Though it has been 37 years since Moses Pendleton, co-founder of Pilobolus Dance Theater, created MOMIX, the company of self-described dancer-illusionists, they continue to be in a league of their own in terms of true dance innovation, as proven in their recent performance of “Opus Cactus” at the Wharton Center in Lansing.
Momix—the dance troupe that Moses Pendleton launched in 1980 and that he now directs, alongside Cynthia Quinn as associate director and first assistant—has chosen the group’s name as the title for its beguiling two-act, 17-part evening now at the Joyce Theater. The segments of varying lengths come from such previous Momix creations as “Momix in Orbit,” “Botanica,” “Opus Cactus” and “Lunar Sea”; three are new to New York, each identified as a “35th Anniversary Creation.”
The title of the Jerusalem Quartet‘s new album, The Yiddish Cabaret, may be a bit of a stretch. But the collection succeeds nicely in recalling the Jewish contribution to the European music scene of the 1920s and ’30s.
For some, they are an indisputable part of the canon; for others, Bartok's string quartets may be a starting point for dealing with the musical development of this composer. Because Bartok has occupied himself with this genre throughout his creative time and, following on from Beethoven, developed his style from it.
After an astonishingly long period of around four years, the Jerusalem Quartet now has its cycle with the string quartets of Béla Bartókcompleted - with works No. 1, 3 and 5.
Korean pianist Joyce Yang last appeared at the Frederic Chopin Society 10 years ago, and since then has made half a dozen acclaimed recordings and established an international reputation.
Yang’s return for a recital Sunday afternoon at Macalester College confirmed her standing as a performer of scintillating energy and imagination. Yang opened with Bach’s French Suite No. 5, a work originally intended for harpsichord but often played on piano. Taken whole, its seven movements sparkled with élan and vitality
Over the July 4th weekend the Grant Park Music Festival returned to the stage of the Pritzker Pavilion for the first time in 22 months, with two performances of an “Independence Day Salute” of patriotic selections.
Third Coast Percussion’s virtual performance on Nov. 13 hosted by the Schwartz Center for Performing Arts left me with a smile on my face and my feet tapping.
As an art history major, it lifted my spirits to see Third Coast Percussion, a Chicago-based group of musicians, showcase their skills to global audiences and teach Emory students about their artistic entrepreneurship along the way.
The primary role that I play with Third Coast Percussion is booking. So I represent Third Coast Percussion to potential presenters, partners at universities, performing arts centers. I work a lot with my colleagues on marketing and a little bit of finances and just keeping the organization running smoothly.
The stage at the La Jolla Music Society’s Conrad Prebys Performing Arts Center will transform Saturday, Nov. 7, with the livestream-only world-premiere performance of “Metamorphosis” from Grammy Award-winning group Third Coast Percussion and Movement Art Is.
