All the prestige, none of the pomp.

 

Kettle Corn New Music is about sharing music with friends. During our college years, we often played our favorite music for one another, sitting in our dorm rooms, passing around a big bag of kettle corn. We frequently found these listening sessions to be a rewarding alternative to more formal, traditional concerts, and we want to bring this experience to a public forum.

We feel passionately that contemporary classical music of the highest quality can be shared in a relaxed and welcoming environment. We go to movies to enjoy ourselves, even when our minds are challenged and stimulated. In the same way, Kettle Corn New Music presents music drawn from a broad range of styles and aesthetic backgrounds in an atmosphere where it can be heard as both entertaining and thought-provoking. Kettle Corn New Music isn't about a particular style or a group of composers. Rather, it's an approach to listening that embraces music as both art and entertainment.

 

Staff

Broad gestures, rich textures, and narrative sweep are hallmarks of the "compelling" (New York Times), "shapely, melody-rich" (Wall Street Journal) music of composer and Artistic Director Alex Weiser. Born and raised in New York City, Weiser creates acutely cosmopolitan music combining a deeply felt historical perspective with a vibrant forward-looking creativity. Weiser has been praised for writing "insightful" music which is "of great poetic depth" (Feast of Music), and for having a "sophisticated ear and knack for evoking luscious textures and imaginative yet approachable harmonies" (I Care If You Listen). An energetic advocate for contemporary classical music and for the work of his peers, Weiser co-founded and directs Kettle Corn New Music, an "ever-enjoyable," and "engaging" concert series which "creates that ideal listening environment that so many institutions aim for: relaxed, yet allowing for concentration," (New York Times) and was for nearly five years a director of the MATA Festival, the "the city’s leading showcase for vital new music by emerging composers" (The New Yorker).

Hailed as a "confident, fully-grown composing talent" (The Washington Post), a "big discovery" (The Philadelphia Inquirer) and a "confident new musical voice" (The New York Times), composer and Artistic Director Chris Rogerson’s music has been performed by orchestras across the United States, including the San Francisco Symphony, Atlanta Symphony, Houston Symphony, and the Orchestra of St. Luke’s. Esteemed performers such as Yo-Yo Ma, Anthony McGill, Ida Kavafian, Anne-Marie McDermott, and David Shifrin have championed his work at venues including Carnegie Hall, Alice Tully Hall, the Library of Congress, the Kennedy Center, and Symphony Center in Chicago. His 2018-2019 season includes new works for the Attacca Quartet, Seattle Chamber Music Society, and the Escher Quartet. A Theodore Presser Career Grant recipient, Mr. Rogerson has received awards and fellowships from the American Academy of Arts and Letters, the MacDowell Colony, Yaddo, Copland House, ASCAP, BMI, Chamber Music America, and New Music USA. Mr. Rogerson is represented by Young Concert Artists and attended the Curtis Institute, Yale, and Princeton; he now serves as Co-Artistic Director of Kettle Corn New Music and on the Musical Studies Faculty at the Curtis Institute.

Composer and Publicity Director Emily Cooley is a Philadelphia-based composer of orchestral, chamber, and vocal music described as “masterfully written and orchestrated” (Milwaukee Journal Sentinel) and “a beautiful delicacy” (Vermont Today). Frequently in dialogue with works of contemporary fiction and critical theory, her music questions conventions of narrative, re-imagines emotional expression, and explores the dynamics of power and vulnerability. Her orchestral works have been performed by the Nashville, Cincinnati, Minnesota, Louisville, Milwaukee, Berkeley, Sioux City, and Eastern Connecticut symphony orchestras; the Cabrillo Festival Orchestra; and numerous university orchestras. She has been in residence at Yaddo and Copland House, and she received a Charles Ives Scholarship from the American Academy of Arts and Letters in 2015. Current projects include commissions from the PRISM Quartet and the Michael Steinberg and Jorja Fleezanis Fund, as well as the release of a multi-track cello album in collaboration with cellist Ashley Bathgate of the Bang On a Can All-Stars. Originally from Milwaukee, WI, Emily is a graduate of Curtis, USC, and Yale.

Lauded by the New York Times as "plush, elusive" and "alluring," the music of composer and Development Director Loren Loiacono (b. 1989) has been performed at Carnegie Hall's Stern and Zankel Halls, Minneapolis's Orchestra Hall, the DiMenna Center, St. Petersburg's Small Hall, and on WSHU and WQXR's Q2 radio. A native of Stony Brook, New York, she is currently pursuing her Doctorate in composition at Cornell University, where she is a student of Steven Stucky. She previously received her M.M. and B.A. from Yale University. Her works have been performed by such ensembles as the Minnesota Orchestra, American Composers Orchestra, St. Petersburg Chamber Philharmonic, 5th House Ensemble, Argento Ensemble, and many others. She has received awards from ASCAP's Morton Gould Awards (2013, 2005), New York Youth Symphony's First Music Commissioning Program (2014), Minnesota Orchestra Composers Institute (2015), and the National Foundation for the Advancement of the Arts (2006), and been a fellow at the Aspen Music Festival, Bang on a Can Summer Music Festival, Norfolk Chamber Music Festival, Atlantic Music Festival, and Copland House's CULTIVATE, among others.

 
 

2018-2019 ARTISTS

  Sandbox Percussion and Eliza Bagg   Lauded by  The Washington Post  as “revitalizing the world of contemporary music” with “jaw-dropping virtuosity,” and “a bombshell of raw-talent” by  I Care if You Listen ,  Sandbox Percussion  has established themselves as a leading proponent in this generation of contemporary percussion chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum and Terry Sweeney seek to engage a wider audience for classical music.  Last season Sandbox Percussion presented 36 performances throughout the United States, and made their international debut at the Festival International de Musique de Chambre en Charente, France. This season Sandbox will premiere a full orchestra version of Viet Cuong’s  Re(new)al  with the Albany Symphony on their opening gala evening concert. Sandbox will also make their United Kingdom debut in May 2019 at the Vale of Glamorgen festival giving the world premiere of a piece by Benjamin Wallace for percussion quartet and fairground organ. Sandbox will present four separate programs of music by John Luther Adams at Storm King Art Center, Tippet Rise Art Center, Caramoor Center for Music and the Arts, and String Theory concert series in Chattanooga, TN. Other highlights will include a performance of  Music for Eighteen Musicians  at Emerald City Music in Seattle, WA, and a performance of music by John Cage at the Institute for Advanced Study at Princeton University. Sandbox Percussion endorses Pearl/Adams musical instruments, Vic Firth drumsticks and Remo drumheads.    Eliza Bagg  is a Brooklyn and Los Angeles-based musician. Along with creating her own work, she has worked closely with a number of prominent and emerging composers including John Zorn, Michael Gordon, and Caroline Shaw, among others. Her 2018-2019 season includes Meredith Monk’s  Atlas  with The LA Philharmonic and The Industry, a collaboration with Daniel Wohl for voice and string quartet, a new piece by Bill Britelle with the North Carolina Symphony, small chamber pieces by John Zorn, and new works by Ben Frost, Julianna Barwick, and Angelica Negron written for her vocal trio’s performance at the Liquid Music Series. Bagg has been noted for her unique sound, which  Pitchfork  compared to "a lovelorn alien reaching out from the farthest reaches of the galaxy."  Other recent performances include Michael Gordon's opera  Acquanetta  at the 2018 Prototype Festival, touring with Roomful of Teeth, and appearances at the Chicago Symphony Orchestra's musicNOW series, Duke Performances, the Metropolitan Museum of Art, the Kitchen, the Guggenheim, Infinite Palette, Alice Tully Hall, Tanglewood, Iceland Airwaves, and the Ecstatic Music Festival.

Sandbox Percussion and Eliza Bagg

Lauded by The Washington Post as “revitalizing the world of contemporary music” with “jaw-dropping virtuosity,” and “a bombshell of raw-talent” by I Care if You Listen, Sandbox Percussion has established themselves as a leading proponent in this generation of contemporary percussion chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum and Terry Sweeney seek to engage a wider audience for classical music.

Last season Sandbox Percussion presented 36 performances throughout the United States, and made their international debut at the Festival International de Musique de Chambre en Charente, France. This season Sandbox will premiere a full orchestra version of Viet Cuong’s Re(new)al with the Albany Symphony on their opening gala evening concert. Sandbox will also make their United Kingdom debut in May 2019 at the Vale of Glamorgen festival giving the world premiere of a piece by Benjamin Wallace for percussion quartet and fairground organ. Sandbox will present four separate programs of music by John Luther Adams at Storm King Art Center, Tippet Rise Art Center, Caramoor Center for Music and the Arts, and String Theory concert series in Chattanooga, TN. Other highlights will include a performance of Music for Eighteen Musicians at Emerald City Music in Seattle, WA, and a performance of music by John Cage at the Institute for Advanced Study at Princeton University. Sandbox Percussion endorses Pearl/Adams musical instruments, Vic Firth drumsticks and Remo drumheads.


Eliza Bagg is a Brooklyn and Los Angeles-based musician. Along with creating her own work, she has worked closely with a number of prominent and emerging composers including John Zorn, Michael Gordon, and Caroline Shaw, among others. Her 2018-2019 season includes Meredith Monk’s Atlas with The LA Philharmonic and The Industry, a collaboration with Daniel Wohl for voice and string quartet, a new piece by Bill Britelle with the North Carolina Symphony, small chamber pieces by John Zorn, and new works by Ben Frost, Julianna Barwick, and Angelica Negron written for her vocal trio’s performance at the Liquid Music Series. Bagg has been noted for her unique sound, which Pitchfork compared to "a lovelorn alien reaching out from the farthest reaches of the galaxy."

Other recent performances include Michael Gordon's opera Acquanetta at the 2018 Prototype Festival, touring with Roomful of Teeth, and appearances at the Chicago Symphony Orchestra's musicNOW series, Duke Performances, the Metropolitan Museum of Art, the Kitchen, the Guggenheim, Infinite Palette, Alice Tully Hall, Tanglewood, Iceland Airwaves, and the Ecstatic Music Festival.

  HereNowHear: Ryan MacEvoy McCullough and Andrew Zhou   Founded in 2016, HereNowHear consists of pianists Ryan MacEvoy McCullough and Andrew Zhou, who first met at Tanglewood and subsequently at Cornell University, founded to perform Stockhausen’s epic work Mantra for two pianos and electronics. Bringing together two compelling and dedicated performers of new works, the ensemble regards itself as a laboratory for compositional experimentation moved by a digitally autonomous (re)build-it-yourself spirit. Its core mission is to reinvigorate the repertoire for two pianists (+ collaborators) through commissioning, scholarly, and educational projects involving close, committed collaborations with composers, using traditional instruments to activate new sonic paradigms.  The ensemble has received coachings from Stockhausen “favorites” Benjamin Kobler and Ellen Corver, as well as Pierre Laurent-Aimard and Tamara Stefanovich. They have appeared as a featured group at Northwestern University’s NUNC3! Festival, Washington University in St. Louis, the Vanguard New Music Series (Kent, OH), and the Stockhausen Courses (Kürten, Germany). Upcoming residencies and performances will occur with Kettle Corn New Music in New York City and Notre Dame University. The ensemble has commissioned and collaborated on new works from composers Christopher Stark and Loren Loiacono (premiere in April 2019). Other upcoming projects include work with visual/video artist Andrew Lucia and a new work by composer John Liberatore, supported by the Fromm Foundation, to be performed in the 2019–2020 season.  HereNowHear references Chap. 1, iv. of Joyce’s Finnegans Wake.

HereNowHear: Ryan MacEvoy McCullough and Andrew Zhou

Founded in 2016, HereNowHear consists of pianists Ryan MacEvoy McCullough and Andrew Zhou, who first met at Tanglewood and subsequently at Cornell University, founded to perform Stockhausen’s epic work Mantra for two pianos and electronics. Bringing together two compelling and dedicated performers of new works, the ensemble regards itself as a laboratory for compositional experimentation moved by a digitally autonomous (re)build-it-yourself spirit. Its core mission is to reinvigorate the repertoire for two pianists (+ collaborators) through commissioning, scholarly, and educational projects involving close, committed collaborations with composers, using traditional instruments to activate new sonic paradigms.

The ensemble has received coachings from Stockhausen “favorites” Benjamin Kobler and Ellen Corver, as well as Pierre Laurent-Aimard and Tamara Stefanovich. They have appeared as a featured group at Northwestern University’s NUNC3! Festival, Washington University in St. Louis, the Vanguard New Music Series (Kent, OH), and the Stockhausen Courses (Kürten, Germany). Upcoming residencies and performances will occur with Kettle Corn New Music in New York City and Notre Dame University. The ensemble has commissioned and collaborated on new works from composers Christopher Stark and Loren Loiacono (premiere in April 2019). Other upcoming projects include work with visual/video artist Andrew Lucia and a new work by composer John Liberatore, supported by the Fromm Foundation, to be performed in the 2019–2020 season.

HereNowHear references Chap. 1, iv. of Joyce’s Finnegans Wake.