Archive for the “Electro-Acoustic” Category
Posted by Christian Carey in Composers, Contemporary Classical, Deaths, Electro-Acoustic, Experimental Music, File Under?, tags: Bernard Rands, Elliott Carter, Jeffrey Mumford, Pauline Oliveros, UCSD
Composer Jeffrey Mumford remembers the recently departed Pauline Oliveros in the following obituary.
I had the honor of being a TA for Pauline Oliveros during my graduate studies at the University of California, San Diego from 1979-81.
Our worlds couldn’t have been more different.
I was deeply discovering the endless inventiveness and poetry in the music of Elliott Carter, with whom I would soon study, and was also working with Bernard Rands as my major teacher at UCSD.
A composer of color, I came from Washington, D.C. steeped in the music of among others, Count Basie, which resonated throughout our house in my youth.
I also loved (and still do) Brahms for many reasons, not the least of which is his sense of expansiveness and sweep, yet without one wasted note. He along with Schumann make me feel at home.
I had heard of Pauline and a bit about her early experimental work, before I came to UCSD.
What I found I got there and started working with her, was another kind of inventiveness in her approach to her work and most important for me, the permission to be myself, whatever that was and whatever that would be.
I was also impressed with her centeredness and sense of humor, an enduring whimsy not often found in our business.
She was at home with herself.
She left me alone to discover aspects of group improvisation and to impart what I was discovering to the students with whom I worked, and of course to deeply hear sound and its implications on its own terms.
Her’s was a quiet yet strong voice, who was the embodiment of integrity, holding true to her convictions, but always open.
She was always there, offering strength of creative purpose. She will be missed.
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Posted by Joshua Banks Mailman in Classical Music, Composers, Concert review, Concerts, Conferences, Contemporary Classical, Downtown, Electro-Acoustic, Events, Experimental Music, Festivals, Lectures, Media, Music Events, New York, Percussion, Performers, Sound Art, Strange, Twentieth Century Composer, Women composers, tags: computer music, electronic, interactive
Most New Yorkers are walking about, minding their own business, completely oblivious to the international sonic earthquake vibrating through their midst all week: The New York City Electroacoustic Music Festival (NYCEMF). The first wave of the festival (seven concerts) took place as part of the New York Philharmonic’s Biennial at National Sawdust in Brooklyn last week. Yet the lion’s share of the festival is happening right now: 28 more concerts during June 13-19, at Abrons Arts Center on Grand St., for a total of 35 concerts. Yes you read that correctly: 35 concerts of electroacoustic music, including some 350 works, by almost as many composers from all around the world! Indeed a mammoth undertaking organized, produced, and presented miraculously by Hubert Howe, Travis Garrison, David Reeder, Howie Kenty, and a highly dedicated energetic staff.
The variety on offer is astonishing. There are pieces for live instruments or voice and electronics (live processing or premade sounds); pieces for synthesized sound, sampled sounds, and both together. Some works feature video. Other works feature graphics generated through live video feeds of the performer, or graphics generated through movement. Concerts are heard alternately in two small traditional auditoriums and a cozy cocoon-like space with 16-channel surround sound, seating in the round, amongst stratospheric ceilings. Sound art and visual art installations are mounted in the hallways and foyers. The concerts are at 12:30, 2, 4, and 8pm; workshops and paper presentations on such topics as “Oral History as Form in Electroacoustic Music”, “Orient Occident: An Alternative Analysis,” and “Wireless Sensing” occur in the mornings, at NYU.
Among the international cast of composers and performing artists heard in the festival are Tania León, Ken Ueno, Alice Shields, Clarence Barlow, Elizabeth Hoffman, Simon Emmerson, Alvin Lucier, Shelly Hirsch, Annie Gosfield, Phil Niblock, Alan Licht, Judith Shatin, Michelle Jaffe, Maja Cerar, Marianne Gythfeldt, and Arthur Kampela. Most of them are on hand and the casual atmosphere is conducive to conversation with and among participating artists.
Togo seed rattle
One of the most interesting works I heard was Precuneus; Sonic Space no.8—Iteration No.4 (2016) by Michael Musick. This is a work for live performer and “sonic ecosystem.” And yes, it sounds as great as that sounds. During the performance, Mr. Musick gently wafted throughout the stage, as if in a trance, while playing sometimes a recorder and sometimes a Togo seed rattle and other percussion instruments. Meanwhile Mr. Musick’s software reacted in the most delightfully musical way. Its “digital agents” listen to the live sounds and spontaneously extract features from them and then generate new sounds sculpted by these features. These sounds percolated and jiggled all around the hall in a delicate lavander tornado for the ears.
Zhaoyu Zhang’s Night Snow brought my ears close up and inside mysterious objects and intriguingly close to strange materials in action—as though my ears were intimately touching the source of the sounds, quiet sounds of brushing, crushing, caressing, burning, scraping, and feathering. Deeper sounds were felt more than heard, creating an altogether visceral experience, evoking what the ancient Chinese poet Juyi Bai’s calls the four senses: tactile (cold), visual (bright), feeling (to know), and auditory (to hear)
On the same concert, Larry Gaab’s Weird Orbits Need Explaining seemed to use the lyrical gestures and sweeps of melody to steer the trajectories of other sonic material. An eerie yet friendly vocality emerged. So much I wish I could go back to hear again
violinist Maja Cerar in action
The highlight of the late afternoon concert was Xiao Fu’s Longing, a ravishing audio-visual kinetic spectacle that lasted nearly a quarter of an hour, involving two performers supported by a crew of four who manipulated hand-held projectors and sound. It is based on a song of the Huang He Ge from the Chinese Han Dynasty (202 BC-220 AD). Beautifully colored hand-painted animation of Chinese calligraphy was projected on a video screen with computeized sound before two women emerged in flowing costumes, gracefully dancing and singing (both). One of them later played the flute against the sonic digital backdrop while a new, and highly original, ornate style of colorful animation permeated the visual field, zooming and granulating. Strikingly colored calligraphic imagery punctured the progression toward a taut climactic episode in which the second performer dramatically played an accelerating drum pattern against flickering virtuosic lines of the flute.
AV artist Michelle Jaffe
The overflowing diversity of creativity witnessed in this festival is simply inspiring. What I described above is only a snippet of what happened on the first day. After today there are still five days left. So most of the highlights are yet to come. It’s well worth the trip to this somewhat neglected corner of Manhattan, between Chinatown and the Williamsburg Bridge.
While in the neighborhood, check out the gourmet ice cream shop Ice and Vice on East Broadway, or Cafe Petisco, also on East Broadway, Cafe Katja on Orchard, or Ost Café on Grand, one block east of Abrons.)
The New York City Electroacoustic Music Festival (NYCEMF), June 13-19, Abrons Arts Center, 466 Grand Street (at Pitt Street, near the F/M train Essex st. station) Each show $15 (evening shows $20); day pass $40; festival Pass at $160.
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The City of Santa Monica was the scene Friday, May 2, 2014 of HEAR NOW Goes Electroacoustic, the first in a series of three consecutive concerts featuring music by contemporary Los Angeles composers. Presented by HEAR NOW and People Inside Electronics the six works in the program all included some kind of electronic accompaniment. The Miles Memorial Playhouse was filled and the cozy, Spanish Colonial style performance space with its wooden ceiling beams and stucco walls provided good acoustics and excellent viewing. This concert was dedicated to William Kraft and the composers offered a few remarks prior to the performance of each piece.
Theremin’s Journey (2010) by Gernot Wolfgang was first, and this began a low rumble of processed sound accompanied by bell-like chimes that was soon joined by the theremin. The distinctive sound of the theremin is invariably linked with 1950s science fiction movies, but in this piece the alien, otherworldly sound connected nicely with the underlying electronics, even when the theremin was dominating the texture. The sound of the theremin was an integral part of this piece and not simply a stylistic effect. Joanne Pearce Martin provided solid control over the pitch and entrances of the theremin and her virtuosity was all the more evident when she switched to the piano as the piece progressed. Theremin’s Journey proceeded in this way, with Ms. Martin alternating between piano and theremin. There was a more familiar feel to this piece when the piano was heard, and a sense of movement and energy was provided by several fast runs and short bursts of phrases. At other times the piano was unaccompanied, or gentle and reflective. By contrast, the sections featuring the theremin typically had a distant and sometimes lonely feel. The balance between the various elements – electronics, piano and theremin – was remarkable and the playing was controlled and consistent. Theremin’s Journey could have easily failed on several levels – technical issues, performance difficulties or by simply sounding cliché, but this high-risk piece came off successfully and convincingly on its own terms.
What Lies Behind the Rain (2011) followed, by David Werfelmann, a piece written for piano and electronics. Interestingly, the electronics were not simply a static presence but were triggered by the tones played by the performer at the piano. According to the program notes “Acoustic and electronic sounds blend and support each other, creating a sound world that could not be achieved by either part alone.” For the most part, this worked. Many of the electronic tracks were processed piano sounds, and when these were added to the live playing of Rafael Liebich the result was a kind of multiplying effect that produced sudden rushes of notes and fast swirls of sound. Trills in the piano could produce an avalanche of similar sounds from the electronics and this effectively evoked a sudden downpour or rain shower. There were also several passages that felt like driving on the freeway at night with cars quickly passing by. At other times the electronics gave out a majestic sound of bell chimes that, when combined with the sensitive touch of Liebich in the quieter stretches was quite lovely. This combination of triggered electronics and live performance deserves further exploration as was evident by this intriguing reading of What Lies Behind the Rain.
The third piece of the evening was Get Rich Quick (2009) by Ian Dicke and this was the Los Angeles premiere. Get Rich Quick was inspired by the financial crash of 2008 and is written for piano with recorded narration and sound effects . Aron Kallay, a co-founder of People Inside Electronics was the pianist. In his remarks just before the performance, Ian Dicke wondered aloud about the relevance of this piece in 2014 because, after all, “Congress passed financial reform laws and the bankers that caused the crash are all now in jail.” This was the perfect introduction to Get Rich Quick which begins with the sound of a coin dropping and the bustling noise of a stock exchange trading floor. A series of sharp, loud chords sound from the piano build tension while the narration smoothly pronounces a series of familiar platitudes: “Debt is a part of American life!”, “Debt has a time and place.” and “Pay those bills on time!” The vapid, infomercial tone of the text contrasted perfectly with the anxiety building in the piano and this provided the wit that propels this piece. The piano gestures are familiar but they make a telling commentary on the get rich quick narration. The program notes state that “Ian Dicke is a composer inspired by social-political culture and interactive technology.” New music these days often seems to arise in a political vacuum, but Get Rich Quick points to another way and the audience was both receptive and appreciative.
After the intermission Jugg(ular)ling (2005) by Vicki Ray was presented. In her pre-performance remarks Ms. Ray explained that the inspiration for this piece was the extreme multitasking required by our contemporary existence – all the things that conspire to keep us too busy. As Jugg(ular)ling began, old film clips of circus jugglers was projected on the stage screen. For each item juggled, the score called for a gesture by the musicians playing piano, violin and MalletKAT percussion. At first the jugglers had one and then a few balls or pins in the air and the music proceeded in an orderly fashion. As the number of items juggled increased, so did the complexity and speed of the musical responses, and this generated a sense of anticipation that added to the comedy on the screen. As the number of items in the air reached their maximum the music slowly unraveled, dissembling into a slow groove. Now the sequence in the film reversed with the number of juggled items decreasing along with the number of musical gestures. This simple formula – worthy of a Tom Johnson – was an inspired choice and the playing by Aron Kallay on piano, Shalini Vijayan on violin and Yuri Inoo on MalletKAT was clean and well-coordinated with the film clips. Jugg(ular)ling was an effective musical realization of the absurdities that fill our too-busy lives as the knowing laughs from the audience made clear.
Swallow (2012) by Scott Cazan followed and this was an experimental piece that combined stringed instruments – violins, violas and a cello – with electronic processing. The string players simply drew their bows across the strings; there was no attempt at melody or any kind of chord. These sounds were processed by a computer operated by the composer and played out through speakers so as to introduce feedback into the aggregate. The sounds coming from the strings were, in a sense, the raw material for the processing with the feedback producing the final result. This required careful and close listening and at times the feeling was that of observing a very subtle and ephemeral phenomena – something like an acoustic version of the northern lights on a far horizon. The process seemed a bit hit and miss at times, depending as it does on the acoustical environment pertaining at the instant of performance. But at its best there is an organic feel and the interplay of the tones, while transient, is often beautiful and invitingly mysterious. At times some zero-beating in the feedback gives a bit of rhythm and forward motion, but the feedback process tends to be on the quiet side and is often intermittent. Perhaps Swallow would be better realized in the recording studio where the more effective manifestations of the process can be captured as they occur.
The final piece of the concert was Pacific Light and Water/Wu Xing-Cycle of Destruction (2005) and this was a collaboration between Barry Schrader who composed and realized the piece electronically, and Ishmael Wadada Leo Smith who played trumpet live during the performance. The trumpet is played as an overlay to the recorded electronics and this allows Mr. Smith to react and respond to the sounds as the piece progresses. From the program notes “The Pacific Light and Water portion of the work is inspired by the penetration of light at different depths of the Pacific Ocean. Building on the water theme, Wu Xing embodies the Chinese concept of the Five Elements, among which are fire and water.” The trumpet player follows a graphical score of the electronic piece and this guides the improvisational component of the playing. The water theme came through very strongly in the recorded electronics and Mr. Smith responded to this with a variety of interesting trumpet calls, trills and sustained tones. The trumpet provides a familiar handhold for this music and made a good contrast to the thunder, rain and watery sounds coming from the speakers. The liquid feel increases and towards the end of the piece a booming surf is heard that increases in volume as the trumpet struggles against it. The surf sounds escalate into sharp canon reports and the piece concludes dramatically with only the trumpet playing. The overlay form of Pacific Light and Water/Wu Xing-Cycle of Destruction is a good example of a collaboration that is completely independent yet intimately linked through the solo performer, and this was nicely accomplished by Ishmael Wadada Leo Smith.
This concert was a good survey of the electroacoustic forms and techniques that are being explored by contemporary Los Angeles composers. HEAR NOW is in its fourth year and judging by the music presented in this concert the future looks very bright.
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Posted by Chris Becker in Chamber Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Houston, tags: Avant Garden, Eric Fegan, Houston, Houston Composers Salon, Hsaio-Lan Wang, Hsin-Jung Tsai, Ryan Gagnon, Stephen Yip, Thomas Helton
(Composer Hsiao-Lan Wang)
(Houston, TX) On Sunday, April 27, 2014 the Houston Composers Salon presents its Spring Concert, featuring works by Houston-based composers Hsaio-Lan Wang, Stephen Yip, Ryan Gagnon, and Eric Fegan. All four composers will be in attendance to introduce their compositions and answer questions from the audience. The concert takes place at 6:00 PM at 14 Pews, a popular venue for independent film screenings, visual art, and experimental and contemporary music performances.
The eclectic and provocative program includes Wang’s Houston Duet, a collaboration with video artist Daniel Zajicek with an electro-acoustic score by Wang, Gagnon’s Three Duets for flute and vibraphone, Fegan’s Coexist and Separate for violin and bass, and Stephen Yip’s Tide and Time for trombone and percussion. 14 Pews’ cozy atmosphere and great acoustics are ideal for playing and listening to this kind of music.
Formerly known as the Houston Composers Alliance and founded in 1986 by the then Houston Symphony Composer-in-Resdience Tobias Picker, the Houston Composers Salon was renamed in 2013 and held its first concert at Avant-Garden, a popular Montrose bar that also hosts performances by Classical Revolution Houston and Da Camera. That first concert featured works by Houston Composers Salon president Thomas Helton performed by pianist, composer and improviser Hsin-Jung Tsai, who co-leads the organization with Helton. The organization’s goal is to provide an intimate, supportive environment for local and international composers to have their work performed.
Houston Composers Salon Spring Concert, Sunday, April 27, 2014, 6:00 PM, at 14 Pews, 800 Aurora Street, $5 suggested donation.
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Nick Brooke: Border Towns
To experience Border Towns is to undo the idea of both. The border is metaphorically ubiquitous—as powerful as it is arbitrary. Towns are more immediate—tactile and moving to the pulse of indeterminate social interaction. Together the words form not an oxymoron but a median. Such is the spirit that moves composer Nick Brooke in this quasi-opera of Americana and stardust.
The music’s formula is diaristic, appropriating snippets from songbooks familiar and not so familiar, gunpowder from the popular canon loaded into a rather different cannon and shot across the past century until fleetingly recognizable. Brooke’s intertextual approach lays new coordinates over cartographic mainstays, in which resound the piece’s seven embodied singers—voices treading bullion in a cold electronic stew.
Movements like “Silver City” tickle the synapses of our collective memory, opening in a Judy Garland nightmare with the barest intimations of rainbows. An old radio pays homage to underlying frequencies, flagging the limits of nostalgia in what little we may recognize. What begin as utterly ingrained snippets become new beginnings, radiant and free. The end effect is haunting in the best way possible.
Subsequent movements chew their respective morsels of philosophic disturbance. Whether the overt sampling aesthetic of “Del Rio” (a deft reconstruction of a ubiquitous sound byte) or the distant mountain spirit of “Heart Butte” (a pretty mélange of rodeo, Roy Orbison, and Dolly Parton balladry), an oddly compelling backstory emerges by virtue of Brooke’s narrative integrity. The grander arc takes shape in a chain of referential vertebrae, disks filled with everything from Whitney Houston to Steve Reich. Other portions glisten with cinematic qualities. In the latter vein, “Jackman” smacks of thunder with its battle cry, its implications of outer space as dense as its decays are short. “Tombstone” is another. Dotted by splashes of Chinese gongs as it rides the tailwinds of stray bullets and Hollywood stereotypes, it traverses landscapes of lock-grooves and shattered DJ remnants. Border Towns recycles even itself, beginning and ending somewhere not over the rainbow, but in a place without space, folded like a paper football and flicked into its own gaping mouth.
Interspersed throughout this exercise in anthemic surgery are various ambient reflections: train whistles, cross lights, pedestrian babble, sound checks, impassioned listeners, crickets, church services, and the like fill the interstices with quotidian fascination. From their manipulations of source text and flame emerges a quilt of hymnody, torn and re-squared until it burns.
The clock ticks only for those who hear it.
~Interview with Nick Brooke~
1. What is your background as a composer and as a listener?
I was classically trained at Oberlin, though in a healthily offbeat way, and grad studies at Princeton happily did nothing dissuade me from mixing anachronistic materials in my current polyglot manner.
I do listen voraciously cross-genre, coming from a deep interest in getting to know people, contexts, and cultures. I tend not to listen to recordings much—solo listening can feel solipsistic and lonely. I prefer live performance. And given experiments with theater and dance over the last decade, I’m much more comfortable in those mediums than I used to be.
2. Talk a little bit about the history of Border Towns: in terms of both its evolution as a piece and the slices of Americana that make their way into the mix.
When I started Border Towns, I saw a lot of theater and musical groups going on these “all-gone-to-look-for-America” trips and it all felt wrong, so wrong. The whole genre of musical Americana is often engaged in portraying and skewing one side of a multiplicity that’s indescribable. Americana often thumbtacks culture to the wall rather than asking questions about it. So I wanted to use Border Towns to unpack musical icons, but also engaging somehow with those de Toqueville-like-trips—literally traveling around the country.
3. Is there an inherent visual or theatrical element in Border Towns? The music almost screams for it.
Completely. Most of the music is created with the choreography already in mind, often in canon or some kind of physical and musical structure. “Tombstone” is literally a calf-roping contest between two people, as well as a fugue between Patsy Montana and Gene Autry. In “Ocean Grove,” people are laid on blankets, while rapturously singing Ray Charles (“I see”). Then, through a laying on of hands, these performers are converted into Bruce Springsteen (“Born! Born!”). It’s a canon in seven parts, the number of singers in the piece. I need to predict the exact number of physical events when I compose the music, and the choreography develops in lockstep with the samples. (There’s a primer on this weird process on my website.)
4. The first word that came to mind when I listened to the album was “plunderphonics,” although your aesthetic seems like a more organic or live iteration of John Oswald’s mission of audio piracy. In this respect, I am inclined to align it more with the live mash-ups of a group like Ground Zero, whose Revolutionary Pekinese Opera seems the closest analogue. How would you situate Border Towns in terms of genre or musical space?
I enjoy Oswald and Ground Zero, though in terms of mash-ups I tend to take the slow route, with lots of silences, and I often attempt to completely break down then reassemble a specific genre, or even just a song. Plunderphonics and Revolutionary Pekinese Opera have a joyous aesthetics of excess to me, and also revel in effects like tape delay and studio layering. I tend to go for a more “real” sound, which ends up being surreal when you perform it live. A performer sings x song, but the words and phrases are in completely different places, and it still somehow makes sense; at the same time, it plays with memory and meaning. Because I’m using live performers, using the sounds of early tape manipulation or even electronica breaks a surreal plausibility I’m trying to establish. And in Border Towns, the materials are often dealt with more procedurally than these other composers: i.e., “Heart Butte,” which tries to deal in a semi-exhaustive way with slow, classic country.
5. An especially delightful aspect of Border Towns is the way in which it flirts with our nostalgia. Familiar songs are quickly swapped out for others, such that by the end we experience a new folk narrative. Is your intention with the piece to do simply that, or does it have broader, extra-musical aspirations as well?
In making each song, I often tried to go against the grain of the nostalgia, or at least create a new meaning to each song or genre. And of course if I could exactly pinpoint that meaning here, I’d be preaching, and it would become clichéd. The ideas for Border Towns emerged at a time when the “Lomax remix” genre, such as Moby’s Play, was at its height. I resisted the comfortable, warm electronic remix broth given to these samples. Did people realize the issues of Paul Robeson singing “still longing for the old plantation”, or why “cowboy music”—a genre of guys often falsetto yodeling, was anachronous? I was trying to unpack assumptions on a structural level, by the choices of what I remixed and where. I wanted to be omnivorous, and substitute old traditions, even stereotypes, with something else. Each piece take on a different icon—Tex-Mex, border radio, plantation songs, cowboy music—but tries to bend them at moments of expectation.
6. The vocal performances on Border Towns are wonderful. How did you settle on these particular musicians and how did the recording project all come together?
It’s always a challenge. Together with Jenny Rohn, my co-director for the live performances, we’re always looking for that experimental “triple threat”: people who sing, act, move, and also understand the weird, tricky-to-sing music. Some of these singers are uncanny chameleons. Some are hugely gifted in physical theater. It came together as a performance at HERE’s Resident Artist Series first—then I took it to the studio.
7. How do the ambient interludes function in Border Towns?
In a way, the ambient “interludes” are islands of realness. The sounds are actually taken from trips to the border towns on which each song is purportedly “based.” But, outside of these ambient interludes, the songs take on stereotypes of Americana, mass-produced materials that I often found sold, broadcast, or otherwise referenced in the places I visited. Cage once said if you destroy all recordings people will learn to sing again. Likewise, if one stops asking the potentially obsolete question, “What do people from this place listen to?” you just end up listening, and that’s the best part. In recording ambient sounds, I’m vamping off the long tradition of acoustic ecology and soundscape composition. In the final song of Border Towns, the ambient recordings swallow up a single performer on stage, maybe in a final moment of immersive, real listening.
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Next week is the third annual Composers Concordance Festival in New York City. They’ve called it ‘Timbre Tantrum,’ organizing the concerts by instrumental family:
Dec. 1 – 3pm
with Glen Velez, Lukas Ligeti, Peter Jarvis.
Dimenna Center (W. 37th St. NYC)
Dec. 2 – 7pm
ArtBeat (repeat of program)
William Patterson University
Dec. 4 – 7pm
Three’s Keys with Taka Kigawa, Inna Faliks and Carlton Holmes
music by Dan Cooper, Milica Paranosic, Gene Pritsker, Sean Hickey, Debra Kaye, Carlton Holmes, Daniel Palkowski and guests
Klavierhaus (211 W. 58th St. NYC)
Dec. 6 – 8pm
E-nstallation: Electronics, Fashion and Projections
Music by: Dan Cooper, Milica Paranosic, Gene Pritsker, Svjetlana Bukvich, David Morneau, Daniel Palkowski, Lynn Bechtold
Fashion: Vicky Vale
Projections: Gorazd Poposki
Gallery MC, 549 W. 52nd St. 8th Fl, NYC
Dec. 7 – 8pm
with the CompCord String Orchestra
Music by Dan Cooper, Otto Luening, Milica Paranosic, Gene Pritsker, Dave Soldier and Randy Woolf
West Park Presbyterian Church
165 W 86th St. NYC
Dec. 8 – 8pm
a three-hour marathon of three-minute pieces for fretted strings performed by the composers
Drom NYC, 85 Avenue A
For more information and to buy tickets, visit:the festival website.
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Posted by Chris Becker in Ambient, Composers, Contemporary Classical, Electro-Acoustic, Experimental Music, File Under?, Houston, Improv, Sound Art, tags: Houston Fringe Festival, Paul Connolly, Super Happy Fun Land
(Houston, TX) If Houston is becoming, as one young Houston-based composer puts it, a “hub for contemporary music,” credit must be given to more than a few local ensembles, organizations, and venues that operate without institutional support and on shoestring budgets. Contemporary music ensembles made up of university professors and their students performing contemporary music in universities for other professors and students are nothing new. But composers who not only write, perform, and creatively program contemporary music and present it outside of academia in venues typically dedicated to performance art, experimental rock and underground noise? That’s a little more interesting, and certainly more conducive to expanding audiences for 21st century composition.
Composer Paul Connolly (Photo by Lynn Lane)
Houston-based composer Paul Connolly understands this. As the curator and producer of Brave New Waves, which was born out of electronic and video artist Jonathan Jindra’s Binarium Sound Series and is currently Houston’s only concert series dedicated solely to electronic music, Connolly has worked hard to bring seemingly disparate artists and audiences together to share and experience new sounds. On October 2,3, and 5, as part of the sixth annual Houston Fringe Festival, Connolly shifts roles from producer to composer to premier The Quiet Persistence Of Memory, an original electro-acoustic composition that, not surprisingly, will be performed by a wildly diverse collection of Houston musicians and improvisers.
The Quiet Persistence Of Memory is scored for bass, tenor, and soprano voices, viola, harp, contrabass, percussion, and analog modular sound tools. The ensemble Connolly has gathered to perform this work includes Aaron Bielish (viola), Kathy Fay (harp), Thomas Helton (double bass), Luke Hubley (percussion), John Pitale (percussion), Ben Lind (narration), Misha Penton (soprano), Matthew Robinson (tenor), and SPIKE the percussionist (percussion, electronics). Each of the three scheduled performances of The Quiet Persistence Of Memory will feature a slightly different configuration of the performers. The score, which Connolly describes as “a time-based grid that allows the performers to both see their part as well as existing parts of others that have been prerecorded,” is augmented by live improvisation and accompanying visuals.
“When I first began conceptualizing the piece,” says Connolly, “it probably had an equal balance between acoustic instruments and electronic material. However, the piece has evolved to where it has become very much a totally acoustic instrument work, with live electronics that are used almost like Foley in film. Very subtle, and simply providing a background that’s not necessarily noticeable.”
The title of the piece, aside from its nod to the surrealist painter Salvador Dali, refers to “the process by which information (i.e. memory) is encoded, stored and retrieved.” Connolly’s compositional process, which included recording studio performances by many of the participating musicians and incorporating those recordings into the piece for the same musicians to “remember” and react to in the live performances, speaks to the subject of how memory is utilized, disrupted, and (de)valued “in a hyper-information rich society.”
No two of the three performances of the piece will be alike, and kudos must go to the folks behind the Houston Fringe Festival for scheduling multiple opportunities for audiences to hear and experience Connolly’s music.
Paul Connolly presents The Quiet Persistence Of Memory October 2, 5, 9:30 PM and October 3, 8:00 PM at Super Happy Fun Land, 3801 Polk Street, Houston, TX. Part of the sixth annual Houston Fringe Festival.
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On a hot September 7th Saturday night, People Inside Electronics and LA Sonic Odyssey presented bass-baritone Nicholas Isherwood in a concert of electronic and vocal music given at the Moryork Gallery in Highland Park. This was the Los Angeles appearance for Isherwood’s world tour that will also take him to New Zealand, Portugal and France. The evening included works by Michael Norris, Jean-Claude Risset, Lissa Meridan, Isaac Schankler and featured an adaptation of Karlheintz Stockhausen’s powerful Capricorn.
The Moryork gallery space was roomy and comfortable for the 40 or so in attendance and even though the interior walls were lined with all sorts of exotic items the acoustics were carefully engineered with several good speakers placed around the perimeter of the audience. A table with a soundboard and several computers completed the electronic setup. With Los Angeles sweltering in triple-digit temperatures the heat inside the gallery was an issue, but it did not affect the performance.
The first piece was Deep Field I by Michael Norris, a composer and software programmer who teaches at the New Zealand School of Music. Deep Field I is the first of a proposed series of works based on the Hubble Telescope Deep Field images. The electronics provided a suitably spare and expansively distant feel while Isherwood’s rich voice added a welcome warmth. The texts were taken from MUL.APIN, an ancient Babylonian star catalog, On the Revolution of the Heavenly Spheres by Copernicus and some 16th century French poetry by Pierre de Croix. The blending of voice and electronics through the speaker system was effective, although the vocals would occasionally overpower. This piece provokes feelings that are an interesting combination of the primal and the futuristic, inviting the listener to speculate about immensity of deep space and our place in it. Deep Field I was commissioned by Nicholas Isherwood and is well matched to his voice. Read the rest of this entry »
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Posted by Chris Becker in Composers, Concerts, Contemporary Classical, Dance, Electro-Acoustic, Experimental Music, Flute, Houston, Improv, Women composers, tags: FALKOR, Michelle Yom, Nameless Sound, Neverending Story
Houston-based flutist, composer, and improviser Michelle Yom
(Houston, TX) This Sunday, Houston-based flutist, composer, and improviser Michelle Yom presents FALKOR, an interactive music and dance composition featuring Yom on flute and four dancers, Kriten Frankiewicz, Erin Reck, Leslie Scates, and Sophia Torres. FALKOR utilizes video motion tracking and a wireless system triggering audio samples based on the colors of the costumes worn by the dancers as well as their movements. FALKOR takes place at Studio 101 as part of the ongoing electronic music series Brave New Waves.
Fantasy film fans (not to mention fans of 1980s pop music) will no doubt recognize the name Falkor (i.e. Falkor the Luck Dragon) from the film Neverending Story, which tells the story of a young boy who, through reading a magical book, enters into another world called Fantasia, a world sustained by human imagination. Yom uses the names of different characters and creatures from the film, each of whom represent some facet of humanity, as “venture points” to explore “the relationships between emotions, noise, sound, silence, and nothingness.”
Says Yom, “Falkor is luck and joy, Swamps of Sadness is sadness, Engywook is intellect, and Morla is cynicism. I use these characters as general ground to inspire the improvised music and dance. It seems linear, but I hope to show other sides of seemingly one-sided notions of emotion. For example, we treat sadness as a negative feeling, but it actually springs from hope in the first place, and when destroyed, begins something new.”
As a frequent participant in concerts of freely improvised music presented by the Houston organization Nameless Sound, improvisation is a crucial component to Yom’s compositional vision. Each of the four dancers in FALKOR are experienced improvisers as well. The wireless system triggering audio in response to their movement and costume colors will scramble the audience’s perception of what has been composed and what is being improvised, as well as time itself.
“I’ve been exploring silence,” explains Yom. “Different types of silence with factors like physical movement and the inevitably strong role it plays in our perception of time in a concert. I’d like to push the length of silence in a musical piece without losing the audience.”
Sunday, January 27, Brave New Waves presents Michelle Yom’s FALKOR at Studio 101 at Spring Street Studios, 1824 Spring Street, Houston, Texas, Houston, Texas 77007. Doors open at 7:45 p.m. the performance begins at 8:05 p.m. $10 cover.
Tune in to KTRU Saturday at 6:00 p.m. CT for an interview with Michelle Yom.
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We’re pleased to introduce cellist Maya Beiser’s performing the Michael Harrison composition “Just Ancient Loops,” with film by Bill Morrison, which will receive its premiere at the Bang on a Can 25th Anniversary Marathon this coming Sunday in NYC.
This is just one of many performances that will occur over the marathon’s 12 hours of free live music-making: check out the complete schedule online here.
Congrats to the can bangers – may you have many more seasons of marathoning!
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