Bang on a Can All-Stars - Big Beautiful Dark and Scary

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I've thoroughly enjoyed your work with Philip Glass over the years. Thank you.

I heard about the free CD on Facebook.

I found out about Bang On a Can via Facebook and it sounds like something I'd like!

As a music educator, I've loved what Bang on a Can has done to spread music to the masses! Keep it up!

I first discovered BOAC in grad school, and have since come to rely on it as a source of inspiration and security whenever I write. Although I don't know too much about these "Marathons," but I will say that ended up staging my own Marathon of sorts, when I listened to Music for Airports, In C, and the Bang on a Can classics CD on repeat while writing my comprehensive exams. I feel like BOAC has contributed a lot to me as a writer and a thinker. Keep up the good work!

One of the first new music ensemble that I ever heard about! Really got me into the new music scene!

Listening to y'all rock the house at the 2009 Marathon when I still lived in NYC.

I'm new to BOAC, heard about this from Patrick Burke, composer for the Now Ensemble.

I use some of Bang on a Can's tracks in my 20th century listening tests. Most of the students are unaware of the variety of new music.

I am fascinated by the music these guys make. Bravo!

I wish I lived closer. BoaC almost never comes to Colorado! Come visit!

I first saw and heard you at the 1996 Adelaide Festival. After years of ivory tower "this is good for you" modern music concerts, it was the first time I felt music of our time could be performed and listened to with a bit of chutzpah and street cred.

Listening to Child walking to and from classes my first year in College and trying to figure out what to do with myself.

I loved playing with Steve Schick and John Luther Adams at Furman for the US premier of Inuksuit! AND hearing Dr. Schick's concert of the resonant bodies the night before. so awesome!

Bang on a Can All Stars visited Ithaca College during my junior year as a clarinet performance major. I got to perform in a master class with Evan Ziporyn (and would later work at MIT where he is on faculty) and then they performed Music for Airports. 11 years later, I got to hear the same piece at MIT and it was just as great. I've loved following you guys over the past several years!

Bang On A Can: band of personal heroes.

Michael Gordon's Timber live at the Music Gallery in Toronto. My favourite show of 2011. Mantra Percussion= Genius.
I love what you are doing. Looking forward to the next 25!

My brother!

The first time I heard Julia Wolfe's "Believing" it changed my definition of what I thought "classical" music could be.

Banglewood presented me a very prescious opportunity to experience so many creative musical activities - from discussions with composers on various composition approaches, to gamelan rehearsals, from ensemble free improvisations to wild jam sessions, from getting to know the most passionate and proffesional musicians, to visiting some of the best concerts ever, and much, much, much more. All this would be impossible to imagine and learn elsewhere. Bang on a Can infected my musical mind with a wonderful virus of fantastic musical energy!
Jonas Jurkunas, composer

Got hooked via a performance of "In C"!

I first saw BOaC at Zankel Hall several years ago, now once again I enjoyed the 25th anniversary concert :) Keep the grate work !

Indianapolis 2009(?). Before their concert that evening they did a workshop--fantastic! What a great group of musicians & people. Performance was great, too.
Thanks!

I’ve been asked to share an anecdote from my time with Bang on a Can that is personal and special to me. An anecdote – from a ten-year association with the Bang on a Can All-Stars; from a twenty-plus year history with the festival; a thirty-five year old friendship with David Lang – an anecdote? Nearly impossible.

I do have an observation though….about the All-Stars. Before the group was formed I had never experienced anything like it, and honestly I haven’t experienced anything like it in the years since I’ve left either. There was the most powerful and unexpected chemistry among the first six of us: Maya, Lisa, Evan, Mark, Robert, and I. Our first real ensemble concerts – after we had commissioned a few pieces for the sextet instrumentation – took place at Lincoln Center in the Walter Reade Theater. It was a pretty high-profile place to work out the kinks of a new art-form.

None of us had ever played in an ensemble like the All-Stars. It was hard to mix electric and acoustic instruments, hard to get the monitoring just right, hard to make a singular sound out of a group of six soloists. These problems made rehearsals fairly problematic at times, but wherever we were when we broke for dinner and went our separate ways, we came back at 8 and played beautifully together. I could never figure what happened during the dinner breaks to make things coalesce like that. But then again I had never played with performers on the level of my Bang-mates. Six headstrong soloists could have made for a disastrous ensemble, but we learned to trust one another, to make space for each other, and the music-making that resulted was breath-taking.

By the time Wendy Sutter came to replace Maya, and then David Cossin to replace me, the Bang on a Can sound was a known quantity and I suppose the rehearsals were also more standardized. Wendy and David are great musicians and the later versions of the group were not less exhilarating in performance than in the early days. But for me, walking on stage with musicians I was just getting to know and developing a new language together in concert in front of the most discriminating audiences in the world was a high-wire act that still thrills me to this day. To Lisa, Maya, Evan, Robert and Mark: thank you from the bottom of my heart for those first experiences. I can still feel the rush!

Wow, where to start with the memories?

The very atmosphere of MASS MoCA was mindblowing. Huge rooms full of grand artwork. The echoes of the galleries. A warehouse snowing paper. A room whirring with Meredith Monk's voice. Upside-down trees. The whole vibe was conducive to producing ambitious musical work.

I had a long talk with Michael Gordon about the notion of "math rock." I think the term amused him. I first realized music could be complex thanks to bands in my hometown, Richmond, who liked to switch time signatures and employ dissonance and suspensions, and so on. They were just smart hardcore bands. But they had things in common with smart composers. I gave Michael my iPod to listen to Breadwinner and some other oddball bands. He loved it. I loved that he loved it. It's all human music.

David Lang sat with me and really dug into the work I did at Banglewood and also the opera that got me there, The Nitrate Hymnal. It's lovely to talk with someone so funny and smart about how to up your craft. And, obviously, we have compatible tastes.

One of the best things is to work hard all day on music and then head to the bar at night and get to know the other composers and players. That's really where a lot of the lasting work is done. You make friends. You debate ideas. Collaborations arise. Maybe some romance. It's all the things you love about living the music life and approaching zero of the things that make you crazy from it. It's a refuge. A blessing.

- I remember going to the Mohawk Bar in North Adams on a summer night after a marathon concert at Mass MoCA. At one point Meredith Monk walked in and the bar erupted into a spontaneous Brazilian-style dance party. Everyone was singing and dancing around this tiny dive bar. It was an incredible performance without an audience!

- I remember sharing a keyboard with Judd Greenstein for a performance of "In C" at the first ever Bang-on-a-Can Summer Music Institute in 2002. We were both in our early twenties at that point and had just met each other; little did I know that ten years later I would be writing an opera for his ensemble, releasing records on his label (New Amsterdam), collaborating on the production of dozens of concerts and starting one of the best musical friendships of my life! Thank you Bang on a Can!

THIS ONE MIGHT BE SCANDALOUS - you might want to check with David and Julie first... :)
- While I was a fellow at the Bang on a Can Summer Music Institute, Julia Wolfe, David Lang, Judd Greenstein, Tristan Perich and I drove to Tanglewood to hear Julia's beautiful piece Believing. After the concert David turned to me and said "we're gonna crash this party". I thought he meant this in a symbolic, genre-busting, "yay new music" kind of way but it turns out he meant we were actually going to crash a Tanglewood party at the Koussevitzky mansion. I remember sneaking into the party with David and Julie (they were invited, the rest of us obviously weren't), drinking white wine, looking out over Lake Saranac, talking about Steve Reich with Tristan, and feeling immense joy and relief in finally finding my musical partners-in-crime.

I first discovered the sounds of Bang on a Can in college in the mid-'90s, working at Figaro's record store in downtown Champaign, Illinois. I was probably nineteen or twenty at the time -- a music student at the University of Illinois and a huge fan of Steve Schick, Bang on a Can's original percussionist.

The All-Stars had just released their first album on Sony -- Cheating, Lying, Stealing -- and that record hit me like a bolt of lightning. From the off-kilter, pounding brake drums of David Lang's title track to the arresting solo multiphonic choir of Evan Ziporyn's Tsmindao Ghmerto, that record was an absolute stop-you-in-your-tracks kind of listening experience for me. I kept the album on "repeat" and was officially hooked.

A few years later, after getting a job as a percussionist with the Detroit Symphony, I was getting a little stir crazy and was looking for a "musical vacation" of some sort, so I eagerly applied to the Bang on a Can Summer Festival ("Banglewood"). It turned out to be one of the best musical decisions of my life. Getting a chance to hang out & make music with the All-Stars and David, Michael, and Julia was an absolute dream come true. Where else can you start your morning with Terry Riley's raga class, spend all afternoon rehearsing brand new commissions with members of the All-Stars, and then go hear the Michael Gordon Band play Light Is Calling in its entirety in the evening? I was in musical heaven!

Still a few more years after that, I received a surprising phone call from David Cossin, the All-Stars' percussionist (and another huge influence of mine): would I be able to sub for him in the All-Stars on an upcoming European tour? What?!?! For Real?? After pinching myself and realizing he was actually serious, I embarked on a thrilling - and incredibly challenging - ride as a percussion sub with the All-Stars, traveling the world and performing with the very same musicians who I'd idolized since college. Talk about a rush!

To the All-Stars Ashley, David C., Evan, Mark, Robert, and Vicky: thank you for being such inspiring musical partners as well as great friends. I owe you all so much! To David, Michael, Julia and everyone at the Bang on a Can organization: congratulations on 25 years of incredible music-making... You broke the rules and then re-wrote them. Here's to 25 more!!!

For me, as I know it was for others, Banglewood was life-changing and marked a major turning point in my life at a time when I perhaps felt a little lost on my musical journey. During those weeks in the galleries at Mass MoCA, I realized I wanted to devote myself fully to playing the music of our time, in all it's many wonderful forms. The vision and inspirational example of Michael, David and Julie, made me see that new music could thrive and have a vital impact on our world. Performing with the All-Stars and Meredith Monk, meeting an entire likeminded community of composers and musicians who were to become friends and collaborators, made that summer an incredibly amazing, special and unforgettable time

And Pierre Boulez’ Alea begat Theodore Antoniou’s Alea II at Stanford University where, in 1969, I was a graduate student and teaching assistant to Ivan Tcherepnin. Before he left to teach at the San Francisco Conservatory of Music Ivan and I spoke about his idea for a concert that would last all night. Ivan was convinced that music would sound differently at different hours of the day – as it was thought to do in both Indian and Medieval Western music.

Several years later, when I became director of Alea II the same idea began to haunt me. But it was only when I began teaching at Yale in 1976 that I was able to put the notion of an all-night marathon concert into practice with the group I founded there called Sheep’s Clothing.

And so Alea II begat Sheep’s Clothing. Our all-night marathon concerts were always our best-attended events. They usually began at 10 or 11 PM with Frederic Rzewski’s Le Mouton de Panurge and ended at dawn with all the Sheep and any remaining members of the audience performing Terry Riley’s in C.

Among the earliest members of Sheep’s Clothing extraordinary roster of young musicians and artists were Evan Ziporyn and David Lang. Michael Gordon was often found at the concerts as an enthusiastic listener. All three musicians, and later Julie Wolfe, were my composition students. When I was away on leave in 1980, Evan, still an undergraduate, took over the direction of the ensemble – very good preparation for the role he was to play with the Bang on A Can All-Stars. After finishing their studies Michael, David and Julie went to New York and in 1987 founded the composer’s collective Bang on A Can. One of their first plans was to hold a Sheep’s Clothing-like marathon concert in New York.

And so Sheep’s Clothing begat the Bang on A Can marathon. Owing to stringent regulations in the city, the first BoaC marathon did not actually last all-night. But that first concert, in keeping with the tradition of Sheep’s Clothing’s wide ranging repertoire, was remarkable for both the uncanny prescience of Michael, David and Julie’s musical selections and for the participation of so many wonderful musicians they had somehow got to play for them far into the night.

Bang on A Can has now outlived all its predecessors and contributed immeasurably to the creation of new music in America. It is a magnificent achievement - a success perhaps even beyond the dreams of its founders.

And BoaC’s own many begats now play a special part of our musical history.

When I turned 60 the critic Justin Davidson reviewed my birthday concert at Zankel Hall. In his review incorrectly wrote I was 70. He also tartly said I was lucky to have had Michael Gordon, Julia Wolfe and David Lang as my students.

In that, of course, he was right.
Martin Bresnick 12/24/11

Awesome idea....happy 25th!

Friend on Facebook!

We arrived in Beijing just a few nights ago. My eyes were hurting, my head was pounding, and my heart skipped beats knowing that this was part of my audition with
the All-Stars. I had major jet-lag. We headed to a club in a remote part of town to play a night gig. The specialty drink at the bar was their special concoction of 22 different liquors. The minutes passed dreadfully slowly until our set at 11pm. The club became
packed with 20th something year old chinese college kids. Someone was smoking in the back.

We got on stage...Evan, Mark, David, Robert, Ashley and I. It was a small stage with barely enough lighting. We kicked it off with the Nancarrow piano studies, followed
by Evan’s Shadow Bang, and an arrangement of Arapua. We rounded it off with Andriessen’s Workers Union. We took it at an heart racing speed. No one missed a beat! I felt and saw sweat shaking off of everyone’s brow. Lightning glances for cues
and every beat, every bow, every strum and pluck and blow was in unison. We were tearing down the runway and laughing all the way. At the last high crash, the audience tore into hoots and hollers. Everyone had a huge grin (and soaked shirts). It was at that
moment that I knew that there was something special about that performance. Lightning struck and it has been striking again and again every time we walk on stage since.

Playing with the All-Stars has been a life changing event. I have grown and learnt so much the past few years. I have much to thank Bang on a Can for. I’m so happy that
you guys are all in my life.

I can’t believe Bang on a Can started off as one little idea 25 years ago. It is one of the biggest inspirations in my life and I know to many other musicians and artists all over the world. Here’s to at least 25 years more! Go Bang on a Can!

Who could forget the magical morning of watching the sun rise while listenting to Stockhausen after more that 24 hours of the 2008 Bang on a Can Marathon. The delight was matched by the several hundred audience members who stayed to enjoy the entire concert. It is a morning I will not soon forget.

On Saturday 20th January 1996 as I walked into The Premises on Hackney Road, I had no idea that the people I was about to meet would play such a major role in
my future.

It was the first rehearsal in the UK of the All-Stars first major UK tour and that tour would bring friendships & adventures, which would last & still continue
to this day. We started out as slightly wary strangers – except Steve Schick who I had met the year before, but by the end of the first rather hectic show had
already formed a close bond. Delving into a new sound world in what to me was a very simple way but to the All-Stars new levels of technical support.

For me it was a revelation to meet musicians who cared as deeply about the whole performance ethos as I did and opened my eyes to a whole new spectrum of music – far from the mainstream I was used to but every bit as exciting,
challenging & fun.

It was an amazing tour as we got to know each other & explored new pieces together. It wasn’t without its drama’s – the day we passed the PA truck broken down on the way to the show in Birmingham, not to mention the hotel in Leicester. Halfway through we premiered Michael Gordon’s “I buried Paul” & I had great fun working with Michael on the shape of the piece and from that projects with David & Lang & Julia Wolfe soon followed.

The shows & the adventures both in life & music still go on and are as fresh & vibrant today as they were almost 16 years ago, I have not only found colleagues but true friends in this remarkable ensemble.

Heard about you from the BLT blog.

I remember when Michael Gordon first called me about the All-Stars which was after the first couple of Marathons. Michael said that they were starting a group and asked if I would be interested in being one of the players. He explained a little bit about the idea and told me who else he was asking. I knew and some of the other musicians but there were a couple who I did not know. Anyway, it sounded like it might be an interesting project and I told Michael that I’d be happy to be the bass player. I was thinking that the group would start out with a couple of concerts during the first year. That would increase to 3 or 4 concerts during the second year. The third year would have around 7 concerts that we would think ‘wow, we’re really taking off.’ The fourth year we’d be back to 2 or 3 concerts and then the fifth year there wouldn’t be any concerts and that would be the end of that. Well......it didn’t turn out that way.

My friend and fellow composer, Scott Steele.

Once a year I go to the marathon and rediscover the possibilities of music all over again. One of my favorite traditions.

A composition student at ESM.

MASS MOCA! I talk to David Lang and loved hearing the piece Fuel and Yo Shakespeare Live!

Not sure which came first: playing with Gamelan Galak Tika, or hearing _Industry_. Boy do I love that Louis Andriessen.

I love the marathon every year in NYC!

Thank you, Reddit!

I heard of this threw your email/news letter good stuff excited to hear it

From the Furman Music Department.

NY Counterpoint/Four Organs/Eight Lines was my first BoaC experience in high school, and it changed the way I think about music. You guys are awesome.

I found about Bang On A Can through the recent Steve Reich album and their brilliant recording of his composition 2 x 5. I look forward to hearing more from them!

I am familiar with the ensemble from their fine collaboration with Don Byron

Heard about it from Earplay in San Francisco!

I went to BoaC marathon in NY to see Braxton's piece for 100 tubas :)

I know a super duper music librarian and when she recommends something, I pay attention. Congrats, she recommended you guys!

Love the music of Steve Reich and Terry Riley enough, and one will sooner or later bump into Bang on a Can's performances of those composers. Yeah!

Thank you! My group, NOW Ensemble performed at the BOAC Marathon Concert one summer. Thank you so much for leading the way for other miscreant composers.

Bang on a Can completely redefined what I thought a contemporary music ensemble was, and sounded like.

I was at one of the first BOAC festivals, down in Alphabet City, when I was stranded in NJ between years of college. I remember seeing Philip Glass play one of his early pieces I had never heard before, and Rzewski's "Coming Together", which ripped me up. Can't believe you're still around. Thank god you are!

going to the 2008 marathon with my first boyfriend.

Got this link from my friend. Thanks, Oscar!

Met a percussionist. Got the word. Started listening.

I heard about this thru Joel Krutt...a DJ at whus uconn radio

On being hit on the head: I was studying the score to Lang's the Anvil Chorus, when I spied a copy of the Are You Experienced? (the Netherlands recording) in the record shop. That piece changed alot for me, merging both my interests in contemporary music, visceral delivery ("punk minimalism") and much needed humor. I remain a fan and am honored to have met many BOAC composers and performers as well as worked with this repertoire myself. Happy 25th!

You've got staying power! Count me as a new fan!

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friend posted the link on facebook!

Facebook

I remember going to my local library and seeing a BOAC cd in the "new arrivals" section...grabbed it and have been hooked ever since! The library is a great place to put the music so people can try out the music first to establish them as fans for the future!

Marc

I never won anything, but I sent in an email and won tickets to Bang On a Can's Night In Bali opera in Boston, earlier this year. My wife, with the severe ADHD, hates cult-cha, but even she admitted that she stayed awake through the whole performance. Me--fascinated!

From listening to recordings in my freshman dorm-room to working with everyone in the summer festival; here's to many more memories in the future.

Congratulations, I look forward to listening to your work. I love contemporary classical music! In celebration...

Bang on a Can is a big inspiration to me as a young composer. Thanks for sharing this music.

I am happy to have the opportunity to listen to a full album after appreciating BOAC in more limited snippets for so long via friends and radio. Thank you!

Recommended by my percussion professor!

My first experience with Bang on a Can music was in with the collaboration with Brian Eno, "Music for Airports." I don't believe I understood who Bang on a Can was until the late 90's, however.

I always liked to buy music that was unique, and certainly followed Eno's career, but when I heard that album I suddenly became very interested in what Band on a Can was doing. I also followed the careers of musicians that were apparently tangentially related, such as Thurston Moore, Lee Ranaldo, and Tristan Perich. I was dating a dancer in the late 80's and ever since then, whenever I ran into music to which I thought she could choreograph dances, I would immediately turn her onto the music. Subsequently, she also fell in love with Bang On a Can albums, we've both been huge fans ever since "Music for Airports" and we have followed each release, since.

My friends told me of a mythical piece written during the serialist revolution in the key of C-Major. I immediately searched iTunes for Terry Riley's "In C" performed by Bang on a Can All-Stars. I sat silently for over forty minutes, completely mesmerized by the virtuosity of the players and fantastically creative spirit of the composer.

New fan!

My friend told me about BOAC. We graduated college in '86 and continued to live in NYC for a few years. It's hard to believe those were the first years. It seems like BOAC has always been there.

I first heard about you at my public library, where I was browsing through the CDs and thought the name sounded cool. Turns out I liked the music too!

Congratulations! What a wonderful idea to share your music this way!

I am a new bang on a can fan! I am a music educator and look forward to sharing some incredible music with friends and students!

I heard from a friend

I purchased the Tristan Perich 1-Bit Symphony for myself and an extra for a friend. I guess I got on your list that way. I'm hoping for a chance to attend a live performance on my next trip the Big Apple.

Congratulations on twenty-five years of spreading. Thank you so much for giving us this opportunity!

composer friend put link on facebook

Good ol' Facebook. I just heard about BOAC and have been wanting to hear more. Hooray!

heard about you from BLT

my son is a big fan and plays double bass. Robert Black is his instructor.

Alarm Will Sound were the artists in residence at my school. BOAC has done a lot of cool stuff.

I love what this organization is doing for new music! Keep it up!

I heard about your anniversary on Facebook. Congrats to all of you!
I heard BoaC All Stars in concert and it was amazing. Thank you for all of the great music!!

Happy anniversary! Wish you many more years to come

Heard Bang on a Can on WNYC..was stoked that stuff like this is on the airwaves!

Thank you for all you have done for new music!

From a friend

Recommended me by Chris Opperman

I am a musician and have good friends who let me know about this offer. Thanks!!

As I study music the name Bang on a Can comes up all the time. I've never listened to this stuff before so I'm here to do that.

Thanks for all that you do to promote and perform great new music.

Good friends through music

I had memories of BOAC but I partied too hardy. You could say that I banged the can too hard!

you were given extensive coverage by Vincent Plush (Australian composer) who discussed New Music in the US back in the 80s on ABC (Australian Broadcasting Corporation) Radio. Very impressive and led to formation of New Music groups here in Perth (Western Australia)…

Great times opening up for you guys on many occasions in the last 10 years! Congrats.

I hope to get to work with you all someday, in some capacity.

Music for Airports never fails to bring me to tears.

I heard about this album through Facebook and my old percussion professor, Omar Carmenates. Always been a fan.

New concert formats and creative ways to experience contemporary music are so important to the future of our art!!

The first time I heard Bang on a Can live was at Pick-Staiger Concert Hall on the campus of Northwestern University. I specifically remember a collaboration between percussionists Dave Cossin of the All-Stars and Glenn Kotche of Wilco in which they played the classic Steve Reich piece "Music for Pieces of Wood" on two drumsets. I was inspired by the performance to figure this version out my self and have played it several times since with my own percussion duo. Thanks for years of great performances and inspiration BoaC!

I first saw bang on a can at the New Music Marathon at MIT with Kronos, Wu Man and Gamelan Galak Tika. It was a mind blowing experience. Thanks for that!

Many years ago, on a vist to NYC, I was lucky enough to catch a BOAC All-Stars concert at the Japan Society. Very excited to hear the Nobukazu Takemitsu work. Thanks for the opportunity.

When I was about 13, I started getting into contemporary piano music. A family friend asked me, jokingly, if I was going to be in Bang On A Can. I remember crinkling my eyebrows and going "... what?" Now, 3 years later, if that had happened I probably would have sighed and said "I WISH." I love you guys.

Banglewood '04 was the first time I felt completely and utterly at home with a group of musicians and wackos. Michael, David, and Julie told us all that their hope was that the connections we made at that festival would be the ones that led us through our creative lives. The extent to which that has become my reality still makes me smile just about every day, and certainly every time I see or make music with someone I met that summer, which happens on a weekly basis. To everyone that makes BOAC tick, thank you all so much.

Music for Airports - a work I was familiar with in it's original version but never needed to rehear. The live performance version found the line between ambient and the freshness of improvisation.

Congratulations on your anniversary! Thank you for sharing music. Looking so much forward to meeting the works!!

I think my favorite part of BOAC is not the big concerts, sublime as they are, but the student recitals at Mass Mocha. The collaborations among musicians with diverse musical traditions, instruments, and sensibilities creates experiences that enthrall this physically tone-deaf listener.

I heard about the Tristan Perich 1-Bit Symphony album a while ago (not sure where, maybe NPR?). I was so intrigued I bought it and have kept an eye on your label. I live in DC and have not seen any announcements for performances around here though I would love to see some of your artists live. Thank you for the free music!

I heard about this from a text from a friend. I've loved BoaC for a long time, and I'm excited to hear this album.

The first time I heard the BOAC All Stars play was during my undergrad at Hartt; it was an amazing experience and one of the most energetic performances that I've ever witnessed.

.Terry Riley's "In C" = Sublime.

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My friend has related memories. I hope to have some too.

The performance of Glass' "Music in Similar Motion" at the last BOAC marathon. The overly reverberant acoustics of the hall gave a completely different experience to this piece creating a hypnotizing wash of sound.

A friend told me about it! :)

My first Bang on a Can Marathon was at the University of Maryland while the BOAC Marathon was on tour. We drove up from Fredericksburg, VA to see Music for Airports and Glenn Kotche. Later that year, I moved to New York and have attended the Marathon every year since.

When I heard that Bang on a Can was going to cover Brian Eno's landmark MUSIC FOR AIRPORTS (with traditional instruments, to boot) in 1998, I knew I had to own it, so I immediately bought it -- sound unheard, as it were. Amazing. Then I had the opportunity to experience this remarkable interpretation live at the El Rey Theatre in Los Angeles. I was mesmerized watching the musicians re-create the work in front of me. Astounding. And best of all was the subsequent release of the collective's live version of the work -- thanks, BOAC!

I have no memories...just heard about this on FB.

I first heard "Weather" about 7 years ago and ever since then Bang on a Can and its composers have been stretching my musical boundaries and enriching my musical sensibilities!!

The first time I heard the All Stars perform live was when I was at school in Bowling Green. They did Cheating, Lying, Stealing at the New Music Fest. It was quite a raucous thing. That coupled with drinks with the group afterward led to quite a memorable experience.

The first BOAC CD I bought was Terry Riley's 'in C' I was about 17 at the time. Since then both BOAC composers and performers have informed what I have come to expect from contemporary music. Moreover they have blazed a trail for other like minded composers/collectives/groups. Thank you and best of luck for the future!

Congratulations on your anniversary! And thank you for sharing this recording.

You guys rock.

The best thing I saw was on the Marathon in 2007 or 2006, the Anthony Braxton for 100 tubas conducted by Braxton himself!

I heard you live in San Diego a few years back. I've got many of your recordings. Former member Steve Schick is a former student of mine.I remember one of his first solo recitals (pre BOAC). I think it was Zyclus, the setup was a closed circle. I wondered how he would get inside. He walked under the marimba resonators.

I feel like 25! Congrats!

Thank you.

2011 was the first year I attended the Bang on a Can marathon in the Winter Garden. It was fantastic and I'm eagerly awaiting the next 2012 concert. I discovered new refreshing music so many thanks and happy anniversary!

Loved seeing BOAC at Southbank London back in 2002, including a performance of in C

Love all these artists, excited to check out the album!

Heard my first B.O.A.C CD while driving across Canada. I've been a fan ever since.

This stuff is pretty awesome

I was looking for 1-bit symphony from Tristan Perich on website. I founded it on your website and bought it.

I recommended the BOAC sampler to a few friends a few years back. The mother of one of my friends (who had no prior predilection for contemporary classical or art music) heard the sampler and was entranced by the music, calling it some of the best and most unique music she'd ever heard. Testament to the fact that BOAC are the greatest new music ensemble around!

I don't recall how I first heard about BOAC, but I'm glad I did.

I remember when I heard the boac recording of failing for the first time; that was when I lived in Oakland.

first b.o.a.c. experience - sifting through CD's in the public library, Music for Airports literally fell off the shelf and into my hands....and the rest was history

Hearing Michael Gordon's Trance live for the first time last year at the Music Gallery in Toronto blew my mind (literally, it's blown).

Amazing players, amazing music, amazing composers, and amazing performances!!!

I have played BOAC Music for Airports in every airport I have ever waited in. You could think of it as a personal pre-flight check.

Ever since becoming indoctrinated by Evan Ziporyn, I've enjoyed the musical adventures of bang on a can, back from the Cheating, Lying, Stealing days.

Congratulations on your continued success and inspiration.

Sean Rubin told me

My favorite BOAC memory is when I finally got the chance to experience a marathon last year. Piling into a small car with 4 other dudes at 2am the night before, driving 8 hours through the night which included a storm so bad that we couldn't see the road just so we could get to NY in time to see the whole thing. The whole experience was incredible, but I'll never forget the performance of Fausto Romitelli's An Index of Metals. And Glenn Branca was just the thing to get the blood pumping for another 8 hour drive straight back to Ohio. Thanks, dudes, for all you do!

Following up on Theo Bleckmann's discography.

I have unfortunately never seen boc live. But they opened my eyes to some amazing composers with their CDs

On WQXR-Q2

Evan Ziporyn's "Tsmindao Ghmerto" blew my mind when I first heard it.

Industry!

Thanks for all the music! Happy Anniversary!

I've been a music director at KDVS and WREK, two top-notch college radio stations. I always value your releases for airplay.

Also, I met Vicky Chow at Carlsbad this fall. I'm looking for a recap of the festival in the forthcoming issue of the KDVS program guide.

Thanks for all you do. Good luck on 25 more.

Yours, ed

I remember being taken to see one of the marathons a few years back... I wasn't sold on a whole 13 hour festival, but I wound up sticking around until the very last act was done–glued to my seat. It was one of the most awesome concert experiences of my life. Now I try to go to every one, even if it's just by myself.

You're always at the forefront of New American Music! Always a pleasure to listen to your cutting-edge work!

In 2009 I popped up to Vancouver BC to catch BOAC - I spent the day walking through town and out to the University, which is about 10K, as the city was preparing to host the Olympics.

Every year I look forward to the Bang on a Can Marathon to introduce me to new performers and new pieces. Who knew that the WFC Winter Garden would become one of my favorite places to listen to music?

Oddly enough, I heard of this through a blog on biblical translation.

bang

Love Glass's Music in Fifths!

First heard BOAC when I stumbled upon “Cheating, Lying, Stealing” years ago and immediately became an Annie Gosfield and David Lang addict. It blew me away, and threw the doors open wide for me in terms of musical possibilities. It was a great inspiration for me to get serious about composing and to start own my own ensemble.

I heard Bang on a Can at Stanford last fall. I have anxiously awaited the recording of some of that music, and now it's here. I'm hopelessly excited. Gah.

I have always loved new music, and I was a fan of Steve Reich, at that time, I was buying almost all new recordings from Argo, so in 1996 I bought "Trance" from an unknown (for me) composer and what I heard was exactly the kind of music I had always wanted to hear... than came Cantaloupe, and I discovered the music of David Lang and many others, so thanks for that!

And today you are giving a chance to a promising french composer (Florent Gyhs) that I discovered on your label, and today I'm listening to GPS40 from Florent witch is inspired by "The Passing measures".

A french fan from Paris.

Dom

Bang on a Can was my first real foray into the world of contemporary music. The music supported by the festival and All-Star ensemble changed my perspective of what music could be. And as a result, I'm studying composition with the hopes of someday changing someone else's perspective of what music can be.

Great!

I began listening to Bang on a Can recordings several years ago, and as a result made a point of attending an original production of a magnificent new work by Phil Kline that was staged outside Philadelphia, I think in 2004 or so. I had a chance to shake the composer's hand then, and also talk with the Philadelphia Inquirer music reviewer who was there to write about the piece, and who later wrote an appreciative review. Since that time, I've been an ever more ardent fan of contemporary music, and especially appreciate the work that Bang on a Can does in bringing this music forward and making it readily available in performance and on recordings. BTW, your recording of Phil Kline's Unsilent Night is now a regular and highly valued feature of the music we play in our home every December during the holiday season, and we make a point of introducing friends and family to that splendid recording. Thanks again, and best wishes for continued success.

I interned at Bang on a Can last summer and had a wonderful time meeting all the great people that make this company happen! Cheers for expanding the possibilities of contemporary music! Bravo!!!

Heard about it from a friend.

The first time I saw Bang on a Can was at the Clarice Smith Performing Arts Center in College Park, MD in 2004. Philip Glass performed with the ensemble during the second set (Music in Similar Motion, Music in Fifths), but I was truly moved by Bang on a Can's opening set. Comprised of Cheating Lying Stealing, Dalem and Sangut, and Hermeto Pascoal's Arapua, it packed a visceral wallop to go with the heady arrangements and playing. It stirred and revived something essential in me, something I'd never experienced in a concert hall. At one point, I felt wet droplets on my hands and realized they were from the tears I was shedding.

Heard you guys at the Yerba Buena marathon. Cheverisimo.

BOAC Summer Festival in 2010, It was incredible!!!

for all the great contemporary music, especially Adriessen, Glass, Reich, Riley, and for the wonderful playing of Wendy Sutter in particular.

I can't remember exactly how I found BOAC, but the amount of music I've found over the years through BOAC and related folks is just incredible. As someone else said here, life-changing.

I remember fondly bringing my girlfriend and mom to the 1999 Marathon at the Henry Street Settlement in NYC and hearing a new piece by Stefan Weisman.

I saw Bang on a Can All Stars perform with Iva Bittova in Wrocław, it was great! Happy Anniversary!

I heard about this offer through your Twitter. Thanks!

Driving through Iceland in a beater of a stationwagon, listening to Evan Ziporyn playing Georgian polyphony on bass clarinet, past short horses, glaciers, strange mosses and wraith-like steam rising from the ground.

Link on gusset's tumblr brought me here.

I heard about this album from the Sequenza21 Blog

I had no idea what the bass clarinet could do before I heard Evan Ziporyn play.

Never thought anyone would be able to play Ambient One live, or that it could surpass the original!
Happy Birthday B.O.A.C !!!!

Steel Hammer

Thanx!

I follow you constantly, and I heard about this on facebook. God bless you!

Getting 1-Bit Symphony by Tristan Perich and plugging it in for the first time... Immense!

I was artistic director of Bordeaux Biennale and we invited Bang on a can all stars there for a fantastic 10 days of music.

I remember a lot the Bang on a Can concert in Mexico, when they played the complete Music for airports concert. I remember looking up to the beatiful roof decoration, enlighted with the blue stage lights, all conbined with the music and thinking: This is what beauty is about, holding my hand just not to start crying

Heard about this album on facebook--thanks!

Chance brought me to Bang On A Can!

WOW- I hit the JACKPOT!!!

BOC introduced me to the music of Fausto Romitelli. Thank you.

Going to the second BoaC marathon at the Winter Garden at 1am to catch the All-Stars playing Eno's "Music for Airports", I took a cab from Brooklyn Battery Tunnel popping right out of in Lower Manhattan. This was the 24 hour marathon so there were people who had been there for hours and hours. Some zombies - some new arrivals who would normally be sleeping at that time. Entering the Winter Garden to the opening notes of "Airports" was magical enough, but to see all the devoted fans there in the depths of the winter in the middle of the night in an atrium with palm trees and listening to this ambient masterpiece - the whole thing was just too unique for words.

Our musical landscape would be immeasurably bleaker without the work of BOAC.

I heard of bang on a can through the So percussion ensemble

I'm a fan since Bang on a Can's version of Eno's Music for Airports, and I'm always happy to listen to new recordings. Thanks a lot for lots of good music.

I remember when I heard BOAC had played arrangements of Conlon Nancarrow's Piano Studies for player piano. I haven't stopped listening since. Thanks for all of your virtuosity and ingenuity.

Having Bang on a Can in residence every summer for the past decade-plus at MASS MoCA in North Adams, Mass., has been one of the great pleasures of my career as a music critic, getting to hear all the great music and getting to know the wonderful co-founders, composers, and musicians associated with BoAC. I count myself blessed to be among those whose lives have been touched by the music and people of Bang on a Can. -- Seth Rogovoy, BerkshireDaily/The Rogovoy Report, award-winning music critic, author of "BOB DYLAN: Prophet Mystic Poet" and "The Essential Klezmer"

My friend Jeremy told me about it and that it'd be GREAT!

Email message from bang on a Can

Well, I remember contributing to B.O.C. in December

Cant go wrong with free portland music!

Thanks for performing the music that others are unwilling to perform.

Happy 25th from Norwich, England

A coworker reacquainted me with Matmos. Saw them with So Percussion at the Rickshaw in SF. It was an incredibly novel and refreshing experience sitting on the floor watching them pluck cactus spines.

Bang on a Can is both good music and sound advice.

I like to design, while listening to your music. Thank You

The 2-day Marathon made me feel immortal, eternal, and tired. I have never experienced anything like it!!! Love all of you, the fathers/mothers of us all in so many ways!!!

2009 Marathon at the WTC Financial Gardens....amazing show, and a really fun trip to NYC w/ great friends!!

Bang on a can fan!

Happy new year Bang on a Can, and here's to another great 25 years!

Will always remember my first BOAC All Stars show at Sprague Hall...my first experience with so much wonderful music including Cheating, Lying, Stealing and Valentine.

Your recording of Music for Airports changed the way I listen to music. Thanks and congrats!

In 1998 you folks released a version of "Music for Airports" performed on acoustic and electric instruments. Nonpareil, nonpareil.

I stumbled upon a youtube video after hearing my professor mention the ensemble. I felt like I had discovered the Holy Grail of music.

Great music ¡¡¡¡¡¡¡

I first encountered Bang on a Can 20 years ago, while perusing the recordings section of my conservatory library. The sound was exactly what I'd been looking for and what was missing from the new music world. Congratulations on reaching 25!

This is the contemporary musical world where I feel more comfortable and happy with!

Heard about the free download via Sequenza21.

Great idea Bang On A Can! Thanks for everything, and here's to 25 more years!

I was attracted to the idea of Bang on a Can from the git-go - 1989 was when I first heard of it. There had always been a prejudice against rock instruments and ideas in classical music - which seemed silly given that "art" music had always drawn from popular or "folk" stuff...Bang on a Can made it seem perfectly natural to go from place to place, without feeling like a criminal!

Thanks for all the great tunes!

shared a gig with some of the BOAC folks in conjunction with the Moth ... since I'm an improv musician myself, it was a proud moment to realize that ALL of the music in this relatively corporate environment was improvised. plus, musically, those guys really kinda blew my mind. . .

I was performing in Italy and the show was badly organized, so we had to get up at 4 a.m. to work on the lights. I had Cheating, Lying, Stealing on as the wake-up music on my treo 650.
My friend who was bunking with me gave me the weirdest look about that being my 4a.m. wakeup music.

As a composer/guitarist with classical conservatory training and early rock band experience, I remember the excitement of finding BOAC and attending the Marithons at BAM and the Winter Garden.

I have no idea what is going on. I LOVE BOAC.

My favorite memory- there are too many to count at this point. One of the best would have to be the day I found out I was going to be an All-Star. I nearly broke my lap-top in half and started jumping on my roommate's bed in our tiny little 5th floor walk-up. The second memory that comes to mind is one of the first shows we all played together at this underground club in Beijing called D-22. All crammed onto that little stage, enveloped in clouds of cigarette smoke, playing Worker's Union and Nancarrow into the wee hours of the morning. We played Thurston Moore's Stroking Piece as an encore and they went nuts. I'd never been part of such an awesome sound before nor had I ever worked with such an inspiring group of musicians. It's like a love story ... they had me at "amplified". Seriously, best thing that ever happened to me.

Long live Bang on a Can!

Congrats on 25 years of new music! I am planning a pilgrimage to N.Y. for my first marathon this summer.

favorite memory: Coming home at the end of the semester and taking time to sit down and listen to the BoaC catalogue, a cup of coffee in hand, of course.

Many thanks for all of the wonderful music.

I met Ashley on the subway. A beautiful sweet woman with a cello is hard to resist, and when I heard she was going to David Cossin's place to practice for this band she was in, I was reminded of the time that I had been to his house. Cassis and Simon Ho brought me along with them when Cassis was dropping off some instruments that she had borrowed way back in the mid aughts. So I follow the group for energetic reasons.....

Word of mouth. Sean Rubin, my friend and student of Robert Black, told me about this album release.

Alice Tully Hall w/ Meredith Monk!

My roommate posted the link on Facebook.

Seeing Eliot Feld's Yo Shakespeare to Michael Gordon's Yo Shakespeare was mind-blowing and roof-raising.

Listening to BOAC's recording of Riley's "In C" playing while writing computer code late into the night in graduate school. Kept me going!

My husband played me most of the Cantaloupe CDs. I have never heard any music like it. I think they are fabulous.

Michael Gordon's "Van Gogh" reinvigorated my faith and my interest in chamber opera. It's a masterpiece!

Most of my memories related to Bang on a Can relate to the many great moments of the five or six Marathons I've attended. I vividly recall be very drowsy in the wee hours and noticing that the Wintergarden was filling up with twenty somethings, many of whom were not exactly sober. Next thing I know Dan Deacon is thundering out of the speakers and a massive party has begun. And then, they were gone. Not long after, the crowd was mesmerized by the hypnotic force of Stockhausen's Stimmung. A perfect example of the magic of the Marathons.

Thank you for providing the world with such great music and pushing the envelope of musical ideas. Happy Anniversary!

The first track I heard by BOAC was Lick.

I first learned about B.O.A.C. through an entertaining review article featured in the monthly magazines Tower Records used to publish on new album releases. I remember it being enthusiastic about the new sound emerging from the downtown scene in NYC: a rougher, edgier, more rock-infused brand of minimalism that completely blew me away. I've been a big fan ever since, and I always look forward to the next B.O.A.C. recording. Some of my colleagues were even around back then to promote David Lang's early stuff in the Composer's Inc. concerts that took place here in SF too! Small world!

I'd never heard of BOAC before I downloaded a Maya Beiser album from iTunes - World to Come. I love it, my mother (a 90-year-old cellist) loves it. I visited Beiser's website to find out about her, and discovered BOAC - whose name I love, and I hope the title is not a literal description of too much of the music.

Many thanks for your amazing concert in Krakow in September 2011!

I'm a composer living in Dallas. I heard about boac while still a student (actually had a masterclass with Evan Ziporyn). Love what they are doing for modern music. Here's to many more great years!

I interned at bang on a can one summer and learned so much!

doing great work for 25 years, and giving it a name

"Industry" was the first album I heard and I've never looked back! One day I will be able to see you live and I look forward to it! Happy anniversary and here's to many more!

I likely would not know about Steve Reich without you!