New Music for New Audiences at the New York Philharmonic

Conrad Tao
National Sawdust

The first Nightcap event on Sept. 28 showed just how far Sirota and her colleagues are willing to venture in positioning living composers not only as innovative creators, but also as intelligent, curious people with broad, diverse interests. Conrad Tao, who earlier in the evening had prefaced a Bruckner symphony with an ear-opening “overture” commissioned for the occasion, was featured as a pianist, his best-known guise.

But he also dug deep into electronics, at one point scrubbing contact microphones through his close-cropped hair to produce visceral noise like you might hear at the Silent Barn or the Ende Tymes festival. His rubbery synth-pop transmutations, meanwhile, might have shared an NNA Tapes CMJ Marathon showcase with Ryan Power and Autre Ne Veut at Death By Audio. Caleb Teicher, a percussive dancer added rhythmic figurations to a Bruckner motet played by Tao on piano; elsewhere; the astonishing vocalist Charmaine Lee offered free-improv flits and gurgles, breathy ASMR stimulation, bells, bird calls, and bubbles blown in a drinking glass, before singing simply and gorgeously in “Heavy Rain,” a Tao original.
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