7:00 PM19:00

November 23, 2019: More Beautiful Than Words Can Tell

Featuring the world premiere of Philomelos by Osnat Netzer with Amy Garapic (percussion) and Pala Garcia (violin);

New works by Dhegrae;

Her Disappearance by Bethany Younge, with Nathaniel LaNasa (voice/PVC pipe);

“Dithyramb” by Jason Eckardt (from Tongues) — new remix by Dhegrae utilizing Sawdust’s 100-speaker Meyer Sound system, Constellation.

?Corporel by Vinko Globokar;

Rapana by Maria Stankova;

No by Caleb Burhans;

“Allons! whoever you are, come travel with me!
Travelling with me, you find what never tires. The earth never tires;

The earth is rude, silent, incomprehensible at first—
Nature is rude and incomprehensible at first;
Be not discouraged—keep on—there are divine things, well envelop’d;
I swear to you there are divine things more beautiful than words can tell.”

—Walt Whitman, “Song of the Open Road” from Leaves of Grass

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7:00 PM19:00

January 11, 2020: A Barely Arching Bridge

Featuring the world premiere of She Gets to Decide by Eve Beglarian, with Pala Garcia (violin), and Nathaniel LaNasa (piano).

Un lieu verdoyant by Philippe Leroux, with Casey Grev (saxophone);

Récitation No. 14 by Georges Aperghis;

Nepenthe (world premiere) by Peter Kramer, with Pala Garcia (violin) and Nathaniel LaNasa (piano);

If only after you then me by Amadeus Regucera, with Pala Garcia (violin);

Manoalchadia by Chaya Czernowin, with Alice Teyssier (voice);

New works by Dhegrae;

“Mon cadavre est doux comme un gant” from Fiançailles pour rire by Francis Poulenc, with Nathaniel LaNasa (piano).

Excerpt of a letter from Rainer Maria Rilke to his lover, Baladine Klosowska:

“Tout ce que les autres oublient, pour se rendre la vie possible, nous allons toujours le découvrir et l’agrandir même; c’est nous les véritables réveilleurs de nos monstres, auxquels nous ne sommes pas assez opposés pour devenir leurs vainqueurs; car dans un certain sens nous nous trouvons d’accord avec eux; ce sont eux, ces monstres, qui retiennent ce surplus de force, indispensable à ceux qui se doivent surpasser. A moins qu’on donne à l’acte de la victoire un sens mystérieux et beaucoup plus profond, ce n’est pas à nous de nous croire les dompteurs de nos lions intérieurs. —Mais tout à coup nous nous sentons marcher à côté d’eux comme dans un triomphe, sans pouvoir nous rappeler de l’instant même où se faisait cette inconcevable réconciliation (: pont à peine courbé qui relie le terrible au tendre . . .)”

English translation (by Eve Beglarian):

“All that others forget so as to make life bearable, we forever go and seek out, magnify even; we are the true awakeners of our monsters, whom we do not sufficiently oppose to vanquish; for, in a certain sense, we find ourselves in accord with them; it is they, these monsters, who retain the excess of strength indispensable to those who must surpass themselves. Unless we attribute a mysterious and far deeper meaning to the act of victory, it isn’t up to us to believe ourselves to be the tamers of our inner lions. But suddenly we feel ourselves walking side by side with them, as in a triumphal procession, without being able to recall the precise moment when this inconceivable reconciliation took place (a barely arching bridge that connects the terrible to the tender . . .)”

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7:00 PM19:00

March 28, 2020: I Was Breathing

Featuring the world premiere of How to Hold by Katherine Young for voice, percussion, and violin;

New works by Dhegrae;

Instruction pieces by Yoko Ono;

Sequenza III by Luciano Berio;

Breathing by Pamela Z;

No. 1 Shuffle by Alison Knowles;

“Long Shadows II” from Facing North by Meredith Monk, with Nathaniel LaNasa (voice);

“Asta Solilja” from Voices From the Killing Jar by Kate Soper.

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