7 to 9 pm ET
counter)induction. (Image via Americas Society video.)
counter)induction: nueva música
counter)induction returns to Music of the Americas with music by Latin American female composers.
This event was originally scheduled for April 30 and has been rescheduled.
This concert will be streamed on this page. If you’re not yet a member of Americas Society and would like to join us, please do so here!
Celebrating its twentieth anniversary, the adventurous composer-performer collective counter)induction returns to Music of the Americas after over a decade with a program highlighting the widely diverse world of contemporary music by Latin American female composers. The concert will feature world premieres as well as a new arrangements prepared expressly for counter)induction.
DM R, Studies for violin and cello
Cecillia Arditto, Out Loud 3 (WP)
Gabriela Areal, Holsa
Marina Lopez, Folia
Natalia Solomonoff, HSxCDxEG
Mariana Villanueva, Siddhe
Mariana Villanueva, Plancto
- Miranda Cuckson, violin
- Benjamin Fingland, clarinet
- Jessica Meyer, viola
- Caleb van der Swaagh, cello
- Daniel Lippel, guitar
- Ning Yu, piano
- Jacob Rhodebeck, piano (guest)
counter)induction's mission since its inception has been straightforward: world-class performances of contemporary chamber music, without hype and without agenda other than our complete commitment to the most compelling music of our day. With six exceptional players and three composers (Kyle Bartlett, Douglas Boyce, Ryan Streber), counter)induction focuses on programming that is provocative, insightful, and unexpected. This brings us from historically-motivated programs like “Futures Past,” a concert of new works exploring the multiplicities of histories present in the moment of performance, to “X+N,” a series-within-a-series matching c)i soloists with rare and seminal electronic music.
The MetLife Foundation Music of the Americas concert series is made possible by the generous support of Presenting Sponsor MetLife Foundation. The Fall 2020 Music program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support comes from The Amphion Foundation, Inc., the Alice M. Ditson Fund of Columbia University, and The Aaron Copland Fund for Music.