THURSTON MOORE Stroking Piece #1 at Carnegie Hall 12.5.06

tscaw · 12.04.2006, 11:43 PM

Bang on a Can All-Stars play Carnegie Hall tomorrow night [12.5.06], and the program includes a work by Thurston titled "Stroking Piece #1." If you're in NYC, make your way to 57th and 7th. Here's the rest of the info:

Bang on a Can All-Stars
American Unpop
Zankel Hall | Seating Chart
Tuesday, December 5, 2006 at 7:30 PM

Bang on a Can All-Stars
·· Robert Black, Bass
·· David Cossin, Percussion
·· Lisa Moore, Piano
·· Mark Stewart, Electric Guitar
·· Wendy Sutter, Cello
·· Evan Ziporyn, Clarinets
·· Jody Elff, Sound Engineer

FRED FRITH Snakes and Ladders (NY Premiere)
MARTIN BRESNICK "The Bucket Rider" & "BE JUST!" from Opere della Musica Povera
JULIA WOLFE Big, Beautiful, Dark, and Scary
NANCARROW Four Studies (arr. Evan Ziporyn, NY Premiere)
THURSTON MOORE Stroking Piece #1
DON BYRON Show Him Some Lub (NY Premiere)

Concert at a Glance
By Evan Ziporyn

Vox populi, vox pop, the voice of the people, or rather the voices of many different peoples, filtered through radio, record companies, market testing, and iTunes—pop culture is today synonymous with corporate culture. But it doesn’t have to be that way. The music industry may be a nightmare, but the sound of pop music, in the broader sense, is the sound of our dreams, the trigger of memories, the actual texture of our unconscious. A good melting pot still retains the flavors of its ingredients, even when it reveals the personality of the chef: Conlon Nancarrow taking boogie woogie bass lines and the covert rhythmic subversion embedded in blues and jazz; Martin Bresnick finding the common thread among holy minimalism, Franz Kafka, and the harmonies of Steely Dan; and Fred Frith finding the peril in an old children’s game, searching for the Court of the Crimson King while riding on the O’Jays “Love Train.” There are ghosts in this machine, eminences to be evoked: Don Byron using the ancestral memories of the All-Stars to distill Bernstein and soul jazz; Thurston Moore and Julia Wolfe stirring the pot, raising a cloud of guitar dissonance, through which we may or may not hear Appalachian dulcimers, Moondog’s bass drum, and Cecil Taylor. If this sounds like an average day on your iPod, well, join the club. But the iPod shuffle only changes tracks after every song: you travel light, but the border guards are still on duty. At American unPop, we’ve torn down the walls.

tscaw · 12.05.2006, 10:15 PM

Mr. Moore explains his piece in the program notes:

THURSTON MOORE Stroking Piece #1

Born July 25, 1958, in Florida.

Moore wrote Stroking Piece #1 in 2003. The piece was commissioned for the Bang on a Can All-Stars with the generous contributions from the members of the Bang on a Can People’s Commissioning Fund.

Tonight’s performance marks the Carnegie Hall premiere of Stroking Piece #1.

Stroking Piece #1 was written as a fairly typical example of a mid-period Sonic Youth–centric guitar instrumental: an episode of dynamic build with resultant tone-shards culminating in a noise improvisation/meditation released into repetition as thought-stroke release.

—Thurston Moore

12.05.2006, 10:15 PM	#2
tscaw empty page Join Date: Apr 2006 Location: madtown Posts: 25	Mr. Moore explains his piece in the program notes: THURSTON MOORE Stroking Piece #1 Born July 25, 1958, in Florida. Moore wrote Stroking Piece #1 in 2003. The piece was commissioned for the Bang on a Can All-Stars with the generous contributions from the members of the Bang on a Can People’s Commissioning Fund. Tonight’s performance marks the Carnegie Hall premiere of Stroking Piece #1. Stroking Piece #1 was written as a fairly typical example of a mid-period Sonic Youth–centric guitar instrumental: an episode of dynamic build with resultant tone-shards culminating in a noise improvisation/meditation released into repetition as thought-stroke release. —Thurston Moore
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12.04.2006, 11:43 PM	#1
tscaw empty page Join Date: Apr 2006 Location: madtown Posts: 25	Bang on a Can All-Stars play Carnegie Hall tomorrow night [12.5.06], and the program includes a work by Thurston titled "Stroking Piece #1." If you're in NYC, make your way to 57th and 7th. Here's the rest of the info: Bang on a Can All-Stars American Unpop Zankel Hall \| Seating Chart Tuesday, December 5, 2006 at 7:30 PM Bang on a Can All-Stars ·· Robert Black, Bass ·· David Cossin, Percussion ·· Lisa Moore, Piano ·· Mark Stewart, Electric Guitar ·· Wendy Sutter, Cello ·· Evan Ziporyn, Clarinets ·· Jody Elff, Sound Engineer FRED FRITH Snakes and Ladders (NY Premiere) MARTIN BRESNICK "The Bucket Rider" & "BE JUST!" from Opere della Musica Povera JULIA WOLFE Big, Beautiful, Dark, and Scary NANCARROW Four Studies (arr. Evan Ziporyn, NY Premiere) THURSTON MOORE Stroking Piece #1 DON BYRON Show Him Some Lub (NY Premiere) Concert at a Glance By Evan Ziporyn Vox populi, vox pop, the voice of the people, or rather the voices of many different peoples, filtered through radio, record companies, market testing, and iTunes—pop culture is today synonymous with corporate culture. But it doesn’t have to be that way. The music industry may be a nightmare, but the sound of pop music, in the broader sense, is the sound of our dreams, the trigger of memories, the actual texture of our unconscious. A good melting pot still retains the flavors of its ingredients, even when it reveals the personality of the chef: Conlon Nancarrow taking boogie woogie bass lines and the covert rhythmic subversion embedded in blues and jazz; Martin Bresnick finding the common thread among holy minimalism, Franz Kafka, and the harmonies of Steely Dan; and Fred Frith finding the peril in an old children’s game, searching for the Court of the Crimson King while riding on the O’Jays “Love Train.” There are ghosts in this machine, eminences to be evoked: Don Byron using the ancestral memories of the All-Stars to distill Bernstein and soul jazz; Thurston Moore and Julia Wolfe stirring the pot, raising a cloud of guitar dissonance, through which we may or may not hear Appalachian dulcimers, Moondog’s bass drum, and Cecil Taylor. If this sounds like an average day on your iPod, well, join the club. But the iPod shuffle only changes tracks after every song: you travel light, but the border guards are still on duty. At American unPop, we’ve torn down the walls.
	\|QUOTE AND REPLY\|