures
DESCRIPTION:As with many of Cage’s works\, Song Books is indeterminate with regard to performance. In order to highlight the immense and open possibilities of the score\, Cage: Beyond Silence offers audiences a rare opportunity to experience multiple versions of this work\, further inviting audiences to engage with the ephemeral qualities of music so important to Cage.\nWeaving through the museum’s Dancing Around the Bride exhibition\, this performance of Cage’s Song Books features short vignettes and tableaus performed by members of the Ne(x)tworks ensemble. \n  \nNe(x)tworks\nJoan La Barbara – voice\nShelley Burgon – harp\nYves Dharamraj – cello\nMiguel Frasconi – glass\nStephen Gosling – piano\nAriana Kim – violin\nChristopher McIntyre – trombone\, laptop \n  \nABOUT SONG BOOKS \n“One might think of Song Books as Cage’s Art of Fugue\, an exhaustive demonstration of the diverse approaches to music-making that the composer had practiced over his long career. Of course\, Cage–unlike J. S. Bach–continued his career for more than two decades after he completed the piece. But although he found new ways to extend his artistic vision in ways that surprised even him\, he would only occasionally match the diversity and ambitious scope that he achieved so brilliantly in Song Books.” ~ Rob Haskins \nReplete with text and music materials quoted from Marcel Duchamp\, Erik Satie\, David Thoreau\, Buckminster Fuller\, Norman O. Brown\, and even Mozart and Schubert\, John Cages 1970 composition Song Books is a two-volume collection of eighty-nine short solos. \nSome of these solos call for singing\, conventional or otherwise. Other solos require no singing at all\, but rather reproduce the word-game actions of Cage’s Theater Piece (1960). Still other Solos are examples of another kind of theater altogether\, one which clearly reflects the influence of the neo-Dadaist Fluxus movement. Instructions for some of these Solos ask the performer simply to “prepare something to eat” or to “perform a disciplined action that fulfills an obligation to others.” \nEach realization of Song Books is performed to fill a predetermined duration\, with any number of performers\, each responsible for choosing their own music. Additionally\, Cage indicated that a performance of Song Books may also include simultaneous performances of other indeterminate music such as Winter Music (1957)\, Concert for Piano and Orchestra (1958)\, Indeterminacy (1959)\,or Rozart Mix (1965).
URL:https://www.bowerbird.org/event/joan-la-barbara-and-nextworks-perform-cages-song-books-in-miniatures/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Nextworks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121130T200000
DTEND;TZID=America/New_York:20121130T220000
DTSTAMP:20260425T233412
CREATED:20190429T170819Z
LAST-MODIFIED:20190429T170819Z
UID:10000972-1354305600-1354312800@www.bowerbird.org
SUMMARY:John Cage's Song Books
DESCRIPTION:JOHN CAGE’S SONG BOOKS\nperformed by Ne(x)tworks \nNe(x)tworks\nJoan La Barbara – voice\nShelley Burgon – harp\nYves Dharamraj – cello\nMiguel Frasconi – glass\nStephen Gosling – piano;\nAriana Kim – violin\nChristopher McIntyre – trombone\, laptop \nAs with many of Cage’s works\, Song Books is indeterminate with regard to performance. In order to highlight the immense and open possibilities of the score\, Cage: Beyond Silence offers audiences a rare opportunity to experience multiple versions of this work\, further inviting audiences to engage with the ephemeral qualities of music so important to Cage.\nThis performance will feature Cage’s Song Books (Solos for Voice 392) (1970) in a concert length version by Joan La Barbara’s New York City based Ne(x)tworks ensemble. \n  \nABOUT SONG BOOKS \n“One might think of Song Books as Cage’s Art of Fugue\, an exhaustive demonstration of the diverse approaches to music-making that the composer had practiced over his long career. Of course\, Cage–unlike J. S. Bach–continued his career for more than two decades after he completed the piece. But although he found new ways to extend his artistic vision in ways that surprised even him\, he would only occasionally match the diversity and ambitious scope that he achieved so brilliantly in Song Books.” ~ Rob Haskins \nReplete with text and music materials quoted from Marcel Duchamp\, Erik Satie\, David Thoreau\, Buckminster Fuller\, Norman O. Brown\, and even Mozart and Schubert\, John Cages 1970 composition Song Books is a two-volume collection of eighty-nine short solos. \nSome of these solos call for singing\, conventional or otherwise. Other solos require no singing at all\, but rather reproduce the word-game actions of Cage’s Theater Piece (1960). Still other Solos are examples of another kind of theater altogether\, one which clearly reflects the influence of the neo-Dadaist Fluxus movement. Instructions for some of these Solos ask the performer simply to “prepare something to eat” or to “perform a disciplined action that fulfills an obligation to others.” \nEach realization of Song Books is performed to fill a predetermined duration\, with any number of performers\, each responsible for choosing their own music. Additionally\, Cage indicated that a performance of Song Books may also include simultaneous performances of other indeterminate music such as Winter Music (1957)\, Concert for Piano and Orchestra (1958)\, Indeterminacy (1959)\,or Rozart Mix (1965).
URL:https://www.bowerbird.org/event/john-cages-song-books/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Joan_La_Barbara.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121116T200000
DTEND;TZID=America/New_York:20121116T220000
DTSTAMP:20260425T233412
CREATED:20190429T171214Z
LAST-MODIFIED:20190429T171214Z
UID:10000973-1353096000-1353103200@www.bowerbird.org
SUMMARY:BEN VIDA / ELI KESZLER + JEFF ZEIGLER
DESCRIPTION:Utilizing modular synthesizer\, computer\, drum kit and motorized percussive objects Vida and Keszler play an ecstatic form of electro-acoustic music. \nBen Vida is a Brooklyn based composer\, improviser and sound artist. He produces compositions that use analog and digital synthesizing technologies and focus on aural phenomena and sound localization. Ben has released over twenty records on such labels as PAN\, Thrill Jockey\, Drag City\, Amish\, Bottrop-Boy\, Hapna and Kranky. As both a solo artist and in collaboration he has presented his work in the United States\, Canada\, Europe\, Australia\, South Korea and Japan. \nBorn in Brookline\, Massachusetts\, and currently based in New York City\, Eli Keszler began playing drums at eight\, and composing at twelve. Before finding an interest in experimental music and improvisation\, he played in rock and hardcore bands; his work retains an intense physicality and churning\, often ferocious energy. He is a graduate of the New England Conservatory\, where he studied composition with Anthony Coleman and Ran Blake. He has collaborated with Phill Niblock\, Roscoe Mitchell\, Tony Conrad\, Joe McPhee\, Loren Connors\, Jandek\, and many others\, and has recorded more than a dozen CDs and LPs for ESP-DISK\, REL\, and PAN. \nKeszler’s installations employ piano wires of varying lengths; these are struck\, scraped\, and vibrated by microprocessor-controlled motorized arms\, giving rise to harmonically complex tones that are percussive yet resonant. These installations are heard on their own and with accompanying ensemble scores. Said Keszler in a NPR All Songs Considered interview\, “I like to work with raw material\, simple sounds\, primitive or very old sounds; sounds that won’t get dated in any way.” In addition\, the patterns formed by the overlapping piano wires allow Keszler to create visual components that relate directly to the music\, without having to use projections or other electronic equipment. \nJeff Zeigler is a Philadelphia-based musician\, engineer and producer\, who\, in addition to playing in the band Arc in Round\, and in a synthesizer and harp duo with harpist Mary Lattimore\, plays solo on a mixture of electronics and textural guitar. Equal parts hypnotic and abrasive\, he has previously shared the stage with Hans-Joakim Roedelius\, Phil Niblock\, White Magic and more.
URL:https://www.bowerbird.org/event/ben-vida-eli-keszler-jeff-zeigler/
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/eli_keszler.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121104T160000
DTEND;TZID=America/New_York:20121104T183000
DTSTAMP:20260425T233412
CREATED:20190429T171759Z
LAST-MODIFIED:20190429T171830Z
UID:10000974-1352044800-1352053800@www.bowerbird.org
SUMMARY:Network for New Music performs Cage's Solos
DESCRIPTION:Taking advantage of the unique character of each instrument\, members of Philadelphias venerable Network for New Music perform solos from Cage’s Concert for Piano and Orchestra (1958 – 59)\, offering a broad sampling instrumental timbres and compositional styles. These works will be performed in tandem with the choreographed movements of the Merce Cunningham dancers on the exhibitions Main Stage.
URL:https://www.bowerbird.org/event/network-for-new-music-performs-cages-solos/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Network_New_Music-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121103T200000
DTEND;TZID=America/New_York:20121104T080000
DTSTAMP:20260425T233412
CREATED:20190429T172141Z
LAST-MODIFIED:20190429T172327Z
UID:10000975-1351972800-1352016000@www.bowerbird.org
SUMMARY:John Cage's Organ2 / ASLSP
DESCRIPTION:One of the ideas central to Cages philosophy was asking us to consider the way we listen to and perceive music. Monumental in its duration\, this performance of Cages Organ2 / ASLSP challenges the traditional parameters of a concert and asks us to choose our own path to engage with the music. \nPresented by organist Parker Kitterman and others throughout the evening and into the early morning hours on Nov. 4\, Organ2 / ASLSP will be performed on the powerful Curtis Organ housed in Philadelphias historic Christ Church. \nCages work is the subject of one of the longest-lasting musical performances yet undertaken: The current performance of this piece began in 2001 at St. Burchardi church in Halberstadt\, Germany\, and is scheduled to have a duration of 639 years. The title stands for “As SLow(ly) and Soft(ly) as Possible” and also refers to “Soft morning city. Lsp!” (from James Joyce’s ‘Finnegans Wake’).
URL:https://www.bowerbird.org/event/john-cages-organ2-aslsp/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Christ_Church_Organ.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121103T120000
DTEND;TZID=America/New_York:20121103T160000
DTSTAMP:20260425T233412
CREATED:20190429T172702Z
LAST-MODIFIED:20190429T172702Z
UID:10000976-1351944000-1351958400@www.bowerbird.org
SUMMARY:Cage: Silence and Beyond
DESCRIPTION:Cage often referred to his silent piece as his most important work\, but does this piece overshadow his other artistic contributions\, and most importantly\, his craft as a composer? A series of talks and artistic responses explore the complex and interwoven ideas of 433 (1952) and beyond. \nPart of the Cage: Beyond Silence festival.\nhttp://cagebeyondsilence.com/
URL:https://www.bowerbird.org/event/cage-silence-and-beyond/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/12/Cage-preparing-piano-1-cropped.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121101T200000
DTEND;TZID=America/New_York:20121101T220000
DTSTAMP:20260425T233412
CREATED:20190429T173026Z
LAST-MODIFIED:20190502T161322Z
UID:10000977-1351800000-1351807200@www.bowerbird.org
SUMMARY:Cage's Music of Changes
DESCRIPTION:Composed in 1951\, Music of Changes was Cages first instrumental composition entirely derived from chance procedures. Cage applied a book of the I Ching\, a recent gift from a young Christian Wolff\, to various parameters in the music: tempi\, dynamics\, sounds and silences\, durations and superimpositions. The resulting music is one of pointed extremes and dense counterpoint. The piano is played\, not only by using the keys\, but also by plucking the strings with finger nails\, playing cymbal beaters on the strings\, and even slamming the keyboard lid. First premiered by David Tudor\, a generation later\, pianist Joseph Kubera provides an unyielding and complete interpretation of this complex and virtuosic work. \n  \nPart of the Cage: Beyond Silence festival.
URL:https://www.bowerbird.org/event/cages-music-of-changes/
LOCATION:Trinity Center for Urban Life\, 2212 Spruce St\, Philadelphia\, PA\, 19103\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Cage_Thirteen.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121028T200000
DTEND;TZID=America/New_York:20121028T213000
DTSTAMP:20260425T233412
CREATED:20190502T161526Z
LAST-MODIFIED:20190502T161526Z
UID:10000982-1351454400-1351459800@www.bowerbird.org
SUMMARY:POSTPONED: Margaret Leng Tan performs John Cage's Sonatas & Interludes
DESCRIPTION:Pianist Margaret Leng Tan returns for a performance of one of John Cages most important works\, Sonatas and Interludes. Rhythmic and driving\, Sonatas and Interludes is a collection of twenty pieces – sixteen sonatas and four more freely structured interludes – composed for prepared piano\, a Cagean innovation that uses screws\, bolts\, pieces of rubber and plastic\, to reimagine the piano as an orchestra of percussive sounds. Inspired by Indian philosophy and music\, the aim of the pieces is to express the eight permanent emotions of the rasa Indian tradition. \nPart of the Cage: Beyond Silence festival.
URL:https://www.bowerbird.org/event/postponed-margaret-leng-tan-performs-john-cages-sonatas-interludes/
LOCATION:Curtis Field Concert Hall\, 1726 Locust Street\, Philadelphia\, PA\, 19103\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/12/Cage-preparing-piano-1-cropped.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121026T170000
DTEND;TZID=America/New_York:20121026T200000
DTSTAMP:20260425T233412
CREATED:20190502T161825Z
LAST-MODIFIED:20190502T161825Z
UID:10000983-1351270800-1351281600@www.bowerbird.org
SUMMARY:Cage: Music for Film
DESCRIPTION:Virtuoso pianist Margaret Leng Tan\, who began her association with Cage in 1981\, performs an eclectic and far ranging program of Cage’s music for piano\, prepared piano\, and toy piano to live projected videos.Compositions include Works of Calder\, Music for Marcel Duchamp\, Cage’s score painting Chess Pieces\, and Music for Piano no. 2\, which will be performed with Rob Dietz’s video projections of Cage’s artwork 10 Stones. \nPart of Cage: Beyond Silence
URL:https://www.bowerbird.org/event/cage-music-for-film/
LOCATION:Philadelphia Museum of Art
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/12/Cage-preparing-piano-1-cropped.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121008T200000
DTEND;TZID=America/New_York:20121008T213000
DTSTAMP:20260425T233412
CREATED:20190502T161203Z
LAST-MODIFIED:20190502T161203Z
UID:10000981-1349726400-1349731800@www.bowerbird.org
SUMMARY:POSTPONED: Dan Blacksberg and Jay Campbell perform John Cage solo works
DESCRIPTION:An industrious and inventive mind\, Cage explored new ways to notate music including graphs\, transparencies\, text\, and even start charts. When combined with his use of chance and an ear for the unusual these innovations fueled new frontiers in performance practice and the development of bold new sounds. This evening two young virtuosos\, recent Pew Fellow Dan Blacksberg and fast rising talent Jay Campbell\, tackle some of Cages most inventive and complex works\, including the Solo for Sliding Trombone (1957-8) and the fiendishly difficult Etudes Boreales (1978) for solo cello. \n  \nPart of the Cage: Beyond Silence festival.
URL:https://www.bowerbird.org/event/postponed-dan-blacksberg-and-jay-campbell-perform-john-cage-solo-works/
LOCATION:Philadelphia Art Alliance at the University of the Arts\, 251 S 18th St\, Philadelphia\, PA\, 19103\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/12/Cage-preparing-piano-1-cropped.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120916T200000
DTEND;TZID=America/New_York:20120916T220000
DTSTAMP:20260425T233412
CREATED:20190502T162520Z
LAST-MODIFIED:20190502T162520Z
UID:10000984-1347825600-1347832800@www.bowerbird.org
SUMMARY:CHRIS HEENAN & JONAS KOCHER + BHOB RAINEY
DESCRIPTION:CHRIS HEENAN & JONAS KOCHER (accordian)\nBHOB RAINEY (solo electronics) \n  \nABOUT THE EVENT \nBowerbird commences the fall season with a concert featuring first rate music from local and distant sources. This is a rare chance to see the duo of Berlin-based American contrabass clarinetist Chris Heenan and Swiss accordianist Jonas Kocher (who are in the midst of a US tour) and perhaps the first of what we hope to be more regular local appearances by recent Philadelphia transplant Bhob Rainey\, who will be doing a set of solo electronics. \nChris Heenan and Jonas Kocher work with the unlikely pairing of contrabass clarinet and accordion using improvisation to create worlds of changing depth and mood that both expand upon and fixate on particular sonic zones while simultaneously belying the instrumentation of the duo. Sudden shifts in texture and tempo give way to areas of quiet and stasis\, a reprieve from constant movement that gives way to a burst of loud focused activity. \nBhob Rainey’s eight member BSC will be appearing in Philadelphia later this fall\, performing two original realizations of John Cage’s “Song Books” (1970). \n  \nMade possible with the support of Pro Helvetia\, the Swiss Arts Council.
URL:https://www.bowerbird.org/event/chris-heenan-jonas-kocher-bhob-rainey/
LOCATION:Vox Populi\, 319 N 11th St\, 3rd Floor\, Philadelphia\, PA\, 19107\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Duo_Heenan_Kocher_large.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120615T200000
DTEND;TZID=America/New_York:20120615T220000
DTSTAMP:20260425T233412
CREATED:20190502T163529Z
LAST-MODIFIED:20190502T163529Z
UID:10000985-1339790400-1339797600@www.bowerbird.org
SUMMARY:Bernard Parmegiani's "De natura sonorum"
DESCRIPTION:Bernard Parmegiani (b. 1927): “De natura sonorum” (1975)\nSuite in twelve movements \nDigital artist Peter Price will perform live projected visuals to accompany the digital playback. The concert will be preceded by a brief introductory talk by Thomas Patteson. \nABOUT THE EVENT \nBuilding on the acoustic investigations of his teacher Pierre Schaeffer\, the founder of musique concrete\, French composer Bernard Parmegiani creates what he calls “acousmatic music” — a kind of sonic art conceived especially for presentation through loudspeakers\, designed to invoke powerful mental images through the pure play of disembodied sound. Parmegiani’s 1975 composition De natura sonorum is an unrivaled masterpiece in this genre. Each of the work’s 12 movements is an etude in which opposing sonic properties–percussive versus sustained tones\, or synthetic versus natural–are played against each other in a highly refined counterpoint of acoustic forms. At once playful and imposing\, sensual and cerebral\, De natura sonorum leads the listener on a unique exploration of the nature of sound.
URL:https://www.bowerbird.org/event/bernard-parmegianis-de-natura-sonorum/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Parmegiani.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120602T120000
DTEND;TZID=America/New_York:20120602T160000
DTSTAMP:20260425T233412
CREATED:20190502T164143Z
LAST-MODIFIED:20190502T164143Z
UID:10000986-1338638400-1338652800@www.bowerbird.org
SUMMARY:Workshop:  Listen Here Now
DESCRIPTION:Listen Here Now investigates how listening\, recording and mapping can transform our sense of place\, time and physical relationship to a given location in the neighborhood of Pt. Breeze/Grays Ferry. This workshop involves listening\, recording and mapping sound. Through focused listening\, the participant becomes more aware of their environment as they discover their surrounding in an audible way. Each participant will be mapping out their sonic experience thereby creating a narrative of their relationship to the given location. \nUsing a map and a recording device\, each participant will track their movement through space. Starting and ending at a designated place and time\, each participant will navigate their walks based on what they hear\, thereby shaping the trajectory of their sonic journey. Participants are to stop\, listen and record the surrounding landscape and mark the location on their maps. The recordings and maps will be gathered\, then later on strung together in a composition that visually and audibly reference each other. \n  \nSound Places is a part of Commotion\, a project that brings together diverse art makers and communities to interact and explore the Grays Ferry\, Point Breeze\, and South of South Street neighborhoods of Philadelphia in unique and unexpected ways.
URL:https://www.bowerbird.org/event/workshop-listen-here-now/
LOCATION:Zion Hill Memorial Baptist Church\, 2702 Ellsworth St\, Philadelphia\, PA\, 19146\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/dumlao.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120526T120000
DTEND;TZID=America/New_York:20120526T160000
DTSTAMP:20260425T233412
CREATED:20190502T164648Z
LAST-MODIFIED:20190502T164648Z
UID:10000987-1338033600-1338048000@www.bowerbird.org
SUMMARY:Workshop: Mobile Field Recording
DESCRIPTION:This workshop will introduce participants to mobile field recording in an urban park setting. We will listen to and record the sounds of traffic\, the recycling center\, park visitors on foot/bicycle/ rollerblade/skateboard/ segway/stroller\, aircraft\, and watercraft. Non human-made sounds that may also be encountered include birds\, the wind\, insects\, squirrels\, rats\, feral dogs\, and water lapping against the riverbank. While the only certain sound will be that of automobile traffic\, it is very likely that we will also encounter sounds we do not expect. We will discuss microphone polar patterns\, stereo methods\, recording\, playback/delivery considerations\, storage\, best practices\, editing\, processing\, geotagging\, metadata\, archiving\, and equipment. Workshop participants will walk approximately 2 miles (from the starting point and back). There will be 8 spots available; headphones will be provided. \n  \nSound Places is a part of Commotion\, a project that brings together diverse art makers and communities to interact and explore the Grays Ferry\, Point Breeze\, and South of South Street neighborhoods of Philadelphia in unique and unexpected ways.
URL:https://www.bowerbird.org/event/workshop-mobile-field-recording/
LOCATION:Schuylkill Banks Grays Ferry Crescent
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/philadelphia-pa-desktop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120420T200000
DTEND;TZID=America/New_York:20120420T230000
DTSTAMP:20260425T233412
CREATED:20190502T165116Z
LAST-MODIFIED:20190502T165116Z
UID:10000988-1334952000-1334962800@www.bowerbird.org
SUMMARY:Diamond Terrifier + Femme Tops + Wait + Patrick Higgins
DESCRIPTION:Difficult to summarize\, yet unified in ethos and affect\, this evening features three solo projects – Diamond Terrifier (Sam Hillmer of the Zs’s)\, Partrick Higgins (in an extensive reworking of JS Bach’s music)\, and Wait (a solo electronics project by Robert J). Also on the evening is a new quartetFemme Tops featuring Alex Hampshire\, Rick Weaver\, Evan Lipson\, and Jeff Zagers.
URL:https://www.bowerbird.org/event/diamond-terrifier-femme-tops-wait-patrick-higgins/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Diamond_Terrifier.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20111111T200000
DTEND;TZID=America/New_York:20111111T230000
DTSTAMP:20260425T233412
CREATED:20190502T165928Z
LAST-MODIFIED:20190502T165928Z
UID:10000989-1321041600-1321052400@www.bowerbird.org
SUMMARY:Michael Gordon's TIMBER
DESCRIPTION:American composer Michael Gordon’s new piece\, Timber\, is an evening-length tour de force. Scored for six graduated wooden Simantras — Greek liturgical percussion instruments used by French composer Iannis Xenakis — the work brings the physicality\, endurance and technique of percussion performance to a new level. In this new work\, Gordon shapes the music in both polyrhythmic and dynamic waves of textures — often each players’ hands are in separate rhythmic ‘worlds’\, each traversing a different dynamic contour from loud to soft to loud\, similar in some respects to his solo for percussion\, XY. \nMuch of Gordon’s music demonstrates a deep exploration into the extreme possibilities and stunning nature of rhythm\, as well as the enriching\, yet disturbing\, multidimensionality of polyrhythmic layers — what has been termed in his music to be\, “glorious confusion.” Many of Gordon’s works\, including Trance\, Gotham\, Decasia\, and his most recent orchestral work\, Dystopia\, point to Gordon’s interest in complex rhythmic and textural territory. Gordon’s percussion sextet takes these elements and explores the extreme possibilities of rhythm and texture to a beautifully intense degree. The new evening-length work is indeed a unique and exciting addition to the world of percussion. \nPresented with Crane Arts
URL:https://www.bowerbird.org/event/michael-gordons-timber/
LOCATION:Crane Arts\, 1400 N American St\, Philadelphia\, PA\, 19122
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/michael-gordon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20111021T200000
DTEND;TZID=America/New_York:20111021T220000
DTSTAMP:20260425T233412
CREATED:20190502T170317Z
LAST-MODIFIED:20190502T170317Z
UID:10000990-1319227200-1319234400@www.bowerbird.org
SUMMARY:POWERS OF TEN
DESCRIPTION:When we think of documentary films\, we probably call to mind certain familiar forms\, such as archival footage of World War II battles or British-accented narration of natural scenes. But conceived in the broadest terms\, the documentary is an extremely diverse cinematic genre with at least as much room for artistic experimentation as the fictional film. This program is intended to trace the fascinating variety of short documentary films\, which spans the roughly century-long history of cinema itself. \n  \nIn different ways\, the films featured in this program explore the possible meanings of cinema as a vehicle for human knowledge and aesthetic pleasure. Some are self-consciously experimental\, while others challenge us through their historical and cultural distance from our ingrained habits of perception. All these films both expand our experience of the world and force us to re-examine our comfortable relationship with the “reality” that film presents.
URL:https://www.bowerbird.org/event/powers-of-ten/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Powers-of-ten-eames.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110916T200000
DTEND;TZID=America/New_York:20110916T220000
DTSTAMP:20260425T233412
CREATED:20190502T170741Z
LAST-MODIFIED:20190502T170855Z
UID:10000991-1316203200-1316210400@www.bowerbird.org
SUMMARY:Xavier Le Roy's More Mouvements für Lachenmann
DESCRIPTION:Something between dance\, music and theater\, More Mouvements für Lachenmann is French choreographer Xavier Le Roy’s poetic and fascinating version of a contemporary music concert from the point of view of someone obsessed with movement. This dance for eight extraordinary virtuoso musicians\, including members of the Austrian new music ensemble Klangforum Wien\, breaks down the work of making music by uncoupling sounds and movements\, sonic events and silences\, actions and stillness. More Mouvements includes the Lachenmann works “Pression\,” “Salut für Caudwell\,” and “Gran Torso.” \n  \n  \nPROGRAM DETAILS \n  \nXavier Le Roy holds a doctorate in molecular biology from the University of Montpellier\, France\, and has worked as a dancer and choreographer since 1991. He has performed with diverse companies and choreographers. From 1996 to 2003\, he was artist-in-residence at the Podewil in Berlin. In 2007-2008 he was “Associated Artist”at Centre Chorégraphique National de Montpellier\, France. In 2010 Le Roy is an Artist in Residence fellow at the MIT Program in Art Culture and Technology (Cambridge\, MA). Through his solo works such as Self Unfinished (1998) and Product of Circumstances (1999)\, he has opened new perspectives for dance and his individual approach has radicalized academic discourse about the body and choreographic art. Le Roy develops his work like a researcher\, while simultaneously focusing on the relationships between process and product and his own involvement in the process. He regularly initiates projects to question modes of production\, collaboration and conditions of group work with projects such as E.X.T.E.N.S.I.O.N.S.(1999-2000)\, Project (2003)\, and 6 Months 1 Location (2008). His latest works\, such as the solos Le Sacre du Printemps (2007) and Product of Other Circumstances (2009)\, as well as the group piece low pieces (2009-2011)\, explore more explicitly diverse mode of relationships between spectators and performers. \n  \nXavier Le Roy’s More Mouvements für Lachenmann is the culmination of several years of artistic exploration of the relationship between music and dance\, sound and movement. As early as 2003\, Le Roy was creating choreography for the music of Edgar Varese and Bernard Rands\, but it was with his 2007 solo work Le Sacre du Printemps in which he directly confronted the reality and multilayered contradictions in the sound/movement relationship. \n  \nIn Sacre Le Roy observed the Berlin Philharmonic during a rehearsal of Stravinsky’s Rite of Spring\, and took keen interest in the conductor’s movement\, and the precipitous ambiguity as to whether the conductor’s movement was driving music\, or the music was binding the conductor to certain movement. It is here that Le Roy began to explore ideas of synchronicity between the visual and the sonic cues in performance as he magnified the inherent theatricality within them. \n  \nMore Mouvements takes Le Roy’s earlier explorations and brings them to fuller fruition through the pairing of a more historically developed\, and conceptually apropos partner in Lachenmann. In many ways\, More Mouvements\, is as much based on Lachenmann’s music as it is about the music\, and the composer’s own peculiar relationship with sound\, sound production\, and the exceptional demands put on the musicians. \n  \nLachenmann has referred to his compositions as musique concrète instrumentale\, implying a musical language that embraces the entire sound-world made accessible through unconventional playing techniques. His music is therefore primarily derived from the most basic of sounds\, which through processes of amplification serve as the bases for extended works. His scores place enormous demands on performers\, due to the plethora of techniques that he has invented. \n  \nLachenmann’s gravitation toward these basic parameters of sound\, and his somewhat contradictory creation of new techniques to execute the ‘normal’ sounds\, is very much echoed in the deceptively pedestrian movement vocabulary of Le Roy’s other work\, or\, for example\, the technique required to make an illusion of a moving headless body\, as in his solo piece Self Unfinished\, (1998). The aesthetic marriage is so complete that Le Roy is able to draw so deeply from the visual cues of Lachenmann’s music that More Mouvements für Lachenmann does not require any dancers (in the traditional sense) to perform. And though the movements of the performers are very much ‘dancerly’ at times\, the work\, like much of Le Roy’s work\, invites the most fundamental question\, “What is dance?” \n  \nCREDITS \nChoreography Xavier Le Roy\nMusic Helmut Lachenmann (b. 1935)\nPerformers Gunter Schneider (guitar)\, Barbara Romen (guitar)\, Tom Pauwels (guitar)\, Günther Lebbing (guitar)\, Annette Bik (violin)\, Sophie Schafleitner (violin)\, Dimitrios Polisoidis (viola)\, Andreas Lindenbaum (cello)\nDramaturg Bojana Cvejic\, Berno Odo Polzer\nTechnical Director Götz Dihlman\nSound Engineer Wolfgang Musil \n  \n  \nThe presentation of More Mouvements für Lachenmann in the 2011 Philadelphia Live Arts Festival is supported by The Pew Center for Arts & Heritage through Dance Advance.
URL:https://www.bowerbird.org/event/xavier-le-roys-more-mouvements-fur-lachenmann/
LOCATION:Arts Bank\, 601 S. Broad Street\,\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Le-Roy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110306T193000
DTEND;TZID=America/New_York:20110306T213000
DTSTAMP:20260425T233412
CREATED:20190502T171336Z
LAST-MODIFIED:20190530T151218Z
UID:10000992-1299439800-1299447000@www.bowerbird.org
SUMMARY:Blind Date: Part 2
DESCRIPTION:We invited ten of the most interesting performers – five musicians and five dancers – and paired them up with someone they’ve never performed with – on a Blind Date. We played match maker – and we were careful to take risks. What will happen? We don’t exactly know\, but Blind Date is here to inspire that conversation\, to bring the possibilities between music and dance into focus\, to help us understand and challenge the continuum of improvisation and composition in performance\, and to anticipate the unknown\, and the inherent potential for disaster but also greatness that comes from this edge of inquiry. We liked this idea so much\, we did it twice. \n  \nThe lineup for part two is: \nBethany Formica & Jeb Lewis \nLisa Kraus & Tatsuya Nakatani \nMakoto Hirano & Evan Lipson \nScott McPheeters & Sam Cusamano \nLorin Lyle & Gene Coleman
URL:https://www.bowerbird.org/event/blind-date-part-2/
LOCATION:Christ Church Neighborhood House\, 20 N American St\, Philadelphia\, PA\, 19106
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/05/bowerbird-presents-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110305T210000
DTEND;TZID=America/New_York:20110305T230000
DTSTAMP:20260425T233412
CREATED:20190513T172732Z
LAST-MODIFIED:20190513T172732Z
UID:10000993-1299358800-1299366000@www.bowerbird.org
SUMMARY:ORGAN: Marshall Allen & Farid Barron
DESCRIPTION:Blistering virtuosity from another dimension. Legendary saxophonist Marshall Allen and keyboardist Farid Barron – both from the cosmic Sun Ra Arkestra – join for a duo of sonic exchanges\, at the very edge of possibility. Critics have described Marshall as one of the most distinctive and original saxophonists of the postwar era. Pianist Farid Barron was born and raised in Philadelphia and has performed with Wynton Marsalis\, Ralph Peterson\, Johnny Coles\, Mickey Roker\, and Bobby Durham\, among others.
URL:https://www.bowerbird.org/event/organ-marshall-allen-farid-barron/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/05/Marshall_Allen.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110305T193000
DTEND;TZID=America/New_York:20110305T233000
DTSTAMP:20260425T233412
CREATED:20190513T173019Z
LAST-MODIFIED:20190513T173019Z
UID:10000994-1299353400-1299367800@www.bowerbird.org
SUMMARY:COMBO: Marshall Allen / Farid Barron + Subcircle
DESCRIPTION:Blistering virtuosity from another dimension. Legendary saxophonist Marshall Allen and keyboardist Farid Barron – both from the cosmic Sun Ra Arkestra – join for a duo of sonic exchanges\, at the very edge of possibility. Critics have described Marshall as one of the most distinctive and original saxophonists of the postwar era. Pianist Farid Barron was born and raised in Philadelphia and has performed with Wynton Marsalis\, Ralph Peterson\, Johnny Coles\, Mickey Roker\, and Bobby Durham\, among others. \nOnly Sleeping is a dance and design rabbit hole with unseen possibilities revealed at every moment. A dialogue between video and live performer\, a silent film faces a live dancer with an original score that tests the boundary of imagination\, loneliness and detachment. Subcircle’s work\, in collaboration with Geoff Sobelle\, of rainpan 43\, and with music by Michael Kiley asks the audience to come with them on an adventure yet unknown. The goal remainsto test people’s ideas of where they see dance and theatre\, how\, and most importantly\, why.
URL:https://www.bowerbird.org/event/combo-marshall-allen-farid-barron-subcircle/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/allen_farid2_640.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110304T213000
DTEND;TZID=America/New_York:20110304T230000
DTSTAMP:20260425T233412
CREATED:20190523T172057Z
LAST-MODIFIED:20190523T172057Z
UID:10000995-1299274200-1299279600@www.bowerbird.org
SUMMARY:ORGAN: Parker Kitterman
DESCRIPTION:Pulling out all the stops: this is chance to hear the Curtis Organ played by its year-round keeper. Parker’s newly appointed tenure at Christ Church has radically changed the musical content in the congregation. He is bringing a 17th century parish to the 21st by bringing amusical genres and traditions not often associated with the service. He also performs regularly as a recitalist\, where his repertoire ranges from the late Renaissance and early Baroque to the French Romantic/Symphonic period to great and little-known works of the 20th and 21st centuries\, and includes original works\, transcriptions\, and improvisation.
URL:https://www.bowerbird.org/event/organ-parker-kitterman/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Kitterman_Organ.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110304T200000
DTEND;TZID=America/New_York:20110304T230000
DTSTAMP:20260425T233412
CREATED:20190523T172223Z
LAST-MODIFIED:20190523T172223Z
UID:10000996-1299268800-1299279600@www.bowerbird.org
SUMMARY:COMBO: Parker Kitterman + Subcircle
DESCRIPTION:A chance to hear the organ played by its year-round keeper. Parker’s newly appointed tenure at Christ Church has radically changed the musical content in the congregation. He is bringing the 17th century parish to the 21st by incorporating musical genres and traditions not often associated with the Service \nA dialogue between video and live performer\, Only Sleeping treads inside the realm of contemporary loneliness and detachment; the contradiction of choice and inevitability. Subcircle’s work\, in collaboration with Geoff Sobelle\, of rainpan 43 and with music by Mike Kiley asks the audience to come with them on an adventure yet unknown. A dance-video tour de force\, Subcircle is the collaboration between choreographer Niki Cousineau and designer Jorge Cousineau. Founded in 1998\, the company is committed to creating work that transforms theatrical and site-specific spaces\, merging dance\, sound\, set design\, lighting and film. With collaboration at its core\, Subcircle’s inventive collaborations build scenarios that engulf audiences in full-scale atmospheric environments.
URL:https://www.bowerbird.org/event/combo-parker-kitterman-subcircle/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Kitterman_Organ.jpg
END:VEVENT
END:VCALENDAR