5/30: Amy X. Neuburg debuts at the Stone

This month, Gyan Riley is curating for New York venue the Stone. One of the San Francisco residents that he’s invited to visit the Big Apple for a gig is avant-cabaret artist Amy X. Neuburg, who performs there tonight (details below).

Neuburg eschews the usual instrumentation of a cabaret performer, instead using an electronic drumset. But the music isn’t isolated to percussive utterances; rather the synth drums serve as a control surface with which she can trigger live recording and overdubs. Thus, a drum hit might ‘sound’ like drums, or it might just as easily trigger backing vocals or synth patches.

Using this setup, Neuburg often creates multiple loops, each with its own place in the sound field. Her set at the Stone (her first appearance there) will introduce some new works, but also revisits her back catalog, updating several pieces to accommodate this ”spatialized” aesthetic.

Amy X. Neuburg at the Stone

May 30 at 8 PM

The Stone,

Corner of Avenue C and Second Avenue

NY, NY

Tickets: $10 at the door

American Mavericks: Cage Songbooks (Review + Video)

At least on paper, one of the more fascinating collaborations of the 2012 installation of American Mavericks brought vocalists Jessye Norman, Meredith Monk, and Joan La Barbara together with Michael Tilson Thomas and members of the San Francisco Symphony for a performance of John Cage’s Song Books. Complete with lighting, sets, stage business, camera work, and sound design, this was an ambitious undertaking. Unfortunately, it raised as many questions about performing Cage as it answered.

In the performance of the work last night at Carnegie Hall, Jessye Norman sang like Jessye Norman. Meredith Monk did Meredith Monk. MTT made a smoothie and tore up newspapers. But Joan La Barbara: now she performed a John Cage piece. Here she is doing the same work in 2011, with Ne(x)tworks at Greenwich Music House.

Hats off to Monk and Norman for reaching outside their comfort zones. But they were placed in a difficult situation. My wife, a director and playwright, described it thus: “It felt like all the things ripped off from Cage by bad experimental theater were donated back for one night only. And it seemed like the design team were having much more fun than the audience.”

It’s great that San Francisco is giving the American Mavericks another airing. And I’m really looking forward to hearing what is, for me, a dream program at Carnegie Hall tonight: Ruggles, Feldman, and Ives orchestrated by Brant!

But their Cage presentation left me with questions about how those interested in interpreting his music are to proceed. The challenge: creating a performance practice for Cage that doesn’t become its own museum piece of cliches. The scores deserve it. There’s plenty of music in them and, indeed lots of ways to present Cage entertainingly, but without so much shtick.