Music Program

Sunday, April 13, 1986

Co-sponsored/co-presented by:
The North American New Music Festival


Presented at:
Studio Arena Theatre

Played by Yvar Mikhashoff (pianist). Slide and film presentation by Bud Jacobs with pianist Yvar Mikhashoff

Program order:
TANGO D'ANTAN (Dane Rudhyar, 1915); INCITATION TO DESIRE (Chester Bicardi); THE DEAD MOTH TANGO (William Bolcorn); TANGO A DEUX  ( Nils Vigeland); TIEFERTANGO ON THE NAME OF Yvar Mikhashoff (Oliver Knussen); THE LONG AGO AND FAR AWAY TANGO (Joel Chadabe); TANGO VOICES (William Duckworth); TWO SENTIMENTAL TANGOS (Virgil Thompson, 1925); A ROSE FOR SCHOENBERG (James Sellars); THORN-TORN LIPS (Robert Berkman); NORTH(BERLIN/A TANGO) (Robert Ashley); THE MORE HE CRIES... (Blue Jean Tyranny); TANGO VIOLENTO (Larry Austin); SQUARE ROOT IMPRESSION WITH TEARS (Sinan Savashkan); TANGO IMPRINT (Noel Lee); TANGO SI (Betsy Jolas); TANGO (Tom Johnson); MARACAIBO (Ken Sullivan); NOT A BED OF ROSES (Arne Mellnaes); SONATA NO. 108 (John White); TANGO FOR JOHANNES (Dika Newlin); TRIPLE TANGO (Karl Aage Rasmussen); PERPETUAL TANGO (John Cage); Tango (Marlos Nobre); EXILES' CAFE TANGO (Michael Sahl); TANGO FOR YVAR (Serban Nichifor); CURRICULUM VITAE TANGO ( Lukas Foss); MACHINE TANGO (David Noon); TO TANGO OR NOT (Bernadette Speach); TANGO-MAXIXE (Otto Luening); TANGO MNEMONIC (Jo Kondo); TANGO FOR PIANOFORTE (Anthony Burgess); TANGO (Stefan Wolpe, 1927); Tangonetta (Poul Ruders); TANGO VARIATIONS (Ralph Shapey); PHILIP MARLOVE TRACKS FOWN YVAR'S LOST TANGO (Zoltan Jeney); TANGO (David Jaggard); TANGO NO TANGO (Jackson Hill); PERPETUAL TANGO (John Cage); THORN-TORN LIPS (Robert Berkman).

Some publications related to this event:
March and April, 1986. - 1986

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Nov. 10, 2017
through Dec. 22, 2017

Laylah Ali
Paintings and Drawings

Laylah Ali's work explores power dynamics and interpersonal conflict through compositions that position culturally, racially and sexually ambiguous figures in precarious, loaded, and unexpectedly humorous situations. Ali uses concise—even minimal—imagery that is specific in rendering and intent. While there are narratives in Ali's work, they are stories whose open spaces often give them the atmosphere of fables.