{"id":3647,"date":"2016-05-10T09:52:56","date_gmt":"2016-05-10T07:52:56","guid":{"rendered":"http:\/\/www.archiv-frau-musik.de\/?p=3647"},"modified":"2018-03-02T00:31:19","modified_gmt":"2018-03-01T23:31:19","slug":"2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer","status":"publish","type":"post","link":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer","title":{"rendered":"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer"},"content":{"rendered":"
\n

The Orchestra of the S.E.M. Ensemble presents a concert tomorrow, May 9 at Bohemian National Hall\u00a0<\/span><\/b><\/h4>\n

Bohemian National Hall<\/span><\/b><\/h4>\n

321 East 73rd Street,\u00a0New York<\/span><\/b><\/h4>\n
\n

Monday Evening, May 9, 2016 at 8:00pm<\/span><\/b><\/h4>\n
\u00a0<\/span><\/b><\/div>\n

The Orchestra of the S.E.M. Ensemble<\/span><\/b>
With\u00a0soloists:
Seth Parker\u00a0Woods, Violoncello
Sara\u00a0Schoenbeck, Bassoon
Roscoe\u00a0Mitchell, Saxophone
Debra Kay\u00a0Anderson, Narration
Petr Kotik,\u00a0Conductor and Flutes
<\/b>
String\u00a0Noise:<\/b>
Conrad Harris & Pauline Kim Harris, Violins
with Lucie V\u00edtkov\u00e1, Accordion

Improvisation\u00a0Ensemble:
George\u00a0Lewis, Trombone
Thomas\u00a0Buckner, Voice
Lucie\u00a0V\u00edtkov\u00e1, Accordion
Sara\u00a0Schoenbeck, Bassoon
Roscoe\u00a0Mitchell, Saxophone
Chris\u00a0Nappi, Percussion<\/b>

<\/span><\/p>\n<\/div>\n

The Orchestra of the S.E.M. Ensemble<\/span>
Petr Kotik,\u00a0Director<\/b>
Voice,\u00a0Thomas Buckner
Flute,\u00a0Roberta Michel
Oboe,\u00a0Boris Baev<\/span><\/div>\n
English\u00a0Horn,\u00a0Jeffrey Reinhardt<\/span><\/div>\n
Clarinet,\u00a0Marianne Gythfeldt
Bassoon,\u00a0Sara Schoenbeck
Trumpet,\u00a0Thomas Verchot
Trombone,\u00a0William Lang
Percussion,\u00a0Chris Nappi
Percussion, Jon Myers
Violin,\u00a0Conrad Harris
Violin, Pauline Kim Harris
Viola,\u00a0Victor Lowrie<\/span><\/div>\n
Viola, Jeanann Dara<\/span><\/div>\n
Violoncello,\u00a0Meaghan Burke
Contrabass,\u00a0James Ilgenfritz

Program<\/b>
Petr Kotik String Noise William\u00a0\u00a0<\/i><\/b>Premiere
<\/span> 2<\/span>\u00a0<\/span>violins and narrator<\/span>
George Lewis Not Alone<\/i><\/b>\u00a0\u00a0(2015)
<\/span> Solo<\/span>\u00a0<\/span>violoncello and sound processing<\/span>
<\/span>Lucie V\u00edtkov\u00e1 <\/span>Places to Meet<\/i><\/b><\/span>\u00a0<\/i><\/b>\u00a0<\/span>Premiere<\/span>
<\/span> 2<\/span>\u00a0<\/span>violins and accordion<\/span>
<\/span>John Cage <\/span>Ryoanji<\/i><\/b><\/span>\u00a0<\/span>(1983-1985)<\/span>
<\/span> Voice,<\/span>\u00a0<\/span>Strings, Horns, Flutes, and Percussion<\/span>
Intermission<\/i>
Roscoe Mitchell They Rode For Them<\/i><\/b>\u00a0\u00a0(2016)
<\/span> Part One \/\u00a0<\/span>Solo<\/span>\u00a0<\/span>Bassoon and Orchestra<\/span>
<\/span> Part<\/span>\u00a0<\/span>Two \/<\/span>\u00a0<\/span>Solo<\/span>\u00a0<\/span>Sopranino<\/span>\u00a0Saxophone<\/span>\u00a0<\/span>and Orchestra<\/span>\u00a0<\/span>
Karlheinz Stockhausen Zeitma\u00dfe<\/i><\/b>\u00a0\u00a0(1956)
<\/span> Oboe,<\/span>\u00a0<\/span>Flute, English Horn, Clarinet in A, Bassoon<\/span>
<\/span> Group<\/span>\u00a0<\/span>Improvisation<\/span><\/i><\/b>

About\u00a0the music:<\/b>
String Noise William<\/i><\/b>\u00a0(2016) by\u00a0Petr Kotik<\/b>\u00a0is the instrumental part\u00a0of his new dance opera,\u00a0William William,\u00a0to\u00a0be premiered on June 27, 2016 at the new opera\u00a0festival NODO (Czech Republic).\u00a0\u00a0Composed between February and May, 2016,\u00a0the piece includes 2 violins (composed\u00a0for the duo\u00a0String Noise)\u00a0and a narrator.\u00a0The text is Petr Kotik\u2019s adaptation of an excerpt from\u00a0an autobiographical text by Natalie Babel, the daughter of the great Russian poet\u00a0Isaac Babel. (PK)<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Not Alone<\/i><\/b>\u00a0(2015) by\u00a0George Lewis\u00a0<\/b>is for solo violoncello and\u00a0electronics. It\u00a0uses interactive digital\u00a0delays, spatialization and timbre transformation to create a\u00a0dance among\u00a0multiple cellists following diverse yet intersecting spatial\u00a0trajectories. \u00a0Although the work does not deploy explicit models of\u00a0self-similarity, the more\u00a0immediate spatial trajectories expand into larger\u00a0trajectories of affect across the duration of the piece. \u00a0Advancing a\u00a0conversational aesthetic, albeit in a non-improvised work, in Not\u00a0Alone foreground and background deliberately conflate. \u00a0The\u00a0electronics and the cello blend, intersect, and ultimately diverge into\u00a0multiple digital personalities that can suddenly converge into unified ensembles\u00a0while shrouding their origin in processes of repetition. \u00a0Not\u00a0Alone was written for\u00a0Seth Parker Woods, and the software was written by\u00a0Damon Holzborn. The composition is dedicated to cellist Abdul Wadud. (GL)<\/span><\/div>\n
\u00a0<\/span><\/div>\n
Places to Meet\u00a0<\/i><\/b>by\u00a0Lucie V\u00edtkov\u00e1<\/b>\u00a0was\u00a0composed for the violin duo String Noise and Ms. V\u00edtkov\u00e1 on accordion and\u00a0voice. This composition consists of parts\u00a0which demand interactions between the\u00a0players based on listening. The piece has a variable duration according to the\u00a0time required for the fulfillment of each\u00a0musical situation defined in the\u00a0score. (LV)

Ryoanji<\/i><\/b>,\u00a0by\u00a0John Cage<\/b>\u00a0was named after and\u00a0inspired by a rock garden in Kyoto, Japan that consists of 15 rocks placed in a\u00a0landscape of raked, white sand.\u00a0The piece was written as a set of live and\u00a0pre-recorded solos (Voice and instruments), accompanied by percussion. The\u00a0instrumental and vocal solos are series\u00a0of 2-minute segments separated by\u00a0silences. The percussion part is a complex rhythmical structure, using two\u00a0unspecified sounds (wood and metal), played\u00a0throughout of the entire\u00a0performance.\u00a0\u00a0

In 1987, Petr\u00a0Kotik and the S.E.M. Ensemble was asked to participate in the 24-hour live\u00a0performance event at WDR in Cologne (Germany) that celebrated\u00a0Cage\u2019s 75th\u00a0anniversary. Cage worked with SEM, creating a version of\u00a0Ryoanji<\/i>\u00a0for the Ensemble, adjusting the piece to its\u00a0instrumentation. This version, without\u00a0pre-recorded parts will be performed\u00a0tonight.\u00a0\u00a0(SEM)<\/span><\/div>\n
\u00a0<\/span><\/div>\n
When in 2016,\u00a0Ilan Volkov invited me to the Tectonics\u00a0Festival in Reykjavik, Iceland, I decided to transcribe some of the recordings of\u00a0my\u00a0Conversations I<\/i>\u00a0and\u00a0Conversations II<\/i>. These two CDs consist\u00a0of improvisations by Craig Taborn, Kikanju Baku and myself. Ilan\u2019s invitation\u00a0provided me an opportunity to\u00a0define more\u00a0clearly my work on the relationships\u00a0that exist between composition and improvisation.\u00a0It also\u00a0allowed me to premiere a new work titled\u00a0Conversations\u00a0For\u00a0Orchestra<\/i>.\u00a0These works were performed at the Tectonics Festival in\u00a0Reykjavik, Iceland, on April 15, 2016 with Ilan Volkov conducting the Iceland\u00a0Symphony\u00a0Orchestra.

My\u00a0first thoughts were to orchestrate these transcriptions for orchestra, chamber\u00a0orchestra, string quartet, woodwind quintet, brass quintet, etc. Some of these\u00a0compositions include an improvisational element whereby I invite improvisers to\u00a0perform with the composition. This furthers the improvisational process. Each\u00a0time the composition is performed, it would change a bit from the last version\u00a0(the orchestra part of the piece is completely notated). I am keeping all the\u00a0transcriptions as separate compositions so that they can be put together in\u00a0different configurations for different performances. This process will be\u00a0documented\u00a0in a book that shows the original transcriptions, handwritten drafts\u00a0and all the subsequent work that will be generated in this process.

Tonight\u2019s\u00a0performance will premiere two transcriptions:\u00a0They Rode for Them Part One\u00a0<\/i>and\u00a0Part Two\u00a0<\/i>by Roscoe Mitchell<\/b>\u00a0in\u00a0collaboration with\u00a0Kikanju Baku<\/b>\u00a0(2013),\u00a0transcribed by\u00a0Stephen Harvey<\/b>\u00a0(2015),\u00a0and orchestrated by\u00a0Roscoe Mitchell<\/b>\u00a0(2016). It is a transcription of an improvised duet for bass saxophone and\u00a0drums set by Kikanju Baku and myself.\u00a0Part\u00a0Two\u00a0uses Kikanju\u2019s drum part that led to the creation of the orchestration.\u00a0I took the bass saxophone part off this\u00a0orchestration and reinserted myself as\u00a0an improviser on sopranino saxophone. The orchestration of\u00a0They Rode for Them Part One<\/i>\u00a0used my bass saxophone\u00a0part and was\u00a0created explicitly for the bassoonist Sara Schoenbeck. Tonight\u2019s performance is\u00a0the world premiere of\u00a0They Rode for Them\u00a0Part One<\/i>\u00a0and the\u00a0United States premiere of\u00a0They Rode for Them Part Two<\/i>. (RM)

Zeitma\u00dfe<\/i><\/b>\u00a0(1955-56) by\u00a0Karlheinz Stockhausen<\/b>\u00a0was composed\u00a0while Stockhausen was working on\u00a0Gruppen\u00a0for 3 orchestras. Both works are ground-breaking,\u00a0presenting the first attempt\u00a0at cycling segments of controlled, non-simultaneous performance through a\u00a0subdivided ensemble. Whereas in\u00a0Zeitma\u00dfe<\/i>\u00a0the vertical\u00a0independence creates interplay between 5 wind instruments (a\u00a0woodwind quintet, replacing French horn with English horn), in\u00a0Gruppen<\/i>\u00a0it unfolds between three\u00a0orchestras, led by 3 conductors (the three orchestras surround the audience in\u00a0a spatially arranged stage setting). In both compositions, the music alternates\u00a0between coordination and independence within the ensemble. (SEM)

About\u00a0the artists:<\/b>
Petr Kotik<\/b>\u00a0(b. 1942) was born and educated\u00a0in Europe (studied music in Prague and Vienna) and has lived in the U.S. since\u00a01969. Kotik\u2019s best known\u00a0compositions are vocal works on texts by Getrude Stein\u00a0(Many Many Women) and R. Buckmister\u00a0Fuller (Explorations in the Geometry of\u00a0Thinking) and\u00a0orchestra and ensemble works \u2013 among them\u00a0Variations for 3 Orchestras,\u00a0Nine+1, and String Quartets No. 1 and\u00a0No. 2. In 2014\u201315 Kotik composed his first\u00a0opera,\u00a0Master-Pieces,\u00a0on a libretto by Gertrude Stein. Dividing his time\u00a0between performance and composition, Kotik is known for exemplary performances\u00a0of\u00a0works by New York School composers, collaboration with AACM composers, orchestra\u00a0works by Roscoe Mitchell, Muhal Richard Abrams, Alvin Lucier, Phill\u00a0Niblock,\u00a0Christian Wolff and others, as well as championing compositions by the young\u00a0generation (SEM workshops-readings, Ostrava Days Institute).

George Lewis<\/b>\u00a0(b. 1952) is\u00a0the Edwin H. Case Professor of American Music at Columbia University. The\u00a0recipient of a 2002 MacArthur Fellowship, and member\u00a0of the Association for the\u00a0Advancement of Creative Musicians (AACM) since 1971, Lewis’s scholarship on\u00a0music has been widely published, and his\u00a0compositions are documented on more\u00a0than 140 recordings

Lucie V\u00edtkov\u00e1\u00a0<\/b>(b. 1985) is a composer, improviser and performer (accordion,\u00a0harmonica, voice and tap dance) from the Czech Republic. Her compositions\u00a0focus\u00a0on sonification (compositions based on abstract models derived from physical\u00a0objects), while her improvisation practice explores characteristics of\u00a0discrete\u00a0spaces through the interaction between sound and movement. In her recent work,\u00a0she is interested in the musical legacy of Morse Code and the social-political\u00a0aspects of music and art in relation to everyday life.\u00a0She graduated in accordion performance at Brno Conservatory\u00a0and composition at Janacek\u00a0Academy of Music and Performing Arts in Brno (CZ).\u00a0During her Master Degree, she studied at Royal Conservatory in The Hague (NL)\u00a0and at California\u00a0Institute of the Arts in Valencia (USA). She has studied with\u00a0Martin Smolka, Jaroslav \u0160\u0165astn\u00fd (aka Peter Graham), Martijn Padding, Gillius\u00a0van Bergijk, Michael\u00a0Pisaro and Marc Sabat (Universit\u00e4t der K\u00fcnste, Berlin).\u00a0Recently, she is realizing her PhD. research as a Visiting Scholar at Columbia\u00a0University in New York\u00a0with Prof. George Lewis.

John Cage<\/b>\u00a0(1912-1992) studied composition with\u00a0Henry Cowell and Arnold Sch\u00f6nberg. It would be impossible to calculate the\u00a0catalytic effect and ramifications\u00a0that John Cage\u2019s work has had on 20th-Century\u00a0music and art. The musical developments of our time cannot be understood without\u00a0taking into account his\u00a0music and ideas. Cage’s invention of the prepared piano\u00a0and his work with percussion instruments led him to imagine and explore many\u00a0unique and fascinating\u00a0ways of structuring the temporal dimension of music. He\u00a0is universally recognized as the generative and leading figure in the field of\u00a0indeterminate composition\u00a0by means of chance operations.\u00a0\u00a0This brief sketch is perhaps appropriately\u00a0concluded by a remark of Arnold Sch\u00f6nberg who said of Cage that he was an\u00a0\u201cinventor of genius.\u201d

Roscoe Mitchell<\/b>\u00a0(b.\u00a01940) is an internationally renowned musician, composer and innovator serving\u00a0as the Darius Milhaud Chair of Composition at Mills\u00a0College (CA). His virtuosic\u00a0resurrection of overlooked woodwind instruments spanning extreme registers,\u00a0visionary solo performances, and assertion of a hybrid\u00a0compositional\/improvisational paradigm have placed him at the forefront of\u00a0contemporary music. Mr. Mitchell is a founding member of the Art Ensemble of\u00a0Chicago, the Association for the Advancement of Creative Musicians (AACM), and\u00a0the trio Space. He is also distinguished as\u00a0the\u00a0founder of the Creative\u00a0Arts\u00a0Collective, The Roscoe Mitchell Sextet & Quartet, The Roscoe Mitchell\u00a0Art Ensemble, The Sound Ensemble, The New Chamber Ensemble, and the Note\u00a0Factory. His oeuvre boasts hundreds of albums and original works, ranging from\u00a0passionate, forceful improvisations to ornate orchestral music. His\u00a0instrumental\u00a0expertise includes the gamut of the saxophone and recorder\u00a0families, clarinet, flute, piccolo, and the transverse flute in addition to his\u00a0elaborate invention, the\u00a0Percussion Cage (consisting of instruments from five\u00a0continents and found objects). Mitchell\u2019s honors include the Doris Duke Artist\u00a0Award (2014), a CMA\u00a0Presenting Jazz grant (2010), and grants from The National\u00a0Endowment for the Arts and Meet the Composer. This past year, Roscoe was\u00a0further granted The\u00a0Doris Duke Audience Development Fund and The Shifting\u00a0Foundation Grant.

Karlheinz\u00a0Stockhausen\u00a0<\/b>(1928-2007)\u00a0belongs among the most inspiring music makers of\u2028the 20th\u00a0century, a\u00a0leading personality of the Darmstadt school of the\u00a01950s and 1960s. In Cologne\u00a0he studied music pedagogy, piano, and composition with Frank Martin (1947-1951).\u00a0He continued in Paris with Olivier Messiaen\u00a0and Pierre Schaeffer (1952-53),\u00a0studied philosophy and also phonetics at the univeristy in Bonn, and\u00a0information theory with Werner Meyer-Eppler.\u00a0Stockhausen\u2019s steep artistic\u00a0development is characterized by\u2028a consistent search for a new musical language,\u00a0unburdened with the past, that goes from the\u00a0initial following of Webern\u2019s\u00a0punctualism through multi-serial composition, the concept of music in space,\u00a0electronic and electro-acoustic music, application of\u00a0indeterminate and\u00a0intuitive elements to a broader concept of musical art influenced by the\u00a0studies of the philosophy of the Far East culminating in a monumental\u00a0(and\u00a0controversial) cycle of seven full-night multi-media operas – a modern \u201cGesamtkunstwerk\u201d\u00a0– Licht (Light, 1977-2003) and the unfinished project Klang\u00a0(Sound, 2003-2007).\u00a0Each of Stockhausen\u2019s 376 compositions that form a complementary whole solve a\u00a0different compositional problem documenting the\u00a0composer\u2019s unusual and\u00a0inexhaustible innovation.

STRING NOISE<\/b>\u00a0is an \u201centerprising violin duo\u201c in NYC. Classical avant-garde violinists\u00a0Conrad Harris and Pauline Kim Harris, who are married, have expanded\u00a0the two\u00a0violin repertoire to include over 40 new works written for them since their\u00a0debut at the Ostrava Days in 2011. String Noise was highlighted in Performa 11\u00a0and was the featured ensemble for the launch of composers collective Index 0.\u00a0Premieres include works by Christian Wolff, Elizabeth Hoffman, John King, Phill\u00a0Niblock, Annie Gosfield, Caleb Burhans, Spencer Topel, David Lang, John Zorn,\u00a0Bernhard Lang, among others. String Noise has performed at Issue Project\u00a0Room,\u00a0Roulette, EXAPNO, Rockwood Music Hall and The Stone and has been heard on WNYC,\u00a0WKCR and Czech radio Vltava. Their first feature album was\u00a0released last Spring\u00a0of music by Eric Lyon.

Critiqued as possessing \u201cmature\u00a0artistry and willingness to go to the brink,\u201d\u00a0Seth Parker Woods\u00a0<\/b>has\u00a0established a reputation as a versatile artist straddling\u00a0several genres.\u00a0Outside the chamber music and solo setting, he has performed with the Ictus\u00a0Ensemble (Brussels, BE), Ensemble L\u2019Arsenale (IT), zone\u00a0Experimental (CH) Basel Sinfonietta (CH), New York City Ballet, and\u00a0Orchestra of St. Lukes (US). A fierce advocate for contemporary arts, he has\u00a0collaborated\u00a0and worked with a wide range of artists ranging from the likes of\u00a0Heinz Holliger, G.F. Haas, Helmut Lachenmann and Klaus Lang to Peter Gabriel,\u00a0Sting, Lou\u00a0Reed, Dame Shirley Bassey, Rachael Yamagata, Aldo Tambellini and\u00a0Jack Early.

A graduate from the San Francisco Conservatory of Music and the California Institute of the Arts, the bassoonist\u00a0Sara Schoenbeck<\/b>\u00a0is a well known New York\u00a0City performer. The Wire magazine placed her in the \u201ctiny club of bassoon pioneers\u201d at work in contemporary music today and the New York Times has called\u00a0her \u201criveting, mixing textural experiments with a big, confident sound.\u201d Schoenbeck performs with Anthony Braxton\u2019s 12+1(tet), Wayne Horvitz\u2019s Gravitas\u00a0Quartet, LPR, Wet Ink composers collective, S.E.M. Ensemble, the Mancini Orchestra, Dakah Hip Hop Orchestra, among others.

S.E.M. Ensemble, Inc. Board of Directors:\u00a0<\/b>Paula Cooper, Sheldon M. Berlow, Thomas Buckner, Gene Caprioglio,\u00a0Petr Kotik, Emily Krell,\u2028Rene\u00e9 W. Levine,\u00a0Noni Pratt

S.E.M. Ensemble, Inc.<\/b>
Petr Kotik, Artistic Director
Jon Myers, Coordinator
Isabelle Deconinck, Publicity

25 Columbia Place
Brooklyn, NY 11201
Phone 718\/488-7659
info@semEnsemble.org<\/a>
www.semEnsemble.org

<\/span><\/p>\n
This concert has been made possible\u00a0with the support of The Czech Center New York, Barbara Karpetov\u00e1, Director and the\u00a0New York State Council on the Arts\u00a0with the support of Governor Andrew Cuomo\u00a0and the New York State Legislature; public funds from the New York City\u00a0Department of Cultural Affairs in\u00a0partnership with the City Council; The Edmund\u00a0H. Case Chair in American Music at Columbia University; The Phaedrus\u00a0Foundation; The Low Road Foundation;\u00a0The Fifth Floor Foundation; and by individual\u00a0donations by Virginia Dwan; Noni Pratt; Rackstraw Downes; Raymond Learsy; Milo\u0161\u00a0and Martina Forman; Linda\u00a0Wadsworth; Sheldon Berlow; and Beth Greenberg and Jim\u00a0Wright. Special thanks to Jasper Johns and Wynn Kramarsky.<\/i><\/div>\n
<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Orchestra of the S.E.M. Ensemble presents a concert tomorrow, May 9 at Bohemian National Hall\u00a0 Bohemian National Hall 321 East 73rd Street,\u00a0New York Monday Evening, May 9, 2016 at 8:00pm \u00a0 The Orchestra of the S.E.M. EnsembleWith\u00a0soloists:Seth Parker\u00a0Woods, VioloncelloSara\u00a0Schoenbeck, BassoonRoscoe\u00a0Mitchell, SaxophoneDebra Kay\u00a0Anderson, NarrationPetr Kotik,\u00a0Conductor and FlutesString\u00a0Noise:Conrad Harris & Pauline Kim Harris, Violinswith Lucie V\u00edtkov\u00e1, … Weiterlesen …<\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"generate_page_header":"","footnotes":"","_wpscppro_dont_share_socialmedia":false,"_wpscppro_custom_social_share_image":0,"_facebook_share_type":"","_twitter_share_type":"","_linkedin_share_type":"","_pinterest_share_type":"","_linkedin_share_type_page":"","_instagram_share_type":"","_medium_share_type":"","_threads_share_type":"","_google_business_share_type":"","_selected_social_profile":[],"_wpsp_enable_custom_social_template":false,"_wpsp_social_scheduling":{"enabled":false,"datetime":null,"platforms":[],"status":"template_only","dateOption":"today","timeOption":"now","customDays":"","customHours":"","customDate":"","customTime":"","schedulingType":"absolute"},"_wpsp_active_default_template":true},"categories":[131],"tags":[],"class_list":["post-3647","post","type-post","status-publish","format-standard","hentry","category-veranstaltung","masonry-post","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-33"],"yoast_head":"\n2016 May 9. New York: Concert at Bohemian National Hall with one woman composer – Archiv Frau und Musik<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer – Archiv Frau und Musik\" \/>\n<meta property=\"og:description\" content=\"The Orchestra of the S.E.M. Ensemble presents a concert tomorrow, May 9 at Bohemian National Hall\u00a0 Bohemian National Hall 321 East 73rd Street,\u00a0New York Monday Evening, May 9, 2016 at 8:00pm \u00a0 The Orchestra of the S.E.M. EnsembleWith\u00a0soloists:Seth Parker\u00a0Woods, VioloncelloSara\u00a0Schoenbeck, BassoonRoscoe\u00a0Mitchell, SaxophoneDebra Kay\u00a0Anderson, NarrationPetr Kotik,\u00a0Conductor and FlutesString\u00a0Noise:Conrad Harris & Pauline Kim Harris, Violinswith Lucie V\u00edtkov\u00e1, ... Weiterlesen ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\" \/>\n<meta property=\"og:site_name\" content=\"Archiv Frau und Musik\" \/>\n<meta property=\"article:published_time\" content=\"2016-05-10T07:52:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-03-01T23:31:19+00:00\" \/>\n<meta name=\"author\" content=\"Susanne Wosnitzka\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Susanne Wosnitzka\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\"},\"author\":{\"name\":\"Susanne Wosnitzka\",\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/#\\\/schema\\\/person\\\/098b86c964d3428203bd1fa833f8499f\"},\"headline\":\"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer\",\"datePublished\":\"2016-05-10T07:52:56+00:00\",\"dateModified\":\"2018-03-01T23:31:19+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\"},\"wordCount\":2439,\"articleSection\":[\"\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\",\"url\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\",\"name\":\"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer – Archiv Frau und Musik\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/#website\"},\"datePublished\":\"2016-05-10T07:52:56+00:00\",\"dateModified\":\"2018-03-01T23:31:19+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/#\\\/schema\\\/person\\\/098b86c964d3428203bd1fa833f8499f\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[[\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer\"]]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/archives\\\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/\",\"name\":\"Archiv Frau und Musik\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/#\\\/schema\\\/person\\\/098b86c964d3428203bd1fa833f8499f\",\"name\":\"Susanne Wosnitzka\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4b8dc71d4a6bc86326708727ed7153c065df0707bac62859beeebe4c03021c70?s=96&d=identicon&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4b8dc71d4a6bc86326708727ed7153c065df0707bac62859beeebe4c03021c70?s=96&d=identicon&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4b8dc71d4a6bc86326708727ed7153c065df0707bac62859beeebe4c03021c70?s=96&d=identicon&r=g\",\"caption\":\"Susanne Wosnitzka\"},\"sameAs\":[\"https:\\\/\\\/www.susanne-wosnitzka.de\"],\"url\":\"https:\\\/\\\/www.archiv-frau-musik.de\\\/en\\\/archives\\\/author\\\/wosnitzka\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer – Archiv Frau und Musik","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer","og_locale":"en_US","og_type":"article","og_title":"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer – Archiv Frau und Musik","og_description":"The Orchestra of the S.E.M. Ensemble presents a concert tomorrow, May 9 at Bohemian National Hall\u00a0 Bohemian National Hall 321 East 73rd Street,\u00a0New York Monday Evening, May 9, 2016 at 8:00pm \u00a0 The Orchestra of the S.E.M. EnsembleWith\u00a0soloists:Seth Parker\u00a0Woods, VioloncelloSara\u00a0Schoenbeck, BassoonRoscoe\u00a0Mitchell, SaxophoneDebra Kay\u00a0Anderson, NarrationPetr Kotik,\u00a0Conductor and FlutesString\u00a0Noise:Conrad Harris & Pauline Kim Harris, Violinswith Lucie V\u00edtkov\u00e1, ... Weiterlesen ...","og_url":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer","og_site_name":"Archiv Frau und Musik","article_published_time":"2016-05-10T07:52:56+00:00","article_modified_time":"2018-03-01T23:31:19+00:00","author":"Susanne Wosnitzka","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Susanne Wosnitzka","Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.archiv-frau-musik.de\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer#article","isPartOf":{"@id":"https:\/\/www.archiv-frau-musik.de\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer"},"author":{"name":"Susanne Wosnitzka","@id":"https:\/\/www.archiv-frau-musik.de\/en\/#\/schema\/person\/098b86c964d3428203bd1fa833f8499f"},"headline":"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer","datePublished":"2016-05-10T07:52:56+00:00","dateModified":"2018-03-01T23:31:19+00:00","mainEntityOfPage":{"@id":"https:\/\/www.archiv-frau-musik.de\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer"},"wordCount":2439,"articleSection":[""],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer","url":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer","name":"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer – Archiv Frau und Musik","isPartOf":{"@id":"https:\/\/www.archiv-frau-musik.de\/en\/#website"},"datePublished":"2016-05-10T07:52:56+00:00","dateModified":"2018-03-01T23:31:19+00:00","author":{"@id":"https:\/\/www.archiv-frau-musik.de\/en\/#\/schema\/person\/098b86c964d3428203bd1fa833f8499f"},"breadcrumb":{"@id":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":[["https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer"]]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/2016-may-9-new-york-concert-at-bohemian-national-hall-with-one-woman-composer#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.archiv-frau-musik.de\/en\/"},{"@type":"ListItem","position":2,"name":"2016 May 9. New York: Concert at Bohemian National Hall with one woman composer"}]},{"@type":"WebSite","@id":"https:\/\/www.archiv-frau-musik.de\/en\/#website","url":"https:\/\/www.archiv-frau-musik.de\/en\/","name":"Archiv Frau und Musik","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.archiv-frau-musik.de\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/www.archiv-frau-musik.de\/en\/#\/schema\/person\/098b86c964d3428203bd1fa833f8499f","name":"Susanne Wosnitzka","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/4b8dc71d4a6bc86326708727ed7153c065df0707bac62859beeebe4c03021c70?s=96&d=identicon&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/4b8dc71d4a6bc86326708727ed7153c065df0707bac62859beeebe4c03021c70?s=96&d=identicon&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4b8dc71d4a6bc86326708727ed7153c065df0707bac62859beeebe4c03021c70?s=96&d=identicon&r=g","caption":"Susanne Wosnitzka"},"sameAs":["https:\/\/www.susanne-wosnitzka.de"],"url":"https:\/\/www.archiv-frau-musik.de\/en\/archives\/author\/wosnitzka"}]}},"_links":{"self":[{"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/posts\/3647","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/comments?post=3647"}],"version-history":[{"count":1,"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/posts\/3647\/revisions"}],"predecessor-version":[{"id":5523,"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/posts\/3647\/revisions\/5523"}],"wp:attachment":[{"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/media?parent=3647"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/categories?post=3647"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.archiv-frau-musik.de\/en\/wp-json\/wp\/v2\/tags?post=3647"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}