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February 21, 2018

Coaxial Arts, Los Angeles, CA

8PM - $7 at door - 1816 S Main St

Allison Knowles: Shuffle for two performers

Simone Forti: Censor for two performers

Matthias Kaul: Two Together for two performers

Scott Wollschleger: Folding for solo toy piano

Liza Lim: An Elemental Things for solo woodblock

Casey Anderson: white space for radios

February 11, 2018

SUNY-Orange, Middletown, NY

3PM, William and Henry Richards Theatre, Orange Hall

Steve Reich: Clapping Music

Hannah Lash: C for vibraphone and piano 

Henry Cowell (arr. Solomon): Music from Ritual of Wonder

Christopher Parker (arr. Bent): Miniatures for Piano

Mayke Nas: Digit #2 for two players and a piano

Scott Wollschleger: Digital Sensations no. 1

Arvo Pärt (arr. Bent): Spiegel im Spiegel for bowed vibraphone and piano

Ted Hearne: One of Us, One of Them for percussion and piano

February 9, 2018

SUNY-Orange, Middletown, NY

Masterclass: "Music Outside the Box"

11AM, Orange Hall, Room 23

October 11, 2017

Hartt School of Music, West Hartford, CT

Composition Department Seminar

Lecture: "New Performance Practices in Contemporary Music"

October 11, 2017

Hartford Art School, West Hartford, CT

Casey Anderson: ghostses for two speakers and objects (2017)

Matthias Kaul: Two Together for two performers (2014)

Sarah Hennies: Psalm 2 for solo snare drum (2009) with video by Gene Gort

Tristan Perich: qsqsqsqsqqqqqqqqq for three toy pianos and three-channel 1-bit tones (2009) with Doug Perry

Simone Forti: Censor for two performers (1961)

Sept 17, 2017

Evenings for Creative Music, Buffalo, NY

7:00 PM - Donation - 695 Elmwood Ave

Sarah Hennies: Unsettle for piano, vibraphone and bells PREMIERE

Casey Anderson: ghostses for two speakers and objects

June 30, 2017

University of Leeds, Leeds, UK

Performing Indeterminacy: An International Conference

"The Music of Casey Anderson: Indeterminate Language"

Casey Anderson: ghostses for two speakers and objects

April 22, 2017







DiMenna Center, New York City

co-presented by League of Composers/ISCM

John Luther Adams: Four Thousand Holes for piano, percussion and electronics

Henry Cowell: Music from Ritual of Wonder for percussion and piano

Betsy Jolas: Music for Joan for vibraphone and piano

Hannah Lash: C for vibraphone and piano

Ted Hearne: One of Us, One of Them for percussion and piano

Donald Martino: "Cannon Ball" from A Jazz Set for vibraphone and piano

Betalevel, Los Angeles

8:00pm - FREE - 963 N. Hill St.

Casey Anderson: ghostses for two speakers and objects PREMIERE

Casey Anderson: Argument for speakers

Sarah Hennies: Settle for two players on one vibraphone

John Cage: One for piano solo

John Cage: One4 for percussion solo

February 1, 2017

Center for New Music, San Francisco

with Inner Movements (Crystal Pascucci, cello and Mark Clifford, vibes) 

7:30pm - $15/$10 - 55 Taylor St.

Crystal Pascucci: Sonata for Prepared Piano & Vibraphone with Mixed Percussion PREMIERE

Hannah Lash: C for vibraphone and piano

Ted Hearne: One of Us, One of Them for percussion and piano

Aaron Siegel: Under Such Cover for cello, vibraphone and piano

Pauline Oliveros: One Word (Sonic Meditation XII) for speakers

Casey Anderson: possible rounds for speakers

January 30, 2017


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Bent Duo is Bill Solomon, percussion and David Friend, piano.

After working together for years as ensemble players in NYC's new music scene, Bill Solomon and David Friend have joined forces to create a new project. Bent Duo explores the existing percussion and piano duo repertoire, and commissions new works that exploit the sonic and performative potential of this pairing.

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Bill page

Bill page

Bill Solomon, percussion

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Hailed as a "fine soloist" (NY Times) and "a stand out" (The Boston Globe), New York percussionist Bill Solomon performs with Ensemble Signal, having appeared at Lincoln Center, Tanglewood, LA Philharmonic, Guggenheim, Miller Theatre, Big Ears Festival, June in Buffalo and the Stone. He's worked with composers including Steve Reich, Helmut Lachenmann, Oliver Knussen, Georg Friedrich Haas, Unsuk Chin, Roger Reynolds, Brian Ferneyhough, Charles Wuorinen, Hilda Paredes, Hans Abrahamsen and Donnacha Dennehey.

He performed the solo vibraphone part for Pierre Boulez's Répons in collaboration with the Lucerne Festival, IRCAM and Ensemble InterContemporain with Mr. Boulez as conductor. He appeared with the Liz Gerring Dance Company performing Michael S. Schumacher’s solo percussion score for Horizon at Peak Performances in Montclair, NJ. Other solo appearances have included the New York City premiere of Unsuk Chin's Double Concerto at Miller Theatre, new German works at Harvard University, MC Maguire's Narcissus auf Naxos at Victoriaville Festival ("brilliant percussion work", The Wire), as a featured soloist at SEAMUS National Convention, and at Princeton Sound Kitchen.

Bill Solomon has performed at BAM Next Wave Festival with Dawn Upshaw, and other festivals include Performa 15, Bang on a Can, TEDxMET, Sebago-Long Lake, Lucerne, Brandeis BEAMS, PASIC, NYCEMF, and Pixelerations at Brown University. Mr. Solomon has also performed with Talujon Percussion, Hartford Symphony, Rhode Island Philharmonic, Orchestra of the League of Composers, Alarm Will Sound, Talea Ensemble, Washington Square Contemporary Music Society, Slee Sinfonietta, Nunc, SEM Ensemble, American Modern Ensemble, Sound Icon, Callithumpian Consort, Yale Repertory Theatre and Philadelphia Chamber Music Society.

He regularly gives solo recitals and masterclasses at universities around the country. His recordings can be found on Mode, EUROArts, Cantaloupe, Naxos, New World, Capstone, Tzigane and Equilibrium labels, the film score to Philip Glass' Project Rebirth, as well as two critically-acclaimed discs of music by Steve Reich, including Music for 18 Musicians, on Harmonia Mundi with Signal. He received his DMA from The Hartt School where he wrote his thesis on percussion and queer musicology.

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David page

David page

David Friend, piano

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As a champion of new and experimental music, David Friend is taking piano performance in new directions. As chamber musician and soloist, he is dedicated to projects that push boundaries and explore new ideas about what contemporary pianism can be. A fearless performer, he has been hailed by critics for his adventurous programming and his captivating performances:  “astonishingly compelling” (Washington Post), “spooky precision” (The Times of London), “[one] of the finest, busiest pianists active in New York’s contemporary-classical scene” (The New York Times).

He has performed at major venues around the world including Carnegie Hall, Lincoln Center, Royal Festival Hall (London), the Chan Centre (Vancouver), and the National Centre for the Performing Arts (Beijing), and in major festivals including the Lincoln Center Festival, Aspen Music Festival, Gilmore International Keyboard Festival, Beijing Modern Music Festival, Ecstatic Music Festival, and the Bang on a Can Marathon.

David Friend has performed with respected new music groups including the Bang on a Can All-Stars, Ensemble Signal, Hotel Elefant, and the Aspen Contemporary Ensemble, and he is a founding member of both TRANSIT New Music and Grand Band, NYC’s piano sextet. He collaborates extensively with living composers and has worked with some of the most notable composers of our time including Pulitzer prizewinners Steve Reich, Julia Wolfe, David Lang, Steven Stucky, and Charles Wuorinen. He has recorded for the New Amsterdam, Harmonia Mundi, Albany, Cedille, Dacapo, Naxos and Innova labels, and his playing has been heard on radio stations across the country, including on National Public Radio's Performance Today, WQXR's Hammered!, and WNYC's New Sounds.

As a soloist, David Friend is noted for his charismatic performances and his intelligent programming. He is especially interested in reinvigorating the format of solo programming and engaging with audiences. Solo recitals provide the opportunity to present a uniquely intimate window into the mind of the composer and performer. By basing his solo programming on this fundamental concept, David Friend brings a nineteenth-century format into the vital present.

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