Actions and Detail Panel
Late Night @ National Sawdust: Chaos Theory
Fri, Apr 21, 2017, 9:30 PM
Doors at 9:00PM
Advance $29 | At the Door $34
Podcast and live radio collide in an evening of music inspired by fractals, dynamic systems, feedback loops and nature. Open G Records and Access Contemporary Music present Caroline Mallonee's Butterfly Effect, a string quartet inspired by the idea that a butterfly flapping its wings in Australia could cause a tornado in Texas, Chin Ting Chan's gorgeously abrasive Fractals, Lyudmila German's nod to organic systems Six Fragments, David Glaser's haunting Moonset No. 1 and two world premieres written for acclaimed soprano Sharon Harms and clarinetist Mark Dover of Imani Winds.
Late Night at National Sawdust is a quarterly live taping of Relevant Tones, a contemporary music podcast hosted by Seth Boustead that will also be broadcast in real time on the nationally syndicated WFMT Radio Network. Live radio has never been so intimate.
The broadcast will be preceded by the Discovery Series, a process-oriented exploration of musical creativity led by composer/pianist Jeremy Gill. The three composers to be performed, chosen from a pool of more than five hundred, are Henrique Coe, Adina Dumitrescu and Ryan Homsey.
Doors at 9:00
Discovery Series at 9:30
Live at 11:00
About the artists
Access Contemporary Music
Open G Records
Praised by Opera News for his “exemplary clarinet playing,” Mark Dover’s vast array of musical experiences have helped him quickly establish himself as one of the most diverse clarinetists of his generation. In January of 2016, Mark was appointed the new clarinetist of Imani Winds. More than North America’s premier wind quintet, the Grammy-nominated Imani Winds were recently named the University of Chicago Don Michael Randel Ensemble-in-Residence, 2016-2018. Currently, Imani Winds are an Ensemble-In-Residence at Mannes College of Music, The New School. In addition to these engagements and their busy tour schedule, Imani Winds run the annual Imani Winds Chamber Music Festival, hosted by Mannes. Recent and upcoming masterclasses include The University of Michigan School of Music, Theatre, and Dance, Manhattan School of Music, Mannes College of Music, Rutgers University Mason Gross School of the Arts, Bryn Mawr College, Hope College, and University of St. Thomas.
Since moving to New York in 2010 Mark has performed at many of the major concert halls, including Carnegie Hall and Weill Recital Hall, Avery Fisher Hall, Alice Tully Hall, Brooklyn Academy of Music, Merkin Hall and Symphony Space. As an orchestral musician, Dover has performed with The Detroit Symphony under Leonard Slatkin, The Cleveland Orchestra under David Zinman at Kent/Blossom, numerous times with The New World Symphony in Miami Beach, Symphony in C in New Jersey, and Chamber Orchestra of New York. He has performed as a member of The Spoleto Festival USA Orchestra in Charleston, South Carolina for two seasons, as well as at the Pacific Music Festival in Sapporo, Japan. In 2015, Mark performed the world premiere of Michael Thurber’s Quadruple Concerto, “Three Musketeers” commissioned by and broadcasted nationally on NPR’s From The Top with the Interlochen Arts Academy Orchestra and soloists Kris Bowers, Charles Yang and Michael Thurber. Mark has also worked closely with the New York based conductor-less chamber orchestra Shattered Glass, with whom he performed the Copland Clarinet Concerto. Upcoming summer engagements include a Maine tour of the Brahms and Mozart Quintets with the DaPonte String Quartet, and the same program with Manhattan Chamber Players at the Inaugural Concert for the Chappaquiddick Music Festival – Martha’s Vineyard.
In addition to his work in the classical world, Dover has an extensive background in jazz and improvised music. He held the clarinet chair for over 300 performances of the acclaimed Off-Broadway musical Natasha, Pierre, and The Great Comet of 1812. Currently Mark can frequently be heard as a substitute musician on the Broadway show Matilda. He has performed and/or recorded with numerous jazz, pop and musical theatre artists, including The Temptations, Vulfpeck, Cyrille Aimée, Darren Criss, Dave Malloy, Phillipa Soo, Stephen Pasquale, Shaina Taub, Adam Deitch, Michael Thurber, Charles Yang, Kris Bowers, the viral youtube music collective CDZA, Theo Katzman, Joey Dosik, Matt Davis’ Aerial Photograph, and many more. As a studio musician he has played on commercials for Lexus, Intel, Burger King and Optimum Online. Originally from Ann Arbor, Michigan, and a graduate of Interlochen Arts Academy, Mark received his Masters of Music from Manhattan School of Music, and his Bachelor of Music from the University of Michigan School of Music, Theatre, and Dance. His major teachers include David Krakauer, Deborah Chodacki, Nathan Williams, and Jay DeVries.
Praised as "superb", "luscious-toned", "extraordinarily precise and expressive", and "dramatically committed and not averse to risk" by the New York Times, young American soprano Sharon Harms is known for fearless performances and passionate interpretations of works new and old for the recital, concert, and operatic stage.
Sharon has premiered the music of some of today's leading composers and her repertoire spans a versatile spectrum of periods and styles. A wide array of collaborations have put Ms. Harms in venues around the world. She is a member of the Argento Ensemble and the Curiosity Cabinet and has sung with Alter Ego Ensemble, Baroque Band of Chicago, Center for Contemporary Opera, counter)induction, Da Capo Chamber Players, East Coast Contemporary Ensemble, Eighth Blackbird, Ensemble Mise-en, Ensemble Recherche, Ensemble Signal, Larchmere String Quartet, Lima Symphony Orchestra, MET Opera Chamber Orchestra, Network for New Music, New Chamber Ballet, New Dramatists, New Fromm Players, Orchestra of the League of Composers, Pacifica Quartet, Princeton Festival Opera, Pueblo Symphony Orchestra, Simon Bolivar Orchestra, Slee Sinfonietta, Southwest Chamber Ensemble, and Third Coast Percussion.
Ms. Harms has appeared as a fellow at the Tanglewood Music Center, and as a guest artist of the American Academy in Rome, Cornell University, Institute for Advanced Study in Princeton, June in Buffalo, Los Angeles International New Music Festival, NYC Electroacoustic Music Festival, Princeton Festival, Southern Exposure New Music Series, St. Urban Salon Series, The College of New Jersey, University of Chicago, University of Northern Colorado, University of Notre Dame, Radcliffe Institute, Wellesley Composer's Conference & Chamber Music Workshops, and Resonant Bodies Festival.
Recording projects include a 2013 Latin Grammy nomination for Gabriela Ortiz' Aroma Foliado with Southwest Chamber Ensemble, and a CD of new vocal works by Louis Karchin with Da Capo Chamber Players on Bridge Records. She will also be featured on various forthcoming recordings of new pieces by William Bolcom, John Eaton, Jesse Jones, Lowell Liebermann, and Charles Wuorninen.
This season, Sharon will again join forces with New Chamber Ballet both as a singer and dancer. She also will collaborate with The Nouveau Classical Project and Andrew Munn, Lucy Fitz-Gibbon, and Kate Maroney for Making Tellus: Sketches of a Cosmogram for the Anthropocene, a new multimedia cantata by Nina C. Young. Other upcoming events include recitals with pianist Steven Beck, works by Jesse Jones at Oberlin Conservatory of Music, and concerts with the Argento Ensemble, The Curiosity Cabinet, and Ensemble Échappé.
Ms. Harms studied at Indiana University's Jacobs School of Music with Carol Vaness. During her time there she was the inaugural recipient of the Georgina Joshi Graduate Fellowship made possible by the generous gifts of the Georgina Joshi Foundation. She holds a Bachelor of Music degree in vocal performance from the University of Northern Colorado and a Master of Music degree in vocal performance from Indiana University.
Described as “vividly colored” (The New York Times) and “exhilarating” (The Philadelphia Inquirer), Jeremy Gillʼs music has earned him residencies and fellowships with Chautauqua Opera (2016), Copland House (2015), American Opera Projects (2013–14), and the MacDowell Colony (2013), as well as major grants from New Music USA (2015) and Chamber Music America (2011). In November 2015, Jeremy traveled to Havana, Cuba as part of a select group of composers assembled by the American Composers Forum as the first US Artist Delegation to the Havana Contemporary Music Festival, a historic trip documented by ACF and National Public Radio.
During the 2015–16 season the Dallas Symphony Orchestra premiered Jeremyʼs oboe concerto Serenada Concertante, featuring DSO principal Erin Hannigan and conducted by music director Jaap van Zweden, which The Dallas Morning News lauded as “replete with imaginative textures and interplays between soloist and orchestra…By turns stringing out lyric lines, weaving arabesques and exploding in flourishes and runs,” and Duo Cortona (mezzo-soprano Rachel Calloway and violinist Ari Streisfeld, formerly of the JACK Quartet) premiered his setting of Hart Craneʼs Carmen de Boheme during the SONiC Festival in NYC.
Other performances of note during the 2015–16 season included a staged version of Helian (2009), conceived by director Copeland Woodruff for baritone Jonathan Hays with Jeremy on piano, and the staged premiere of his 2014 opera Letters from Quebec to Providence in the Rain by Lyric Theatre @ Illinois and the Illinois Modern Ensemble at the Krannert Center of the University of Illinois Urbana-Champaign, conducted by Jeremy.
During the summer of 2016 Jeremy was the first Composer in Residence with Chautauqua Opera, where three new works of his were premiered: Rose, composed for mezzo-soprano Tesia Kwarteng and setting a text by Ann Patchett; Ladiesʼ Voices, composed for soprano Chelsea Miller, Chautauqua Operaʼs 16 Studio Artists in various speaking roles, and accompanied by full orchestra, setting the short play of the same name by Gertrude Stein; and The Invisible City, composed for countertenor Patrick Terry and setting a text by Italo Calvino. While in residence with Chautauqua Opera, Jeremy simultaneously served as cover conductor to General and Artistic Director Steven Osgood on La Traviata and The Mikado and as a member of the coaching and accompanying staff.
The 2016–17 season will include the world premiere of Jeremyʼs Duo for Violin and Piano featuring Peter Sirotin and Ya-Ting Chang of the Mendelssohn Trio, commissioned to honor the 35th anniversary of Market Square Concerts, and performances of Helian featuring Jonathan Hays and Copeland Woodruff at National Sawdust in NYC, Parabasis (2006) featuring the Chameleon Arts Ensemble at the Goethe-Institut in Boston, and multiple performances of the suite from Capriccio (2012) featuring the Parker Quartet. His chamber opera Letters from Quebec to Providence in the Rain will be presented during the 2017 National Opera Associationʼs Conference in Santa Barbara as one of three finalists for NOAʼs Dominick Argento Chamber Opera Prize.
Two new recordings of Jeremyʼs music will be released in 2017. Paean, Epitaph, and Dithyramb (2008), featuring the NYC-based ensemble Third Sound, will be released by innova Recordings on an album documenting the first US Artist Delegation to Havana, Cuba. And Boston Modern Orchestra Project will release a disc of Jeremyʼs three recent concertos on its BMOP/sound label: Before the Wresting Tides featuring pianist Ching-Yun Hu, Serenada Concertante (2013) featuring oboist Erin Hannigan, and Notturno Concertante (2014) featuring clarinetist Christopher Grymes, all conducted by Gil Rose.
In 2015, the Grammy-winning Parker Quartet released Jeremyʼs hour-long Capriccio on the innova Recordings label. This recording has garnered extensive critical acclaim: Classical Minnesota Public Radio called it “a work to return to often, for fresh insight and stimulation,” while the San Francisco Chronicle called it “a varied and kaleidoscopic collection of vivid miniatures…an ebullient cataloging of the various textural and rhetorical forms that writing for string quartet can take.” In Capriccio, “Jeremy Gill conveys to us his own special sensibilities as a composer of almost unlimited breadth, a master stylist who knows virtually no boundaries in his poetic collocation of past, present and future,” remarked Gapplegate Classical-Modern Music Review. The Big City Blog included Capriccio on its list of top ten “Best Classical Recordings of 2015,” and Jazz da Gama called it simply “one of the most remarkable opuses in chamber music this year.”
Jeremy regularly appears as a pianist in music of his own and by his contemporaries. Recently, he presented a recital at Spectrum NYC with composer/violinist Avner Finberg that included music by George Crumb, György Kurtág, Roberto Sierra, and Claude Vivier. He has appeared with Baltimore Symphony violist Peter Minkler at the Mansion at Strathmore in viola sonatas by George Rochberg and Arthur Honegger, with the Network for New Music Ensemble in George Crumbʼs Vox Balaenae, and with the Dolce Suono Ensemble and celebrated soprano Lucy Shelton in music by Messiaen and Shulamit Ran on the Ear Heart Music series in Brooklyn (prompting The New York Times to deem him “a fine pianist.”)
Jeremy has conducted over 35 world premieres featuring artists such as Eric Owens, Ching-Yun Hu, Evan Hughes, Lucy Shelton, and Randall Scarlata with ensembles including the Dolce Suono Ensemble, the Mendelssohn Club of Philadelphia, and Network for New Music. During the 2016–17 season he will conduct the Boston-area premiere of Missy Mazzoliʼs Song from the Uproar at the Isabella Stewart Gardner Museum, featuring the Firebird Ensemble and mezzo-soprano Abigail Fischer.
He has received awards and grants from BMI, ASCAP, and a Music Alive composer residency from the League of American Orchestras and Meet the Composer, and has served as the Composer in Residence with Chautauqua Opera, the Harrisburg Symphony Orchestra, and the Newburyport Chamber Music Festival. He is a regular lecturer for the Boston Symphony Orchestra and Rockport Music, and edited A Dance of Polar Opposites, a theoretical-philosophical work written between 1955–2005 by his former teacher George Rochberg, published by the University of Rochester Press in 2012.