May 14
'maya beiser + her cello' in being material - mit press (2019)
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'maya beiser + her cello' in being material - mit press (2019)
Maya Beiser, “Life on Mars?”
Maya Beiser
Bang on a Glass Can: Maya Beiser's New Album
Bang on a Glass Can: Maya Beiser’s New Album
This is not a Philip Glass album. This is also not a tortured Magritte metaphor. It is a Maya Beiser album. Yes, she is playing her transcriptions of several of Philip Glass’ pieces: (Piano) Etude No. 5, Etude No. 2, Mad Rush, Music in Similar Motion, and four movements from Glass’ score to the third of Godfrey Reggio’s trilogy (Koyaanisqatsi, Powaaqatsi, Naqoyqatsi): Naqoyqatsi, Massman, New…
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tuesday coffee with...
cellist maya beiser playing ustvolskaya and gubaidulina (just realized i can type those names from memory w/o looking at the cd how nerdy is that?) anyway after hearing way too much rock n roll at the bar last nite.... btw “way too much rock n roll” for me nowdaze is about 2 songs-that music isn*t DEAD it just smells funny.....(thank you mr ZAPPA) anyway antway enjoy 2daze re-blogs from my wonderful tumblr family. cheers
05.13.18 The Bang On A Can Marathon moved to Skirball Center, part of NYU this year. a very comfortable and good-sounding hall where the audience could wander in and out of the ten hours of performances. I caught the last five hours, the highlights being Bang On A Can Allstars playing Frederic Rzewski, Contemporaneous and Bang On A Can Allstars playing Jeffrey Brooks, Maya Beiser and Kate Valk playing a composition by David Lang. The showstopper was Ethel performing Julia Wolfe’s “With A Blue Dress”. Unfortunately I missed Tom Chiu’s piece which I heard was amazing.
Kashmir - Maya Beiser
It was 20 years ago today: the first recording of Steve Reich's You Are (Variations), performed by Los Angeles Master Chorale and conductor Grant Gershon, was released on Nonesuch, along with is Cello Counterpoint, written for and performed by Maya Beiser.
You Are (Variations) is an exploration of and meditation on Hebrew spiritual aphorisms. Upon its premiere, the Los Angeles Times exclaimed that the “exceptional score” filled “not just the room but the consciousness.”