Presenter / Saint Paul (Minnesota, USA)
Kate Nordstrum, curator
In response to a demand for new and genre-diverse chamber music programming, The Saint Paul Chamber Orchestra and curator Kate Nordstrum launched Liquid Music in the fall of 2012. Named “Best of Classical” by The New York Times, the series welcomes adventurous audiences with intimate venue-environments and non-traditional concert formats. In six increasingly successful seasons has featured new projects by artists such as Ben Frost, Laurie Anderson, Saul Williams, Patricia Kopatchinskaja, David Lang, Rafiq Bhatia, Bon Iver, TU Dance, Anna Meredith, Tunde Adebimpe, Miranda Cuckson, Tim Hecker, Steven Mackey, Caroline Shaw, Jace Clayton (DJ/rupture), Emily Wells, Pekka Kuusisto, William Brittelle, s t a r g a z e, Polica, Tristan Perich, Vicky Chow, Third Coast Percussion, Nathalie Joachim, T imo Andres, Glenn Kotche, Hilary Hahn, Teju Cole, Sufjan Stevens, Krista Tippett (On Being), Oneohtrix Point Never, Bedroom Community, Helado Negro, Sarah Kirkland Snider, Colin Stetson, Ensemble Dal Niente, Ambrose Akinmusire, Mivos Quartet, Roomful of Teeth, Ashwini Ramaswami, Daniel Wohl, My Brightest Diamond, Devendra Banhart, Vijay Iyer and Grand Band. The 2018.19 season will consist of eight unique projects (plus one virtual residency) that encompass the works of various high-profile and emerging virtuosic artists from throughout the United States and beyond, as well as the Twin Cities’ and SPCO’s finest instrumentalists. Concerts will be hosted in venues throughout the Twin Cities intentionally chosen to complement each unique program. Liquid Music allows developing, established, and iconic artists to sow creative seeds and create powerful new work, explore unlikely collaborations across genre and disciplinary lines, showcase their ideas in fresh format, and, through collaborating with one of the world’s finest chamber orchestras, receive public acknowledgment from fellow artists and leading arts professionals. Liquid Music promises to catalyze the development of lasting relationships between composers, artists, and the SPCO—relationships that acknowledge artists’ breadth of work and encourage diversity of presentation size, scale, and content.
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