Eclectic Programs for Classical and Jazz Presenters & Festivals:
* It is possible to customize each program for specific presenting needs.
#1: BREATH & HAMMER: SEE THE PROJECT PAGE HERE
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
This program includes electronics and video
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)
#2: VOYAGES Version 1:
This is a program that journeys from Classical Music to improvisation-infused world music to klezmer.
This can also be offered in a 75-minute single set without intermission (see Voyages Version #2)
Recent Performances include Chautauqua Institution
Claude Debussy Première Rhapsodie
Johannes Brahms Sonata in F minor, Op. 120, No. 1
Allegro appassionato, Andante un poco Adagio
Allegretto grazioso, Vivace
Abraham Ellstein Chassidic Dance
INTERMISSION
Kinan Azmeh (arr. Tagg) November 22
John Zorn (arr. Krakauer, Tagg) Parzial
Kathleen Tagg Berimbau
Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Body and Soul
Emil Kroitor (arr. Tagg, Krakauer) Moldavian Voyage
David Krakauer Synagogue Wail
(Traditional, arr. Krakauer, Tagg) Der Heyser Bulgar
#3 VOYAGES Version 2:
This is a program that journeys from Classical Music to improvisation-infused world music to klezmer.
This can also be offered in a 2-half Recital Format (see Voyages Version #1)
Recent Performances include Shanghai Conservatory, New York's Rockefeller University Noontime Concerts, Beijing's Nationalities University
Claude Debussy Première Rhapsodie
Johannes Brahms Sonata in F minor, Op. 120, No. 1
2nd Movement: Andante un poco Adagio
Abraham Ellstein Chassidic Dance
Kinan Azmeh (arr. Tagg) November 22
Kathleen Tagg Berimbau
Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Body and Soul
John Zorn (arr. Tagg) Parzial
Emil Kroitor Moldavian Voyage
David Krakauer Synagogue Wail
Traditional (arr. Krakauer, Tagg) Der Heyser Bulgar
#4: CONNECTIONS
This is an acoustic program that lives at the intersection of world music and improvisation
Recent Performances include Switzerland's Cully Jazz Festival
Krakauer & Tagg Connections
Kinan Azmeh (arr. Tagg) November 22
(Optional: Claude Debussy Première Rhapsodie)
John Zorn (arr. Krakauer, Tagg) Ebuhuel
John Zorn (arr. Tagg) Parzial
Kathleen Tagg Berimbau
Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Body and Soul
Alan Silinga (arr. Krakauer, Tagg) Ntyilo Ntyilo
Abraham Ellstein Chassidic Dance
Traditional (arr. Krakauer, Tagg) Der Gasn Nign
Emil Kroitor Moldavian Voyage
David Krakauer Synagogue Wail
Traditional (arr. Krakauer, Tagg) Der Heyser Bulgar
These eclectic and unique recital programs that voyage between classical repertoire, Krakauer & Tagg's original compositions, new and innovative arrangements and klezmer music. The programs move effortlessly from classical compositions all the way to Zorn & Azmeh to Krakauer’s mad circular breathing improvisations, Tagg's use of extended techniques and klezmer.
Krakauer writes: “Ever since the moment I was able to play the clarinet halfway decently 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.”
* It is possible to customize each program for specific presenting needs.
Press:
Show review in The New York Times
Show review in What’s on in Cape Town
* It is possible to customize each program for specific presenting needs.
#1: BREATH & HAMMER: SEE THE PROJECT PAGE HERE
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
This program includes electronics and video
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)
#2: VOYAGES Version 1:
This is a program that journeys from Classical Music to improvisation-infused world music to klezmer.
This can also be offered in a 75-minute single set without intermission (see Voyages Version #2)
Recent Performances include Chautauqua Institution
Claude Debussy Première Rhapsodie
Johannes Brahms Sonata in F minor, Op. 120, No. 1
Allegro appassionato, Andante un poco Adagio
Allegretto grazioso, Vivace
Abraham Ellstein Chassidic Dance
INTERMISSION
Kinan Azmeh (arr. Tagg) November 22
John Zorn (arr. Krakauer, Tagg) Parzial
Kathleen Tagg Berimbau
Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Body and Soul
Emil Kroitor (arr. Tagg, Krakauer) Moldavian Voyage
David Krakauer Synagogue Wail
(Traditional, arr. Krakauer, Tagg) Der Heyser Bulgar
#3 VOYAGES Version 2:
This is a program that journeys from Classical Music to improvisation-infused world music to klezmer.
This can also be offered in a 2-half Recital Format (see Voyages Version #1)
Recent Performances include Shanghai Conservatory, New York's Rockefeller University Noontime Concerts, Beijing's Nationalities University
Claude Debussy Première Rhapsodie
Johannes Brahms Sonata in F minor, Op. 120, No. 1
2nd Movement: Andante un poco Adagio
Abraham Ellstein Chassidic Dance
Kinan Azmeh (arr. Tagg) November 22
Kathleen Tagg Berimbau
Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Body and Soul
John Zorn (arr. Tagg) Parzial
Emil Kroitor Moldavian Voyage
David Krakauer Synagogue Wail
Traditional (arr. Krakauer, Tagg) Der Heyser Bulgar
#4: CONNECTIONS
This is an acoustic program that lives at the intersection of world music and improvisation
Recent Performances include Switzerland's Cully Jazz Festival
Krakauer & Tagg Connections
Kinan Azmeh (arr. Tagg) November 22
(Optional: Claude Debussy Première Rhapsodie)
John Zorn (arr. Krakauer, Tagg) Ebuhuel
John Zorn (arr. Tagg) Parzial
Kathleen Tagg Berimbau
Green, Heyman, Sour, Eyton (arr. Krakauer, Tagg) Body and Soul
Alan Silinga (arr. Krakauer, Tagg) Ntyilo Ntyilo
Abraham Ellstein Chassidic Dance
Traditional (arr. Krakauer, Tagg) Der Gasn Nign
Emil Kroitor Moldavian Voyage
David Krakauer Synagogue Wail
Traditional (arr. Krakauer, Tagg) Der Heyser Bulgar
These eclectic and unique recital programs that voyage between classical repertoire, Krakauer & Tagg's original compositions, new and innovative arrangements and klezmer music. The programs move effortlessly from classical compositions all the way to Zorn & Azmeh to Krakauer’s mad circular breathing improvisations, Tagg's use of extended techniques and klezmer.
Krakauer writes: “Ever since the moment I was able to play the clarinet halfway decently 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.”
* It is possible to customize each program for specific presenting needs.
Press:
Show review in The New York Times
Show review in What’s on in Cape Town