"A very exciting quartet composed of four young men...who have lots of ideas and clearly enjoy making music together," (Anthony Tommasini, NY Times), the FLUX Quartet has performed to rave reviews at many music centers around the world. It has recently appeared at the Ojai Festival (2000), the Oslo Chamber Festival (2000), the Library of Congress (2000), the Great Day in New York Festival at Lincoln Center (2001), and the New Chamber Festival in Baltimore (2002). Its radio credits include NPR's All Things Considered, WNYC's Around New York and New Sounds, and WFMU's Saturday Night Toe Jamz with Kenny G. In the current season, FLUX is once again resident artists of When Morty Met John, a three-year series at Carnegie's Weill Hall celebrating the musical friendship between Morton Feldman and John Cage.
The FLUX Quartet's repertoire consists of notable pioneers as well as visionaries of tomorrow. From "classics" by Conlon Nancarrow, György Ligeti, and John Cage, to new works by Renaud Gagneux (France), John Zorn (USA) and the Slave Pianos, a group of Australian conceptual artists devoted to uncovering sound works by underground visual artists, FLUX brings to all of its performances a boundless, uninhibited energy. The quartet also premiers works by its own members, and has cultivated collaborative relationships with artists such as Ornette Coleman, Oliver Lake, and tenor balloonist Judy Dunaway. To support emerging composers, FLUX actively pursues commissions, including recent grants from the American Composers Forum, the Koussevitzky Foundation, and the Aaron Copland Fund.
Partly as an homage to the 60's Fluxus art movement, violinist Tom Chiu founded the FLUX Quartet in 1996 with a quest similar to that of some of the original Fluxus artists: a search for a living art for all people with an embracing "anything-goes" spirit. To that end, FLUX has always been committed to projects of unique vision that defy aesthetic categorizations. One such project is Morton Feldman's String Quartet No. 2. Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." (Alex Ross, The New Yorker).
Morton Feldman: Vol. 6: String Quartet No. 2 (mode 112)
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