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DTSTART;TZID=America/Los_Angeles:20261007T200000
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DTSTAMP:20260730T125325Z
CREATED:20260730T125325Z
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UID:3599-1791403200-1791410400@pianospheres.org
SUMMARY:Charlemagne Palestine - in concert
DESCRIPTION:“GRADUALLY MY ARPEGGIOS BEGAN TO BECOME STRUMMMMMSSSSS AND STRUMMMMINGGGGSSSS” \n  \nCharlemagne Palestine returns to Los Angeles for a rare performance of his monumental Strumming Music\, which he has been developing since the early 1970s and describes as an approach and technique that is always different. “It is not a ‘composition’ as such” he says\, “it is an evolutionary liquid sound continuum process that I have presented hundredsss of versions that I have performed over the last 50+ years.” \n* \n \nBorn in 1947\, Chaim Moshe Tzadik Palestine\, known as Charlemagne Palestine\, came from a Russian Jewish family who left Odessa and Minsk at the dawn of the twentieth century to settle in Brooklyn\, New York. He began his musical training singing traditional synagogue musics. From the age of 7 until 14\, he was a member of the Stanley Sapir traditional chassidic music choir singing in synagogues all over the east coast of America. Later he enrolled at the High School of Music and Arts in upper Manhattan and studied voice\, accordion\, piano\, drawing\, painting and sculpture\, and immediately  developed an interest in the composers who were creating sounds using recording tape techniques and  generating sounds by electronic music machines as well as non-western musics from all over the world that he discovered listening to disks from the Folkways label founded by Moses Asch. In 1963\, he became the bell ringer at St. Thomas Episcopal Church in New York City\, located next to the Museum of Modern Art (MoMA). Every day for six years\, he played traditional Protestant hymns as well as inventing an experimental sound approach using the large resonant church bells as his sound source and devised a soap opera sequence of hundreds of variations of complex bell sonorities every day at 5pm for several years. His performances resonated throughout the church’s surroundings and attracted the attention of thousands passersby each afternoon\, including artists\, choreographers and composers like Alwin Nikolais\, Len Lye\, Moondog\, John Cage\, Tony Conrad\, and Ingram Marshall. \nHe took advantage of the geographical proximity to MoMA to become a regular visitor of the museum and explore all the museum’s collections\, where he discovered French Impressionists and American Abstract Expressionist painters who were a revelation and inspiration to him. The color explorations of Monet\, Seurat\, Rothko\, Albers\, Still and others became one of the catalysts for his own aesthetic quest. He imagined inventing a continuous sound form that paralleled the visual artists canvases and structures and imagined created sound canvases and structures that continued to exist nonstop and always present as visual art works were. \nDuring this period\, he associated with numerous figures of the artistic avant-garde and counterculture: Allen Ginsberg\, Kenneth Anger\, Richard Serra\, Tony Conrad\, Steve Reich\, Gordon Matta Clark\, Philip Glass\, Jean Dupuy\, La Monte Young\,  Sol LeWitt\, Terry Riley\, and many others. \nFollowing a meeting with electronic music composer Morton Subotnick at his New York University electronic music studio in 1967 he began to compose numerous electronic sound works using continuous synthesized sounds made with a Buchla 2000 electronic music synthesizer that was the sound source for Subotnick’s electronic music studio. In 1968-69\, he deepened his knowledge of electronic synthesizers and especially the changing timbre spectrum possible with multiple sound oscillators and electronic filters at night at this NYU music studio. There he met other experimenters\, Eliane Radigue\, Rhys Chatham\, Serge Tcherepnin\, Maryanne Amacher\, Ingram Marshall\, and many others. In 1969\, at Subotnick’s invitation\, he and Ingram Marshall moved to Los Angeles\, California\, and began experimenting and teaching  at CalArts\, where he discovered large pipe organs in downtown Los Angeles  and a Bösendorfer Imperial Grand Piano with an extra lower octave  in the enormous concrete ultra resonant cube of the new Cal Arts building in Valencia that he named The Temple but that would eventually become the celebrated Modular Theatre of Cal Arts Valencia. From 1971 he began creating long continuous works for piano and organ that he named “Spectral Continuums\,” often lasting as long as five hours for the piano  and 48 hour works for church organs. Simultaneously\, he worked on a synthesizer prototype with Don Buchla and Serge Tcherepnin and developed with them a synthesizer he called The Spectral Continuum Drone Machine. \nAround this time\, he met the dancer Simone Forti\, with whom he began a sound and movement ritualistic collaboration that they called Illuminations. Their first performance in Los Angeles at the Pasadena Art Museum in 1971  was greatly appreciated  by the then large avant-garde group of artists\, dancers\, and musicians from Los Angeles and the many who had now been imported from all over the art world as members of the faculty of the new California Institute of the Arts and especially Alan Kaprow the dean of arts then and convinced them to continue and develop this Illuminations ritual performance form. From then on for nearly 50 years Simone and Charlemagne were invited worldwide to present Illuminations.   \nCharlemagne Palestine was also interested in Javanese and Balinese gamelan. He traveled to Indonesia in 1971 with Ingram Marshall to study this music. He was also introduced to Hindustani music by Pandit Pran Nath. \nA champion of sonic continuum\, drone\, and trance\, Charlemagne Palestine is particularly renowned for his strumming technique\, a term that can be translated as “struck music.” Derived from flamenco and the chime technique\, strumming is based on repetition and the physicality of playing\, but also on the idea that the instrument has its own voice and can\, depending on how it is played\, produce a series of harmonics that seem to emerge spontaneously. Thus\, in his works (primarily improvised)\, Palestine plays on resonance and the layering of sounds to sculpt sonic masses in a perpetual quest for the “golden sound.” By extension\, during his concerts\, he seeks to engage in a dialogue with the performance space by saturating the available sonic space in such a way as to make it vibrate. \nMarked by spirituality\, tradition and shamanism\, his performances are ritualized: he drinks cognac\, smokes Indonesian clove cigarettes\, and places a multitude of teddy bears (his “deities”)\, scarves and other fabrics on the concert venue and on the instrument. \nAlthough associated with the minimalist music movement\, he rejects this label in favor of “maximalist\,” a term which\, according to him\, allows one to set no limits. \nCharlemagne Palestine was also a video artist pioneer (Body Music series\, 1973-74\, Island Song\, 1976\, and Ritual in the Emptiness\, 2004) creating an audio visual form that became classics of early video art performance works and also invented and developed a multimedia form of installations merging his sounds\, rituals and the inclusion of the stuffed animal toy as a modern shamanic divinity totem and created Gesamtkunstwerks (total art works) for MoMA NYC\, 356 Mission in LA\, The Kunsthalle Vienna\, The Museum of Art and History in Paris\, Documenta Kassel Germany and many other installation venues all over Europe and the US.. He deploys his teeming universe of stuffed animals and sacredly charged rags in site-specific installations\, often monumental in scale. He began as an artist of the Sonnabend Gallery in NYC in the early seventies and then became represented by the Toselli Gallery Milano\, Oppenheim Gallery Cologne\, Lara Vincy Gallery Paris\, and most recently by the Meredith Rosen Gallery in New York City. Though born in Brooklyn\, for years he lived in Soho\, Tribeca\, and Dumbo in NYC while settling from time to time in Paris\, Lyon\, Rotterdam\, Geneva\, and now has lived in Brussels\, Belgium since 1999.
URL:https://pianospheres.org/event/charlemagne-palestine-in-concert/
LOCATION:The Brick\, 518 N. Western Ave.\, Los Angeles\, CA\, 90004\, United States
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ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261120T200000
DTEND;TZID=America/Los_Angeles:20261120T220000
DTSTAMP:20260730T125325Z
CREATED:20260730T125325Z
LAST-MODIFIED:20260730T125325Z
UID:3608-1795204800-1795212000@pianospheres.org
SUMMARY:Gloria Cheng & Ralph van Raat - in concert
DESCRIPTION:Resonant Encounters: Boulez\, Feldman\, Cage\, and Beyond \nPianists Gloria Cheng and Ralph van Raat pay homage to the legacy of Pierre Boulez\, the unparalleled French composer\, conductor\, and cultural visionary who transformed postwar contemporary music and left an indelible mark on the sound of the 20th century. \nCheng and van Raat take brief solo turns in two unpublished Boulez works that are exclusive to them: a selection from the early Trois Psalmodies\, for which Ralph van Raat was granted sole permission by the Boulez heirs to perform and record; and Courtes Dérives à partir d’Éclat\, a whimsical\, open-form work that Boulez composed for Cheng as a wedding present. \nQuietly cherished for decades as a private gift\, Cheng began performing the piece after its appearance in Boulez’s official catalogue drew inquiries from performers and scholars. It is a rare instance of Mr. Boulez supplying a pièce d’occasion\, of which Cheng has so far been the only performer. \nProgram includes works for solo and duo piano by Boulez\, John Cage\, Morton Feldman\, Magnus Lindberg\, Igor Stravinsky\, and Frank Zappa. \n“A meaningful combination of Boulez’s music with that of others…\, brilliantly performed…casts new light on the Frenchman’s music.” Opusklassiek (Amsterdam) \n* \n \nAcclaimed for her “commanding technique\, color\, and imagination” (The New York Times)\, Gloria Cheng has long been recognized as a leading champion of new music. Over the course of her distinguished Grammy- and Emmy-winning career\, she has served as a muse to composers across a wide stylistic spectrum\, premiering works by John Adams\, Thomas Adès\, Pierre Boulez\, Anthony Davis\, Terry Riley\, Esa-Pekka Salonen\, John Williams\, and many others. \n \nRalph van Raat is a pianist and musicologist mainly devoted to twentieth- and twenty-first-century music\, performing worldwide and championing its beauty through recitals\, concertos\, recordings and special projects. Winner of major international awards\, he has inspired new works from composers such as Andriessen\, Bryars\, Rzewski and Tan Dun\, and performed over 60 concertos with leading orchestras. He has recorded more than 40 CDs and teaches in Amsterdam and Turin. A Steinway Artist since 2003. \n  \nMade possible in part by support from Villa Albertine.
URL:https://pianospheres.org/event/gloria-cheng-ralph-van-raat-in-concert/
LOCATION:Nimoy Theater\, 1262 Westwood Blvd\, Los Angeles\, CA\, 90024
ATTACH;FMTTYPE=image/png:https://pianospheres.org/wp-content/uploads/2026/07/Gloria-Ralph-fixed.png
ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20261122T140000
DTEND;TZID=America/Los_Angeles:20261122T160000
DTSTAMP:20260807T174850Z
CREATED:20260730T125325Z
LAST-MODIFIED:20260807T174850Z
UID:3616-1795356000-1795363200@pianospheres.org
SUMMARY:Pierre-Laurent Aimard - an afternoon of music and conversation
DESCRIPTION:One of the major figures of music in our time\, Aimard shares his insights about Arnold Schoenberg and his legacy in contemporary music. Join us for this rare opportunity to hear this exciting artist in a lively conversation with LA Times music critic Mark Swed\, illustrated at the piano. \n* \nPierre-Laurent Aimard was born in Lyon in 1957. He entered the Paris Conservatory at age 12 as a pupil of Yvonne Loriod\, also studying with Maria Curcio in London. In 1973\, he won first prize at the Olivier Messiaen Competition\, which launched his international career and established him as one of the composer’s major interpreters. In 1977\, Aimard was invited by Pierre Boulez to join the newly founded Ensemble intercontemporain\, where he remained as principal pianist for 18 years. During this time\, he participated in many world premieres. \nWidely acclaimed as a key figure in contemporary music\, Aimard has collaborated closely with Helmut Lachenmann\, Karlheinz Stockhausen\, György Kurtág\, György Ligeti (recording his complete works)\, as well as with George Benjamin and Marco Stroppa among other composers. He is also recognised as a leading interpreter of traditional repertoire\, giving solo and chamber music recitals and appearing with major orchestras and conductors around the world. In 2017\, he was awarded the International Ernst von Siemens Music Prize in recognition of a life devoted to the service of music. In 2022\, he received the Léonie Sonning Music Prize — Denmark’s highest musical honour. He has held professorships at the Cologne University of Music and Dance\, Paris Conservatory and Royal Academy of Music\, and the prestigious Artistic Creation annual chair at the Collège de France in Paris. \nHis many successful recordings include Bach: Well-Tempered Clavier Book II (2025)\, which follows the release of Book I in 2014; Kurtág: Játékok (2025); Schubert: Ländler (2024); Messiaen’s Catalogue d’oiseaux; and Bach: The Art of Fugue (2008)\, which debuted at no. 1 on Billboard’s Classical Albums Chart and won the Diapason d’Or. \n  \nMade possible in part by support from Villa Albertine.
URL:https://pianospheres.org/event/pierre-laurent-aimard-an-afternoon-of-music-and-conversation/
LOCATION:2220 Arts + Archives\, 2220 Beverly Blvd.\, Los Angeles\, CA\, 90057
ATTACH;FMTTYPE=image/png:https://pianospheres.org/wp-content/uploads/2026/07/PLA.png
ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20270107T200000
DTEND;TZID=America/Los_Angeles:20270107T220000
DTSTAMP:20260813T202827Z
CREATED:20260730T125325Z
LAST-MODIFIED:20260813T202827Z
UID:3581-1799352000-1799359200@pianospheres.org
SUMMARY:Nic Gerpe - in concert
DESCRIPTION:Road Trip \nFew experiences are as exciting\, liberating\, relaxing\, anxiety-inducing\, meditative\, lonely\, and free as the feel of the open road. All of our journeys have a different purpose and destination –  to seek solitude\, to get to nature\, to seek new paths\, to find ourselves\, or for the pure thrill and joy of the ride. \nThis program will feature pieces which evoke all elements of a journey – Timo Andres‘ rollicking and rolling “At the River\,” the (mis)adventures of John Psathas‘ “Jettatura\,” Juhi Bansal‘s fantastic evocation of the Utah night sky in “Land of Waking Dreams\,” Dante De Silva‘s picturesque and autobiographical “Drive-Thru Etudes\,” and the wide-open spaces of Aaron Copland‘s Piano Sonata. The concert will also feature a World Premiere of Tonia Ko‘s newest work\, commissioned by Nic Gerpe and Piano Spheres. \n* \n \nA dedicated proponent of new music\, Los Angeles native Nic Gerpe has given numerous world and regional premieres by composers such as John Luther Adams\, Paul Moravec\, Anne LeBaron\, and Gernot Wolfgang\, among others. Nic has performed throughout Southern California and abroad in such venues as Walt Disney Concert Hall\, Zipper Hall\, the Wallis Annenberg Center\, the Ojai Music Festival and the Banff International Keyboard Festival. His November 2025 Pianos Spheres concert\, entitled “Islands\,” was selected as one of San Francisco Classical Voice’s “Best Performances of 2025.”
URL:https://pianospheres.org/event/nic-gerpe-in-concert/
LOCATION:Thayer Hall at the Colburn School\, 200 S Grand Ave.\, Los Angeles\, CA\, 90012
ATTACH;FMTTYPE=image/jpeg:https://pianospheres.org/wp-content/uploads/2026/07/SYNC.00_18_58_10.Still001-scaled.jpg
ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20270213T200000
DTEND;TZID=America/Los_Angeles:20270213T220000
DTSTAMP:20260730T125325Z
CREATED:20260730T125325Z
LAST-MODIFIED:20260730T125325Z
UID:3621-1802548800-1802556000@pianospheres.org
SUMMARY:Piano Spheres presents Enno Poppe's "Rundfunk"
DESCRIPTION:Enno Poppe\, among the most important composers in Germany today\, created “Rundfunk” (“Broadcast”) for nine synthesizers as a loving tribute to the music studios of the public broadcasting services which led to some magical moments of a medium that aimed to interrogate its own possibilities and requirements: “I don’t use historic instruments\, but historic sounds from the ‘60s and ‘70s: FM synthesis\, Minimoog\, Piganino. Their pioneers are Gottfried Michael Koenig\, Thomas Kessler\, John Chowning\, Wendy Carlos\, and Tangerine Dream. No original instruments are being used but only computer-generated reproductions.” In the field of electronic music there has been rapid technical development for decades. Just as rapid is the fading of those same new technologies. Often\, earlier pieces can no longer be performed today because the required technologies went missing or don’t work anymore\, or performers simply don’t know how things were done 25 years ago. \n“The virtuosically polyphonic piece titled Rundfunk\, composed for nine synthesizers by Enno Poppe which\, although pure electronic music\, is nonetheless a symphony in three movements.” -Die Zeit \nUS PREMIERE \nPerformed by: \nVicki Ray\nThomas Kotcheff\nAron Kallay\nNic Gerpe\nJack Dettling\nAshley Zhao\nTodd Moellenberg\nBrendan White\nKaitlyn Vahala
URL:https://pianospheres.org/event/piano-spheres-presents-enno-poppes-rundfunk/
LOCATION:Nimoy Theater\, 1262 Westwood Blvd\, Los Angeles\, CA\, 90024
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ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20270323T200000
DTEND;TZID=America/Los_Angeles:20270323T220000
DTSTAMP:20260730T125325Z
CREATED:20260730T125325Z
LAST-MODIFIED:20260730T125325Z
UID:3584-1805832000-1805839200@pianospheres.org
SUMMARY:Vicki Ray - in concert
DESCRIPTION:SÉRIE BLEUE \nInspired by iconic books by Maggie Nelson and William Gass\, pianist Vicki Ray presents a musical evening exploring the color blue. Works include “Blue Diamonds” by Paul Dresher\, “Série Bleue” by Pierre Jodlowski\, and world premieres by Alex Wand and Hunter Ochs/Severin Behnen.  \n* \n \nDescribed as “phenomenal and fearless” Vicki Ray is a pianist\, improviser and composer. She has commissioned and premiered countless new works by today’s leading composers. Ray is a founding member of Piano Spheres and was\, for many years\, the head of keyboard studies at the California Institute of the Arts where she was named the first recipient of the Hal Blaine Chair in Musical Performance. She has appeared on numerous international festivals and was a regular member of the faculty at the Bang On a Can Summer Festival at MASS MoCA. Ray has been featured on the Los Angeles Philharmonic Green Umbrella Series as soloist and collaborative artist. Her widely varied performing and recording career covers the gamut of new and old music: from Boulez to Reich\, Wadada Leo Smith to Beethoven. Notable recordings include the first Canadian disc of Schoenberg’s Pierrot Lunaire with the Blue Rider Ensemble\, the premiere recordings of Steve Reich’s You Are (Variations) and the Daniel Variations with the Los Angeles Master Chorale and the first recording of John Cage’s Europeras 3 and 4. Her recording of Cage’s The Ten Thousand Things on Microfest Records received a 2013 Grammy nomination. Vicki can also be seen playing the chromelodeon in the Los Angeles based PARTCH ensemble. Vicki Ray is a Steinway artist.
URL:https://pianospheres.org/event/vicki-ray-in-concert/
LOCATION:2220 Arts + Archives\, 2220 Beverly Blvd.\, Los Angeles\, CA\, 90057
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ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20270421T200000
DTEND;TZID=America/Los_Angeles:20270421T220000
DTSTAMP:20260806T233334Z
CREATED:20260730T125325Z
LAST-MODIFIED:20260806T233334Z
UID:3597-1808337600-1808344800@pianospheres.org
SUMMARY:Thomas Kotcheff - in concert
DESCRIPTION:Fixed/Flexible \nThomas Kotcheff presents an evening exploring the intersection of virtuosity\, technology\, and musical transformation through works that reimagine the piano as both a rhythmic engine and an evolving collaborator. The program features Kotcheff’s original multi-tracked piano arrangements of Anna Meredith‘s Bumps Per Minute (18 Studies for Dodgems) and FIBS\, transforming Meredith’s propulsive electronic sound world into intricate performances by a single pianist multiplied through studio recording. \nThe concert also includes the world premiere of a new Piano Spheres commission by Christopher Rountree. In Piano and Tape\, Rountree upends the traditional relationship between performer and fixed media\, treating tape not as a predetermined accompaniment but as an unpredictable creative partner. The work explores chance\, memory\, and improvisatory decision-making\, inviting the pianist into a continuously shifting dialogue between permanence and spontaneity. Together these works examine how technology can both expand and challenge musical performance\, blurring the line between the human and the mechanical\, the fixed and the flexible. \n* \n \nThomas Kotcheff is composer and pianist whose music has been praised as “truly beautiful and inspired” (icareifyoulisten) and “explosive” (Gramophone) and has dedicated himself to commissioning and premiering new piano works. In 2020\, Thomas released the world premiere recording of Frederic Rzewski’s 75-minute solo piano work Songs of Insurrection\, and his 2024 album Re/Sounding: An American Songbook for Piano is a collaboration with composer Jordan Nelson. His work as a composer includes contributions to major film scores\, most notably composing and orchestrating music for Oppenheimer\, with additional film credits including Black Panther: Wakanda Forever\, Haunted Mansion\, Origin\, Bob Marley: One Love\, Eddington\, and The Wild Robot among others.
URL:https://pianospheres.org/event/thomas-kotcheff-in-concert/
LOCATION:2220 Arts + Archives\, 2220 Beverly Blvd.\, Los Angeles\, CA\, 90057
ATTACH;FMTTYPE=image/png:https://pianospheres.org/wp-content/uploads/2026/07/Kotcheff-cropped-1-scaled.png
ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20270522T200000
DTEND;TZID=America/Los_Angeles:20270522T220000
DTSTAMP:20260812T204107Z
CREATED:20260730T125324Z
LAST-MODIFIED:20260812T204107Z
UID:3641-1811016000-1811023200@pianospheres.org
SUMMARY:Alex Tchaykov - in concert
DESCRIPTION:POETICS \nPianist and poet Alex Tchaykov presents an evening of music in conversation with poems\, including Joan Tower’s piano suite “No Longer Very Clear” (inspired by John Ashberry)\, Jerome Kitzke’s “Sunflower Sutra” for speaking pianist (set to Allen Ginsburg’s poem of the same name)\, plus a song cycle set to the artist’s own poetry. \n\nTide \nfrozen moon i\nspin\np\ni\nr\na\nl \nagainst your\neternal dial \nshell\nfitting\ni\nn\nt\nout\nof\nwave \n(from Synapses) \n* \n\nAlexandre Tchaykov is a Bulgarian\, LA-based pianist\, poet\, and interdisciplinary explorer. He directs Spectra\, a concert series devoted to prismatic programs that refract themes into a multiplicity of musical meanings. A passionate teacher\, he leads a private piano studio and has instructed courses in musicianship\, music history\, and music appreciation. Over the years\, he’s had piano fellowships at Tanglewood\, New Music On The Point\, and Kneisel Hall. Alexandre holds degrees from UCLA (DMA)\, Northwestern University (MM)\, and UGA (BM and BA English). In his free time\, he enjoys baking and taking nature walks. \nAlex Tchaykov is the Piano Spheres Emerging Artist for 2026-27 \n * \nTickets for this concert will go on sale through the Boston Court Pasadena box office in the Fall.
URL:https://pianospheres.org/event/alex-tchaykov-in-concert/
LOCATION:Boston Court\, 70 N Mentor Ave\, Pasadena\, CA\, 91106\, United States
ATTACH;FMTTYPE=image/png:https://pianospheres.org/wp-content/uploads/2026/07/Screen-Shot-2026-07-25-at-3.33.41-PM.png
ORGANIZER;CN="pianospheres":MAILTO:pianospheres@gmail.com
END:VEVENT
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