Your Support Makes GRAMMY-Nominated Music


Thanks to the support of our audience and fans, New Amsterdam artist Darcy James Argue has been nominated for a GRAMMY award for his album Real Enemies.

New Amsterdam serves artists and audiences by helping to bring incredible new music into the world, and we can't do this without your support.

For a limited time, we are happy to offer our fans exclusive rewards for being an essential part of the NewAm community. 

If you donate $75 you will receive a ticket to Vicky Chow's release show at National Sawdust this Sunday, Dec. 11 and a signed copy of A O R T A.

Or, If you sign up for monthly contributions of $20 or more, you will receive a ticket to the A O R T A release show with signed CD, and you'll automatically get a VIP ticket to the 10th Anniversary Celebration in Winter 2017!

 

As we’re looking ahead into next year’s 10-year anniversary, we hope you’ll partner with us in planting the seeds for an even more incredible 10th year. We have some huge new partnerships and collaborations in store that will deeply enable our mission of serving 21st-century musical artists.

If you are committed to breathtaking art and music that’s off the beaten path, we invite you to partner with us, and to help us support the artists who we’ll support in turn. Please help us plant the seeds for an incredible 10th year of exciting, risk-taking art.

NOW AVAILABLE: Caroline Shaw's "Partita for 8 Voices" Vinyl + Remixes

NOW AVAILABLE:

Caroline Shaw's
Pulitzer Prize-winning
Partita for 8 Voices


first-ever vinyl edition +
digital-only EP of remixes

created by Olga Bell, Lorna Dune, No Lands, Morgan Packard, Aaron Roche, and Violetness



New Amsterdam Records is proud to announce the first-ever vinyl edition of Caroline Shaw's seminal Pulitzer Prize-winning Partita for 8 Voices, performed by Roomful of Teeth. The vinyl (pressed at 45 RPM and featuring artwork by DM Stith) is available now via Bandcamp, alongside a digital-only EP of Partita remixes by Olga Bell, Lorna Dune, No Lands, Morgan Packard, Aaron Roche, and Violetness, originally created for New Amsterdam's 2013 Fundraiser.


Composed over three summers from 2009-2011, in collaboration with Roomful of Teeth during their residencies at the Massachusetts Museum of Contemporary Art (MASS MoCA), Caroline Shaw’s Partita for 8 Voices received the 2013 Pulitzer Prize in Music, and was nominated for a Grammy for Best Contemporary Classical Composition. It is the only Pulitzer awarded to an a cappella vocal work, and Shaw, a singer in the ensemble, is the youngest composer ever to receive the prize.

The score’s inscription reads: Partita is a simple piece. Born of a love of surface and structure, of the human voice, of dancing and tired ligaments, of music, and of our basic desire to draw a line from one point to another.

Each movement takes a cue from the traditional baroque suite in initial meter and tone, but the familiar historic framework is soon stretched and broken through “speech, whispers, sighs, murmurs, wordless melodies and novel vocal effects” (Pulitzer jury citation). Roomful of Teeth’s utterly unique approach to singing and vocal timbre originally helped to inspire and shape the work during its creation, and the ensemble continues to refine and reconsider the colors and small details with every performance.

Allemande opens with the organized chaos of square dance calls overlapping with technical wall drawing directions of the artist Sol LeWitt, suddenly congealing into a bright, angular tune that never keeps its feet on the ground for very long. There are allusions to the movement’s intended simulation of motion and of space in the short phrases of text throughout, which are sometimes sung and sometimes embedded as spoken texture. Sarabande’s quiet restraint in the beginning is punctured in the middle by an ecstatic, belted melody that resolves quietly at the end, followed soon after by the Inuit-inspired hocketed breaths of Courante. A wordless quotation of the American folk hymn “Shining Shore” appears at first as a musical non-sequitur but later recombines with the rhythmic breaths as this longest movement is propelled to its final gasp. Passacaglia is a set of variations on a repeated chord progression, first experimenting simply with vowel timbre, then expanding into a fuller texture with the return of the Sol LeWitt text.

Of the premiere of Shaw’s Partita, New York magazine wrote: “She has discovered a lode of the rarest commodity in contemporary music: joy.” And it is with joy that this piece is meant to be received in years to come.


NOW AVAILABLE: Vicky Chow's "A O R T A"


NOW AVAILABLE:

Vicky Chow's
A O R T A


out November 18



new album of electroacoustic piano works featuring music by
Andy Akiho, Christopher Cerrone, Jakub Ciupinski,
Jacob Cooper, Molly Joyce, 
and Daniel Wohl


 

buy via BandcampiTunes, & Amazon
and stream via The Log Journal


album release show:

December 11, 9pm
National Sawdust
Brooklyn, NY
MORE INFO AND TICKETS



New Amsterdam is excited to announce the release of acclaimed pianist Vicky Chow's sophomore solo album, A O R T A. The album features six new works written for piano by composers Andy Akiho, Christopher Cerrone, Jakub Ciupinski, Jacob Cooper, Molly Joyce, and Daniel Wohl, and is now available for purchase from BandcampiTunes, and Amazon. The record is also currently streaming via The Log Journal.


A O R T A is a deeply personal album for Chow, who is the pianist for the Bang on a Can All-Stars, Grand Band, New Music Detroit, and has worked with other ensembles such as the International Contemporary Ensemble. Each composer featured on A O R T A is a longtime friend and collaborator, and each piece captures how she has felt at her most vulnerable in life.

Chow explains:

"A O R T A is named as such because it is a collection of pieces from my heart. I searched for music that resonated with me during desperate times, alone in a cramped apartment at 2 a.m. and wide awake, trying to find meaning.

When I put out my first solo recording, I was obsessed with perfection -- everything had to be in its right place. I wanted A O R T A to be different. I chose the longest takes, preserving my sense of this world as much as possible -- the rawness and difficulty of being alive. I wanted to create an album about light, love, emotion, and humanity."


The album opens with Christopher Cerrone's "Hoyt-Schermerhorn", a tribute to the New York nightscape, and explores the competing feelings that come to us late at night -- nostalgia, joy, panic, anxiety. "Clifton Gates" by Jacob Cooper follows, named for the place it was written (Clifton Place, Brooklyn) and the piece it pays homage to (John Adams’s "Phrygian Gates"). "Clifton Gates" employs—among other digital effects—actual audio gates, creating a rhythmic alteration out of sudden shifts in amplitude. The gating effect is especially audible as the work begins, processing music whose tonality and texture are reminiscent of the slow middle section of Adams’s piece.

Then arrives Jakub Ciupinski's four-movement piece "Morning Tale," which centers around the motion from a place of darkness to a new beginning. Technically, the piece strives to use electronics as an extension of the piano's capabilities rather than a separate medium by featuring an electronic layer derived from piano sounds, with the speakers placed inside the instrument to achieve a greater blend with acoustic sounds.


Molly Joyce's "Rave" follows, written specifically for Chow's sound and style. "Rave" incorporates an inverse relationship between live piano and pre-recorded electronics, exploring the sonic possibilities of this complex relationship as it evolves over the course of the piece using inverse interaction. Next are Daniel Wohl's two works, which feature different interactions between the electronics and the piano. In "Limbs," the electronics match the intricate rhythm played by Chow, and in "Bones," a second recording of the piano interlocks with the one played in real time by Chow.

The album closes with Andy Akiho's "Vick(i/y)," a piece written and named for Vick(y) Chow and pianist Vick(i) Ray. The work uses auditory and structural palindromes throughout the work to symbolize the subtle differences that lie beneath an assumed symmetrical structure or state of being.  The bell-like preparation notes of diminishing pulses, which are continuously interrupted by the conventional notes, represent a consistent, yet fading mental image. Akiho's goal was to create a miniature percussion ensemble with the piano by incorporating extended instrument-preparation and compositional techniques inspired by John Cage, George Crumb, Béla Bartók and Jacob Druckman.


Vicky Chow Credit: Kaitlin Jane Photography

Vicky Chow
Credit: Kaitlin Jane Photography


A O R T A Tracklisting:
1. Hoyt-Schermerhorn (composed by Christopher Cerrone)
2. Clifton Gates (composed by Jacob Cooper)
3. Morning Tale Mvt I: Nocturne (composed by Jakub Ciupinski)
4. Morning Tale Mvt II: Alba (composed by Jakub Ciupinski)
5. Morning Tale Mvt III: Awakening
(composed by Jakub Ciupinski)
6. Morning Tale Mvt IV: The Miracle of Being Ernest (composed by Jakub Ciupinski)
7. Rave (composed by Molly Joyce)
8. Limbs (composed by Daniel Wohl) WATCH TRAILER
9. Bones (composed by Daniel Wohl)
10. Vick(i/y) (composed by Andy Akiho)


Album Release Show:
December 11, 9pm
National Sawdust
Brooklyn, NY
MORE INFO AND TICKETS

NOW AVAILABLE: "Chronology" from Qasim Naqvi (Dawn of Midi)


NOW AVAILABLE:

Qasim Naqvi's
Chronology



new album of electronic music from
Dawn of Midi member Qasim Naqvi


buy via BandcampiTunes, & Amazon



New Amsterdam Records is excited to announce the release of Chronology, the new album of electronic music from Brooklyn-based drummer, composer, and member of the group Dawn of Midi, Qasim Naqvi. The record, composed for the Moog Model D analog synthesizer, has already received press from multiple outlets, including a full album streaming via The Log Journal, and announcement write-ups from Tiny Mix Tapes and THRU Magazine.

The album is now available for purchase from BandcampiTunes, and Amazon.

Chronology was made in partnership with Naqvi, painter Pippo Lionni and the P! Gallery in New York City. The collaboration chronicled a sharing of ideas between both artists as an asynchronous call-and-response where painting, music, and graphic notation blended through common and conflictual gestures. Naqvi's reaction to Pippo's work was an electronic composition, produced on the Moog Model D analog synthesizer, as well as a series of corresponding transcriptions. Part score and part art object, these transcriptions use a graphic notational system of Naqvi's own design, logging the settings of the synthesizer and also representing pitch, dynamics and duration over a period of time. A transcription of the first piece on the album, "Kindly Static", and an annotation of all the graphics are included below.


Naqvi on the project:     

"I was keen on somehow mirroring Pippo's process through sound. His paintings are made with a spare set of elements. With layers of transparency, interference, and graphic form, he is able to achieve a set of permutations with the basic ingredients of black acrylic enamel and a canvas. I was struck by his restraint and use of one color source, and the kind of visual distortion achieved through a process of slow layering. So for the music, I reacted by using an analog device instead of a computer.

When we think of a computer, we think of limitless options and an abundance of memory for recalling ideas. The Moog holds a reverse approach. It's a tactile piece of machinery with discrete circuits, 3 voltage-controlled oscillators and knobs for controlling the contour of the oscillator. It's monophonic, so chords or polyphonic playing is out of the question. The absence of this function required a layering of ideas in stages. Also, there's no way of saving anything or recalling presets. Once you make a sound, that's it. It exists in that moment unless you chronicle the settings by writing them down. It's kind of like making a gesture with a brush. Once it strikes the canvas, you can either freeze it in time or erase it forever."

When Naqvi first encountered this particular Moog, it was not without its idiosyncrasies.

"On the level of functionality, the machine was kind of janky. It produced a low level din of white electrical noise and some of the knobs were erratic. It was like bringing some ancient thing back from the dead and having it adapt. But with sound that always leads to interesting results."


Naqvi used these anomalies to his advantage and the overall piece has a unique sonic signature that would perhaps be impossible to recreate on another Model D. The result is an instantly compelling and rare work that shapes and shifts anew with every listen.

All music on the album was produced by Naqvi on the Moog Model D Analog Synthesizer and Berna Tape Playback. The album was mastered by Sam Minaie. The album cover is by Emilie Baltz.

There are currently no live performances planned for this work.


Chronology Tracklisting:

1. Kindly Static
2. Aftertouched (WATCH TRAILER)
3. Head Within a Head
4. Turtle on Fire
5. Chronology
6. Mt. Erased


ANNOUNCING: 2017 Ecstatic Music Festival

ANNOUNCING:

2017 Ecstatic Music Festival®

presented by Kaufman Music Center at Merkin Concert Hall


January 9 - May 13, 2016


more than 80 artists from across the sonic spectrum come together for nine collaborative, one-night-only performances



A collaboration between New Amsterdam Presents and Kaufman Music Center, the acclaimed Ecstatic Music Festival® returns in 2017, bringing together composers and performers from different musical genres for nine one-night-only performances featuring world premieres, new arrangements and the exclusive opportunity to hear artists discuss their work. Starting Jan. 9 and running through May 13, 2017, the festival, hailed as “the alt-classical world’s main showcase” (New York Times), a will feature collaborations from more than 80 artists.

Click HERE for more information and tickets to the 2017 Festival, and see below for the complete festival line-up.


Monday, Jan. 9, 7:30pm
Bang on a Call All-Stars People's
Commissioning Fund Concert

a New Sounds Live co-presentation hosted by WNYC’s John Schaefer, streamed live on Q2 Music
 

Wednesday, Jan. 25, 7:30pm
San Fermin & NOW Ensemble
a New Sounds Live co-presentation hosted by WNYC’s John Schaefer, streamed live on Q2 Music
   

Thursday, Feb. 9, 7:30pm
Song Exploder Live with
Hrishikesh Hirway & Sleigh Bells

 

Saturday, Feb. 18, 7:30pm
Ambrose Akinmusire & Kool A.D. with
Mivos Quartet

presented in partnership with Liquid Music
 

Saturday, Mar. 4, 7:30pm
Thums Up (Vijay Iyer, Himanshu Suri, Rafiq Bhatia, Kassa Overall) & Arooj Aftab
 


Tuesday, Mar. 7, 7:30pm
Kronos Quartet & Face the Music
this concert is at The Greene Space at WNYC & WQXR

  
Sunday, Mar. 12, 7:30pm
Roomful of Teeth & Nick Zammuto


Monday, Mar. 27, 7:30 pm
Steve Lehman & Sélébéyone
 

Saturday, May 13, 7:30 pm
Alarm Will Sound - Alarm System

For your GRAMMY consideration...

New Amsterdam is excited to present these albums for your consideration in first round voting for the
59th Annual GRAMMY Awards®:


ANNOUNCING: Vicky Chow's "A O R T A"


ANNOUNCING:

Vicky Chow's
A O R T A


out November 18



new album of electroacoustic piano works featuring music by
Andy Akiho, Christopher Cerrone, Jakub Ciupinski,
Jacob Cooper, Molly Joyce, 
and Daniel Wohl

 

pre-order via Bandcamp



New Amsterdam is excited to announce acclaimed pianist Vicky Chow's sophomore solo album, A O R T A, to be released on November 18. The album features six new works written for piano by composers Andy Akiho, Christopher Cerrone, Jakub Ciupinski, Jacob Cooper, Molly Joyce, and Daniel WohlA O R T A follows Chow's recent recordings of Steve Reich’s Piano Counterpoint (Nonesuch) and Tristan Perich’s Surface Image (New Amsterdam Records).

The album is currently available for pre-order via Bandcamp.


A O R T A is a deeply personal album for Chow, who is the pianist for the Bang on a Can All-Stars, Grand Band, New Music Detroit, and has worked with other ensembles such as the International Contemporary Ensemble. Each composer featured on A O R T A is a longtime friend and collaborator, and each piece captures how she has felt at her most vulnerable in life.

Chow explains:

"A O R T A is named as such because it is a collection of pieces from my heart. I searched for music that resonated with me during desperate times, alone in a cramped apartment at 2 a.m. and wide awake, trying to find meaning.

When I put out my first solo recording, I was obsessed with perfection -- everything had to be in its right place. I wanted A O R T A to be different. I chose the longest takes, preserving my sense of this world as much as possible -- the rawness and difficulty of being alive. I wanted to create an album about light, love, emotion, and humanity."


The album opens with Christopher Cerrone's "Hoyt-Schermerhorn", a tribute to the New York nightscape, and explores the competing feelings that come to us late at night -- nostalgia, joy, panic, anxiety. "Clifton Gates" by Jacob Cooper follows, named for the place it was written (Clifton Place, Brooklyn) and the piece it pays homage to (John Adams’s "Phrygian Gates"). "Clifton Gates" employs—among other digital effects—actual audio gates, creating a rhythmic alteration out of sudden shifts in amplitude. The gating effect is especially audible as the work begins, processing music whose tonality and texture are reminiscent of the slow middle section of Adams’s piece.

Then arrives Jakub Ciupinski's four-movement piece "Morning Tale", which centers around the motion from a place of darkness to a new beginning. Technically, the piece strives to use electronics as an extension of the piano's capabilities rather than a separate medium by featuring an electronic layer derived from piano sounds, with the speakers placed inside the instrument to achieve a greater blend with acoustic sounds.


Molly Joyce's "Rave" follows, written specifically for Chow's sound and style. "Rave" incorporates an inverse relationship between live piano and pre-recorded electronics, exploring the sonic possibilities of this complex relationship as it evolves over the course of the piece using inverse interaction. Next are Daniel Wohl's two works, which feature different interactions between the electronics and the piano. In "Limbs", the electronics match the intricate rhythm played by Chow, and in "Bones", a second recording of the piano interlocks with the one played in real time by Chow.

The album closes with Andy Akiho's piece "Vick(i/y)", a piece written and named for Vick(y) Chow and pianist Vick(i) Ray. The work uses auditory and structural palindromes throughout the work to symbolize the subtle differences that lie beneath an assumed symmetrical structure or state of being.  The bell-like preparation notes of diminishing pulses, which are continuously interrupted by the conventional notes, represent a consistent, yet fading mental image. Akiho's goal was to create a miniature percussion ensemble with the piano by incorporating extended instrument-preparation and compositional techniques inspired by John Cage, George Crumb, Béla Bartók and Jacob Druckman.


Vicky Chow (credit: Kaitlin Jane Photography)

Vicky Chow (credit: Kaitlin Jane Photography)


A O R T A Tracklisting:
1. Hoyt-Schermerhorn (composed by Christopher Cerrone)
2. Clifton Gates (composed by Jacob Cooper)
3. Morning Tale Mvt I: Nocturne (composed by Jakub Ciupinski)
4. Morning Tale Mvt II: Alba (composed by Jakub Ciupinski)
5. Morning Tale Mvt III: Awakening
(composed by Jakub Ciupinski)
6. Morning Tale Mvt IV: The Miracle of Being Ernest (composed by Jakub Ciupinski)
7. Rave (composed by Molly Joyce)
8. Limbs (composed by Daniel Wohl) WATCH TRAILER
9. Bones (composed by Daniel Wohl)
10. Vick(i/y) (composed by Andy Akiho)


ANNOUNCING: "Chronology" from Qasim Naqvi (Dawn of Midi)


ANNOUNCING:

Qasim Naqvi's
Chronology


out November 4



new album of electronic music from
Dawn of Midi member Qasim Naqvi


Album available now exclusively through the NewAm Bandcamp Label Subscription and iTunes, Amazon, + other outlets on Nov. 4



Brooklyn-based drummer, composer, and member of the group Dawn of Midi, Qasim Naqvi will release his new album of electronic music, Chronology, November 4 on New Amsterdam Records. The album, composed for the Moog Model D analog synthesizer, will be released digitally only and is available now -- a month ahead of its release -- exclusively through the New Amsterdam Records Bandcamp Subscription.

Pre-order the album here, and find more information on the subscription here.

Chronology was made in partnership with Naqvi, painter Pippo Lionni and the P! Gallery in New York City. The collaboration chronicled a sharing of ideas between both artists as an asynchronous call-and-response where painting, music, and graphic notation blended through common and conflictual gestures. Naqvi's reaction to Pippo's work was an electronic composition, produced on the Moog Model D analog synthesizer, as well as a series of corresponding transcriptions. Part score and part art object, these transcriptions use a graphic notational system of Naqvi's own design, logging the settings of the synthesizer and also representing pitch, dynamics and duration over a period of time. A transcription of the first piece on the album, "Kindly Static", and an annotation of all the graphics are included below.


Naqvi on the project:     

"I was keen on somehow mirroring Pippo's process through sound. His paintings are made with a spare set of elements. With layers of transparency, interference, and graphic form, he is able to achieve a set of permutations with the basic ingredients of black acrylic enamel and a canvas. I was struck by his restraint and use of one color source, and the kind of visual distortion achieved through a process of slow layering. So for the music, I reacted by using an analog device instead of a computer.

When we think of a computer, we think of limitless options and an abundance of memory for recalling ideas. The Moog holds a reverse approach. It's a tactile piece of machinery with discrete circuits, 3 voltage-controlled oscillators and knobs for controlling the contour of the oscillator. It's monophonic, so chords or polyphonic playing is out of the question. The absence of this function required a layering of ideas in stages. Also, there's no way of saving anything or recalling presets. Once you make a sound, that's it. It exists in that moment unless you chronicle the settings by writing them down. It's kind of like making a gesture with a brush. Once it strikes the canvas, you can either freeze it in time or erase it forever."

When Naqvi first encountered this particular Moog, it was not without its idiosyncrasies.

"On the level of functionality, the machine was kind of janky. It produced a low level din of white electrical noise and some of the knobs were erratic. It was like bringing some ancient thing back from the dead and having it adapt. But with sound that always leads to interesting results."


Naqvi used these anomalies to his advantage and the overall piece has a unique sonic signature that would perhaps be impossible to recreate on another Model D. The result is an instantly compelling and rare work that shapes and shifts anew with every listen.

All music on the album was produced by Naqvi on the Moog Model D Analog Synthesizer and Berna Tape Playback. The album was mastered by Sam Minaie. The album cover is by Emilie Baltz.


Qasim Naqvi

Qasim Naqvi


Chronology Tracklisting:

1. Kindly Static
2. Aftertouched (WATCH TRAILER)
3. Head Within a Head
4. Turtle on Fire
5. Chronology
6. Mt. Erased