The richly appointed new season of Mostly Mozart includes Ashley Fure’s The Force of Things, John Adams and Lucinda Childs’s Available Light (with sets by Frank Gehry), Bernstein’s Mass, Michael Pisaro’s A wave and waves, and a big new outdoor choral piece by John Luther Adams…. JLA’s Become Desert, the quasi-sequel to Become Ocean, has its première at the Seattle Symphony March 29-31 and travels to Berkeley’s Cal Performances April 7-8. He writes about the new score in Slate…. From March 22 to 24, the Wandelweiser-oriented series A Place to Listen in NYC presents a Gentle Traces Festival, with Antoine Beuger at the center of the festivities…. On March 10, the SEM Ensemble will reprise their famous performance of Feldman’s For Philip Guston at their Willow Place headquarters in Brooklyn. I reviewed their 1995 performance of the piece for the New York Times…. In conjunction with Carnegie Hall’s 1960s festival, MoMA is devoting a series to the avant-garde film score. There’s some fabulously rare material on offer here, including Jean Mitry’s Symphonie mécanique, with a score by Boulez…. From March 14-18 at the Museum of Jewish Heritage in NYC, the choreographer Jody Oberfelder and the Knickerbocker Chamber Orchestra present Kurt Weill’s Zaubernacht, using the recently rediscovered original Weill orchestrations…. Meredith Monk’s new work Cellular Songs plays at BAM March 14-18… The very belated world première of Jón Leifs’s Edda II: The Lives of the Gods takes place at the Iceland Symphony on March 23. There will be a broadcast on March 29….  Analog Arts presents all twenty-one completed parts of Stockhausen’s KLANG in Philadelphia April 7-8…. Opera Omaha’s adventurous ONE Festival includes Missy Mazzaoli’s Proving Up, Cherubini’s Medea, and Handel’s Ariodante…. Among this year’s offerings at Microfest in LA are Daniel Corral’s Polytope and Harry Partch’s Daphne of the Dunes — the latter receiving its first live performance.

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