Music Hall of Williamsburg
Philip Glass, Real Estate (Acoustic) and Friends

(((folkYEAH!))), HMML & Philip Glass' Days & Nights Festival: Big Sur Brooklyn Bridge concert event

Philip Glass, Real Estate (Acoustic) and Friends

Bryce Dessner, Tim Fain, Sondre Lerche, Nico Muhly, Nadia Sirota, Nadia Sirota

Sun, May 19, 2013

Doors: 7:00 pm / Show: 8:00 pm

Music Hall of Williamsburg

Brooklyn, NY

$75 advance / $75 day of show (limited seating available)

This event is 16 and over

Due to a hand injury, Van Dyke Parks will be unable to perform in the Henry Miller Library benefit concert this Sunday May 19th at the Music Hall of Williamsburg. In fine show business form, Philip Glass says "the show must go on" and has gathered the following friends to show their support for the Library. Bryce Dessner Real Estate Tim Fain Sondre Lerche Nico Muhly Nadia Sirota We all wish Mr Parks a speedy recovery. We hope all will be able to attend the great fundraiser, but for those who can't refunds are available at the point of purchase.

Philip Glass
Philip Glass
RETROSPECTIVE CONCERTS
Forty-year retrospective concerts of repertoire written by Philip Glass for the Philip Glass Ensemble. Programs include selections from the iconic works Einstein on the Beach, Music in 12 Parts, Koyaanisqatsi, and Glassworks. Full length performances of the four-hour epic Music in 12 Parts (1971-74) are also available as special events.

PHILIP GLASS LIVE FILM PROJECTS
Over the last thirty-five years, Philip Glass has explored the role of music as it relates to the moving image on film. This series of performances features six evening-length works for music and projected film.

THE QATSI TRILOGY (Godfrey Reggio)
KOYAANISQATSI: Life Out of Balance
POWAQQATSI: Life in Transformation
NAQOYQATSI: Life as War
Koyaanisqatsi has also been arranged for the Philip Glass Ensemble to perform with local symphony orchestras and choir. Commissions for orchestral arrangements for additional filmworks are currently under exploration and may become available.

SHORTS: Program includes specially commissioned short films by Atom Egoyan, Peter Greenaway, Shirin Neshat, and Michal Rovner, as well as classics by Godfrey Reggio.

LA BELLE ET LA BÊTE: Beauty and the Beast (Jean Cocteau, 1946)

DRACULA: Starring Bela Lugosi (Tod Browning, 1931). Originally composed for the Kronos Quartet (pending availability) and also available with the Philip Glass Ensemble.

PHILIP GLASS SOLO PIANO
An intimate evening of work for solo acoustic piano featuring recent etudes composed and performed by Philip Glass.

PHILIP GLASS CHAMBER MUSIC
A collection of newly-composed works for strings performed by favorite chamber players selected by Philip Glass. Ranging from duets to octetes, chamber evenings feature his most recent compositions and may be presented as a collection or paired with works from the classical repertoire.

EINSTEIN ON THE BEACH
In celebration of Philip Glass' 75th birthday in 2012, Pomegranate Arts has spear-headed a campaign to launch an international tour of Robert Wilson and Philip Glass' seminal collaborative work EINSTEIN ON THE BEACH. First performed in 1976 at the Metropolitan Opera House in New York and the Festival d'Avignon, the opera subsequently toured in 1984 and 1993 to a select number of cities. It has never been seen outside of New York City in North America.

Widely credited as one of the greatest artistic achievements of the 20th century, EINSTEIN ON THE BEACH changed opera forever and continues to be recognized as one of contemporary performance's greatest masterpieces.
Real Estate
Real Estate
In Mind, the fourth full-length record from Real Estate, is a portrait of a mature band at the height of its power. Long respected for their deft lyrical hand and gorgeous melodies, In Mind builds upon the band’s reputation for crafting perfect songs and carries Real Estate even deeper into the pantheon of great songwriters.

On the new record, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums—2009’s Real Estate, 2011’s Days, and 2014’s Atlas—so beloved, and pushes their songs in a variety of compelling new directions. Written primarily by guitarist and vocalist Martin Courtney at his home in Beacon—a quiet town in upstate New York—In Mind offers a shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light—one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version. The record not only showcases some of the band’s most sublime arrangements to date, it also presents a leap forward in terms of production, with the band utilizing the studio as a tool to broaden the sonic landscape of their music to stunning effect.

In Mind offers passing nods to the sanguine qualities of earlier releases while also depicting a band in a state of real change. Since the recording of the band’s last album, Courtney had become a father of two and settled into a newfound domesticity living in Beacon, while bassist Alex Bleeker made the move out to sunny California, creating a complicated new set of logistics for the band to work around. Additionally, after the departure of founding member and lead guitarist Matt Mondanile in 2015, the band—Courtney, Bleeker, and drummer Jackson Pollis--faced the prospect of either closing ranks or embracing the changes that bringing in new people would ultimately bring. “It just seemed like a good moment to move in a slightly different direction,” says Courtney, “The idea of bringing in a stranger seemed too weird, but I wasn’t interested in recording as a four-piece and having some hired gun come out to play shows with us. In the end asking Julian Lynch—who we’d already been playing with and we’ve known since high school--to join the band made the most sense. He felt like a full-time member of the band already.” This was also true of keyboardist Matt Kallman, who previously played with the band on Atlas and on that record’s subsequent tour. Joining the band in a more official capacity before the recording of In Mind, Kallman contributed in both sound and scope, writing the keyboard parts and contributing to the album’s arrangements. With a new lineup secured and armed with an arsenal of songs that Courtney and Bleeker had spent the past six months writing, the band approached the business of fleshing out the songs in an almost workmanlike manner.

“It was good being outside of the city,” recalls Kallman. “We got a little Airbnb in Beacon and we rented a practice space inside an old converted high school. We would walk to the high school and play music all day, then go play basketball, go to the health food store or go out to dinner, then go back to the house. We did that every day for, in total, about three weeks. It was nice not having the headache of our regular lives. It all felt very open, like we were planted there to do a job and that's all we could do was just work on the songs. I think the music kind of reflects that space we were in--free and open and cautiously optimistic.”

Recorded in Los Angeles with producer Cole M.G.N. (known for his work with the likes of Beck, Snoop Dogg, Dam-Funk, Nx Worries, and Julia Holter), the eleven tracks on In Mind deliver the same kind of warmth and soft-focus narratives that one has come to expect from the band—pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy—but there is also a newly adventurous sonic edge to the proceedings. Album opener—the ebullient pop number “Darling” -- announces itself with a wash of synth tones rather than guitars. Elsewhere, on tracks like “Serve the Song” and “Two Arrows,” guitarist Julian Lynch employs a variety of distorted guitar sounds that might have felt out of place on previous Real Estate records, with the latter track stretching out beyond the six-minute mark—the closest thing to a jam the band has ever recorded. The band’s predilection for crafting airtight pop songs remains in full-effect here, with songs like “Stained Glass” and “Same Sun” occupying the same kind of rarefied universe as fan favorites like “Talking Backwards” or “It’s Real.” ‘Where does one thing ever end and the next begin?’ Courtney asks in the latter, ‘I do not wish to retrace the steps I’ve taken / All that matters now is where I’m going.’

Glittering pop moments aside, the record’s most stunning moments are arguably it’s most restrained— “After the Moon” unspools in waltz-like fashion, while album closer “Saturday” offers In Mind’s most pointed take on moving beyond the fascinations of youth: ‘When a stranger is living in your old house / What does where you were born still say about you? / It’d be best to jettison what you can’t redo.’

Perhaps more than on any other Real Estate record, the lyrics on In Mind seem to reflect a struggle between youth and adulthood, the desire for escapism balanced against the increasing demands of responsibility. (‘There’s no place I would rather be right now,’ sings Courtney on “Stained Glass”, ‘I’d love to never leave but I just don’t know how.’) “I feel like it takes touring a record for a few months and playing the songs over and over for me to really start understanding my own lyrics,” says Courtney, “but so much of this record feels like it has to do with my concerns about taking care of my family. I will often walk my wife and kids to the library and then just go out on my own, wandering around the town for three or four hours and writing the lyrics in my head.” Courtney continues, “We certainly never thought this would be our lives, but now that it is, we all want to protect that and nourish it and keep it safe. I think maybe that’s what this record is about.”

As for the band’s increasingly widespread appeal, both bassist Alex Bleeker and Courtney can only theorize as to what it is about their music that seems to strike such a profound chord with listeners. “I think there’s an earnestness to what we do,” says Bleeker. “It’s coming from a truthful place of human experience, but it’s also kind of raw. It evokes something for people, even though we are often dissecting subject matter that seems super normal and undramatic, it’s also relatable. We all grew up with this common, cookie-cutter kind of American suburban experience and we can’t help but write about that. I think there aren’t a lot of people who actually write about that in a very forthright way.”

Per bassist Alex Bleeker, the songs on In Mind reflect a kind of quiet ambition on the part of the band. A desire not to reinvent themselves, but rather to just be the best version of themselves that they can be. “We’re never looking to overhaul anything in a huge way,” he says, “But we do want to grow and explore new territory and use the studio in a different way. We didn’t want to change anything arbitrarily, but it felt good to reach out into some more exploratory space while still holding on to what makes us Real Estate in the first place.”
Sondre Lerche
Sondre Lerche
An artist’s capability to transform suffering into great work is one of humanity’s great phenomena. When considering the “divorce” subcategory of suffering and the “music” subcategory of art, the manifestation has traditionally tended toward the dirge (e.g. Dylan’s “Blood On The Tracks,” Mitchell’s “Blue). Please, Sondre Lerche’s stunning new album, however, is a different animal: despite aligning with a recent divorce from his wife of eight years, it is brimming with crisp electronic flourishes, bold, economic production, and an infectious new energy and sense of purpose.

The juxtaposition of romantic idealism and the chaotic struggle to live up to said ideals is meticulously explored: for the first time in his career, Lerche is presented unraveled. The moans and wails are unedited, and the cutting room floor is clean. The first evidence of this (on opener and first single “Bad Law”) is Lerche’s witty self-awareness as his voice cracks while singing “it all sounds unlikely...”.

Lerche has always written about love, but never in such a primal, sexual way. Lerche's well-proven melodic instincts are sharper than ever, but he's moved from the brain to the body, from the soulful to the physical.

A recurring theme is control--or lack thereof--often symbolized by hands. “Held on to you / almost held my own,” (Lucky Guy). “I’m not holding on to innocence,” (After The Exorcism). “You were under my thumb,” (Logging Off). “My defense scrawled on my hand,” (Bad Law). “Cut off my hand as I reached for the fire,” (Crickets). We are watching Lerche deal with the loss of control that results from embracing total honesty and self-exposure.

“Bad Law” establishes Lerche’s vocal vulnerability and struggle with control, but also establishes another theme that runs throughout the record: the darkness that rises when love and law collide, building to the musing, “When crimes are passionate, can love be separate?” Later, in “At Times We Live Alone,” Lerche revisits this theme with the clever double entendre of “commit”: both committing a crime and committing to a relationship.

A perennially optimistic and love-laden writer, Lerche takes a much different route on standouts such as the heartbreaking “Sentimentalist”: “Tying the knot…Dying to not rot…I’m no sentimentalist,” a rumination that recalls Kurt Cobain’s “married…buried.”

Lerche doesn’t just transform his suffering into art on Please--which was recorded between his hometown of Bergen and Brooklyn, his home-of-nine-years--he shows us how he’s doing it. Trying to see things from every possible angle, he sings “say it to yourself in a different voice” (“Crickets”). The multi-layered vocal arrangement sounds as if we’re simultaneously hearing several different Sondres arriving at the same dead end. This search for understanding continues in “At Times We Live Alone”. It’s unclear as to whether he’s addressing himself or his subject when he repeats the mantra-like, “Try ‘I love you’, try ‘get angry,’ try ‘go fuck off’, call a friend.’“ These short-lived solutions are futile and in vain. The struggles themselves become the songs.

Lerche has been incredibly busy since the release of his 2011 self-titled LP and his 2012 live album, Bootlegs. Aside from touring internationally and releasing his 2013 Scott Walker-cover “The Plague” and “Public Hi-Fi Sessions”, a collaboration with Spoon's Jim Eno, Lerche spent 2013 creating the celebrated score for his then-wife’s (Mona Fastvold) directorial debut and Sundance hit “The Sleepwalker”.

At once both Lerche's catchiest and most emotionally intricate offering, Please is an altogether different kind of divorce-record, a masterful work unlike anything he has crafted before.
Nadia Sirota
Celebrated violist Nadia Sirota will perform works from her sophomore album Baroque, the follow up to her debut First Things First (a New York Times album of the year). The album is predominantly for multi-tracked viola and electronic textures, and features songs written expressly for Sirota by Nico Muhly, Daníel Bjarnason, Paul Corley, Judd Greenstein, Missy Mazzoli, and Shara Worden. Baroque was produced by Paul Evans and composer and Bedroom Community founder Valgeir Sigurðsson at his famous Greenhouse Studios in Iceland. Baroque will be released March 26th on New Amsterdam Records in the US and March 25th on Bedroom Community in the rest of the world.
Nadia Sirota
Celebrated violist Nadia Sirota will perform works from her sophomore album Baroque, the follow up to her debut First Things First (a New York Times album of the year). The album is predominantly for multi-tracked viola and electronic textures, and features songs written expressly for Sirota by Nico Muhly, Daníel Bjarnason, Paul Corley, Judd Greenstein, Missy Mazzoli, and Shara Worden. Baroque was produced by Paul Evans and composer and Bedroom Community founder Valgeir Sigurðsson at his famous Greenhouse Studios in Iceland. Baroque will be released March 26th on New Amsterdam Records in the US and March 25th on Bedroom Community in the rest of the world.
Venue Information:
Music Hall of Williamsburg
66 North 6th St
Brooklyn, NY, 11249
http://www.musichallofwilliamsburg.com/