The rich, colorful, and sometimes edgy nature of the trio combination of clarinet, violin, and piano continues to be explored. “RAM Trio Expo II” is the second edition of RAM’s May show, this time presenting a full program of trios for clarinet, violin, and piano by Croatian composer and RAM’s 2018 “Call for Scores” winner, Ivan Božičević, Gilbert Galindo, Katherine Hoover, Frances White, and Chinese composer and RAM’s 2018 Call for Scores honorable mention Mao Zhu. Clarinetist Thomas Piercy, violinist Sabina Torosjan, and pianist Marija Ilić are the RAM Players who will bring this music to life.
Ivan Božičević’s Shaken from a crane’s bill (2018 Call for Scores Winner) Gilbert Galindo’s “Microcosms”
Katherine Hoover’s Images
Frances White’s The arc of the bird
Mao Zhu’s The Red of Juli Lamasery (2018 Call for Scores Honorable Men on)
RAM Players Trio
Thomas Piercy, clarinet
Sabina Torosjan, violin
Marija Ilić, piano
Areté Venue and Gallery
67 West St #103
Brooklyn, New York
Tickets available at the door.
About the performers
Thomas Piercy is a critically acclaimed musician with orchestral, concerto, recital and chamber music appearances throughout the Americas, Europe and Asia. He has been described by The New York Times as “Brilliant… playing with reﬁinement and ﬂair…evoking a panache in the contemporary works.” A versatile artist defying categorization – performing on the Emmy Award-winning Juno Baby CDs and DVDs; performing with pianist Earl Wild and Frederica von Stade; working with Leonard Bernstein; appearing in a KRS-ONE music video; playing hichiriki in Japan; recording with members of Maroon 5; premiering over 200 works composed for him; performing on Broadway and oﬀ Broadway, television, radio, and commercial recordings. Clarinet studies at The Juilliard School and Mannes School of Music with Gervase De Peyer, Leon Russianoﬀ, and Kalmen Opperman. Recordings for Albany, Capstone, DGI, Changing Tones, NJST, Tonada Records and more. More information at: www.thomaspiercy.com
Originally from Tartu, Estonia, violinist Sabina Torosjan is both an active performer and teacher in New York City. A winner of various national competions in Estonia, Sabina has since performed in prestigious concert halls such as Avery Fisher Hall, Alice Tully Hall, Bohemian National Hall, and Le Poisson Rouge. She has performed in music festivals including the Meadowmount School of Music, Green Mountain Music Festival, and Bowdoin International Music Festival, and became a member of the new music group, Ensemble Mise-en in 2012. Sabina has recorded with iconic folk singer Pete Seeger, guitarist Terry Champlin, and songs by American Idol ﬁnalist and actress Jennifer Hudson. Sabina studied with Kai Rebane, Valeriy Schevchenko, and Ann Setzer before receiving her Bachelor’s degree from The Juilliard School, where she studied with Sally Thomas and Lewis Kaplan. Sabina has taught at the Hoboken and Encore Schools of Music.
Pianist Marija Ilić is an active performer of the traditional repertoire and new music in New York City and has been praised as a “clear and decisive musician,” “compelling,” and “poetic,” and noted for her “quiet intensity” (New York Times). Her performances include recitals at the Weill Recital Hall at Carnegie Hall, the Smithsonian Institute in Washington, DC, Musica Viva, Kolarac Hall, and the Parliament Building in Belgrade, the Clark Studio Theater at Lincoln Center, the 92nd Street Y, as well as the Music Festival of the Hamptons, Aldeburgh Festival in England, Norfolk Contemporary Music Festival, Hoch Chamber Music Series, and Trinity Church. A na ve of Belgrade, Serbia, Ms. Ilić holds an undergraduate degree from the Belgrade Music Academy, a graduate degree from the Mannes College of Music, and a doctorate in piano performance from Rutgers University. She is on the faculty at Vassar College and Concordia Conservatory, where she is also the artistic director for Concerts at OSilas Gallery music series. Her solo CD featuring music by Bach will be released in 2018.
For complimentary Press tickets, please contact [email protected]
About the music
Dôgen Kigen (1200-1253), founder of the Japanese Sôto school of Zen, is well known for his extensive writing concerning Buddhist practice and enlightenment – essays, koans, conversations, lectures – even instructions to the monastery’s chief cook. While these prose texts (due to their sheer volume, among other things) require a very dedicated reader, Dôgen’s poems express his ideas much more succinctly. Most of them deal with the impermanence of things, which is considered upon with utmost calm and serenity. The inner drama that preceded this realiza on is, however, more than evident, and this is what attracted me to Dôgen. Four poems make the poetic backbone of Shaken from a crane’s bill. They roughly correspond to the following sections of the composition: poem (1) to the beginning and score numbers 1 and 8; poem (2) to score numbers 2 and 3; poem (3) to score numbers 4, 5, 6, and 7. Poem (4) is a poetic “umbrella” covering the main philosophical idea of the piece. The translations are by Steven Heine, from his book “Zen Poetry of Dôgen: Verses from the Mountain of Eternal Piece.” – Ivan Božičević
Images, written for the Verdehr Trio in 1981, has to do with the way various themes, or images, are changed in the process of writing. The ﬁrst movement is concerned with two very dis nct themes that eventually interact and aﬀect each other. The second movement is a set of variations on a somewhat somber colonial hymn, “God of my justice”. The third begins with similar themes which eventually agree to a separation, and contains hints of Gershwin’s “It Ain’t Necessarily So.”
– Katherine Hoover
Microcosms for violin, clarinet, and piano is basically a composite microcosm of the aesthetics of my music since my Northwestern days, borrowing gestures and sometimes motives from past works. Fast paced energetic musical statements sandwich a calm and still middle, with a clear form utilizing varying intensities, fragmented tunes, abstraction, and a little bit of drama all colored with modernist dissonances and at times harmonic coolness. This piece may or may not be a sort of goodbye to what I consider my traditional aesthetics or of course, they may be reimagined in future works.
– Gilbert Galindo
When I started composing The Arc of the Bird, I envisioned diﬀerent sonic landscapes. As they evolved, an imaginary bird unexpectedly appeared: a fey, otherworldly creature who journeys through the musical spaces of the piece. While the landscapes have strong, even passionate emo onal resonances, the bird remains apart from these, as wild creatures do. The title is a line from Emily Dickinson’s poem “Under the light”.
– Frances White
The Red of Juli Lamasery was inspired by my imagination of Juli Lamasery where I have never been. Juli Lamasery is a century-old monastery of Tibetan Buddhism in the high mountain of Kangding County in Sichuan province. The native Tibetans still use a religious site for sky-burial near Juli Lamasery.
Sky-burial is a term meaning the disposal of a corpse by allowing it to be devoured by vultures. At Tibetan festivals, people hold various folk activities in Juli Lamasery. As an important part of celebration, Tibetan Opera is often performed during the festival. Small ﬂowers on the plateau, chant of the red-robed monks, the bloodstain on the sky-burial site, the circling vultures in the blue sky….in my imagination all of these make up a harmonious picture. I tried to use the violin, clarinet and prepared piano to build a scene of sounds with Juli Lamasery as the background. The characteristics of Tibetan’s folk song and chanting are applied to construct the melody line.
– Mao Zhu