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Yarn/Wire

The acclaimed New York quartet premieres works by Fernanda Aoki Navarro (Brazil), Paul Nauert (Santa Cruz), and Ma’ayan Tsadka (Israel).
Friday, April 26, 2013 - 7:30pm
Music Center Recital Hall (UCSC)
Presented by: 
Music Department

 

The acclaimed New York quartet premieres works by Fernanda Aoki Navarro (Brazil), Paul Nauert (Santa Cruz), and Ma’ayan Tsadka (Israel).

Tickets

$12 general

$10 seniors (62+)

$8 students w/ID

at santacruztickets.com and in-person or by phone

UCSC Ticket Office (831-459-2159) or SC Civic Auditorium box office (831-420-5260).

 

Doors open at 7:00 pm

parking $4

 

The critically acclaimed New York piano-percussion quartet Yarn/Wire makes use of its flexible instrumentation to slip effortlessly between classics of the repertoire and modern works that continue to forge new boundaries. Founded in 2005, Yarn/Wire is admired for the energy and precision they bring to performances of today's most adventurous music. The results of their collaborative initiatives with genre-bending artists such as Two-Headed Calf, Pete Swanson, and Tristan Perich point towards the emergence of a new and lasting repertoire that is "spare and strange and very, very new." (Time Out NY) The New York Times' Steve Smith writes that in Yarn/Wire's residency at the Issue Project Room in Brooklyn, "elegaic" and "tranquil" treatments of a stream of commissions reflect "refreshingly broad taste." "Conventional instrumental roles were eliminated" in Yarn/Wire's interpretation of Pete Swanson's Eliminated Artist evoking "frogs and insects peeping at twilight; at the work’s roiling peak, battered wooden planks were monkeys howling in a monsoon."

In their April 26 performance, Yarn/Wire will bring us a new interpretation of Earl Brown's Four Systems (1954), and premiere works by Fernanda Aoki Navarro (Brazil), Ma'ayan Tsadka (Israel), and UC Santa Cruz faculty member Paul Nauert. Nauert writes that his work Meanders explores both its large-scale form and its "small details and patterns of figuration" by wandering "from one idea to the next without conforming to familiar structural templates"...the piece meanders both in the familiar sense of an "aimless or discursive journey," and in the more particular sense of "undulating paths of certain rivers, or the stylized patterns that commonly decorate ancient Greek pottery."