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918 Bathurst Centre for Culture, Arts, Media & Education
918 Bathurst Street, Toronto, Ontario M5R3G5
The Music Gallery presents
JAMES TENNEY: RESISTANCE
$20 Regular/$15 Advance/$10 Member, Student
DOORS 7PM/CONCERT 8PM
+ Discussion (Basement Classroom): 6:30PM
For our final X Avant show, we dig into the groundbreaking work of composer James Tenney. Tenney, one-time Toronto resident and Music Gallery enthusiast, is widely considered to be one of the most important composers of the latter half of the 20th century. His music and ideas span an incredible range of interests and disciplines from early computer-generated music to medieval rounds to the elegant short form constructions of his beloved Postal Pieces. Tenney was also deeply concerned with social justice. Tonight’s program surveys almost 30 years of musical activism both in a historical and contemporary light.
Viet Flakes (1965) film by Carolee Schneemann, tape collage by James Tenney
Fabric For Che (1967)
TImbre Ring (1971) WORLD PREMIERE feat. Tanya Charles, David French, Louis Simao, Alejandro Cespedes, Allie Blumas, Alexis Baro, Elena Kapeleris, Ben Grossman.
Pika-Don (1991) feat. Nathan Pettipas, Alejandro Cespedes, Michelle Colton, Rich Burrows.
Listen...! (1981/84) feat. Mingjia Chan, Mara Nesrallah, Belinda Corpuz and Noah Franche-Nolan.
The program includes the world premiere of a composition from 1971 entitled «Timbre Ring», “Pika-Don" (dedicated to victims of Hiroshima/Nagasaki nuclear bombings), the harsh electronics of “Fabric for Ché” and a screening of ex-partner Carolee Schneemann's horrifying short film “Viet Flakes”, featuring one of Tenney's early examples of pop-song driven tape collage, which prefigured looped sample-based music by 20 years. This concert will be original, bracing and hopeful for the future.
Prior to the show will be a pre-show panel discussion moderated by composer Bruce Russell featuring Lauren Pratt, Parmela Attariwala, and Slowpitchsound exploring Tenney's compositional intent and contemporary presentation of these pieces. What does it mean to be a socially conscious composer now as opposed to 20-30 years ago and what do audiences expect from socially conscious music in the concert hall?
WARNING: this concert contains violent images.
Please note that this venue has gendered washrooms and is not wheelchair-accessible (there are three steps to the entrance and a short flight of stairs up to the performance space, as well as down to the basement). The washrooms are located in the basement.