So Percussion and Caroline Shaw
CPA Series

Sō Percussion and Caroline Shaw

February 1, 2023
7:30 PM

General admission tickets from $10–$29. See details below.

Sō Percussion has redefined the role of the modern percussion ensemble with their innovative original productions, rich collaborations, and sensational interpretations of modern classics.  

Pulitzer Prize and Grammy Award winner and Greenville, N.C. native Caroline Shaw has made a career of crossing boundaries of medium and genre. From Carnegie Hall to Kanye West, Shaw continues to create new avenues for classical music.  

Together, they team up to create an exciting world of color and sound. 

“If percussionists are, as proclaimed elsewhere, the new princes of the realm of virtuosity, then these four young, steel-wristed, Brooklyn-based Yale graduates wear the crown with panache.”

Financial Times

tickets

Tickets available for $29. $10 UNC-Chapel Hill student tickets available with valid UNC One Card. Additional discounts available. Visit our FAQ page for details.

event details

  • Runtime: TBD
  • Intermission: 20 minutes
  • Additional information: Visit our FAQ page

ABOUT SŌ PERCUSSION

Sō is: Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting 

For twenty years and counting, Sō Percussion has redefined chamber music for the 21st century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (The New Yorker). They are celebrated by audiences and presenters for a dazzling range of work: for live performances in which “telepathic powers of communication” (The New York Times) bring to life the vibrant percussion repertoire; for an extravagant array of collaborations in classical music, pop, indie rock, contemporary dance, and theater; and for their work in education and community, creating opportunities and platforms for music and artists that explore the immense possibility of art in our time. 

MORE ABOUT Sō PERCUSSION

Recent highlights have included performances at the Elbphilharmonie, Big Ears 2022 — where they performed “Amid the Noise,” premiered a new work by Angélica Negrón with the Kronos Quartet, and performed their Nonesuch album with Caroline Shaw, “Let the Soil Play Its Simple Part” — and a return to Carnegie Hall where they performed new collaborations with Nathalie Joachim, and Dominic Shodekeh Talifero. Their Nonesuch recording, “Narrow Sea,” with Caroline Shaw, Dawn Upshaw, and Gilbert Kalish, won the 2022 Grammy for Best Composition. Other albums include “A Record Of..” on Brassland Music with Buke and Gase, and an acclaimed version of Julius Eastman’s “Stay On It” on new imprint Sō Percussion Editions. This adds to a catalogue of more than 25 albums featuring landmark recordings of works by David Lang, Steve Reich, Steve Mackey and many more. 

In the Summer of 2022, Sō performs at the Music Academy of the West Festival, Newport Classical, at Time Spans in New York, and offers four concerts at Our Festival in Helsinki — including a performance of “Let the Soil” with Caroline Shaw. Other 22/23 dates include concerts for Cal Performances, at the Palau de la Musica Catalana in Barcelona, at the Barbican in London, the Kennedy Center, and The University of North Carolina at Chapel Hill. 

In Fall 2022, Sō Percussion begins its ninth year as the Edward T. Cone performers-in-residence at Princeton University. Rooted in the belief that music is an elemental form of human communication, and galvanized by forces for social change in recent years, Sō enthusiastically pursues a range of social and community outreach through their nonprofit organization, including partnerships with local ensembles including Pan in Motion and Castle of Our Skins; their Brooklyn Bound concert series; a studio residency program in Brooklyn; and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers. 

About CAROLINE SHAW

Caroline Shaw is a musician who moves among roles, genres and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist and vocalist. Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship.

MORE ABOUT CAROLINE SHAW

2022 will see the release of work with Rosalía (on upcoming album MOTOMAMI), the score to Josephine Decker’s film “The Sky Is Everywhere” (A24/Apple), the premiere of Justin Peck’s Partita with NY City Ballet, the premiere of the new stage work LIFE with Gandini Juggling and the Merce Cunningham Trust, a premiere for NY Philharmonic and Roomful of Teeth, the premiere Wu Tsang’s silent film “Moby Dick” with live score for Zurich Chamber Orchestra co-composed with Andrew Yee, a second album with Attacca Quartet called “The Evergreen” (Nonesuch), the premiere of Helen Simoneau’s “Delicate Power,” tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances (Chamber Music Society of Minnesota, Caramoor Festival, La Jolla Music Society). Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, Vail Dance Festival, and many others. She has produced for Kanye West, Rosalía, and Nas. Her work as vocalist or composer has appeared in several films, TV series, and podcasts, including “The Humans,” “Bombshell,” “Yellowjackets,” “Maid,” “Dark,” “Beyonce’s Homecoming,” “jeen-yuhs: a Kanye Trilogy,” “Dolly Parton’s America,” and “More Perfect.” Her favorite color is yellow, and her favorite smell is rosemary. 

“…an exhilarating blend of percussion and anarchy, rigor and bedlam…”

New Yorker

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