Podcasts about s percussion

Sandbox Percussion co-founder, Percussionist, Freelancer and Educator Ian Rosenbaum stops by to talk about the origins of the group, early performances, group management, and dealing with inventory (02:40), how Sandbox develops relationships with composers and their connections to Só Percussion and Third Coast Percussion (22:20), the rehearsal and performance logistics for Sandbox (32:20), Ian and the groups' various college residencies and the importance of their Creator Mentorship program (45:00), growing up in Westchester (NY), beginnings of playing drumset and piano, and attending many types of concerts in his youth (01:09:40), eventually attending Peabody and working with Bob Van Sice (01:18:10), his master's degree time at Yale and getting in the freelance scene in NYC (01:26:20), and finishing with the Random Ass Questions, including segments about performance setup and etiquette, great food, movies and books, and Christian Marclay's The Clock (01:37:35).Finishing with a Rave on the 2025 Grammy Awards ceremony (02:00:00).Ian Rosenbaum links:Sandbox Percussion websiteIan Rosenbaum's websiteSandbox's Creator Mentorship ProgramSeven Pillars - Andy AkihoIan Rosenbaum's Peabody page“Khan Variationa” - Alejandro ViñaoPrevious Podcast Guests mentioned:Victor Caccese in 2019Garrett Arney in 2019Todd Meehan in 2017Cort McClaren in 2022Other Links:Andy AkihoPaola PrestiniChristopher CerroneAdam RosenblattRobert Van Sice“Mallet Quartet” - Steve Reich“Drumming (Part 1)” - Steve Reich“Extremes from Imaginary City” - Jason TreutingSo PercussionThird Coast Percussion“Pattern Transformation” - Lukas Ligeti“NO one to kNOW one” - Andy AkihoViet CuongGreen Umbrella Series“Wilderness” - Jerome BeginDavid YoonGlen VelezJi Su JungPercussion Group CincinnatiBryce DessnerGoldberg Variations - J.S. Bach (Glenn Gould)Colin CurrieJACK QuartetAmandinda Percussion QuartetSimon Boyar“Late in the Evening” - Paul Simon“I Go to Extremes” - Billy JoelBela Fleck and Edgar Meyer Tiny Desk concert311 Tiny Desk Concert“Pretty Fly” - The Offspring“All the Small Things” - Blink-182Ton Freer“Threads” - Paul LanskyCloyd DuffEtuden for Timpani - Richard HochrainerThomas DuffyNew Haven (CT) PizzaThe Princess Bride trailerFast and Furious trailerSilo trailerFormula 1: Drive to Survive trailerJacob Collier - Tiny Desk concert“1612” - VULFPECKVictor Wooten Trio at PASIC 2018“So Much to Say” - Dave Matthews Band (Carter Beauford view)Christian Marclay's The ClockRaves:The 2025 Grammy Awards

Amerikietis Jasonas Treutingas (g. 1972) žinomas kaip perkusijos kvarteto „Sō Percussion“ įkūrėjas, aktyviai bendradarbiaujantis ir su kitais naujosios muzikos scenos dalyviais. Treutingo kompozicijos dažnai susijusios su jo atlikėjiškos praktikos padiktuotomis idėjomis, be to, jis noriai kuria drauge su įvairiais partneriais, tarp kurių laptopų ir elektronikos muzikantai, gitaristai ir orkestrų nariai. Laidoje aptariami du Treutingo albumai: „Nine Numbers“ (2021) ir „Go Placidly with Haste“ (2024).Laidos autoriai Mindaugas Urbaitis ir Šarūnas Nakas

Sample collaborative music by Pulitzer Prize-winning vocalist/composer Caroline Shaw and the versatile quartet Sō Percussion from their latest release, Rectangles and Circumstance, as played in-studio. Composer/vocalist/violinist Caroline Shaw, who has produced for Kanye West and Nas, won a Pulitzer Prize in 2013 for her Partita for 8 Voices, which was written for and performed with the vocal ensemble Roomful of Teeth; she also teaches at NYU. Brooklyn-based Sō Percussion (Eric Cha-Beach, Adam Sliwinski, Josh Quillen, Jason Treuting) is a force of music and noise-making comprised of composer/percussionists/instrument builders/finders who beat, shake, bow, immerse, and rip all kinds of things – home goods and instruments - both acoustic and electric; they also compose.  The members of Sō have worked with Shaw as a composer (Narrow Sea), and collaboratively as a band as on the latest, Rectangles and Circumstance. They've described their groups songwriting as lyrics via adaptations of poetry, or by a band member - and music which can morph - whether added to and/or sliced up; it's a process where everyone contributes equally. Sō describes percussion as an ethos – a willingness to make any and all sounds as requested, by whatever means necessary - whether that is a keyboard, a crotale dipped in water, or ripping a roll of duct tape in time. Despite everything being counted off in four, there are “beats of deceit”, where the music surfs on the edge of some meter, and it carries you, (-Caroline Shaw.) Listen to some of these songs with contributions by Caroline Shaw, and with her band Ringdown, together with Sō Percussion, as played live, in-studio. - Caryn Havlik Set list: 1. Sing On 2. Slow Motion 3. The Parting Glass

Today we discuss media production with founder of Four/Ten Media, Evan Chapman.   Based in Philadelphia, Evan Chapman is a percussionist, composer, and filmmaker who has built a prolific and unique career by seamlessly blending multimedia and contemporary music. Chapman is a founding member of contemporary-classical percussion trio/rock band Square Peg Round Hole, whose original compositions have been dubbed a “creative adventure” by Bob Boilen (NPR) and have received further acclaim from Modern Drummer Magazine, Paste Magazine, and Mental Floss, among others.   FOUR/TEN MEDIA is a production company born from the partnership between filmmakers/percussionists Kevin Eikenberg and Evan Chapman. Kevin and Evan's unique background as classically trained percussionists has allowed the duo to create fresh and musically authentic visual representations of works in the contemporary classical and pop worlds. Four/Ten's client list includes internationally-acclaimed artists such as the New York Philharmonic, Steve Reich, Caroline Shaw, the Bang on a Can All-Stars, Sō Percussion, David Lang, Son Lux, Alarm Will Sound, The Crossing Choir, Third Coast Percussion, and many more. Their work has been featured by major press outlets including The New York Times, Alternative Press, NPR, Mental Floss, Paste Magazine, Q2 Music, and I Care if You Listen, among others.   Evan is sponsored by Zildjian Cymbals, Vic Firth Drumsticks, Evans Drumheads, and SJC Custom Drums.   https://fourtenmedia.net/ https://www.evanmchapman.com/ https://www.instagram.com/evanmchapman/?hl=en https://youtube.com/evanmchapman Four/Ten Media (2024 Reel) Music for Wood and Strings  

Greg Jackson is the Director of Orchestras at South Cobb High School in Austell, Georgia, outside of Atlanta. He is currently on staff at Southwind Drum & Bugle Corps as an Ensemble Specialist. From 2017 until 2020 Dr. Jackson was Director of Bands at Saint James School. He was the Associate Professor of Percussion studies at Alabama State University for ten years. He received the Bachelor of Science degree in Performance, Specialization in Music Composition from Austin Peay State University, the Master of Music degree in Music Theory/Composition from The University of Alabama, the Master of Music Education with emphasis in Conducting from the University of Georgia, a Cerrtificat in Advanced Graduate Studies in Orchestral Conducting, and the Doctor of Musical Arts degree in Percussion Performance at the University of Alabama. Greg is the Vice-Chair of the Mentoring Committee for American String Teachers Association. Several of his compositions were premiered at the ASTA National Conference in 2022. Although his primary performing instrument now is violin, Jackson had a long career as a percussionist. In the Percussive Arts Society International Collegiate Snare Competition, he placed in the top 10 four consecutive years and top 4 two years. He has also been associated as a consultant with four Drum Corps International Individuals champions and 1 PASIC Individuals champion. Greg has performed with numerous artists including Tito Puente Jr., Sō Percussion, Son Caliente, Nancy Zeltsman, Michael Burritt, Tomas Cruz, Sandip Burman, Bob Mintzer of the Yellow Jackets, Tom Wolfe, Ken Watters, Skyler Foster, and Downright. He is also the author of Mephisto's Spree Op. 84, Etudes Op. 56, The Synergy Method for Drumming volumes 1 and 2, The Synergy Method for Marimba, Phenom: Excellence of Execution, Pandora, Legendary Op. 44, The Well-Tempered Marimbist Op. 46, Etudes Op. 48, Jackson's Rudiment Dictionary and Congas Full Circle. His marimba solo, Requiem for 9/11 Op. 45, received a special acknowledgement from President Obama. Jackson travels across the country presenting clinics/masterclasses and conducting, in addition to composing. He is a member of the Georgia Music Educators Association, International Conductors Guild, American String Teachers Association, National Association for Music Education, National Band Association, Alabama Bandmasters Association, Kappa Alpha Psi, Fraternity Inc., Collegiate Society of Musicians, Percussive Arts Society, Society of Composers Inc., BMI, and Bujinkan. Greg proudly endorses Remo Inc., Innovative Percussion, Pearl Percussion and Adams. https://inner3.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

  *In English Language*  »Die Spieler scheinen telepathische Kräfte entwickelt zu haben«, staunt die New York Times über das Zusammenspiel der vier Musiker von Sō Percussion. 1999 als Studentenensemble gegründet, hat das Quartett während seines gut 20-jährigen Bestehens die Kammermusik für Schlagwerk neu definiert. Es tritt in den größten Konzerthäusern weltweit auf und hat viele spannende Kooperationen gestartet, die von klassischer Musik über Pop, Indie-Rock bis zu zeitgenössischem Tanz und Theater reichen. Bei seinem ersten Hamburg-Besuch im Mai 2022 wirkte So Percussion bei der Aufführung von John Luther Adams' großem Open-Air-Stück »Inuksuit« im Park Planten un Blomen mit und präsentierte im Kleinen Saal der Elbphilharmonie ein kammermusikalisches Programm. Hierbei spielten die vier (teils mit neuen Instrumenten und ausgefallenen Spieltechniken) Musik von Angelica Negron und dem The-National-Gitarristen Bryce Dessner. Und sie stellten das Album »Let the Soil Play Its Simple Part« vor, das sie mit der gefeierten Komponistin und Sängerin Caroline Shaw herausgebracht haben.

The four members of Sō Percussion can turn nearly anything into a playable instrument – blocks, bells, drums, and other surfaces (as well as lumber, flower pots, garden tools – don't set them loose in a hardware store.) Composer and So-founding member Jason Treuting has even turned the numbers 1-9, as in the Japanese puzzle game, sudoku, into an immense pattern-based work called Nine Numbers, which uses interlocking rhythms and melodies, as well as the plosives (some of the hard consonants in English) of speech. Together with strings of the Bergamot Quartet, Sō Percussion plays some of the cyclical and pattern-driven pieces of Treuting's Nine Numbers, live from The Greene Space. - Caryn Havlik

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Viña, Ksenija Komljenović, Caleb Pickering, and Ben Charles Producer: Ben Charles Guest: Jason Treuting https://jasontreuting.com https://sopercussion.com Watch here  Listen below 0:00 Introduction and welcome 1:51 Today in history: Simon and Garfunkel record The Sounds of Silence, Bad Bunny's birthday, David Friedman's birthday 10:25 Welcome Jason Treuting! 11:06 The founding of Sō Percussion, David Lang's The So Called Laws of Nature 15:17 Sō Percussion's thoughts on carrying the torch from Percussion Group Cincinnati, Nexus, and Amadinda; the evolution of Sō Percussion 18:18 The moment when Sō Percussion “made it” 22:26 How Sō Percussion's artistic vision has changed over the years 25:13 Jason's journey as a composer and his piece, Extremes 34:58 Improvisation vs. composition 35:34 Jason's influences, studies with Keiko Abe and Steve Gadd 46:52 Nexus and introducing ragtime to their concerts 48:00 Sensibility to composers' work 48:37 Early Japanese marimba works—Tanaka Two Movements and Miyoshi Conversation Suite 50:22 Sō Percussion collaborations 55:26 Raising the bar rather than doing the minimum requirements 1:01:14 Sō Percussion Summer Institute

Composer Viet Cuong joins us to discuss the role that marching band played in his formative years and the impact it continues to have on his current career. He shares his approach to composing for small ensembles, preparing students to take advantage of new and innovative tools, and the skills vital for success as a freelance musician. We finish with a conversation about what it means to “sound like tomorrow”. Called “alluring” and “wildly inventive” by The New York Times, the “irresistible” (San Francisco Chronicle) music of American composer Viet Cuong (b. 1990) has been commissioned and performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, Orchestra of St. Luke's, and Dallas Winds, among many others. Viet's music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, National Gallery of Art, and Library of Congress, and his works for wind ensemble have amassed hundreds of performances worldwide, including at Midwest, WASBE, and CBDNA conferences. He was recently featured in The Washington Post‘s “21 for '21: Composers and performers who sound like tomorrow.” In his music Viet enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His recent works thus include a percussion quartet concerto, tuba concerto, snare drum solo, and, most recently, a concerto for two oboes. This eclecticism extends to the range of musical groups he writes for, and he has worked with ensembles ranging from middle school bands to Grammy-winning orchestras and chamber groups. Viet is also passionate about bringing different facets of the contemporary music community together, and he will have opportunities to do so with an upcoming concerto for Eighth Blackbird with the United States Navy Band. He recently began his tenure as the California Symphony's 2020-2023 Young American Composer-in-Residence, where he and the symphony will develop three new orchestral works together over three years. Viet is currently on the music theory and composition faculty at the University of Nevada, Las Vegas. He holds degrees in music composition from the Curtis Institute of Music (Artist Diploma), Princeton University (MFA), and the Peabody Conservatory (BM/MM). His mentors include Jennifer Higdon, David Serkin Ludwig, Donnacha Dennehy, Steve Mackey, Dan Trueman, Dmitri Tymoczko, Kevin Puts, and Oscar Bettison. During his studies, he held the Daniel W. Dietrich II Composition Fellowship at Curtis, Naumburg and Roger Sessions Fellowships at Princeton, and Evergreen House Foundation scholarship at Peabody, where he was also awarded the Peabody Alumni Award (the Valedictorian honor) and Gustav Klemm Award. The transcript for this episode can be found here. For more information about Viet Cuong, please visit his website, Facebook, Instagram, Twitter, YouTube, and SoundCloud.

In this episode, we discuss recordings of “Haydn 2032, Vol. 10: Les heures du jour” by Il Giardino Armonico / Giovanni Antonini, “Schumann: Kreisleriana Op. 16 & Brahms: Seven Fantasies Op. 116, Two Rhapsodies Op. 79” by Elena Fischer-Dieskau, “Caroline Shaw: Narrow Sea” by Sō Percussion, Gilbert Kalish, Dawn Upshaw, and Caroline Shaw “Shaw: Let the Soil Play Its Simple Part” by Caroline Shaw & Sō Percussion, “The Bright Side” by Joel Frahm, “Altoizm” by Greg Ward, Sharel Cassity, Rajiv Halim, and “Wes Reimagined” by the Nigel Price Organ Trio.   The Adult Music Podcast is featured in: Feedspot's Top 25 Jazz Podcasts   Episode 24 Deezer Playlist   “Haydn 2032, Vol. 10: Les heures du jour” (Alpha) Il Giardino Armonico, Giovanni Antonini https://open.spotify.com/album/2BIyQeXjICfDrORWRtDItu https://music.apple.com/us/album/haydn-2032-vol-10-les-heures-du-jour/1567553784   “Schumann: Kreisleriana Op. 16 & Brahms: Seven Fantasies Op. 116, Two Rhapsodies Op. 79” (Delphian) Elena Fischer-Dieskau (piano) https://open.spotify.com/album/5umBbkCMzpYmBNAYorgi49 https://music.apple.com/us/album/schumann-kreisleriana-brahms-two-rhapsodies-seven-fantasies/1564304440   “Caroline Shaw: Narrow Sea” (Nonesuch) Sō Percussion (drums, marimba, vibraphone, percussion, synthesizer, organ, piano), Gilbert Kalish (piano), Dawn Upshaw (vocals, percussion), Caroline Shaw (organ) https://open.spotify.com/album/5beMIpEOdKasL9LCwVTjSJ https://music.apple.com/us/album/caroline-shaw-narrow-sea-ep/1541180863   “Shaw: Let the Soil Play Its Simple Part” (Nonesuch) Caroline Shaw & Sō Percussion https://open.spotify.com/album/4QzCSAQJja5kjsGkq7zIlm https://music.apple.com/us/album/shaw-let-the-soil-play-its-simple-part/1556856822   “The Bright Side” (Anzic Records) Joel Frahm https://open.spotify.com/album/6U8YUBMf4r95dV9OzWrSda https://music.apple.com/us/album/the-bright-side/1567124465   “Altoizm” (AFAR Music) Greg Ward, Sharel Cassity, Rajiv Halim https://open.spotify.com/album/511D5l7s8RqckAMVuXvBpD https://music.apple.com/us/album/altoizm/1572684649   “Wes Reimagined” (Ubuntu) Nigel Price Organ Trio https://open.spotify.com/album/7FPDnDQOgSGfTqzjxVJWrK https://music.apple.com/us/album/wes-reimagined/1557972754

Image credit: Dayna Szyndrowski As the American composer Caroline Shaw releases Let the Soil Play Its Simple Part - her first solo vocal album, with Sō Percussion - she talks to presenter Tom Service about her approach to music. With its roots in childhood, playing violin to her father's medical patients nearing the end of their lives, to the music of the past she loves, Shaw's generous attitude as a composer and collaborator results in music which is to be shared, and which resonates with our life experiences. From Silence: Finding Calm in a Dissonant World is the Austrian conductor Franz Welser-Möst's autobiography, recently translated into English by Christine Shuttleworth. In it, he writes about the car accident which changed his life as an 18-year old, pointing him towards conducting and a life-long search for silence and meaning in his musical life. From his home on the shores of the Attersee, Welser-Möst reflects on the lasting impact of this experience, on the self-described failure of his years with the London Philharmonic Orchestra and his successful tenure with the Cleveland Orchestra, and explains his criticisms of today's classical music industry. The Ireland-based analogue record producer and engineer Julie Mclarnon responds to one of the chapters in Welser-Möst's book, In Praise of Boredom, having recently made a documentary The Psychology of Analogue, exploring how reductions in data and visual stimuli can lead to improved creativity in music. And the Welsh conductor Grant Llewellyn, who experienced a stroke last year which threatened to end his career in music. He talks to Tom about his road to recovery, how his physical limitations have led to a chamber-style approach to music-making with his Orchestre National de Bretagne, and the hope he finds in Beethoven's 5th Symphony.

Puerto Rican-born composer and multi-instrumentalist Angélica Negrón's music is deeply personal, reflecting a sensitive, playful nature that takes nothing for granted. Even the most mundane sounds--a stapler, a calculator, crumpling paper, pots and pans become beautiful in her sound sculptor's able hands.  Her music has been described as “wistfully idiosyncratic and contemplative,” while The New York Times noted her “capacity to surprise.” Negrón has been commissioned by the Bang on a Can All-Stars, loadbang, MATA Festival, Brooklyn Youth Chorus, Sō Percussion, the American Composers Orchestra and the New York Botanical Garden, among others. We hope you enjoy her music as much as we did this week.

John is joined by composer, vocalist, violinist and producer Caroline Shaw – the youngest ever winner of the Pulitzer Prize for Music, winner of a Grammy in 2018 for her album Orange with Attaca Quartet. Caroline Shaw talks about her new album Narrow Sea featuring soprano Dawn Upshaw, Sō Percussion ensemble and the pianist Gilbert Kalish, as well as writing for unusual instruments, unconventional approaches to composing, and the difference between writing for an orchestra and collaborating with Kanye. Today (19 Jan) is the 100th anniversary of the birth of Patricia Highsmith, author of the classic thrillers The Talented Mr Ripley and Strangers on a Train and of The Price of Salt, later published as Carol. Several of her books have been made into successful films and continue to be adapted: Deep Water starring Ben Affleck is expected later this year and the making of a new TV series based on Ripley starring Andrew Scott has been announced. To mark the anniversary, a new collection of her short stories has been published, Under a Dark Angel’s Eye, and a new biography, Devils, Lusts and Strange Desires: The Life of Patricia Highsmith by Richard Bradford. Bradford and the writer Joanna Briscoe discuss Highsmith’s compelling, dark writing and the troubled – and troubling - life behind it. Comedian Rose Matafeo stars in New Zealand comedy film Baby Done as a woman who finding herself unexpectedly pregnant attempts to fulfil a bucket list of adventures before the baby arrives. The film is exec produced by Taika Waititi and co-stars Matthew Lewis, best known for playing Neville Longbottom in the Harry Potter franchise. Critic Hannah McGill reviews. Presenter: John Wilson Producer: Jerome Weatherald

Josh Quillen has forged a unique identity in the contemporary music world as all-around percussionist, expert steel drum performer (lauded as “softly sophisticated” by the New York Times), and composer. His collaborations with other composers frequently incorporate the steel drums as a core element.A member of the acclaimed ensemble Sō Percussion since 2006, Josh has performed at Carnegie Hall, the Brooklyn Academy of Music, The Lincoln Center Festival, Stanford Lively Arts, and dozens of other venues in the United States. In that time, Sō Percussion has toured Russia, Spain, Australia, Italy, Germany, and Scotland. He has had the opportunity to work closely with Steve Reich, Steve Mackey, Paul Lansky, David Lang, Matmos, Dan Deacon, and many others.Watch here.  Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 intro and hello 1:19 "Cangelosi" 2:35 A bit of Casey's background 11:50 A bit of Josh's background16:00 Talking to students about orchestral excerpts. 21:00 How are our students feeling about the current job market? 34:00 Thoughts on the value of conversation. Podcasting 50:50 Composing? New pan piece for Liam Teague 1:10:35 Pan vibe vs the new music vibe? 1:25:03 Casey vs Pius - Josh vs Todd

Acclaimed young composer Viet Cuong joins the show to share his thoughts about band music, his work as a composer, and how growing up in the Lassiter band helped him fit in and find his place in the world. Topics: 
Viet’s background and how he got his start as a musician, percussionist, and composer. How band and music helped Viet “find his place” in the world and the importance of band as a place where kids who are struggling to feel accepted have a place where they can fit in and grow. Growing up in the legendary Lassiter Band Program under the baton of Alfred Watkins. Thought about what band directors can do to support young musicians who are writing music or want to become composers. Thoughts about academic music, new music for band, and some insights into building design at Princeton. The Blue Dot Collective Links: Viet Cuong, Composer The Blue Dot Collective Cuong: Diamond Tide Cuong: Moth Stravinsky: Rite of Spring Biography: Called “alluring” and “wildly inventive” by The New York Times, the “ingenious” and “knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as Sō Percussion, Eighth Blackbird, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Kaleidoscope Chamber Orchestra, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among many others. Viet’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Library of Congress, Cabrillo Festival of Contemporary Music, Aspen Music Festival, New Music Gathering, Boston GuitarFest, International Double Reed Society Conference, US Navy Band International Saxophone Symposium, and on American Public Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide, including at Midwest, WASBE, and CBDNA conferences. Viet holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he is currently finishing his PhD there. At Princeton he studied with Steve Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prize-winner Kevin Puts and Oscar Bettison. While at Peabody, he received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet has been a fellow at the Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Copland House’s CULTIVATE emerging composers workshop, and was also a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals. Additionally, he has received artist residencies from Yaddo, Copland House, Ucross Foundation, and Atlantic Center for the Arts (under Melinda Wagner, 2012 and Christopher Theofanidis, 2014). Viet is a recipient of the Barlow Endowment Commission, Copland House Residency Award, ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Youth Symphony First Music Commission, Boston GuitarFest Composition Competition, and Walter Beeler Memorial Prize, among others. In addition, he received honorable mentions in the Harvey Gaul Composition Competition and two consecutive ASCAP/CBDNA Frederick Fennell Prizes. Scholarships include the Evergreen House Foundation scholarship at Peabody, a 2010 Susan and Ford Schumann Merit Scholarship from the Aspen Music Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

Sō Percussion creates adventurous compositions with new, unconventional instruments. Performing "Music for Wood and Strings" by Bryce Dessner of The National, the quartet plays custom-made dulcimer-like instruments that combine the sound of an electric guitar with the percussionist's toolkit to create a hypnotic effect. Hosted on Acast. See acast.com/privacy for more information.

In a program from 2014, Andrew Patner shares a sampling from American works on releases from the Spektral, JACK, Lark, and Sō Percussion quartets [...]

Composer and Princeton professor Dan Trueman is the inventor of a new instrument combining man and machine: the prepared digital piano. His Nostalgic Synchronic is a series of etudes that showcase the interactive instrument's capabilities, combining old-fashioned composition with responsive elements that anticipate the future of music performance. Like John Cage's Sonatas & Interludes for Prepared Piano, Nostalgic Synchronic is at once pleasantly familiar – drawing on traditions of Bach, and as Trueman notes, the Hungarian composer György Ligeti – and charged with unexpected colors and nuances. Last October, we joined Trueman and Sō Percussion's Adam Sliwinski (for whom the pieces were written) backstage at Le Poisson Rouge for conversation and musical demonstration followed by a live performance of Nostalgic Synchronic. Download Dan Trueman's Nostalgic Synchronic as part of Season Two of LPR Live, with host John Schaefer. Listen to trailblazing new music performed live at Le Poisson Rouge, and enjoy interactions with artists and audience members. Subscribe to LPR Live on iTunes or wherever you get your podcasts. 

In a program that first aired on April 14, 2014, Andrew Patner shares a sampling from American works on releases from the Spektral, JACK, Lark, and Sō Percussion quartets [...]

Andrew shares a sampling from new American works on new releases from the Spektral, JACK, Lark, and Sō Percussion quartets [...]

Brooklyn based quartet Sō Percussion (Eric Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting) collaborate with composer Dan Trueman on their newest album, neither Anvil nor Pulley. They experiment with different ways of creating sound, using a turntable, a laptop and various gadgets like a video game controller. The result is a piece in five acts, composed with, rather than for the quartet. We have Eric from Sō Percussion and Dan in the studio to talk about their project and some quirky details of the album. Hosted by Seth Boustead Produced by Jesse McQuarters Neither Anvil nor Pulley Act 1: Another Wallflower [from Long Ago] Act 2: 120bpm [or, What is zour Metronome Thinking?] Act 3: A Cow Call [Please oh Please Come Home!] Act 4: Feedback [in Which a Famous Bach Prelude Becomes Ill-Tempered] Act 5: Hang Dog Springar [a Slow Dance]

Sō Percussion members converse with pianist Lara Downes.