So Percussion live (and in person!) in Dallas

May 25, 20217:30pm

Morton H. Meyerson Symphony Center

SŌ PERCUSSION

ANGÉLICA NEGRÓN Gone
CAROLINE SHAW Taxidermy
VIJAY IYER Torque
JULIE WOLFE Forbidden Love

Through its sensational interpretations of modern classics, innovative multi-genre original productions, and “exhilarating blend of precision and anarchy, rigor and bedlam,” (The New Yorker), Sō Percussion has redefined the scope and role of the modern percussion ensemble, placing it at the leading edge of 21st-century music.

Sō’s repertoire ranges from 20th century works by John Cage, Steve Reich, and Iannis Xenakis, et al, to commissioning and advocating works by contemporary composers such as David Lang, Julia Wolfe, Steven Mackey, and Caroline Shaw, to distinctively modern collaborations with artists who work outside the classical concert hall, including Shara Nova, choreographer Susan Marshall, The National, Bryce Dessner, and many others.

Sō Percussion takes you on a fascinating journey as only they can. “Through a mix of consummate skill and quirky charm, this mercurial quartet has helped ignite an explosive new enthusiasm for percussion music old and new” (The New York Times).  Keep your enthusiasm blazing or kindle a new passion for this exciting music live at the Meyerson!

October 24, 20257:30am

Babe the blue OX and the Schickele Family Denim Review

Sō Laboratories (Our Home In Brooklyn!)
20 Grand Avenue, #205, Brooklyn, New York 11205

Apparently this band has been making new music for 35 years and didn’t bother to tell many people. Why ruin it? Rose, Eddie, Hanna, Tim, Squiggy, Lemmy, Alfalfa they’ll all be there, with brand new ways to cut in song in pieces. Tell Everyone! Cuz it’s free (donation suggested) and there’s a fridge of beer and seltzer!

November 1, 20258:30pm

Sō Plays Madrid!

Durante 25 años, el cuarteto de percusión ganador de un  Grammy Sō Percussion, ha redefinido la música de cámara del siglo XXI mediante una emocionante combinación de precisión y anarquía, rigor y caos (The New Yorker).

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