Date: Wednesday, October 26, 2011. 8:00 PM.
Location: Dinkelspiel Auditorium
If you’ve attended Sō Percussion’s sold-out shows here in the past, you’ll know firsthand how mind-bogglingly talented, unflappable, and truly sensitive these four percussionists are. They return to Stanford with an instrument-filled stage for our John Cage/Merce Cunningham mini-festival, joined by M.C. Schmidt of the electronica duo Matmos and composer/electronics artist Cenk Ergun. John Cage was both musical “father” and key aesthetic influence for Sō—it’s only fitting, then, that this ensemble should return with a program of Cage’s late works and new compositions written in his honor. PROGRAM Sō Percussion & Matmos: Needles; Cenk Ergun: Use; Dan Deacon (in response to Cage): New music TBD; Sō Percussion: New music TBD; John Cage: Child of Tree (1975), But What About the Noise of Crumpling Paper (1985); Cartridge Music (1960); Inlets (1977)
Location: Dinkelspiel Auditorium
If you’ve attended Sō Percussion’s sold-out shows here in the past, you’ll know firsthand how mind-bogglingly talented, unflappable, and truly sensitive these four percussionists are. They return to Stanford with an instrument-filled stage for our John Cage/Merce Cunningham mini-festival, joined by M.C. Schmidt of the electronica duo Matmos and composer/electronics artist Cenk Ergun. John Cage was both musical “father” and key aesthetic influence for Sō—it’s only fitting, then, that this ensemble should return with a program of Cage’s late works and new compositions written in his honor. PROGRAM Sō Percussion & Matmos: Needles; Cenk Ergun: Use; Dan Deacon (in response to Cage): New music TBD; Sō Percussion: New music TBD; John Cage: Child of Tree (1975), But What About the Noise of Crumpling Paper (1985); Cartridge Music (1960); Inlets (1977)