Ninth Planet presents:
MOTHER EVE
MOTHER EVE
Saturday, June 13, 2026, 7:30 pm
Little Mission Studio, SF
Little Mission Studio, SF
Emma O'Halloran, Vertical Fields (2014)
for violin, piano, and cello
Josiah Tayag Catalan, Light, Smoke, and Siren Glow of Mist (2020)
for flute and viola
Cole Reyes, Dot Plot (2024)
for amplified flute, cello and piano
*** INTERMISSION***
Emma Logan, Mother Eve (2024, rev. 2026)
for mezzo-soprano and chamber ensemble
words by P.Smith
featuring Kindra Scharich, mezzo-soprano
Full text for Mother Eve linked here
The Performers
Nathaniel Berman, Conductor
Kindra Scharich, Mezzo-Soprano
Jessie Nucho, Flute
Sophie Huet, Clarinets
Kevin Rogers, Violin
Justine Preston, Viola
Evan Kahn, Cello
Eugene Theriault, Bass
Taylor Chan, Piano
Elizabeth Hall, Percussion
Program Notes
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I wrote Vertical Fields in 2014, and it was one of the first pieces I composed without using an electronic component. I initially found my way into composition through experimenting with electronics and the way I perceive sound has been heavily influenced by that – I tend to think of music in terms of textures and colors that can shift and transform seamlessly. Writing for piano trio challenged the way I generally work with sound in that I was presented with two distinct groups of instruments that, for the most part, serve different functions. The nature of the piano is to attack and decay, whereas string instruments can sustain pitches. I wanted to explore this special combination of instruments and to find a way to mutate the sound-world of the piano trio in a similar way to how I work with electronics. When I first started learning how to play the piano as a teenager, I remember falling in love with the sustain pedal and its ability to transport the sound of a simple melody into a cavernous space. In Vertical Fields, I’ve used the resonance of the piano as a portal that allows the string textures to transform over time. A motoric pattern in the strings evolves and mutates as if it’s being pushed through different atmospheric densities, vertical fields of thin and thick air. -Emma O'Halloran
Emma O’Halloran is a GRAMMY-nominated Irish composer whose music is driven by a fascination with joy, wonder, hope, and human connection. Freely intertwining acoustic and electronic music, her work seeks to capture moments of intimacy and magic, and has been described as “intensely beautiful” (Washington Post) and “unencumbered, authentic, and joyful” (I Care If You Listen). Emma’s work spans collaborations with folk musicians, chamber ensembles, turntables, laptop orchestra, symphony orchestra, opera, and theatre. Known for her distinctive fusion of pop, rock, and electronic influences with the rich colours and textures of acoustic instruments, her work has found a wide audience and has been featured at various music festivals such as Classical NEXT, Cork International Choral Festival, PODIUM Esslingen, New Music Dublin, Tokyo’s Born Creative Festival, and Bang on a Can LOUD Weekend. Additionally, her music has been performed by Crash Ensemble, Chamber Choir Ireland, ensemble reflector, Kaleidoscope Chamber Orchestra, PRISM Saxophone Quartet, and the Irish National Symphony Orchestra, amongst others. In recent years, Emma’s passion for storytelling has led her towards multidisciplinary projects such as soundwalks and opera. She has written for Irish National Opera, Boston Lyric Opera, and Beth Morrison Projects, and her recent operas TRADE and Mary Motorhead received critical acclaim at LA Opera and New York’s PROTOTYPE Festival, with the Los Angeles Times describing her as “a kind of modern-day Monteverdi.” Released on Signum Records in 2025, the album of these operas earned Emma a GRAMMY nomination for Best Opera Recording at the 68th GRAMMY Awards. Emma loves working with people of all ages to explore and create music, and she has served as a mentor for various composition programmes in Ireland and the United States. In 2021, in partnership with the Irish National Concert Hall, she founded the Creative Lab, an award-winning mentorship programme for young composers from traditionally underrepresented groups in music composition. Emma holds a PhD in Music Composition from Princeton University. |
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Light, Smoke, and Siren Glow of Mist was inspired by the poem, “The True Color of the Sea” by Barbara Jane Reyes. What attracted me to this poem was the visceral and sensuous imagery she used, which one line stood out and formed the basis of my piece: “sage’s gardens, ginger root, and siren glow of mist…”
This piece is rhythmically driven by odd-numbered groupings and loosely inspired by rhythmic modes from kulintang music of the Southern Philippines. The flute and viola explore a range of timbral possibilities to embody the inspiration and title of this piece and allude to some of the mystical and spiritual qualities that the “sea” represents in Philippine folklore. - Josiah Tayag Catalan Josiah Tayag Catalan (he/him) is a Filipino-American composer born in New York City and raised in the San Francisco Bay Area. Recently, his compositional interests have been inspired and centered on retracing his heritage through his travels in the Philippines, spending time with various indigenous communities, and learning about the music, dance, and folkloric/spiritual traditions specific to each tribe. He has been a finalist in the Thailand International Competition Festival and has been awarded prizes from NACUSA, the Sacramento State Festival of New American Music, the Megalopolis Saxophone Orchestra, and the San Francisco Contemporary Music Players. Josiah has previously served as a Fromm Foundation Composer Fellow in the Composer's Conference, a Bilinski Fellow at the University of California at Davis, the Composer-in-residence with the Diablo Symphony, and is currently a Lucas Artist Fellow at the Montalvo Arts Center for 2025-2027. His music has been commissioned and performed internationally by individuals and groups such as the Left Coast Chamber Ensemble, Earplay, Empyrean Ensemble, Lydian and Arditti String Quartets, the MANA saxophone quartet, The Megalopolis Saxophone Orchestra, Citywater, violinist Miranda Cuckson, percussionist Chris Froh, and soprano Helena Sorokina. His music is published by BabelScores. Currently, Josiah is teaching as a lecturer in Music Theory, Composition, and World Music at Sacramento State, UC Davis, and is an Adjunct Professor at American River College. He received his PhD at UC Davis in composition and music theory. Outside of music and teaching, he is a tennis and baseball nerd who plays competitively and often travels and hikes around Northern California with his wife, child and adopted mutt. |
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In my undergraduate studies, I pursued mathematics alongside music. Though I loved many facets of math, one that constantly eluded me was statistics. This work, Dot Plot, is an homage to the many frustrations I endured during those classes in the form of using a scatterplot (or dot plot) as inspiration. Within these plots, one may acquire many points of data that may lead to structural cohesion and a conclusion based on a hypothesis, or it may completely disintegrate. -Cole Reyes
Cole Reyes is a composer, educator, and arts administrator whose creative exploration delves into the intersection of individual human experiences and the broader world. His musical output, which draws inspiration from diverse genres such as pop, rock, and folk music, is distinguished by a fusion of lyricism and rhythmic propulsion. Recent and upcoming performances include those with distinguished ensembles such as the JACK Quartet, San Francisco Contemporary Music Players, the United States Marine Band, Contemporaneous, BlackBox Ensemble, the Rhythm Method Quartet, Bergamot Quartet, BlackBox Ensemble, Del Sol Quartet, the Lake George Music Festival, among others. Recent commissions include those from the National Orchestral Institute and Festival, Bang on a Can Summer Festival, the Victory Players, and ARTZenter. Upcoming works include a new work for Telos Consort inspired by the Nichols Arboretum in Ann Arbor, Michigan, and an evening-length work for voices and chamber orchestra inspired by the experience of creating a domicile amidst an age of growing concerns about the affordability and sustainability of the current housing model. As an educator, Reyes has taught at the University of Michigan in the Composition and Music Theory Departments. His pedagogy is driven by the understanding of music within and outside the Western Art Music canon, acknowledging the often exclusionary practices that have led to a diverse canon of various kinds of musical expression. His primary composition teachers include Julia Wolfe, Michael Gordon, Robert Honstein, Michael Daugherty, Bright Sheng, Roshanne Etezady, Kristin Kuster, Evan Chambers, Christopher Stark, and LJ White. He is co-founder of Telos Consort, a professional chamber ensemble based in New York City dedicated to the performance and curation of new music that features saxophones, strings, and piano. He is currently pursuing doctoral studies at the University of Michigan. |
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Mother Eve takes the character of Eve from the biblical creation myth and uses her as a kind of eternal icon, from the first false promise of paradise to all of humanity's false promises that follow, witnessing the overwhelming and bitter heft of human history in a single bite of fruit. The imagery that interested me was the idea of a woman who has existed in a kind of long, continuous present watching the development of society through the industrial age, the atomic age, and into our own decay of modernity, and seeing herself in the exhaustion and ennui of her daughters throughout time, into eternity. The beast of civilization endlessly roars in her ears, yet she is numb to it - all false utterances and remembrances of a once true place.
The choice of Eve, the primordial woman, is hardly a political one, certainly not a religious one, and doesn't mean to represent an inherently feminine narrative, but she did seem particularly poignant as an experiencer of human history, as our Virgil in this kind of Divine Comedy. She was the first to seek more - to yearn, and for her desire she and her daughters are largely made to simply experience the weight of history without a say, mistresses of decay, ever desiring that bite of some sweeter fruit. Enjoy lol. - P. Smith Full text linked here. In writing Mother Eve, I wanted to create an expansive, textural, and lived-in sound world befitting of the poetic landscape evoked in the text, and which also took advantage of a varied instrumentation. The choice of mezzo-soprano was easy - the silky tonal quality and depth of range was perfect to lend a kind of eternal gravitas to the voice of our "Eve". For the ensemble, I wanted strings at the very core throughout, a driving force alongside the voice. Because of the versatile nature of winds, I chose flute/piccolo and clarinet/bass clarinet for much of the melodic and counter-melodic material. Piano and percussion each offer a large palette of texture and color, giving the sense of a much larger ensemble. The musical material finds inspiration from a variety of sources, from the macabre cabaret of Kurt Weill to the quiet contemplation of medieval chant, somewhere between the abstract world of the song cycle and through-composed narrative monodrama. Many thanks to Kindra Scharich and Ninth Planet for bringing this music to life again; to Jessie Nucho for this incredible opportunity to further refine this piece; and to Patrick Smith for creating such beautiful and powerful words, which always propel me deeper and deeper into the music. - Emma Logan San Francisco-based composer Emma Logan (b. 1990) writes “music with contemporary resonance that feels as if our lives depend on it.” Her music has been described as “ethereal, harmonious, and dissonance-tinged” and explores the human experience through lyricism, gesture, and storytelling. In 2023, Emma was awarded the San Francisco Artist Grant by the SF Arts Commission to write Mother Eve, a song cycle/monodrama with original words by P. Smith. Described as “incendiary in sustaining a profound instability between music and words, inspiration and disillusionment, creativity and legacy”, Mother Eve was premiered by mezzo-soprano Kindra Scharich and the SF Contemporary Music Players in November 2024. (SF Classical Voice) Emma’s passion for contemporary music drives her to continue collaborating with fellow composers, performers, and artists to bring new music to life. She is co-founder of the Helia Music Collective, an organization dedicated to promoting women in music. Since its inception in 2016, Helia has presented multiple commissioning projects with Bay Area ensembles and artists, resulting in commissioning over a dozen new works by women. Emma is a curator throughout the Bay Area, and served as a curator for San Francisco’s Center for New Music in 2017-2019 where she presented 20 programs. In the past, she has served as a composer-in-residence for Fête Concerts and as an Artistic Director for Composers, Inc. In addition to her creative endeavors, Emma is passionate about arts administration. She is currently the Director of Booking for the War Memorial & Performing Arts Center in San Francisco. Upcoming projects include the premiere of What Lies at Dream's End in Earplay's 2026 season and recording a new album with her band, Love Can’t Save You, Padmè. Past collaborations include commissions and performances by the San Francisco Contemporary Music Players, Jeff Anderle and the SFCM Clarinet Ensemble, Earplay, Natalie Raney, Thomas Burritt, Curium Trio, Liaison Ensemble, Robert Simonds, Miolina Duo, SopraDuo, Siroko Duo, Ensemble for These Times, Areon Flutes, and the Guerrilla Composers Guild. Emma’s music has been performed across the United States and internationally. She has participated in the League of American Orchestras’ Essentials in Orchestra Management Program, Oregon Bach Festival Composers Symposium with composer Robert Kyr, the Fresh Inc Music Festival with Fifth House Ensemble, and the Skaneateles Music Festival with composer Paul Moravec. Emma studied with David Garner at the San Francisco Conservatory of Music and with Andrew Waggoner, Daniel S. Godfrey, and Nicholas Scherzinger at Syracuse University. |
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As a dedicated recitalist, Kindra Scharich has performed more than 250 art songs in 15 languages, and enjoys the full complement of recital, concert and opera engagements alike. A proponent of new works, she has participated in a number of premières including: John Adam’s Antony & Cleopatra (San Francisco Opera), Bright Sheng’s Dream of the Red Chamber (San Francisco Opera) Laura Kaminsky’s Today it Rains (Opera Parallèle) and Missy Mazzoli’s Breaking the Waves (West Edge Opera, west coast première.) Scharich’s recordings include: In meinem Himmel: The Mahler Song Cycles, with the Alexander String Quartet (2018), Everyone Sang: Vocal Music of David Conte (2018), To my Distant Beloved, with pianist Jeffrey LaDeur (2020), Nepomuceno Overseas, with pianist Ricardo Ballestero (2021) and To the Western Sea: Remembering Ursula K. Le Guin (2021).
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PAST CONCERTS
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Sunday, February 2, 2025 // 3:00 pm
Morrison Hall, UC Berkeley The Performers Jessie Nucho, Flutes Sophie Huet, Clarinets Kevin Rogers, Violin Evan Kahn, Cello Margaret Halbig, Piano The Program Eda Er, Always Welcome; Never Invited (World Premiere) Paul Novak, entwining Kaija Saariaho, Light and Matter Olivier Messiaen, selections from Quartet for the End of Time Adrian Wong, Glass Flowers Ursula Kwong-Brown, Awakenings Program Notes |
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Saturday, November 2, 2024 // 7:30 pm
Little Mission Studio 445 Hampshire Street, San Francisco, CA Macabre meets whimsical on the Day of the Dead in our season opener. Featuring Natasha Bogojevich's The Ephemeral Orphanage, Nicole Lizée's Music for Body-Without-Organs, Eda Er's I took a train to mars, and the premiere of a new version of Ursula Kwong-Brown's Sunrise, unique animations will bring enhance the experience. We'll also present additional audiovisual works by guest artist Eda Er for a fun evening not to be missed.
Featuring: Eda Er, vocals Jessie Nucho, flutes Sophie Huet, clarinets Kevin Rogers, violin Griffin Seuter, cello Margaret Halbig, piano Elizabeth Hall and Divesh Karamchandani, percussion Giacomo Fiore, electric guitar |
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Join us for a glass of wine and an evening of improvised music, featuring Pauline Oliveros' "Four Meditations for Orchestra," Giacomo Fiore's "Morning," and Carl Testa's live processing environment Sway.
Featuring: Jessie Nucho, flutes Brendan Lai-Tong, trombone and conch shell Giacomo Fiore, electric guitars Eugene Theriault, double bass |
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Saturday, May 18, 2024 // 7:30 pm
First Unitarian Universalist Church 1187 Franklin Street, San Francisco, CA Join us as we celebrate the rebirth and growth of spring and leave behind the harshness of winter in our spring concert, “Awakening.” We begin with some intense groove and crunch via Guillaume Connesson’s "Techno-Parade" and Viet Cuong’s "Lacquer and Grit". From there we share a brand new arrangement of devon osamu tipp’s "study of a bull 1991", inspired by Francis Bacon’s painting of the same name. With this sonic contemplation of dust, we are invited to acknowledge the heaviness of whatever weight we may be bearing this year. From here, we enter a gentler place with Angélica Negrón’s "La Isla Mágica", a lovely piece for solo bass and electronics that explores the composer’s relationship to two islands dear to her: Bali and Puerto Rico. Finally, we leave you with the peaceful sonorities of Patrick Burke’s "Awake" and together move to a position of hopeful imagining for the future.
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Saturday, October 14, 2023 // 7:30 pm
Noe Valley Ministry 1021 Sanchez Street, San Francisco, CA 94109 We’re excited to announce our season opener, “Snapshots,” featuring the music of 2023 Ettelson Award Winner Pascal Le Boeuf. Coming to San Francisco on Saturday, October 14 at 7:30 PM, the program also showcases Danny Clay’s “Turntable Drawing No. 16,” originally for solo electric guitar and now reimagined for larger ensemble with Giacomo Fiore as soloist. The program takes inspiration from retro audio tropes: from turntables in Shiva Feshareki’s “Zohra” and Danny Clay’s music to the 80s synth quality of Alex Temple’s genre-bending “This Changes Everything!” The delicately rhythmic groove of Gabriella Smith’s “Anthozoa” rounds out the evening for an edgy and upbeat show you will not want to miss!
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EXPEDITION #8: Prospero's Island
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Beyond Shakespeare. At the bottom of the world. At the limits of love. The world premiere of Prospero's Island, a major new chamber opera by acclaimed creators Allen Shearer and Claudia Stevens, is set for March 25, 2023 at San Francisco's Herbst Theater. A production of Ninth Planet and InTandem, the opera, based on The Tempest, is about power, deception, terrible secrets and new beginnings. With stunning imagery and richly orchestrated music, Prospero's Island brings Shakespeare's great play to new life, its story transported to the Falkland Islands in the 1950's and action that takes place from dawn to dusk on one momentous day. Audiences will meet the all-powerful Prospero, reimagined as a war criminal with a dark past; paratrooper Andy and lovely Mandy as they fall in love (but is it magic or true?); teenage Caliban, as he tussles with the island's cheeky penguins; the comedy team of paratroopers Steffi and Trish; and the faithful Ariel, half bird and half woman, whose devotion to Prospero is put to the ultimate test. What will these newly imagined beings do when they learn the truth?
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EXPEDITION #7: Home
Program
Nico Muhly, How About Now Allison Loggins-Hull, Homeland Gabriel José Bolaños Chamorro, nosotros hemos puesto los muertos (Ettelson Award 2022) Jessie Montgomery, Duo for violin and cello Missy Mazzoli, Magic With Everyday Objects |
Ninth Planet’s fourth season opens with a program examining our relationships to home and comfort, featuring the winning composition of the 2022 Suzanne and Lee Ettelson Composer’s Award nosotros hemos puesto los muertos by Gabriel José Bolaños, the composer’s anguished response to political violence in his home country Nicaragua. Paired with this is Allison Loggins-Hull’s Homeland, which asks what home means during domestic tragedy or violence, when the very concept of home has disintegrated. On the lighter side is friendship and the comfort of the everyday: Jessie Montgomery’s Duo for violin and cello is an ode to friendship, while Nico Muhly describes his piece How About Now as “a sort of thrown-together meal with close friends.” Missy Mazzoli’s Magic With Everyday Objects is about finding beauty and rapture in the midst of chaos, and about acknowledging the chaos that lies just beneath the surface of beauty.
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InterMusic SF - SF Music Day
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Sunday, October 9, 20222 // 3:45pm
War Memorial Veterans Building 401 Van Ness Avenue San Francisco, CA 94102 Celebrate Bay Area music in all its diversity at SF Music Day, with the return of the live, in-person version of the Bay Area’s free annual music festival in downtown San Francisco, presented by InterMusic SF. From chamber music to jazz, contemporary works to global sounds—SF Music Day showcases extraordinary musicians from across the Bay, with music that spans continents and centuries. Come for the artists you know and love, and stay to discover new talents, enjoy fresh takes on familiar repertoire, and bask in the wealth of creativity from the world-class composers and ensembles of our region.
The 15th SF Music Day features more than 25 ensembles performing short sets over eight hours on four stages in the ornate War Memorial Veterans Building. SF Music Day is presented annually by InterMusic SF, supporting the Bay Area music community since 1998. For up-to-date event COVID safety protocols, visit sfmusicday.com. |
EXPEDITION #6: Discovery
Program:
Allen Shearer, Eastbound Traveler (world premiere) Ursula Kwong-Brown, In Transit Darian Donovan Thomas, We only want to fly because we're tethered to the earth (world premiere) João Pedro Oliveira, Dark Energy Eve Beglarian, From the Same Melancholy Fate |
Friday, June 10, 2022 // 7:30pm
First Unitarian Universalist Society of San Francisco 1187 Franklin St, San Francisco, CA 94109 Ninth Planet closes its third season with a program of recent works by Ursula-Kwong Brown, João Pedro Oliveira, Allen Shearer, and Eve Beglarian, as well as a new commission by Darian Donovan Thomas. Each work on the program is about discovery: from voyage into the unknown, to the exploration of the dark energy that fills the universe, to the journeys of the thousands of people riding BART trains every day, to the universal tug of war that exists in each of us, simultaneously propelling us to fly and keeping us tethered to the earth.
IMAGE CREDIT: Graphic from score for "We only want to fly because we're tethered to the earth" |
EXPEDITION #5: Spirals & Echoes
Program:
Selim Goncu, Widerklang (Ettelson Award 2020) Jee Seo, Four Pieces Daijana Wallace, Shades Jack Frerer, Spiral Sequences (Ettelson Award 2019) |
Saturday, March 19, 2022 // 7:30pm
Center for New Music 55 Taylor Street, San Francisco, CA 94102 Ninth Planet journeys through sonic shape and texture in a program featuring 2019 and 2020 winning compositions of the Suzanne and Lee Ettelson Award. Selim Göncü’s “Widerklang” for bass clarinet, percussion, piano, violin, and cello (Ettelson 2020), presents a distorted, noisy, and quasi-improvisational sound world, exploring the connection between noise and pitch. Written for violin and viola, Jee Seo’s “Four Pieces” presents four self-portraits, each centered around one of four words: Sigh, Fever, Groove, and Song. Daijana Wallace’s “Shades,” for solo cello, is centered around a single note as the vehicle to explore a whole range of textures, from mystery, aggression, and heaviness to melodic, soft, and sultry. Ending the program is Jack Frerer’s “Spiral Sequences” for string quartet (Ettelson 2019). The first movement, fast and driven by spiraling fragments and sequences, presents an ever-tightening inward spiral that the slower second movement unravels.
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EXPEDITION #4: Everyone Became A Trail
Friday, October 1, 2021 // 8pm
Old First Concerts, 1751 Sacramento Street, San Francisco, CA 94109
Ninth Planet returns for its third season with a program exploring themes of realism and surrealism, featuring the world premiere of a commissioned work by Bay Area resident Assaf Shatil entitled "Everyone Became a Trail." A song cycle for the full Ninth Planet ensemble, "Everyone Became a Trail" is based on poems that Shatil wrote in response to life during the COVID-19 pandemic. This work reflects on the bewilderment, anxiety, and bittersweet beauty experienced during uncertain times of isolation and quarantine. The concert will also feature chamber works by inti figgis-vizueta, Yaz Lancaster, and Amy Beth Kirsten. Please join us for this evening of reflective and innovative artistry as we process together, through music, our experience of the last 18 months.
Old First Concerts, 1751 Sacramento Street, San Francisco, CA 94109
Ninth Planet returns for its third season with a program exploring themes of realism and surrealism, featuring the world premiere of a commissioned work by Bay Area resident Assaf Shatil entitled "Everyone Became a Trail." A song cycle for the full Ninth Planet ensemble, "Everyone Became a Trail" is based on poems that Shatil wrote in response to life during the COVID-19 pandemic. This work reflects on the bewilderment, anxiety, and bittersweet beauty experienced during uncertain times of isolation and quarantine. The concert will also feature chamber works by inti figgis-vizueta, Yaz Lancaster, and Amy Beth Kirsten. Please join us for this evening of reflective and innovative artistry as we process together, through music, our experience of the last 18 months.
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Program:
Yaz Lancaster, Intangible Landscapes inti figgis-vizueta, a bridge between starshine and clay Amy Beth Kirsten, World Under Glass #2 Assaf Shatil, Everyone Became a Trail (world premiere) This concert is supported in part by a grant from the InterMusic SF Musical Grant Program. This concert is also made possible by the generous support of all our donors. Give to Ninth Planet today. |
EXPEDITION #3: Tides
Saturday, June 26, 2021 // 7pm
YouTube Live Link
Here on the edge of North America, we are tuned to the cycles of the ocean. We are bound together by ebb and flow as they carve out the contours of our daily lives. So, at this time of flux and transition, we look to music to pull us back towards equilibrium. Tides is a livestream concert featuring six works performed by members of the Ninth Planet ensemble. Curated by new co-artistic director Jessie Nucho and composer Ursula Kwong-Brown, each piece explores the need for connection at a time when our lives are being shaped by forces beyond our control. Featuring a world premiere collaboration with Japanese video artist and live painter Akiko Nakayama.
YouTube Live Link
Here on the edge of North America, we are tuned to the cycles of the ocean. We are bound together by ebb and flow as they carve out the contours of our daily lives. So, at this time of flux and transition, we look to music to pull us back towards equilibrium. Tides is a livestream concert featuring six works performed by members of the Ninth Planet ensemble. Curated by new co-artistic director Jessie Nucho and composer Ursula Kwong-Brown, each piece explores the need for connection at a time when our lives are being shaped by forces beyond our control. Featuring a world premiere collaboration with Japanese video artist and live painter Akiko Nakayama.
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Program:
Ursula Kwong-Brown, Finding Bliss (world premiere) Jerod Impichchaachaaha’ Tate, Inchokkillissa Shiva Feshareki, Zohra Lila Meretzky, All mute things speak today Yaz Lancaster, little song (world premiere) Danny Erdberg/Ursula Kwong-Brown, Here Come the Warm Clouds (world premiere) Admission: FREE FOR ALL. This concert is made possible by the generous support of all our donors. Give to Ninth Planet today. |
EXPEDITION #2: On Being
Saturday, Dec. 12, 2020 // 7pm
YouTube Live Link
Ninth Planet returns digitally in a virtual program curated by ensemble flutist and artistic committee member Jessie Nucho. On Being is an exploration of the nature of our existence, from the intersection of the physical and spiritual to existence in the present moment. Featuring the music of Angelica Negrón, Jessie Cox, inti figgis-vizueta, and Darian Donovan Thomas.
YouTube Live Link
Ninth Planet returns digitally in a virtual program curated by ensemble flutist and artistic committee member Jessie Nucho. On Being is an exploration of the nature of our existence, from the intersection of the physical and spiritual to existence in the present moment. Featuring the music of Angelica Negrón, Jessie Cox, inti figgis-vizueta, and Darian Donovan Thomas.
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Program:
Angelica Negrón, La Isla Mágica Jessie Cox, Spiritus inti figgis-vizueta, Form the Fabric Darian Donovan Thomas, Fluid, "I. Fluid" Admission: FREE FOR ALL. This concert is made possible by the generous support of all our donors. Give to Ninth Planet today. |
(CANCELLED) EXPEDITION #2: Spiral Sequences
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This concert was cancelled due to the COVID-19 pandemic.
Friday, Mar. 27, 2020 // 8pm Old First Concerts, 1751 Sacramento Street, SF, CA 94109 Ninth Planet performs the 2019 Ettelson Award-winning composition Spiral Sequences, and more! Program: Jack Frerer, Spiral Sequences Viet Cuong, Naica Daniel Godsil, Aeropittura Andrew Norman, Mine, Mime, Meme Nicole Lizée, Music for Body-Without Organs |
EXPEDITION #1: Reflect, Respond
Saturday, Nov. 2, 2019 // 8pm
Osher Salon @ San Francisco Conservatory of Music
Join Ninth Planet for our debut performance at the Osher Salon. Featuring works by Jenny Olivia Johnson, Eve Beglarian, Kaija Saariaho, Dan VanHassel, and Ursula Kwong-Brown.
Admission: $20 General, $10 Students/Seniors/Persons with disabilities. Tickets available online or at the door.
Program:
Dan VanHassel, Balance of Power
Kaija Saariaho, Cendres
Ursula Kwong-Brown, Unwinding III
Eve Beglarian, Play Like a Girl
Eve Beglarian, Until it Blazes
Jenny Olivia Johnson, Reflect Reflect Respond Respond
Osher Salon @ San Francisco Conservatory of Music
Join Ninth Planet for our debut performance at the Osher Salon. Featuring works by Jenny Olivia Johnson, Eve Beglarian, Kaija Saariaho, Dan VanHassel, and Ursula Kwong-Brown.
Admission: $20 General, $10 Students/Seniors/Persons with disabilities. Tickets available online or at the door.
Program:
Dan VanHassel, Balance of Power
Kaija Saariaho, Cendres
Ursula Kwong-Brown, Unwinding III
Eve Beglarian, Play Like a Girl
Eve Beglarian, Until it Blazes
Jenny Olivia Johnson, Reflect Reflect Respond Respond