Eclectic Programs for Classical and Jazz Presenters & Festivals
Our projects often continue to evolve from the spaces in which they have been preformed. We are always open to accommodating our program offerings depending on the venue and social contexts.
These eclectic and unique recital programs voyage between classical repertoire, Krakauer & Tagg's original compositions, new and innovative arrangements and klezmer music.
Our projects often continue to evolve from the spaces in which they have been preformed. We are always open to accommodating our program offerings depending on the venue and social contexts.
These eclectic and unique recital programs voyage between classical repertoire, Krakauer & Tagg's original compositions, new and innovative arrangements and klezmer music.
... had us in awe from the very first second... – What’s on in Cape Town
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BREATH + HAMMER
Recent performances include New York's National Sawdust & Symphony Space, Paris' Festival Sons D'Hiver, Munich's Jazzclub Unterfahrt, Bern's Bee-Flat Bern, South Africa's National Arts Festival, Florida's Society of the 4 Arts, Vancouver's Music in the Mornings, Vermont Jazz Center, Warsaw's POLIN Museum Breath + Hammer is an electro-acoustic project with Video Projection designed by Jesse Gilbert November 22 by Kinan Azmeh (arr. Tagg) Ebuhuel by John Zorn (arr. Krakauer, Tagg) Parzial by John Zorn (arr. Krakauer, Tagg) Shron by Roberto Rodriguez (arr. Tagg) Berimbau by Kathleen Tagg Rattlin’ Down the Road by David Krakauer Demon Chopper by Rob Curto (arr. Tagg) Moldavian Voyage by Emil Kroitor (arr. Tagg, Krakauer) Synagogue Wail by David Krakauer Der Heyser Bulgar Traditional (arr. Krakauer, Tagg) (One set without intermission: ~75 min) CONNECTIONS
Recent Performances include Switzerland's Cully Jazz Festival Connections is an acoustic program developed through the expansion of Breath + Hammer and Voyages. Connections by Krakauer & Tagg November 22 by Kinan Azmeh (arr. Tagg) (Optional: Première Rhapsodie by Claude Debussy ) Ebuhuel by John Zorn (arr. Krakauer, Tagg) Parzial by John Zorn (arr. Tagg) Berimbau by Kathleen Tagg Body and Soul by Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Ntyilo Ntyilo by Alan Silinga (arr. Krakauer, Tagg) Chassidic Dance by Abraham Ellstein Der Gasn Nign by Traditional (arr. Krakauer, Tagg) Moldavian Voyage by Emil Kroitor Synagogue Wail by David Krakauer Der Heyser Bulgar by Traditional (arr. Krakauer, Tagg) |
VOYAGES
Recent Performances include Chautauqua Institution, Shanghai Conservatory, New York's Rockefeller University Noontime Concerts, Beijing's Nationalities University Voyages I is a program journey through classical and improvisation-infused world music to klezmer Première Rhapsodie by Claude Debussy Sonata in F minor, Op. 120, No. 1 by Johannes Brahms Allegro appassionato, Andante un poco Adagio Allegretto grazioso, Vivace Chassidic Dance by Abraham Ellstein INTERMISSION November 22 by Kinan Azmeh (arr. Tagg) Parzial by John Zorn (arr. Krakauer, Tagg) Berimbau by Kathleen Tagg Body and Soul by Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Moldavian Voyage by Emil Kroitor (arr. Tagg, Krakauer) Synagogue Wail by David Krakauer Der Heyser Bulgar by Traditional (arr. Krakauer, Tagg) Voyages II can also be offered as a 75-minute single set without intermission. Première Rhapsodie by Claude Debussy Sonata in F minor, Op. 120, No. 1 by Johannes Brahms 2nd Movement: Andante un poco Adagio Chassidic Dance by Abraham Ellstein November 22 by Kinan Azmeh (arr. Tagg) Berimbau by Kathleen Tagg Body and Soul by Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Parzial by John Zorn (arr. Tagg) Moldavian Voyage by Emil Kroitor Synagogue Wail by David Krakauer Der Heyser Bulgar by Traditional (arr. Krakauer, Tagg) |
I’ve been interested in juxtaposing the making of my own music with interpreting classical compositions. (In that sense I never felt the need to “cross”– I was already “over.”) It was always amazing to see how the two interacted with one another. Constantly working to create my own sounds (whether it be through improvising or composing) has helped me find my personal key to interpretation: first, always striving to be closer to the moment of creation (play the piece as if I had composed it or improvised it); second, seeking to tell a story; and third, creating a dialogue between my ideas and what I perceive as the composer’s ideas.
– David Krakauer, on crossover, genre-bending, and collaboration