Sunday, March 29, 2026 at 8:00 PM to 11:15 PM
2220 Arts + Archives, Los Angeles
**Black Editions Presents** composer and performer **Kara-Lis Coverdale** in concert performing *A Series of Actions in a Sphere of Forever*, a collection of nine pieces dedicated to solo piano. She will be joined by composer-performer and cantor **Judith Berkson** performing her acclaimed work *Liederkreis*. **Kara-Lis Coverdale** composes and performs musical works across acoustic and electronic mediums to create works that transcend reality. Driven by a devotion to sonic afterlife, memory, and material curiosity, Coverdale’s work occupies new planes built upon a borderless understanding of electronic music rooted in the interlocking pathways of musical systems and languages. Steadfastly committed to developing and expanding her vivid understanding of music as an immersive, tunable, and listening world rich in emotion and sensitivity, she is heralded as “one of the most exciting composers in North America” (The Guardian), and named unique navigator of the digital frontier with an ease and emotive sensitivity “we cannot yet comprehend” (FADER), Coverdale’s work has been met with consistent critical acclaim. She has toured concert halls, festivals, and clubs throughout Europe, North America, Asia, and Australia headlining and opening for acts such as Big Thief and Caribou. She has also performed in the Promises Ensemble with Floating Points, Shabaka Hutchings, Jeffrey Makinson, Hinako Omori, John Escreet, Lara Serafin, and Kieran Hebden. In 2018-2019 she toured as part of the Konoyo Gagaku Ensemble. Coverdale has received outstanding reviews for her solo performances in publications like The New York Times, The Guardian, and more. **Kara-Lis Coverdale**ʼs previous albums Aftertouches (2015), Grafts (2017), and this yearʼs From Where You Came garnered acclaim for their deep exploration of timbre. On A Series of Actions in a Sphere of Forever, Coverdale deepens her investigation of tonal quality by focusing instrumentally on acoustic piano. Unlike Satie, Debussy or Chopin, Coverdaleʼs nocturnes and lullabies are for an even later hour, with a heightened sensitivity to “noise”—or more broadly: anything extraneous to the core harmonic and timbral structure of the piece; and anything that might interfere with clarity, slowness, or perception of space. **Judith Berkson** is a mezzo-soprano, pianist and composer living in Los Angeles, California. She studied voice with Lucy Shelton and composition with Joe Maneri at the New England Conservatory. She received her MA in composition from Wesleyan University and a Doctorate in performance and composition from California Institute of the Arts. Judith has collaborated with Kronos Quartet, Wet Ink, Yarn/Wire and City Opera and has presented work at Picasso Museum Malaga, Roulette, Le Poisson Rouge, Joe’s Pub, The Stone, Barbès, Bang On A Can, and the 92 Street Y. She has received a Six Points Fellowship, a Jerome Foundation grant, Meet The Composer grant, New Music USA funding and support from the New York Foundation for the Arts. Her solo album “Oylam” (ECM Records) was called “Standards and Schubert and liturgical music, swing and chilly silences, a beautiful Satie-like piece to open and close the record” by Ben Ratliff of the New York Times.