nF Presents: Ji Weon Ryu

Program

Kokopeli (1990) – Katherine Hoover (1937-2018)

Self in Mind II (2018) – Jae Hyuck Choi (b. 1994)

Sequenza I (1958) – Luciano Berio (1925-2003)

Etude No. 5 (1974) – Isang Yun (1917-1995)

INTERMISSION

The Great Train Race (1993) – Ian Clarke (b. 1964)

Scrivo in Vento (1991) – Elliott Carter (1908-2012)

Sonatine for Flute and Clarinet (1961) – Andre Jolivet (1905-1974)

(with Daniel Parrette, clarinet)

I. Andantino

II. Quasi Cadentz

III. Intermezzo


Bio

Admired for her pure poetry...

Admired for her “pure poetry” and “beautiful technique and sound” (NFA Chronicle), Ji Weon Ryu holds The Mary Freeman Wisdom Chair as the Principal Flute of the Louisiana Philharmonic Orchestra since 2019 and serves in the same capacity with the Grammy-winning Albany Symphony Orchestra since 2017. 

Over the course of her young career, Ji Weon has been a guest flutist with distinguished ensembles such as the New York Philharmonic and the Verbier Festival Orchestra and has been a featured soloist with the Seoul Philharmonic Orchestra and the Louisiana Philharmonic Orchestra. As a principal flutist of various ensembles, she has performed in venues including Alice Tully Hall, Carnegie Hall, David Geffen Hall, Dvorak Hall (Prague), The John F. Kennedy Center, Musikverein (Vienna), and Seoul Arts Center and has worked with many acclaimed conductors such as Alan Gilbert, David Robertson, Fabio Luisi, Matthias Pintscher, Manfred Honeck, Thomas Daasgard, Tugan Sokiev, and Valery Gergiev to name a few.

A devoted orchestral musician, her performances have been broadcasted live on Medici TV and released to an exclusive album by iDAGIO. Her captivating control of tonal palette can also be heard on the world premiere recording with solo violist Richard O’Neill of Christopher Theofanidis’ Concerto for Viola and Chamber Orchestra, which has won the 2021 GRAMMY Award for Best Classical Instrumental Solo category.

With her unparalleled flexibility and virtuosity in a diverse panoply of musical styles, Ji Weon has won First Prize at the 2017 Artur Balsam Duo Competition, the 2016 New York Flute Club Competition, and the 38th National Flute Association Soloist Competition along with the Best Performance of Newly Commissioned Piece Award, and has received the 2017 Young Artist Award from the Kumho Asiana Cultural Foundation in South Korea.

Ji Weon has performed extensively as a recitalist and a chamber musician all over the US and South Korea. She regularly tours with the Frisson, an “explosive” New York City-based chamber ensemble as a founding member, and is a co-founder and the artistic committee of the Ensemble Blank, a contemporary group based in Seoul that strives to push boundaries of classical music repertoire and searches for unconventional concert venues. 

In addition to her appearance on stage, Ji Weon is also committed to teaching. She has given guest lectures and masterclasses at The Juilliard School, Manhattan School of Music, Berklee College of Music, Louisiana State University, Tulane University, and the University of Kansas. 

Apart from sharing classical music with audiences, Ji Weon enjoys arranging and performing pop tunes at the popular Instagram/YouTube channel, JHM Jams. One of the videos she featured has over 52k views and has been recognized by entertainment studio, Lionsgate and fashion magazine, Glamour.


Ji Weon holds a Master of Music degree in orchestral performance from Manhattan School of Music and both a Bachelor of Music degree and an Accelerated Master of Music degree from The Juilliard School. Her principal teachers include Robert Langevin, Carol Wincenc, and Young Ji Song.


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nF Presents: Ensemble Linea (Concert 2)

Program:

Ensemble Linea’s Thursday Night program will showcase four new works by Tulane University Student Composers.

Permeation – Carli Knight (b. 1999)

Spoof – Jonathan Freilich (b. 1868)

Ever What – Cory Diane (they/them) (b. 1987)

Noon Blue Apples – Dylan Hunter (b. 1986)

Personnel:

Jean-Philippe Wurtz – conductor

Keiko Murakami – flutes

Andrea Nagy – clarinets

Carolina Santiago Martínez – piano

Ernst Spyckerelle – violin

Laurent Camatte – viola

Johannes Burghoff – cello

nF Presents: Ensemble Linea (Concert 1)

Program:

Ensemble Linea’s Wednesday night program features two multi-movement works whose movements will alternate throughout the concert. The concert is approximately 70 minutes long and will be performed with no intermission.

Vortex Temporum (1996) - Gérard Grisey (1946-1998)

Gérard Grisey completed Vortex Temporum – his magnum opus for six musicians – in 1996. His
meditation on sound and time served as a testament, as Grisey died two years later. Anne Teresa De Keersmaeker takes on Grisey’s polyphony with a danced counterpoint for six dancers. How can you visualise polyphony by dancing it? And how can a dancer embody a counter voice to polyphonic music? Inevitably the choreographer probes the issue: what is time? Dancing the question is in itself a kind of answer.
As the early Christian philosopher Saint Augustine wrote, time is self-evident – until, that is, one attempts to put into words what it is exactly. Time, as perceived by human beings, can shrink, expand, stand still or jump forward, depending on what is unfolding upon its canvas. In Vortex Temporum, Grisey has turned time into something tangible by listening to how sound, as a physical phenomenon, behaves in space, much in the same way air may only be perceived when the wind chases leaves through it. A short motif of four notes – an arpeggio from Ravel’s Daphnis et Chloé – snowballs from simplicity to complexity and back. Grisey makes the trembling of molecules –sound’s matter – perceivable by examining it on three different scales: with human eyes, through a molecular microscope, and by zooming out on it through a telescope – something Grisey calls it the time of ‘humans, insects and whales’.
De Keersmaeker laid out her choreography measure for measure, second by second against Grisey’s complex score. As she explains: ‘Grisey’s Vortex is an astonishing achievement: at once raw and refined, rigorously structured and wildly organic, primitive even. Just like Grisey, I have submitted a very simple dance phrase to a series of transformations, closely following the music but with an autonomous logic proper to dance.’
De Keersmaeker has chosen to stage an intricate intertwining of sound and movement. Each dancer is linked to one of the six musicians, and colours his or her dancing with patterns of movement proper to every instrument. Both the dancers and musicians travel around the stage following a pattern – a vortex – of swirling circles.
The piece is De Keersmaeker’s danced attempt at answering the unanswerable question, what is time?: ‘Time can be thought of as both linear and cyclical. That which we call ‘now’ – the crack between the present and the future that we live in – is in fact a permanent tipping point, a balancing act between memory and anticipation, leaning back and forth between the ghost image of the past and a desire towards the future.’


Rokh (2012) - Raphaël Cendo (b. 1975)

By avoiding almost anything resembling convention, Cendo practically redefines what music is, turning it on its head. The extended techniques used by Cendo cease to seem “extended” and instead become the most basic and fundamental — even obvious — ingredients for the intensely focused, self-referential entity that is Rokh I. The work’s point of inspirational origin is the terrifying mythological bird of prey found in Indian, Persian & Asian literature (perhaps most memorably in the One Thousand and One Nights). Cendo establishes the sonic credentials of the creature in the most dazzlingly vivid way, a counterpoint of violence formed from a myriad gestures, slides, twangs, thwacks, ruffles, slaps,
heavily compressed pitches, grindings, pops, clusters & whooshes. It’s as though we’ve become the miniaturized inhabitant of the great creature’s nest, confronted by activity on a massive and potentially very destructive scale.

Personnel:

Jean-Philippe Wurtz – conductor

Keiko Murakami – flutes

Andrea Nagy – clarinets

Carolina Santiago Martínez – piano

Ernst Spyckerelle – violin

Laurent Camatte – viola

Johannes Burghoff – cello

nF Presents: Black Meridian by MIATp

Black Meridian is approximately 70 minutes long and is performed without intermission and without applause breaks between compositions (although applause at any time during is welcomed)

Program

Part One: Event Horizon

Prelude: Once Upon Another Time – Sara Bareilles

Constant – Jeremy Valley & Alan Theisen *

Quand le bleu rencontre le vert – Scott Johnson *

The Clockmaker’s Doll – Mara Gibson *

Dark Star – Garrett Schumann *

||: Pop, Chew, Swallow :|| – Neil Anderson-Himmelspach

Part Two: Singularity

ein ton, eher kurz, sehr leise. – Antoine Beuger

Postlude: Outside of Space and Time – David Byrne & St Vincent

* composed for MIATp


Artists' Statement and Listening Guide

Black Meridian is a theatrical recital of new music for voice, saxophone, and electronics. The show takes as its central theme the distortion of space and time around the presence of black holes; a metaphor is drawn between this astonishing cosmic phenomenon and the inevitable tragedy of relationships marred by miscommunication and disastrous personal choices.

Part One, “Event Horizon,” shares its name with the boundary defining the region of space around a black hole from which nothing (not even light) can escape. Once an object crosses the threshold of the event horizon, it is doomed to be pulled into the black hole. Part One consists of six compositions arranged to parallel such a gradual, inexorable trajectory.

Singer/songwriter Sara Bareilles’ Once Upon Another Time functions as Black Meridian’s prelude, a memory of optimism, autonomy, and purpose. Constant (music, lyrics, and track production all co-created by songwriting team Jeremy Valley and Alan Theisen) is the “thesis statement” of the show, dramatically presenting the statement you are reading now. Quand le bleu rencontre le vert by Scott Johnson acts as a playful vocalise – a sultry, bluesy, flirty exchange between the two characters. This is the calm before the storm.

The Clockmaker’s Doll by Mara Gibson (after a poem by Rebecca Morgan Frank) flashes us backward a few centuries to examine Descartes’ grief after the death of his daughter. Gibson’s work is the motivating trauma behind the narrative tension of Black Meridian. Garrett Schumann’s Dark Star, on the other hand, is its responsorial rage aria. One envisions the protagonist invoking supernatural forces to cope with suffering articulated in Clockmaker’s Doll. Through this necronomicon heavy-metal demon-summoning phantasmagoria we are thrust headlong toward the event horizon. ||: Pop, Chew, Swallow :|| pushes the listener over that edge. Neil Anderson-Himmelspach’s composition is a deeply personal confession of the pleasures of opiates, the fury toward corporate exploitation, and the determination to break the cycle of addiction. The piece accelerates to a breakneck, breathless velocity. Annihilation appears inescapable. For some, a black hole is an abstract concept of physics; for too many others, it materializes in the shape of a small round pill.

At the center of every black hole exists a “Singularity” (the title of Part Two), a one-dimensional point in which gravity becomes unlimited and space-time curves infinitely. Here, the laws of physics as we know them cease to operate.

Music by the Wandelweiser Group is characterized by sparse, quiet soundscapes and ein ton. eher kurz. sehr leise. by member composer Antoine Beuger is no exception. Lasting at least twenty minutes, two performers alternate sounding a single tone (in this case the G above middle C) within the confines of their own 30-second time span. One of the performers will eventually choose permanent silence, leaving the other in bare isolation. When the still-questing partner abandons hope and embraces silence as well, the piece has concluded. The dimensions of time and space have been shattered for performers and audience alike.

A sphinxian ballad by eminent indie pop artists David Byrne and St. Vincent serves as a final reflection on our narrative. Perhaps time has reversed to the beginning of our story. Or possibly we find ourselves in a parallel universe wherein Byrne/St. Vincent’s song is the start of a new tale, much as Bareilles’ launched this one. Lessons have been learned, change has occurred, roles have been swapped, connections reformed.

Maybe it will be different this time.


About MIATp

MIATp is an avant-pop band making voice/saxophone/electronic sound worlds that are ancient and futuristic, funky and fragile. MIATp (AKA Megan Ihnen & Alan Theisen present…) had its roots as a contemporary classical duo but now combine experimental music, multiple pop genres, and theatre. With influences ranging from Björk to Sun Ra to Ligeti, MIATp shows have been praised as “a fresh look at what it means to be artists in the 21st century.” Microtones, hip hop beats, prog rock, jazz, silences, heavy metal – anything is possible at an MIATp show.

nF Presents: Lang/Rainwater Project

nF Presents: Lang/Rainwater Project

Program

for craig (were you the sonic boom) (2022, world premiere) – cory diane (they/them) (b.1987)

nowadays (2022, world premiere) – Dylan Hunter (b. 1986)

Fratres (1977) – Arvo Pärt (b. 1935)

INTERMISSION

Between Breath (2021) – Scott Wollschleger (b. 1980)

All We Could See From the Windows was Water (2020) – Alex Temple (b. 1983)

Anything You Are Attached To, Give That (2016) – Jeremy Howard Beck (b. 1984)


Artist Bios

Originally from Long Island, trombonist William Lang is an active performer, improviser, and teacher based in New York City. He can be found playing in all settings and style, from the avant-garde and classical to Broadway and indie chamber pop. He has given his signature unaccompanied recitals throughout the United States, played concertos in both America and Europe, and has also recorded with such artists as Philip Glass, David Bryne, St. Vincent, and Jonsi (of Sigur Ros.) Intensely passionate for chamber music, he is a founding member of the groundbreaking ensemble loadbang (an original and unique group of musicians interested in cutting edge music,) as well as a member of groups such as the Lang/Rainwater Project, TILT Brass, SEM Ensemble, and So Wrong it’s Right. The New York Times has called his playing “fiercely, virtuosic” and the Boston Globe has hailed him for his “superb performance” in past solo works.

Bay Area, California-based pianist Anne Rainwater is a dexterous musician known for her vibrant interpretations of works from J.S. Bach to John Zorn. Recognized for her “boldly assertive rhetoric” (San Francisco Examiner) and “bright golden honeycomb for a brain” (Roy Doughty, poet), she appears as a soloist, chamber musician and lecture artist. Anne has performed in venues and festivals throughout the US and Europe, including the Donau Festival in Krems, Austria, Kampnagel in Hamburg, Germany, the Kennedy Center, Princeton University, University of California San Diego, Louisiana State University, and Le Poisson Rouge, among others. She holds degrees from the Oberlin Conservatory and the Manhattan School of Music. Anne curates a monthly musical gathering, founded in 2016, called the Vernon Salon Series, which is currently streaming online. She has released 2 solo albums – J.S. Bach’s Goldberg Variations (2018) and Anywhere But Here (2020), featuring electronic keyboard works by Jude Traxler. Anne is a 2019 recipient of an InterMusic SF Grant. She is working on her first book, which explores the internal and external ecosystems that contribute to the understanding, practicing, and performing of music. Highlights of the Spring 2022 season include a performance on Augusta, Georgia’s Tuesday’s Music Live series and master classes and recitals at Troy University and Tulane University. When not at the piano or writing, she is running long distances, reading, or obsessively watching baseball.

nF’s COVID-19 Policy

nienteForte welcomes the public to all of our season 12 events under the following COVID-19 guidelines (updated March 2022):

All patrons must show proof of vaccination at the door in one of the following forms:

  • Tulane ID (for events on Tulane’s campus)
  • Physical or digital vaccination card
  • Negative PCR test within 72h of the event

Vaccination requirements:

  • Adults 18+, two shots of Pfizer or Moderna, or one shot of J&J. No booster required
  • Children 5-17, one shot of Pfizer, Moderna, or J&J. No booster required
  • Children under 5, no shot required

Masks are optional inside the concert venue.

For any questions, contact us

Announcing the launch of our Patreon

Announcing the launch of our Patreon

Contemporary art music is comprised of a vibrant community of composers, musicians, artists, and listeners. The primary vision of nienteForte from its inception has been to strengthen that community through our own series of concerts, lectures, and masterclasses.

We’re excited to announce the expansion of that outreach with the launch of our Patreon. By joining our community as a nienteForte patron, you’ll gain access to exclusive content from us including interviews, articles, early access to our concert videos, and more. For more details on getting involved, please visit our Patreon page.

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