DANIEL DAVID FEINSMITH MUSIC Ralph Waldo Emerson s Essay The Poet , commissioned by sarah cahill.The pianist plays and recites Emerson s strong text on the transcendent nature of http://www.danieldavidfeinsmith.com/catalogue.htm
DANIEL FEINSMITH RESUME o SELF sarah cahill, pianist (San Francisco, CA) Music for Solo Piano and SpokenVoice based upon the writings of Ralph Waldo Emerson. http://www.danieldavidfeinsmith.com/daniel_feinsmith_resume.htm
C - SFPL.org cahill, sarah (pianist, critic and disc jockey) Caliman, Hadley (Jazz saxophonist)Call, Alex (Vocalist and composer) Camper Van Beethoven (Musical group) http://sfpl.lib.ca.us/librarylocations/main/art/musicians/c.htm
Alex Ross: The Rest Is Noise: Blitzstein Blitzkrieg Writes Ulrich In sarah cahill s committed performance, the West Coast premiere cahill, by the way, is a wonderful Bay Area pianist who specializes in http://www.therestisnoise.com/2005/03/blitzstein_blit.html
Extractions: Main Robert Gable reports on the Marc Blitzstein centenary tribute at Other Minds in San Francisco, or, more accurately, reports on a Financial Times review by Allan Ulrich that I don't want to go through the "15-day free trial" rigmarole to read. Writes Ulrich: "In Sarah Cahill's committed performance, the West Coast premiere of the unpublished 1929 Piano Percussion Music heralded a sophisticated musician, attuned to the emotive power of dissonance, the imitative capabilities of the traditional keyboard, a grounding in ornamentation and, in the repeated closing of the keyboard cover, a taste for the dadaist flourishes of the day." The piano-lid gambit recalls Hans Stuckenschmidt's First Piano Sonata, which caused a mild uproar at a Novembergruppe concert of "stationary music" in 1927. At the end of that work, the pianist (Stefan Wolpe, on this occasion) used the right pedal to trigger a mechanism that brought the piano lid down "from a moderate height." So Stuckenschmidt discloses in his memoir Born to Hear â he was eventually more famous as a critic and biographer.
ÒA Great Deal Depends Upon Just How This Bridge Is BuiltÓ sarah cahill, pianist. ÒEach individual will have his own preferences in respect In fact it takes a pianist like sarah cahill, devoted to both of these http://eamusic.dartmouth.edu/~larry/misc_writings/talks/beyer_crawford_liner_not
Extractions: The Piano music of Ruth Crawford and Johanna Magdalena Beyer Sarah Cahill, pianist Ruth Crawford and Johanna Beyer Ruth Crawford and Johanna Beyer knew each other well. Crawford called Beyer "Hannah Beyer name a piece Dissonant Counterpoint . Both women favored clear, monothematic forms (like Crawford"s towering Study in Mixed Accents Sacco, Vanzetti becoming the introspective elipiticality of Beyer"s landmark mid-1930s percussion music. Of all the early percussion music composers, Beyer is unique is approaching the ensemble quietly , as in the almost mystical IV and the Three Movements Beyer"s musical world is only recently becoming clear and familiar to us, whereas Ruth Crawford"s has become well-known over the past 20 years. Only as Beyer"s music begins to be performed and recorded will we understand its true historical importance. For example, Beyer"s 2nd String Quartet String Quartet (which has already earned its place, thank goodness), each movement uses a direct, single formal idea. But where Crawford explores cumulative processes and palindromic devices, Beyer unifies her work with Papageno"s lament for a missing soulmate. In Ruth Crawford"s case, it was many years before musicians saw that the third movement of her quartet, which had always been quite famous, was not anomalous in her output. It was one of many such works of similar genius. Even
Lonesome.road.hanover.notes.html I am grateful to sarah cahill for her assistance in the revision process. Helvetia Foundation and Bay Area pianists, directed by pianist sarah cahill. http://eamusic.dartmouth.edu/~larry/misc_writings/program_notes/lonesome.road.ha
Extractions: Lonesome Road (The Crawford Variations) is a set of variations on Ruth Crawford's harmonization of the folk song of the same name. Her arrangement was published in Carl Sandburg's The American Songbag (1927). The work is in three sections of 17 variations each. The variations in the middle section (XVIII; XXXIV) are generally longer and more developed than those in the outer sections. In many cases, corresponding variations in the three sections are related, and have similar structures (Variation I is related to XVIII, which is related to XXXV). Sections 1 and 3 are each about 20 minutes long, section 2 about 40 minutes. Lonesome Road (The Crawford Variations) was composed over the course of one year spent in Indonesia (June 1988; June 1989), where I assisted my wife Jody Diamond in her work with Indonesian experimental composers. Many of these composers' ideas somehow found their way into this work, but I can no longer remember how (except in the case of B. Subono, a Central Javanese composer after whom two of the variations were named).
Sonomu: New Music: Piano Compositions By Henry Cowell And as sarah cahill notes in the liner, The only trick was deciding what to pianist/composer/electro musician Chris Brown opens with the dissonant http://sonomu.net/text/~506/
Extractions: release format New Music: Piano Compositions by Henry Cowell by Henry Cowell (CD Album) Henry Cowell was an incredibly prolific, influential composer who helped to shape the musical landscape of twentieth century America and beyond. New Music: Piano Compositions by Henry Cowell is a live recording drawn from a three-day festival entitled, "Cowell and his Legacy", which took place at UC Berkeley in early 1997 to mark the centenary of his birth and to demonstrate some of the consequences of his pianistic innovations for his contemporaries, students and successors. And as Sarah Cahill notes in the liner, "The only trick was deciding what to leave out". Four front-rank musicians (Cahill is one) from Bay Area Pianists and Cal Performers play works here selected from the festival's three gargantuan concerts in which Cowell's piano music was programmed alongside that of Cage, Lou Harrison, Ruth Crawford, and more, with a sprinkling of newly commissioned works by Terry Riley and Meredith Monk to name but two. Pianist/composer/electro musician Chris Brown opens with the dissonant
Extractions: with the Robin Cox Ensemble, Santa Barbara, and Sarah Cahill, San Francisco Nonsense , DO-Theatre St. Petersburg, with Theater Arts students from Westmont College Now in its 12th year, the Lit Moon Theatre Company is recognized both here and abroad for its adventurous, highly physicalized stagings of classic novels and plays. Writing about the company's production of Hamlet , seen at the Montreal's Wildside Festival in January 2004, Montreal Gazette theater critic Matt Radz, writes, "the company's style, melding the rigors of physical theater with classic text, makes them pioneers, if not unique." Fresh on the heels of its sold-out, standing-room-only performances of Hamlet at the 8th Shakespearean Festival in Gdansk, Poland, the company returns home to Santa Barbara as part of the 2004 Lit Moon World Theater Festival. Founded in 1998, the festival has offered, in the words of Santa Barbara Independent critic D. J. Palladino, "an unrelenting window into the world of theatrical possibility."
Sequenza21/The Contemporary Classical Music Weekly The second one is also played brilliantly by Israeli pianist Ora Rotem Nelken . Performers FLUX Quartet, sarah cahill, Joseph Kubera, and Kathy Supove http://www.sequenza21.com/051903.html
Extractions: Gideon Lewensohn I n first listening to and attempting to form a point of view of the four works by the Israeli composer Gideon Lewensohn that are collected on the ECM CD Odradek, it was evident to me that it was going to be an difficult endeavor. Lewensohn is not easily categorized. The mystery of the pieceslike the mystery of the character Odradek, who is from a Kafka tale and is a creature that is extremely illusive and hard to catch and even harder to say exactly what it isremains somewhere just out of reach of the usual musical analysis. The title piece, the "Odradek Quartet," is made up of 17 distinct fragments inspired by the Kafka story. As with all art, a large part of the process of understanding and relating to it comes from ones own point of view, with ones own ideas about it. How you form a relationship to it is a primary element and function of art and music; same difference. So my first feeling was to throw out all the rhetoric and just say that this is some of the most fascinating music that I have heard. It is accessible and yet it takes some time to even get a grip on (especially the quartet). You can listen to it a few times before you actually get into it.
Sequenza21/The Contemporary Classical Music Weekly Performers FLUX Quartet, sarah cahill, Joseph Kubera, and Kathy Supove Not for the timid, these pieces take the pianist s skill to levels that border http://www.sequenza21.com/042803.html
Extractions: Opus 157 [1957] contemporary music when it began to commission new works from the world's most renowned composers including Britten, Copland, Kodaly, and Lutoslawski, in 1948. In 1953, a grant from the Rockefeller Foundation enabled the orchestra to begin recording many of these works on its First Edition imprint. Over the next two decades, the orchestra recorded more than 250 new pieces.
George Antheil: Events, Festivals, Conferences, Concerts Centennial of George Antheil, Composer, pianist, Inventor. 10 am 12 pmCharles Amirkhanian on George Antheil Interview with sarah cahill KPFA 94.1 mhz http://www.paristransatlantic.com/antheil/mainpage/events.html
Extractions: New publications and CD releases Physicist Tony Rothman has published a book documenting and debunking the stories of famous discoveries in the sciences. One entertaining chapter is devoted to the history of George Antheil and Hedy Lamarr's patent. DSSQ has finished recording the complete quartets of George
Recently Heard Concerts as fine a pianist as I know, turning pages for Kubera and cahill, Earlier there had been a short panel discussion about Lou sarah cahill moderated http://www.shere.org/Reviews/concerts.html
Extractions: John Cage, San Francisco, January 27, 2003 I heard three of the five concerts composing the first Edge Festival in U.C. Berkeley's Hertz Hall: a program devoted to Terry Riley Friday night; one given to improvisations by Steve Lacy, George Lewis, and David Wessel late Saturday night; and a retrospective of the late Lou Harrison Sunday afternoon. (Imissed two other concerts: one of music by faculty composers Thursday night, another of music by John Adams and Ingram Marshall early Saturday night.) I didn't go to these concerts with the intention of "reviewing" them, so I won't be very specific. But some things were memorable: Terry Riley's Cinco de Mayo (1997) for piano four hands, magnificently played by Joseph Kubera and Sarah Cahill, and his Ritmos and Melos written ten years ago for the Abel-Steinberg-Winant Trio who played brilliantly, as they always do. (It was fascinating to watch Julie Steinberg, as fine a pianist as I know, turning pages for Kubera and Cahill, beaming with pleasure at their performance and Riley's music, and then bringing even more personality and substance from the instrument when she took her own turn.)
Midheaven Mailorder | Browse By Label: New Albion Artist, cahill, sarah, Title, 9 Preludes Piano Music by MUSICA ELETTRONICAVIVA founding member, pianist FREDERIC RZEWSKI (pron chev skee). http://www.midheaven.com/labels/nonexc/new.albion.html
Extractions: New Albion Prices listed do not include shipping/handling. Click here for our freight chart. All prices in U.S. dollars. To order, click the white checkbox[es] to the left of the "Artist" field, then scroll to the bottom of the page and click the box marked "add checked item". Artist: ANDRIESSEN, LOUIS Title: Zilver Format: CD Catalog Number: CDANDRIZILV Price: Label: New Albion ***Four pieces performed by the California EAR Unit. Says the New York Times, "No composer can provoke, jolt, and threaten the system better than Mr. Anriessen, who has been practicing those skills for his entire career." Artist: BRAXTON, ANTHONY Title: 19 (Solo) Compositions Format: CD Catalog
BMI Foundation, Inc. News 53rd Annual BMI Student Composer Award As a pianist, he has performed concerti at the San Francisco Conservatory, awardwinning work in April 2005, performed by sarah cahill and Anna Presler. http://bmifoundation.org/news/200506/stucomp_winners.asp
Extractions: Sebastian Chang was born in Philadelphia in 1988 and currently lives in Trabuco Canyon, California. He is a composition major at the Curtis Institute of Music, where he studies with Jennifer Higdon and Richard Danielpour. Previous composition teachers have included Michael Gandolfi, Richard Cornell, Paul Brust, Michael Martin and Richard Derby. In addition to a Carlos Surinach Prize in the 2002 BMI Student Composer Awards , Chang has won many prestigious composition competitions and awards, including those sponsored by the Music Teachers National Association Composition Competition, the New York Art Ensemble, the National Guild of Community Schools of the Arts, the Davidson Institute for Talent Development, and Collage New Music. He was named a 2003 Pinnacle Project Scholar and a 2004 Presidential Scholar for the Arts. He studies piano with Keiko Sato and has performed as soloist with the California Symphony, the Reno Philharmonic, the Pacific Symphony, and the Tokyo Symphony. His music has been performed extensively by ensembles such as the Curtis Symphony Orchestra, the Arditti String Quartet, the New York Art Ensemble, Collage New Music and the National Youth Orchestra. Chang will premiere his winning work, which was commissioned by the Pinnacle Project, at the 2005 Music Teachers Association of California Convention.
WNYC - New Sounds: Program #2057 (June 05, 2004) work Holding Patterns, performed live in the WNYC studio by pianist sarahcahill. sarah cahill, live WNYC 10/25/01. Holding Patterns 300 http://www.wnyc.org/shows/newsounds/episodes/06052004
Extractions: With any conventional piano, a hammer drops on string, and sound is produced. Well, perhaps not always, for on this edition of New Sounds, there are some unusual approaches to noisemaking at the piano, including ebow, electronic processing, and overdubs, although not all at once. Hear the eerie and theremin-like, yet somehow evil-sounding ebow (a little magnet which produces a sustain) on piano strings with Maggi Paynes work Holding Patterns, performed live in the WNYC studio by pianist Sarah Cahill. Also listen to Charles K. Noyes processed piano music; and the string piano, or the insides of the piano, as Margaret Leng-Tan plays John Cages In the Name of the Holocaust.
Village Voice > Music > By Kyle Gann pianist sarah cahill honored Ornstein with a concert at Miller Theater December2, the day that Ornstein believes is his birthday, though documents differ. http://www.villagevoice.com/music/0050,gann,20586,22.html
Extractions: home voice columns: select Bites Bush Beat Club Crawl Counter Culture Consumer Guide Eddytor's Dozen Elements of Style The Essay Fashion Forward Fiore Fly Life Free Will Astrology Generation Debt The Interview La Dolce Musto Liberty Beat Liquid City Lusty Lady Mondo Washington Neighborhoods Power Plays Press Clips Pucker Up Riff Raff Rockie Horoscope Savage Love Shelter Site Specific Sutton Impact Tom Tomorrow TV more in Testing Johnny Reinhard's Reconstituted Ives Score
Aufbau108 Featured in sarah cahill s Other Minds concert of March 8 in San Francisco Israeliborn New York pianist Gila Goldstein offers his piano music on a http://artists-in-residence.com/ljlehrman/articles/aufbau108.html
Extractions: It has been something of a perennial joke over the last decade or so, as more and more people have discovered the Russian-American Jewish composer Leo Ornstein, noted his birthdate of 1892 or '93, and concluded that he must be dead but when did he die? The answer, incredible to report, was that until February 24, 2002, he was still alive, which makes him probably the longest-lived musician in recorded history. Not even mentioned in William Austin's until-recently definitive Music in the 20th Century , Ornstein enjoyed a vogue from about 1913 to 1925, the year of his magnum opus, the Piano Concerto. He then pretty much disappeared from the public eye, teaching in Philadelphia until his retirement in 1953, though composing (mostly piano music) well into his nineties.
Long Night REVIE W. KYLE GANN (music performed by sarah cahill); long night; Cold BlueMusic (2005) Kyle Gann, performed by pianist sarah cahill. http://www.windandwire.com/jun05/long_night.htm
Extractions: R E V I E W Review by Bill Binkelman long night long night is not particularly sad or dark, yet it's not happy, joyful, or bright either. On the other hand, it is not overly abstract, distant, cold or concerned with itself. I heard a distinct human connectedness between music and performer at almost all times (admittedly, some of the more adventurous passages lean more toward the intellectual than the soulful). Mostly, long night felt like the soundtrack to late urban nights, looking out over the city below as lights wink on and off in buildings across the landscape (this is in marked contrast to the graphics on the EP which depict a decrepit farmhouse on fire on the CD's front and a school of fish underwater on the digipack's back). These images are all that strike me as pretentious about the recording, and when the only thing you can knock about a CD is its cover art, you have obviously found a solid recording, which long night most definitely is. I solidly recommend it to fans who seek a piano album that avoids both the sterility of some more overt ambient works yet rejects the avant garde stylings that alienate lovers of melody and structure.
