27 DEC 12


See it HERE

24 DEC 12

TILTED AXES 2012 - Photos, Video, Audio, & Slideshow by GUITARKADIA

See them HERE

17 DEC 12

TILTED AXES 2011 - Documentary & Slideshow by GUITARKADIA

Emon Hassan

Watch the documentary HERE

"The first Tilted Axes, a guitar parade masterminded by NYC composer, Patrick Grant, took place on December 21, 2011, in lower Manhattan as part of Make Music Winter. 16 guitar players took part in the event. This is a documentary about the events leading up to the parade, and the parade."

14 DEC 12

One Week from Today:
TILTED AXES 2012 - Music for Mobile Electric Guitars

TILTED AXES 2012 - Q&A with Guitarkadia
text to accompany the mini-documentary coming out Monday, Dec. 17

Guitarkadia: What surprised you about the first guitar procession in terms of the event, musicians and the response you'd gotten from New Yorkers that night?

PG: The great thing about doing anything new is that you never know what kind of response you'll get until you put it up before the public. I thought that by going through the East Village and up to Union Square was that we'd get that typical "I've seen this before" attitude. But we didn't because they hadn't! We all remember the countless faces breaking out into smiles as we wound our way through the city streets. That's hard to forget. We'll be doing a variation on that same route this year making sure to pass Rivington Guitars on E. 4th Street, a key supporter of this event. As always, I'm looking at every weather almanac out there. The one element, literally, that is always unknown and that will keep us adjusting variables up until the event.

Guitarkadia: When did you know you'd do another process the following year? Conceptually, how did you want to approach doing the music differently?

PG: I was wondering myself if we'd do it again. Things went well last year, many aspects just fell into place, so I was wary of asking lightning to strike twice. I was encouraged by a number of things. First off would be Aaron Friedman, the founder of Make Music New York. We met for lunch throughout the year and kicked around a number of ideas but this one kept coming back. Many of the musicians from last year were already looking forward to it as that I had "begun a tradition." The deciding factor was when I received a Con Edison Musician Residency at the Turtle Bay Music School for Composition. This year's procession is due, in a large part, to that award.

Musically, I didn't want to change things too much, I didn't want to re-invent the wheel on this one. Since I'm producing this event, I always start with a number of scenarios and kick them around to various potential sponsors and organizations and see what takes hold. I seem to start out with big, impossible ideas and, eventually, reality whittles those down to something possible. I will reverse this process in the future but that's how it started. At one point I wondered if the musicians in the group could contribute music, that was when there was a possibility of this event ending as an actual concert, but that quickly became too unwieldy for what was eventually required. However, if we can form a solid core from this event, I would look forward to that in the future.

This year, we are keeping the main theme and playing variations upon it. Remember, when we are in the procession, our ideal audience member is the unsuspecting person on the street: they never hear a beginning or end to the music. It's a loop. However, what will be truly different this year is that, along the route, there will be something like 7 stations where we will stop and create a circle or some other formation. This will give us an opportunity to play atmospheric music upon which there can be a featured soloist. Then we will resume the procession and move to the next station. I believe that these moments will have a great musical effect.

Guitarkadia: Can you tell me a little about the route this year, the gear, and the launching point, which is Joe's Pub?

PG: When I proposed this event last year, I found that it left a lot of potential partners scratching their heads as to what exactly was I talking about. Now that the idea of an electric guitar procession is established, it was much easier for people to get behind it. Aaron Friedman connected us with Joe's Pub. They liked the idea. One thing I learned last year was that having the starting and ending point being two different locations created logistical problems in terms of the players' guitar cases and other personals. We had to have a rented car follow us around. This year, having the start and end point be the same, Joe's Pub, makes everything easier. We will end in the newly renovated lobby of Joe's and, I'll tell you right now, it's going to sound great there with all the natural reverb.

Also, we'll be using Marshall MS-2 mini-amps this year, a step up in getting that iconic electric guitar sound. There'll be last year's Danelectro HoneyTones for back up and last minute additions but I'm very happy with the Marshalls. They're really crunchy sounding if one plays chords but I'd like the ensemble to play as monophonically as possible this year because those little amps have a killer sustain like you won't believe, truly living up to the Marshall name. Another thing we learned from last year is that different guitars eat up the battery power differently. We'll have plenty of batteries on hand and can also make use of the 7 stations along the route as battery pit stops if needed.

Guitarkadia: You must have a host of new musicians participating this year. How is the lineup different, or same, from last year?

PG: For this year's event, I first put out the call to everybody that participated last year and half are coming back. Everybody wanted to do it but many would be out of town, it being so close to the holidays. I broadened the search to include guitarists I've always wanted to work with or that I've met within the course of the year. All of these guys are great. Many of them I feel almost too lucky to have but I'm glad I do. Stylistically everybody is across the board so the tricky thing for us to do is, while incorporating our differences to find the commonality that holds our respective practices together and build from that. There'll be room for everybody to individually shine within the procession's framework but it must come from a dedication to the ensemble's sound first.

Guitarkadia: Are you still accepting/inviting musicians to take part in the procession? Do you expect non-musicians to participate as well this year?

PG: There's always room for a few late-comers but that always boils down to available mini-amps and their ability to be available for the couple of rehearsals we have scheduled. In many ways, this event is tailored to those who are present so the sooner I know that, the better the result will be. There have been similar events where musicians just show up and jam on well-known standards but our event is different, it's original. That requires a little more dedication on the ensemble's part if it is to be, as we all hope, good music, on top of everything else that will be happening.

-NYC, December 2012

30 NOV 12

3 Weeks from Today in NYC


27 NOV 12

Three Pieces to be Performed on the Composers Concordance Festival NYC: Nov 30-Dec. 4

NOV 30
New York City

First concert of the
Composers Concordance Festival II: 'Evolution'

November 30th at 8pm at Spectrum
121 Ludlow Street, 2nd floor, NYC - Tickets $10




DEC 02
New York City

Third concert of the
Composers Concordance Festival II: 'Evolution'

Composers Play Composers Marathon
Instrumentation: Solo, Duo, Trio
30 Composer-Performers

Sunday, December 2nd from 3pm to 7pm at Drom NYC
85 Avenue A, NYC, Tickets $15 (includes one drink)


This piece is made possible by the The Con Edison Musicians’ Residency: Composition Program administered by Exploring the Metropolis



DEC 04
New York City

"Cures" from "Genome: The Autobiography of a Species"
arranged for clarinet, horn, trumpet, violin, piano, voice, electric guitar, electric bass, & glockenspiel.

Composers Concordance Ensemble
Tuesday, December 4th at 7:30pm at Shapeshifter Lab
18 Whitwell Place, Brooklyn
Tickets $10


This arrangement is made possible by the The Con Edison Musicians’ Residency: Composition Program administered by Exploring the Metropolis

"Cures" (2003 rev. 2012) is a movement from the larger work "Genome: The Autobiography of a Species," loosely based on the book of the same name by Matt Ridley. Its structure is in 23 parts in that each section represents a chromosome in the human genome. The musical work takes the title of each of its parts after Ridley's naming of the chapters in his book where he emphasizes a particular characteristic of each one in order to create a narrative. “Cures,” a quasi-passacaglia arranged for the Composers Concordance Ensemble, represents the 18th chromosome of the human genome. The complete work was premiered with video projection at the Annina Nosei Gallery in commemoration of the 50th anniversary of the discovery of DNA and was made possible in part by CUNY's Science & the Arts performance series. http://www.patrickgrant.com/genome.htm


07 NOV 12

Excerpts from The Velcro Variations November 16th in NYC...
INTAR Roots & New Music Festival

Complete festival iNFO HERE

09 OCT 12

Exploring the Metropolis' interview with Patrick Grant, composer & performer

10 Questions

1. You have a huge compositional range - scoring for theatre, film, dance, concert and more. Did you start out in one genre, or were you always looking for collaborations?

2. You moved to NYC in the mid-80s. Could you describe the new music scene then? What elements have changed or stayed the same?

3. Your collaborations include working with theatrical giants such as Robert Wilson, Gerald Thomas, The Living Theatre to creating music installations at The Louvre. How did they shape or influence your creative work?

4. You’ve taken three trips to Bali to study gamelan. When did you take these trips, and how have they influenced your work?

5. In light of your impressive compositional range, do you have a singular approach when it comes to deciding upon a composition or project? Or are there many factors that come into play?

6. We’re curious as to how you came to work with John Cage’s production team? And produce your first recordings in Philip Glass’ studios?

7. You created International Strange Music Day, a real holiday that’s celebrated on August 24. Could you describe how you conceived of this musical holiday and its activities?

8. You’ve been an active performer, curator and producer of many NYC events for almost thirty years, what are some of your favorite spots from over the years?

9. As an active and multi-talented artist, what keeps you motivated and fresh? What are some future project ideas?

10. Could you describe your plans for your Con Edison Musicians' Residency at Turtle Bay Music School?

Read the complete unedited interview HERE

06 OCT 12

PG Recieves an ASCAP Plus Award for Composition

The ASCAP Plus Awards program provides cash and recognition to writers who create music with a value beyond the scope of performance surveys.


03 SEP 12

Terry Riley's "In C" @ ComposersCollaborative Season Kick-Off

Photos by Jocelyn Gonzales

30 AUG 12

IN & AROUND C by Nouveau Classical Project @ Gallery 128

Photos by Jocelyn Gonzales

25 AUG 12

iNTERNATIONAL STRANGE MUSIC DAY Performance Soiree @ Spectrum

Photos by Erick Gonzales

Complete event iNFO at http://www.peppergreenmedia.com/ISMD2012.html

13 AUG 12

PROG GNOSIS: Patrick Grant @ the NYX Festival

photos by Jocelyn Gonzales

on the whole festival HERE

01 AUG 12

International sTRANGE mUSIC Day Performance Soiree

International sTRANGE mUSIC Day Performance Soiree
Fryday, August 24th @ SPECTRUM, 121 Ludlow St., NYC
8PM-11PM, tickets $10 at the door

Hosted by Patrick Grant


Angela Babin + Cristian Amigo = Much Les Paul
The Dreamscape Floppies
Now Eleonor Sandresky
Gene Pritsker's Cage ReUnMixed
An Intimate Moment w/ Glenn Cornett
Hotdog Snotty R.I.P.
Jesse Krakow's Greatest Hits
Micro-Tons o' Fun
w/ Johnny Reinhard
Jolly Ramey
(Steve Carter & Maddi Horstmenn)

Card Tricks with Kathleen Supove
(Kurt Gottschalk vs. Tamara Yadao)
Miguel Frasconi LLC
Symphony Baby
& Wormhole Chili
and Jed Distler as himself

...plus everybody's favorite...
Zero Boy

or check out the Facebook event page at

26 JUL 12

2012-2013 Con Edison Composers-in-Residence - Exploring the Metropolis

Announcing the 2012-13 Con Edison Composers-in-Residence

(New York City - July 26, 2012) Exploring the Metropolis is pleased to announce the eight composers chosen for the 2012-13 Con Edison Musicians' Residency: Composition Program.  These eight composers will begin their residencies in September.  
In its fourth year, this residency program will provide composers with a stipend and three months of free workspace in cultural and community facilities. All composers must complete one free public program in cooperation with the host facility. The four host cultural facilities are Bloomingdale School of Music, Brooklyn Youth Chorus Academy, Flushing Town Hall, and Turtle Bay Music School.

The eight composers are: Guy Barash, Jeff Fairbanks, Patrick Grant, Gabrielle Herbst, Molly Herron, Elizabeth Lim, Theodore Metz and Jeff Myers. The 2012-13 Composers-in-Residence are active in the New York music community, and have had works performed in diverse and innovative venues, such as The Stone, Galapagos Art Space, Roulette, HERE Arts Center, New York City Opera, and Issue Project Room.  Their work spans classical, musical theater, pop, opera, jazz and electronic.  
Composers were chosen by a jury of professional musicians, composers, curators and administrators.  Composers were chosen based on artistic merit and suitability of their proposed project for the host organization.  Panelists will be announced in the coming days. For the second year, the New York Foundation for the Arts generously donated space for panel deliberations.

The Con Edison Musicians' Residency: Composition Program is funded by Consolidated Edison, Credit Suisse, the George L. Shields Foundation, the Christian A. Johnson Endeavor Foundation, AOH Foundation, DJ McManus Foundation and individuals. The Con Edison Musicians' Residency: Composition Program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and Office of Council Speaker Christine C. Quinn. This program is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

More information on the 2012-13 Con Edison Composers-in-Residence can be found on the Exploring the Metropolis website

21 JUL 12

"CRANBERRY SOURCE" - variations for chamber orchestra & rock band

Cranberry Source, a set of variations for chamber orchestra & rock band, celebrates the 45th anniversary of the Beatles' 1967 landmark 45 RPM single "Strawberry Fields Forever."

This project imagines a set of interconnected musical miniatures as heard through the original's unique instrumentation, musical forces that combined successfully, and arguably for the first time, the fields of popular, classical, and world music.

That instrumentation, as orchestrated by Beatles' producer George Martin for the original recording, consists of: 4 trumpets, 2 electric guitars, swarmandel (an Indian zither), piano, mellotron (flutes), timpani, guiro, maracas, tambourine, 3 celli, electric bass guitar, drum kit, and of course, vocals.


Strawberry Fields Forever

Words and Music by John Lennon and Paul McCartney
Copyright (c) 1967 Sony/ATV Music Publishing LLC
Copyright Renewed
This arrangement (c) 2012 Sony/ATV Music Publishing LLC
All Rights Administered by Sony/ATV Music Publishing LLC,
8 Music Square West, Nashville, TN 37203
International Copyright Secured All Rights Reserved

18 JUL 12

Call for Proposals - Deadline July 27, 2012: International Strange Music Day Performance Soiree

Call for Proposals - Deadline July 27, 2012: International Strange Music Day Performance & Par-tay, August 24, 2012 at Spectrum, 121 Ludlow Street, NYC

For all the serious work we do, here's one just for fun. August 24th is International Strange Music Day. It's a real holiday, yes it is, look it up. To celebrate we're looking for musical and performance based acts that are 7-10 min. in length that require minimal set-up. A sound system, some amps & drum backline, a Steinway D grand piano, and video projection are available.

If you're already a musician, use it as an opportunity to reveal your guilty pleasures, break out of your comfort zone, work off some bad karma. If you're not, if you've been harboring hidden talents usually reserved for last call, need to get that Performance Art monkey off your back, or just plain old lost a bet, this is the place for you too.

You've suffered for your art, now it's our turn.

Most importantly, use this as an opportunity to share unusual sounds, unusual instrumentation, and unusual compositions rarely heard or new ones that will never be heard from again. This is the night.

Send proposals to info@strangemusic.com with "ISMD" as the subject by midnight July 27th. Your work will be carefully reviewed by our esteemed panel of musicologists and social scientists for an announced line up during the first week of August. There will be a suggested donation at the door for the event that will be split between the performers and the house. At least you'll be able to get home.

Fun can be a very serious thing.

Good luck.

15 JUL 12

- Schedule Announced


A festival that celebrates the historical interaction between the genres of classical Experimental Music and Progressive Rock since their beginning and into the 21st century.

Spectrum, a recently-opened new-music performance venue in NYC's Lower East Side, presents the NYX Festival: Three days of music where Experimentalism and Prog Rock merge. Since the last century, these two genres have shared a number of key features: the free use of emerging technologies by way of synthesizers & electronics, ambitious musical structures, asymmetric time signatures and, notably, virtuosic performance involving "traditionally-amplified" electric guitars and their kin as well as “traditionally-acoustic” instruments such as piano. The NYX Festival has a line-up of highly-talented and exciting musicians from NYC and elsewhere. This will be an enjoyable, envelope-expanding experience for participants, both audience and performers alike.

at 7:30 PM, doors open at 7:00 PM, tickets $15.
Chapman Stick Night hosted by Greg Howard with
Brett Bottomley
Rob Martino
Steve Adelson
Michael Bernier
Bright Brown
and Greg Howard.

from 2:00 PM until midnight, doors open at 1:30 PM, tickets $10 for individual acts or $25 for an All Day Pass.
2:00 PM: ensemble et al.
3:30 PM: David Smooke & Courtney Orlando
5:00 PM: Erbium
6:30 PM: TBA
8:00 PM: Little Worlds - Bartok's Mikrokosmos Re-imagined 
9:30 PM: Sarcaustic - Ron Anderson, Tim Dahl, & Weasel Walter

from 2:00 PM until 10:30 PM, doors open at 1:30 PM, tickets $10 for individual acts or $25 for an All Day Pass.
2:00 PM: Damien Olsen & Robert Pepper
3:30 PM: Brad & Doug Balliett
5:00 PM: Prog Gnosis: Patrick Grant
6:30 PM: Blair McMillen / Melody Fader
7:30 PM: MoeTar (from CA)
9:00 PM: miRthkon (from CA)

3-Day Festival Passes are $45
- all tickets on sale soon

About The NYX Festival
The NYX Festival of Experimental and Prog Music is a three-day celebration of the interplay of classical (“traditionally acoustic”) and rock (traditionally amplified”) music.  The festival brings under one roof virtuoso performers from both fields, many of the being active in both as classical and rock musicians.  NYX is taking place at Spectrum on the Lower East Side of Manhattan, and is sponsored by the New Spectrum Foundation.  The festival’s Co-Directors are composer/performer Patrick Grant and biotechnology entrepreneur Glenn Cornett.

More iNFO at www.spectrumnyx.org

15 JUN 12

Spectrum Announces the NYX Festival

NYX is a festival that celebrates the historical interaction of experimental music (emerging technology, synthesizers, computers, etc.), along with virtuosic perfomnce, asymetric time signtures, ambitious musical structures, etc. with "traditionally-amplified music" (e. .g, involving electric guitars).  This is intended to be an envelope-expanding experience for its participants (both audience and perfoirmers), but also to be enjoyable.


23-29 MAY 12

The Guitar Circle of North America
with Robert Fripp

The Orchestra of Crafty Guitarists logo by Steve Ball

"Dude, Where's My Band?" aka "There's No Place Like Home"
NST Guitar Solo, 26 May 2012, Royalston, MA

MAY 12

Composers Concordance at the Bohemian National Hall, May 18, NYC

Photos by Jocelyn Gonzales

18 MAY 12

Composers Concordance Records and the Czech Center present

Ladies First

Bohemian National Hall
321 E 73rd Street NYC

Friday, May 18

Held at New York City’s historic Bohemian National Hall, this event is brought to you by Milica Paranosic, Keve Wilson, and Lynn Bechtold.

The Bohemian National Hall, a venerable hub of New York’s Czech and Slavic culture since the 19th century, sets the tone for the evening. A special award will be created by NYC artist Cecilia Mandrile.

Event Details:

7 - 8PM – Opening Reception and Video Installation
The evening commences with a reception and video installation which will present interviews of women whose works have made a significant contribution to cultural life. The film will involve notable women of all fields:

Composer Gloria Coates, Co-Founder of Sing for Hope Camille Zamora, Micalea Ferreira of ARTErra - residências rurais artísticas, ABC news producer Christine Romo, Lara Land of Land Yoga, celebrated photographer Theresa Ortolani, award winning author and founder of the Storylines Project, Neela Vaswani, Anja Wood, co-founder of The Lelt Foundation, and many others.

8 - 9:30pm - Concert
Conceived as a flowing voyage through times and Bohemian aesthetics, this concert will present music of past and present performed by New York's finest chamber musicians.

Music by:
Lynn Bechtold, Peter Breiner, Dan Cooper, Antonin Dvorak, Lady Gaga, Patrick Grant, Vitezslava Kapralova, Alvin Lucier, Alma Mahler, Milica Paranosic, Astor Piazzolla, Gene Pritsker, and Keve Wilson. Three compositions will receive their world premiers: Milica Paranosic's "New Bohemian Suite", Gene Pritsker's "Ladies First Tango" and a new piece by Peter Breiner.

Performers include:
Milica Paranosic, Lynn Bechtold, Keve Wilson, Irina Chirkova, Dan Barrett, Peter Breiner, Dan Cooper, Patrick Grant, Taka Kigawa, Gene Pritsker

9:30 - 11pm After-party
Please join us for mingling and food sponsored by Balls Vodka, Trader Joe's, Kafana, Pain D'Avignon, Orwashers Bakery and Chez Jacqueline.
The women of Ladies First will wear jewelry by Sequin Jewelry and scarves by Elizabeth Gillett.

For more information, please go to:
or to buy tickets: www.ladiesfirstnyc.eventbrite.com

21 APR 12

MAY 4 & 5
Porto Alegre, Rio Grande do Sul, BRAZIL

Written and directed by Gerald Thomas
Performed by Cia. dos Atores' Marcelo Olinto

Original music & sound design by Patrick Grant
Lighting & stage design by Caetano Vilela
Movement preparation by Daniella Visco
Sound operator Rodrigo Marçal

The 7th Festival Palco Giratório SESC
in the Teatro Renascença at 9:00 PM
Av. Érico Veríssimo, 307 - (51) 3289 8066

An Intense Spectacle:
Marcelo Olinto, one of the founders of the Cia. dos Atores, will be seen here under the direction of the legendary Gerald Thomas to carry the torn and heartbreaking tale of a man who wants an end to the disasters that are befalling his body. "I'm hurt .. I'm hurt," he whispers, screams, anguished in the opening scenes. (The piece's) lighting and the music by Patrick Grant help to give weight and energy to a piece both intense and disturbing."

More information & tickets

17 APR 12

FALL 2012

Peppergreen Media presents a collaboration
New Spectrum & ComposersCollaborative

The Strawberry Fields Forever Project"

A concert of new music
created by contemporary composers and performers based upon the instrumentation of and in celebration of the 45th anniversary of the 1967 release of the Beatles' landmark 45 RPM single "Strawberry Fields Forever."

This project, made possible through permission from Sony/ATV, asks a number of notable composers to imagine new musical miniatures, no longer than 4 min. in duration, as heard through the original's unique instrumentation, musical forces that combined successfully, and arguably for the first time, the fields of popular, classical, and world music.

That instrumentation, as orchestrated by Beatles' producer George Martin for the recording, consists of: 4 trumpets, 2 electric guitars, swarmandel (an Indian zither), piano, mellotron (flutes), timpani, guiro, maracas, tambourine, 3 celli, electric bass guitar, drum kit, and of course, vocals.

The composers are invited to create original music for the full ensemble or any subset thereof, i.e. a trio for trumpet, cello, and bass guitar, a quartet for two celli, electric guitar and drums, etc. etc. These subsets will create unexpected musical textures coming from the whole, yet will still have the ingredients that communicate that Strawberry sound, a sound that went on to influence much of the popular music (and one could arguably say classical music through its use of close-mic recording techniques) in the year of 1967 and beyond to the present.


25 MAR 12

The MATA Festival Kicks Off April 17th

MATA composers speak out


9 MAR 12

THE LADDER OF RED @ Robert Wilson's Watermill Center

Created for ROBERT WILSON's WATERMILL BENEFIT 2002, THE RED NIGHT. Conceived, designed, & directed by ANDREY BARTENEV, original music by PATRICK GRANT (music a.k.a. "INFLUX"), text by CHRISTOPHER KNOWLES, stage managed by SUE JANE STOKER, produced by ROBERT WILSON, performed by the WATERMILL ARTISTS of 2002. http://watermillcenter.org

Music performed by: Patrick Grant (keyboard), Jed Distler (piano), Paul Desilva (organ), Keith Bonner (flute), Thomas P. Oberle (clarinet), Darryl Gregory (trombone), David Simons (percussion), Michael Evans (drums), Alejandra Mahave (viola), Grace Lin (cello), & Mark Steven Brooks (electric bass)

06 MAR 12

Primary Blue(s) - Super Tuesday Mix

Original music: Patrick Grant
Guitar solo: Nick Didkovsky

An early mix from the forthcoming CD,
"Driving Patterns"

05 FEB 12

Seven Years at Sea
(Sept ans sur mer)
Original music: Patrick Grant
Video edited from sources found-on-web

“Perhaps no other sailor's chantey can compare with 'Seven Years at Sea' for fame and historical interest. It is one of the most extensively traveled songs of European folk repertoires.

Best known on the shores of Brittany and Poitou where it seems to have originated, It has spread across France and followed the seacoast into neighboring countries, north and south.

It occurs in Icelandic, Danish, Norwegian, Catalan, Portuguese, Spanish and Swiss (sic) versions. Thackeray adapted it for a humorous rhyme called 'Little Bille'.”

- from 'Our Singing Country' by John and Alan Lomax

The source recording for my version is sung by Elita, Mary & Ella Hoffpauir, recorded by Alan Lomax in Louisiana in 1942, and can be found on the anthology series A Treasury of Library of Congress Field Recordings, - Rounder CD 1500.

01 FEB 12

Breaking Butterflies Upon a Wheel
a time-lapse trip through America

Original music by Patrick Grant

31 JAN 12

Composer Patrick Grant
video profile by Jocelyn Gonzales

19 JAN 12

Composers Concordance Festival 2012 - TEASER


16 JAN 12

Composer Profile in Brazilian Theater Magazine ANTRO POSITIVO

Photo by Jocelyn Gonzales

Brazilan theater quarterly ANTRO POSITIVO contains a composer profile on pp. 40-41 in its latest edition.
Texts were contributed by Maria Pessino and Tom Walker.

See/read the magazine HERE

13 JAN 12

PRESS CONFERENCE for the Composers Concordance Festival 2012

January 27th at 5:30pm
Turtle Bay Music School
Em Lee Concert Hall
244 East 52nd St, NYC
(212) 753-8811

The panel will consist of three CompCord directors -
Dan Cooper, Milica Paranosic, & Gene Pritsker

plus representatives from each of the five concert events:

1. 'Songs'
Taka Kigawa

2. 'Composers Play Composers Marathon'
Jed Distler
Franz Hackl
Eleonor Sandresky
Michael Wolff

3. 'Electronics'
Mari Kimura

4. 'New Blues'
Patrick Grant

5. 'Ensemble'
Peter Jarvis

with moderator: Joel Chadabe

Composers Concordance Festival 2012, Jan 27 - Feb 6

11 JAN 12

Preview of the Upcoming Documentary Short "Patrick Grant: Tilted Axes"
by Emon Hassan for Guitarkadia

Watch the preview HERE

06 JAN 12

The Revolution Will Not Be Autotuned

This week on Public Radio International's STUDIO 360:

I speak with Jon Pareles, chief pop music critic for the NY Times, about the History of Audio Effects in Pop Music over the last 60 years in a segment hosted by Kurt Andersen and produced by Jocelyn Gonzales.

Locally, it airs in New York City on Saturdays at 4 PM on WNYC 93.9 FM. National times for the week will vary on PRI's affiliates.

Here's a link where it's available as a stream or as a podcast. Check it out if you can. Thx.


04 JAN 12

"The Mozart Influence" at the Austrian Cultural Forum

photos by Jocelyn Gonzales

JAN 03, 2012
New York City

Patrick Grant premiere: "The Emperor Responds to
Mozart's Request for a Raise" for baritone solo, horn, bass trombone, violin, cello, & electric bass, libretto by Anthony Burgess

The Austrian Cultural Forum NY
11 East 52nd Street
New York, NY 10022

NYC's quintessential multi-genre ensemble, The International Street Cannibals, performed a concert at The Austrian Cultural Forum whose thematic core is Mozart, his influences, and the stylistic and structural ramifications of his work.
Works by Gene Pritsker, Dan Barrett, Dan Cooper, Patrick Grant, John Clark, & Milica Paranosic were on the program.

Curated by Gene Pritsker

Complete program information HERE


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