8:00 PM
SUGGESTED DONATION $12

Counter)induction
SYNTHESIS

Counter)induction is a composer/performer collective committed to the notion that contemporary music can and should be both accessible and challenging. c)i celebrates the diversity of contemporary music by presenting the best, most innovative new music to both new and established audiences.

Their program explores the transformations of folk and vernacular musical traditions.

PROGRAM
Sierra: Tema y Variaciones
Bartlett: Teratography
Bartok: Contrasts
Husa: Evocations de Slovaquie
Boyce: Piano Quartet

3:00 PM
SUGGESTED DONATION FOR NON-MEMBERS $10

2007 Annual Meeting
SHEILA SIMPSON, piano

SUMMER SESSION I





Tenri School of Japanese Language accommodates students from beginning to advanced levels. Utilizing a unique method which was developed many years ago at the prestigious Tenri University, our courses are structured with a special focus on the individual needs of the students in a program that will allow each of them to meet his/her study goal.

Native speaker/instructors help advanced and beginner students master the Japanese language in small, multi-media classes. Our unique teaching method, developed over the last 40 years at the prestigious Tenri University employs traditional instruction with audio-visual aids to immerse students in the Japanese language. In order to address the individual needs of our students, even our most popular classes have a class size limit of 13. Most of our classes average 3 to 5 students.

The school facility includes a student library and lounge. Students may borrow various books and audio / visual materials to supplement classwork and texts.

Tenri Cultural Institute also presents a variety of programs including the Traditional Japanese Music Series, the Chamber Music Series, Divine Healing Sessions, art exhibitions and other special events. All students receive discounted admission privileges to Institute programs. For those who have experience in Japanese, class placement is based on an evaluation interview and/or test which can be arranged at your convenience.

We encourage you to visit the school and observe a class for FREE. Call ahead to make an appointment (212) 645-2800.

7:00 PM

Azure Ensemble

8:00 PM
SUGGESTED DONATION $15

Glass Farm
little accents

The Glass Farm concerts were inaugurated in 2000 when pianist Yvonne Troxler began presenting programs of new works by cutting edge American composers and music from Europe’s thriving new music scene in the industrial Glass Farm Building on Manhattan’s far west side.  From the beginning these concerts provided a place for a broad range of musicians and audience members to interact up close.  Likewise the programming created a space where all manner of new music could rub up against important early twentieth century chamber music, improvisation, wild experimentalism, non-Western music, and even Schumann lieder.  The frequent players from these early concerts eventually coalesced into the Glass Farm Ensemble.

By the fall of 2003 the Glass Farm Ensemble had outgrown its original space and moved to the Tenri Cultural Institute where it now holds its annual four-concert New York season.  With its flexible roster of core musicians the ensemble is capable of configurations ranging from solo instruments to the expanded group that appeared in the 2003 Swiss Peaks Festival.  The Glass Farm Ensemble continues its focus on presenting imaginative programs in often non-conventional spaces that invite the broadest possible audience to intimately experience music.  Composers with whom the ensemble has worked closely or whose works have often been featured include György Ligeti, Louis Andriessen, Frederic Rzewski, Wolfgang Heiniger, Balz Trümpy, Dieter Ammann, Roland Moser, Elizabeth Hoffman, Elliot Sharp, and Peter Herbert.  In addition, the Glass Farm Ensemble has been building an ever-expanding body of commissioned works and arrangements for one of its primary line-ups of saxophone, guitar, percussion, and piano.

PERFORMERS
Miranda Cuckson   Violin
Christoph Bösch   Flute
Yvonne Troxler   Piano     

WORKS BY:
Christoph Bösch
Aldo Clementi
Franco Donatoni
Bruno Mantovani
Roberto Sierra
Christian Wolff

Opening Reception: June 21, 6-8pm
FREE ADMISSION

Toyoshige Mizuno, Toshiko Nakazawa, Tadao Okazaki

This show features the work of Tadao Okazaki a sumi-e painter who uses mulberry paper with which to convey his fragmental abstracted mindscapes. The ceramics of two major Japanese masters Toyoshige Mizuno and Toshiko Nakazawa are combined with the ink paintings of Okazaki to produce the harmonious relationship that has always existed between these media. Furthermore, Haiku poetry by Okazaki and also Davidson is part of this project and will be read during the opening reception. Haiku also embellish Okazaki’s paintings as is the custom in both Chinese and Japanese ink work.

The title of the show refers both to what the Chinese consider the three friends meaning the pine, prunus and bamboo plants, and to the Zen tea ceremony during whose ritual ceramics, sumi-e and poetry played a crucial role. The difference between the works of Nakazawa and Mizuno is that of Seto versus Rakuwares. Seto ceramics became popular during the early feudal period becoming elevated from utilitarian form to artistic expression because of the trade of celadon-wares from China and Korea and the transmission of Buddhism into Japan. Rakuwares were rougher and thicker looking than the more delicate slipped Setowares and were developed in the 15th century for the tea or chanoyu ceremony meant to suggest the qualities of simplicity, and understated elegance. Accidental effects may not have been acceptable in China but Japanese masters were not trying to copy Chinese ceramics instead they were incorporating interesting elements into their native vernacular. Whereas asymmetry held sway in Japan the opposite was true in China where balance was the cannon. Unevenness and serendipitous effects were greatly appreciated in Japan where the Chinese painter Xia Kuei’s inkworks with their one corner compositions were extensively collected.

While Nakazawa creates delicate pottery that is inspired by natural forms and in its delicacy is akin to the Setowares of Murata Shiko, Mizuno’s work because of its accidental effects relates more to the experimental Rakuwares of Honami Koetsu who collaborated with Sotatsu for some of his ink paintings. The finesse and smoothness of Nakazawa’s slips is contrasted with the bumpy unevenness of Mizuno’s surfaces. Nakazawa’s effects are related to Ko Setowares that exhibit a refinement in shape, elegant decoration and a perfecting of technique akin to Chinese Song Dynasty ceramic aesthetics. While Nakazawa’s colors are pale shades of green gray and her textures smooth and shiny, her shapes relate to the water lily a Buddhist symbol of rebirth. Mizuno’s thick splatter pattern glazes, many in crackled white the forerunner of Shino-ware produced during the Momoyama period, result from the carefully controlled manipulation of the oxidation process at a low kiln temperature. The shapes of his wares relate to tea ceremony pottery such as water jars, tea bowls, storage jars, and to floral containers.

Like the Zen ink painters before him Okazaki’s swift brushstrokes hold only the briefest relationship to reality and for the most part his landscapes are abstract. However Okazaki’s paintings although may hold some tentative relationship to the past in their use of accompanying text are contemporary fragments that can be read individually or collectively. Like Sesshu Toyo the greatest of Japanese ink painters Okazaki engages in the painting of the seasons changing our perception of the landscape from an unchanging universal to the immediacy of the moment. Like Sesshu’s haboku the free and broken ink landscapes of Okazaki both demonstrate the facility of his brush as well as his embrace of the element of fortuitous accident and suggestiveness. Few masters can convey with ink and incredible economy the landscape’s essence while maintaining its spirit.

According to Chinese legend one member of the three friends the prunus is associated with early spring and new life as well as the five clans of China. Another, the bamboo is respected for its durability and fortitude. Finally, the pine because it is an evergreen is known as an emblem of longevity and is metaphorically considered the friend who remains constant even through adversity. Like these historically important plants and their motifs, the three arts of haiku, sumi-e and ceramics as represented by the paintings and poetry of Okazaki, and the ceramics of Mizuno and Nakazawa relate to Japanese continuity but also its diversity.

8:00 PM

Festival of American Music 2007
MUSIC FOR PIANO DUO

Showcasing the works of 35 composers performed by more than 60 musicians from across the country. Featuring music of the 21st century with 30 World, U.S. and New York Premieres. Including a brand new opera, a chamber concerto, electronic music, solo works, piano duos and so much more.

 The American Composers Alliance’s concert series was begun in 2000 to make American contemporary music available to a broader audience. Because our festival performs the work of young composers, as well as those already well established, and offers lively, accessible, and well-rehearsed performances, we draw audiences that include many students from around New York City, as well as more traditional new music audiences.

Three concerts were presented each year from 2000-2002. In 2003, the series evolve into a festival of six concerts over one weekend, in celebration of ACA’s 65 th Anniversary. ACA’s  concerts offer audiences the rare opportunity to hear and appreciate the music of fine composers from around the country, who are rarely performed inNew York City .The festival also offers younger, emerging composers an opportunity to hear their music performed by fine professionals, giving them a starting point for their careers. Finally ACA, with its long and rich history, is committed to performing works by its founders and important early members, giving both an important historical perspective and links to the music of today.

The ACA festivals have begun to offer the entire music community a central meeting place, where people can come to hear a great variety of American classical music. ACA, true to its original mission, remains committed to supporting American music and to exposing the music of our members, past and present, to the broadest possible audience.

PROGRAM
Elizabeth Bell : Duovarios for Two Pianos †
Elliott Schwartz: Test Drive for piano duet †
John Cage: Experiences
Robert Helps: Eventually the Carousel Begins
Aaron Copland: Danzon Cuban

2:30 PM
FREE ADMISSION

The Haiku Society of America is a not-for-profit organization founded in 1968 to promote the writing and appreciation of haiku in English. Membership is open to all readers, writers, and students of haiku.

The HSA has been meeting regularly since its inception and sponsors open lectures, workshops, readings, and contests. As of December 30, 2005, the HSA had a total of 832 members around the country and overseas.

The Society's journal, Frogpond, which features work by the HSA members and others, as well as articles and book reviews, is in its 29th year of publication. The HSA also publishes a quarterly Newsletter containing reports of the Society's national meetings and news of regional, national, and international events.

The HSA maintains a Web site with additional information about the Society, archives of winners of the HSA contests, and other haiku activities at http://www.hsa-haiku.org.

3:00 PM
ADMISSION $10, $7 Students/Seniors

Sachiyo Ito & Co.
SALON SERIES NO. 29

Salon Series No. 29 will examine closely the relationship between Okinawan Dance, particularly the male dance, called Otoko Odori, and martial arts, with a focus on karate. The discussions and demonstration will include: the basic stance, posture, Kata (the movement patterns) that have influenced the choreography in the dance, the breath work, and also the mental attitude, necessary in the development of the arts. The special guest will be Masahiko Honma, Chief Director of Karatedo Honma Dojo in New York. Sachiyo Ito will perform Meh-nu-hama, and Takadera Manzai, from Otoko Odori repertory of Okinawan Dance.

Salon Series offers a series of informative public programs and educational lectures, lecture-demonstrations, and performances aimed at those interested in deepening their knowledge of the performing arts of Japan. They are held on Sunday afternoons, three times a year. Refreshments are served during the Q/A period.

Salon Series No. 29 is supported, in part, by Fund for Creative Communities, administered by the Lower Manhattan Cultural Council.