One of many oldest and most outstanding advocates of “new music,” San Francisco Contemporary Music Players celebrated its half century final yr on-line solely, however is preparing for a stay and full of life 51st season.
SFCMP Inventive Director Eric Dudley has introduced a season of music by 26 composers, together with 13 from California, 4 commissioning tasks, eight world, U.S., or West Coast premieres, and a highlight on giant ensemble works.
True to its distinguished beginnings with Jean-Louis LeRoux and Marcella DeCray, SFCMP is persisting in presenting the modern, with a formidable lineup of at this time’s classical music and works that time to the longer term. Nonetheless, the group additionally should cope with the sensible realities of music-making, particularly after the hardship of the previous yr and a half.
“In an effort to rebuild our viewers as we transfer again to stay concert events,” says the announcement, “we’re providing an all-access membership at $75, with single tickets to events being $15. We will even supply a digital possibility at $5 per view — with an edited video of the live performance being obtainable for per week roughly 5 days following the occasion.”
Of the 51st season, Inventive Director Eric Dudley says “we’re extraordinarily excited to be returning to the live performance stage, whereas persevering with to make our performances obtainable on-line to widen our attain and supply quite a lot of choices for our viewers.”
The season incorporates a celebration of composers Steve Reich at 85 and Sofia Gubaidulina at 90, and consists of the delayed premieres of items by SF Seek for Scores winner Taylor Joshua Rankin and Australian composer David Chisholm, each postponed from 2020, plus the world premiere of a brand new quartet with electronics and an improvised solo half by Inventive Advisor and member of the SFJAZZ Collective Edward Simon.
Additionally of be aware are a world premiere piece by Bay Space composer and educator Edmund Campion, and a commissioned work of “instrumental theater” written expressly for the musicians of SFCMP by composer and Inventive Manufacturing Director Amadeus Regucera.
Dudley talked to SF Classical Voice about planning forward whereas getting by the pandemic:
We, like many different organizations, had no alternative however to assume very exhausting about this and to consider how we’re presenting music to our viewers and what does it imply for us, now that we’ve spent greater than a yr out of the live performance corridor, and nonetheless be doing one thing that makes a distinction.
What has modified and turn into part of our pondering now and for all seasons going ahead is what does it imply for us to be sharing our music in a method during which the live performance corridor isn’t the one level of contact? Due to that we’re now conceiving of our seasons as being each stay and in-person and in addition digital. And that’s primarily what we needed to do over our complete Fiftieth-anniversary season final yr, which was totally on-line.
So we took all of the repertory that we needed to current and located a method to document it with our musicians and create it as webcasts so we might share it with our audiences that method. That’s one factor that we’re going to retain now; each stay occasion that we provide [will be] additionally webcast and created as a digital live performance presentation. And as you may think about, there’s a number of organizational change that goes together with making one thing like that occur.
A couple of highlights of the 51st season:
— Nov. 6, within the Laboratory Collection “Reactivity and Response,” SF Conservatory of Music; presenting an array of works with digital or visible parts because the spine of their compositional ideas. With Zeena Parkins, Fred Frith, and Alexander Schubert.
— Nov. 18, SFCMP masterclass, SF Conservatory of Music; that includes modern brass repertory, in collaboration with SFCM brass division. With Brendan Lai-Tong, trombone.
— Dec. 19, within the Neighborhood Collection, Sound Encounters II, in collaboration with CNMAT, UC Berkeley, at Root Division Gallery, San Francisco; with CNMAT Director Edmund Campion, artists Hallie Smith, Jon Yu, Andrew Harlan, and Didem Coskunseven.
— April 2 and three, Crossroads Collection, Drama and Poetry, ODC Dance Commons, San Francisco; works by Sofia Gubaidulina, Amadeus Regucera, José Garcia Villa, Du Yun, and David Chisholm.
— Could 22, within the Laboratory Collection, Synergy and Synthesis, SFJAZZ; Edward Simon leads an exploration of works that mix stay acoustic components with completely different approaches to the incorporation of electronics. Works by Steve Reich and Orlando and Jacinto García.