Pre-concert Reception - 6-7PM
Performance - 7-8PM
Pre-concert Reception - 8:30-9:30PM
Performance - 9:30-10:30PM
Wine tasting with snacks included with each ticket purchase.
**PLEASE NOTE THAT ALL ATTENDEES WILL BE REQUIRED TO WEAR MASKS AND SHOW PROOF OF VACCINATION AND BOOSTER SHOTS**
Tristan Perich, composer
James McVinnie, organist
Composer Tristan Perich has made a name for himself creating sweeping, viscerally overwhelming soundscapes out of armies of 1-bit speakers playing synthesized sounds. We're pleased to present the U.S. Premiere of his newest work, Infinity Gradient, which takes his musical vision to the next level by combining 100 of those speakers with the soul-blasting power of all 7,069 pipes in the Miller-Scott Organ, housed amidst the magnificent Gothic architecture of Saint Thomas Church Fifth Avenue and played by the inimitable James McVinnie.
Experience a mesmerizing, immaculately-crafted maelstrom of swirling sound, echoing throughout the stone arches of one of New York's most singularly beautiful structures.
With Infinity Gradient, Tristan Perich offers a sweeping musical mural and a total immersion in sound, turning the organ of Saint Thomas Church into a meta-instrument thanks to a 100-speaker sound system.
Tristan Perich's (New York) work is inspired by the aesthetic simplicity of math, physics and code. The WIRE Magazine describes his compositions as "an austere meeting of electronic and organic." 1-Bit Music, his 2004 release, was the first album ever released as a microchip, programmed to synthesize his electronic composition live. His follow-up circuit album, 1-Bit Symphony, has received critical acclaim, called "sublime" (New York Press), and the Wall Street Journal said, "its oscillations have an intense, hypnotic force and a surprising emotional depth." The New York Times called his latest circuit album, Noise Patterns, “techno for silicon-based life forms.” As an electronic musician, he has performed internationally, from Sonár, MUTEK and the Barbican to Lampo and The Kitchen. As a composer, he has received commissions from So Percussion, the LA Philharmonic, Calder Quartet and more, as well as an award of distinction from Ars Electronica for his work for violins and 1-bit electronics, Active Field. The New York Classical Review wrote, “More than any composer of his generation, Perich is establishing a new language and a new future path for music.” As a visual artist, his audio installations, video works and machine drawings have received commissions from the likes of Rhizome and L’Auditori in Barcelona, and his artwork has been exhibited internationally, including the Museum of Modern Art, VOLT Festival, the San Diego Museum, the Georgia Museum, and bitforms gallery.
James McVinnie’s work as a performer encompasses music from the 16th century to the present day. His boundless approach to music making has lead him to collaborations with many leading figures in music including Philip Glass, Tom Jenkinson/Squarepusher, Angelique Kidjo, Nico Muhly, Martin Creed, David Chalmin, David Lang, Richard Reed Parry, Bryce Dessner & Darkstar, many of whom have written large scale works for him. He has released music on Bedroom Community, Orange Mountain Music and Warp Records.
McVinnie was Assistant Organist of Westminster Abbey between 2008 and 2011. Prior to this appointment, he held similar positions at St Paul’s Cathedral, St Albans Cathedral, and Clare College, Cambridge where he studied music. His teachers were Sarah Baldock, Thomas Trotter and Hans Fagius. He made his debut at London’s Royal Festival Hall in March 2014, giving one of the six reopening recitals on the refurbished iconic 1954 Harrison & Harrison organ. He made his solo debut in the Salzburg Festival at age 26 performing with the Freiburg Baroque Orchestra under Ivor Bolton.