Q2.1 Music: New Spring Shows

Monday, April 09, 2012

Starting this week, Q2 Music is unveiling a new line-up of shows meant to offer you additional discoveries and interaction with the kaleidoscopic, emerging musical canon.

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Lowell Liebermann: Strains of Serious Melancholy

Wednesday, April 04, 2012

"Lowell Liebermann," wrote one critic, "has achieved a reputation of writing some of the most melancholy, even gloomy, music on the planet." Why was this, the writer wanted to know—had something terrible happened to him that wasn't hinted at in his biography?


Wrapping Up Ecstatic 2012

Monday, April 02, 2012

Q2 Music devotes its post-American Mavericks programming this week to a round-up of the 11 complete Ecstatic Music Festival 2012 concerts. Hear two shows every day at 10 am (repeats at 5pm) and 1 pm (repeats at 8pm).

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Morton Subotnick at Play in the World of Electronic Music

Monday, March 19, 2012

Morton Subotnick has almost as many pioneering credits to his name as he does compositional ones. A leader of the San Francisco Tape Center in the '60s – a place where Terry Riley, Pauline Oliveros and many others took some of their earliest aesthetic steps – Subotnick has consulted (or commissioned) the building of synthesizers from the ground up, and also recorded the first electronic-music album meant just for listening, instead of live-performance miming. (So radical!)


Scott Johnson: Pioneering 'Speech-Melody' and Hybridism

Wednesday, March 14, 2012

Composer/guitarist Scott Johnson is an inventor of a technique of generating a piece of music based on recorded speech and approximating it with musical notes.

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Listener Poll: Your Suggestions for a Maverick Playlist

Monday, March 12, 2012

We want your help in programming the final day, March 30, 2012, of our American Maverick festival. Help our hosts know what trail-blazing, renegade composers have most impacted you an...

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Ingram Marshall: Hypnotic Clouds and Washes of Sound

Sunday, March 11, 2012

Some of Ingram Marshall's earliest recordings are of solo, semi-improvised performances, playing an Indonesian flute and singing falsetto to an accompaniment of prerecorded electronics and live tape delays. They are mesmerizing—thick, swelling, fragrant clouds of music.

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Fred Sherry: Change Your Ideas About What Music Is

Friday, March 09, 2012

It is always good to feature the music of our American composers. For me, the American Mavericks series is a chance to play music which is rarely heard on the radio, music on which I ...


Mary Rowell: The Mavericks Are Coming!

Thursday, March 08, 2012

Mary Rowell, the former violinist of the string quartet ETHEL lends her voice to Q2 Music to present an assortment of music under the rubric of American Mavericks, weekdays from 12-2 pm and 9-11 pm.


Phil Kline Hosts for American Mavericks

Wednesday, March 07, 2012

The composer Phil Kline considers the history of mavericks in classical music -- "the lone wolf, deemed-a-crackpot, do-it-yourselfer" types. He notes that the label is no longer so re...


American Mavericks Festival: Overview

Thursday, March 01, 2012

Q2 Music celebrates America’s great iconoclastic composers this March, when San Francisco Symphony music director Michael Tilson Thomas brings his “American Mavericks” tour to New Yor...

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Awake with NOW Ensemble, Chiara and Matmos

Thursday, March 01, 2012

Join us Thursday at 7 pm to hear a performance by NOW Ensemble, Chiara Quartet and Matmos celebrating two CD releases at the Greenwich Village venue (le) Poisson Rouge.


Show Your Support: Q2 Music's Winter Pledge Drive

Tuesday, February 28, 2012

Q2 Music’s a listener-supported service - we count on your membership dollars to stay streaming 24 hours a day. Please take this opportunity to show you value Q2 Music and join our ne...

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American Mavericks: Aaron Copland (Meet the Composer, 1985)

Friday, February 24, 2012

Tim Page interviews Aaron Copland on From Meet the Composer, 1985.


Tyondai Braxton: Carnavalesque and Rapturous Abandon

Wednesday, February 22, 2012

While it is true that Tyondai Braxton's father is the revered composer and improviser Anthony Braxton, their music might as well come from two different planets (neither of which is Earth). Light-years away from his father's liberated, happily baffling ensemble experiments, Braxton fils sounds more like a long-lost son of Zappa, his compositions as gaily colored, as rigidly constructed, and as outrageously, extravagantly pop as a life-size sculpture in Lego blocks.


Michael Gordon: A Rare Balance of Exquisite Distortion

Wednesday, February 22, 2012

The Bang on a Can collective—Michael Gordon, wife Julia Wolfe, and fellow Martin Bresnick student David Lang—took a shared fascination with modernist dissonance, minimalist process, and rock volume, and turned it into a new kind of New York institution. They founded festivals and a record label, and collectively composed evening-length works like the oratorio Lost Objects (2001) and the opera Carbon Copy Building (1999).


Late Night Elegy with the Latvian National Choir

Thursday, February 16, 2012

Join us Thursday at 7 pm for a performance of choral works by Frank Martin, Arvo Pärt, and Veljo Tormis. The concert was recorded live by the Latvian National Choir as part of Lincoln...


Phil Kline: Cascades of Vigorous, Multi-Dimensional Sound

Thursday, February 16, 2012

Phil Kline is a composer of the Bang on a Can generation, championed by that collective and sharing with them good deal of common aesthetic ground, fusing an experimental sensibility and minimalist processes with rock sonics and vigor.


Sebastian Currier: On the Verge of Dissolution and Disorder

Tuesday, February 14, 2012

Like many of his contemporaries, Sebastian Currier approaches classical music with a sort of double-consciousness—infatuated with its traditions, but well aware of its limitations. Is rock music to blame?


Angélica Negrón: Infusing Magic into the Delicate and Remote

Thursday, February 09, 2012

Angélica Negrón's music is a whisper. A young composer, she has crafted a small oeuvre of concert works, each suffused with a kind of compassion, as if regarding something very small and delicate, but without condescension. She samples tiny noises, seemingly trivial sounds, and turns them into music.