Prompted by the September 16 release of Currents, a new album featuring the creative output of many of its members, CMASH is taking its unique and informative concert programming on the road.
After a successful run of concerts last month in San Diego, CMASH Artistic DirectorAnn Moss, pianists Karen Rosenak and Steven Bailey, and the Hausmann Quartet will perform selections from Currents at a CD Release Concert on November 15, 2013, at the Old First Church in San Francisco. The concert will also feature guitarist Jeremias Garcia who will perform "Practice Your Flamenco" by composer-lyricist Weslie Brown as a part of the concert. Tickets are $17 for general admission, $14 for seniors (65 and older), and $5 for full-time students (children 12 and under are free). To purchase tickets, please visit http://www.oldfirstconcerts.org.
Performances of the CMASH 2014 East Coast Tour in support of
Currents will take place at the Willowdale Estates Signature Events Series (Toppsfield, MA) on January 30, Bemis Hall (Lincoln, MA) on January 31, and the Academy of Vocal Arts Recital Hall (Philadelphia, PA) on February 4. Master classes focused on new music performance practice and CMASH's approach to collaboration will be held at the Longy School of Music of Bard
College and Westminster Choir
College between performances; the tour will culminate at Opera America's National Opera Center (New York, NY) on February 6. All public concerts on the tour will have free admission. For further details, please visit
http://www.cmashmusic.org.
The announcement of CMASH's tour of the northeastern United States is another sign of continuing progress for the organization
after hiring John Grimmett in September as the collective's Managing Director.
Last month, CMASH premiered a monthly podcast entitled
exCHANGE, the first of several online educational initiatives the collective has planned for the upcoming year. The podcast, hosted by Grimmett, features conversations with members of the CMASH collective and affiliate collaborators about a variety of topics pertaining to the creation of new music in
America today.
"We are taking the necessary steps to move CMASH into national prominence," said Grimmett. "I think most people in our community have shown a serious interest in what we are trying to accomplish."
Grimmett stressed that many of CMASH's new initiatives focus on creating "a culture with the composer and performer at the epicenter." Since 2008, CMASH has been dedicated to establishing long-term collaborative relationships between composers and performers and welcoming new audiences to the genre of contemporary chamber music. As the organization continues to grow, Grimmett-along with Moss and Director of Collaborative Programming
Liam Wade-believes that progress dwells in the exploration of the collaborative process, an alternative to the commissioning model that is available to many aspiring composers.
"Every artist deserves the chance to see his or her work produced beyond the means of discussion," he said. "We can talk about our work, but we learn more about what works and what doesn't through experimentation, and that's [the kind of environment] CMASH is trying to promote in the world. I think everyone should experience the art that comes from this way of working."
Grimmett issues a challenge: "Don't take my word for it: join our audience and see for yourself."
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