San Francisco Community Music Center, July 20 – 23, 2011
The first sound of the festival’s Wednesday night show was, perhaps appropriately, nothing. Theresa Wong started offstage, down front, with just a microphone. She circled it in front of her face, no sound coming out of her pursed lips. Fluid looping gestures, but no vocal to be heard for perhaps two minutes. Then, a “Woo.” Silence, the mic passing back and forth. “Hoo,” silence, then another and another. Hoots and cuckoos, then a low-flutter “Wo – wo – wo – wo” for thirty seconds, then putting the mic to ear and droning (can throat sounds pass out the ear canal?), long high tones splintering off whistling multiphonics, static noise, razzes, gulps, and hums, more microphone manipulation for Doppler effects, then an episode of something close to song-singing, ending on a slow tremolo submerging into underwater warbles.
Theresa Wong stands at a deeply resonating node where a number of Bay Area new music waves converge, and is thus an emblematic artist for the Outsound Summit. Wednesday night’s all-vocal concert was titled “Face Music,” and the audience was faced with four singular solo approaches to the first instrument. Wong’s approach comes from a deep human connection to music and a direct, unaffected performance mode. When she took up her ‘cello for the second piece, even the most “abstract” sound worlds somehow evoked song-based territories. The instrument itself, when bowed, seemed to sound directly as her voice.
Aurora Josephson went even deeper during a short, ritualistic reading of John Cage’s Experiences No. 2. All in black, kneeling among candles on the floor in front of the stage, she conjured a dark and mournful atmosphere. She allowed herself long pauses between phrases, giving the listener time to savor her exquisitely precise enunciation and powerful delivery which, unamplified, rocked the room.
Joseph Rosenzweig, whose set closed the first half, delivered a choppy, harsh live sample-driven piece, a Hiss Concerto as it were, all glitchy and jarringly loud much of the time, causing the audience to jump in their seats when he’d suddenly pop a scream. His digital manipulations would seek out the hidden harmonic artifacts within his scratchy drones and, at one point, he pulled out the always useful “reverse glottal fry.”
Raising “Face Music” to its multimedia apex for the evening, bran(…)pos, aka Jake Rodriguez, erected a makeshift projection screen out of an umbrella and some diaphanous cloth, and placed it between his rig and the audience, Wizard of Oz-like. All paid attention to this Man Behind The Curtain, for his face filled the screen while wet vocal pops and kisses danced around the room from loudspeaker to loudspeaker. Cheap electronics are one of his main soundwells, and, even though the materials and visuals suggest mass violence, escalation, and propaganda, it’s all somehow delivered in a cheerfully demented style that comes off as no more threatening than a swarm of angry pixies. Eventually, after a well-crafted arc of electronic disaster movie re-enactments, bran(…)pos’s face melted from the screen (replaced by a butterfly), and Jake stepped out from behind to take his bows.
On Friday night, local composer/performer Polly Moller curated “The Art of Composition,” featuring works by Krystina Bobrowski, Andrew Raffo Dewar, Kanoko Nishi, and Gino Robair. Showcasing the huge range and robustly idiosyncratic heuristics of the Bay Area new music scene is not an easy job, but Moller’s selection cut a deep slice, if not the widest possible range (although the latter could fairly be claimed for the festival as a whole).
Mr. Robair demonstrated his centrality to many of the sub-scenes that populate the worldwide out-sound landscape, being on stage for three of the four groups and performing diverse roles with nonchalant virtuosity throughout. First, he assisted composer and instrument inventor Krystina Bobrowski in “Lift, Loft and Lull,” which employed amplified balloons as resonators for thick steel plates and long tubular bells. The first part was a slow underwater procession, with the composer blowing a mournful kelp horn while Robair did the balloonatics; the second part, with the pair playing the long tubes, gradually expanded its phrasing and language into a kaleidoscope of bongs, scrapes, rubs and singing gong-like tones. The second piece had Bobrowski moving to the Gliss Glass and Robair applying his wet fingers to a set of wine glasses.
The Gliss Glass is Bobrowski’s most complex and compelling instrument: three open-topped vessels partly filled with water, suspended on height-adjustable tripods and connected with valved tubing. Using the principle of water seeking its own level, the glasses can be struck or finger-bowed then moved up or down, causing the tones to change as the water travels among the different vessels. The resulting sounds are guaranteed to haunt the ears for days afterward, and the set provided a bang-up opening to the night.
Andrew Raffo Dewar, formerly a Bay Area stalwart (now based at the University of Alabama), is a saxophonist and composer whose Interactions Quartet has performed in San Francisco before. Robair, again on percussion, was joined by Dewar on soprano saxophone, Kyle Bruckmann on oboe and English horn, and John Shiurba on nylon-string guitar. Typically for Dewar, every new composition for the group is miles away from its predecessors in sound and form. “Strata” sounded as if impressions of Dewar’s recent jaunt to far-off Ghana had rubbed off, the slow opening moments hovering between pointillism and hocketing, all in simple pentatonic harmonies. As it gathered speed, dissonance and density — settling into a sort of pulse for the middle section (Robair and Shiurba stomping feet, ankles wrapped in bell shakers), then moving beyond a simple pulse into polymetric, panchromatic complexity — the piece stayed suspended, timeless, as if one were swimming in adjacent dimensions of streaming gossamers.
Gino Robair led his own Ensemble Aguascalientes to finish the Friday concert through a suite “based on the politically charged engravings of … Jose Guadalupe Posada.” As with many of his compositions, Robair’s conducting [see the video above, from Robair’s I, Norton workshop and concert footage @ the CAID (Detroit) and The Heaven Gallery (Chicago)] using hand cues and relying on the players’ spontaneous responses to the cues and the score, ensures that no two performances sound as kin. Shiurba was back on guitar, along with Scott Walton on bass, Joel Davel and Jim Kassis percussion, and Ms. Moller on bass flute, flute headjoint, and two sizes of ocarina. The choice of ocarina is a pivotal one in realizing Robair’s conception. “I definitely want to get away from standard tuning in this piece,” he says. “It’s all a bit unstable, pitch-wise. Which I happen to like.” The ocarina’s fragile tone and nomadic pitch —negatives in the European tradition — might be said to represent a “village” or even “revolutionary” approach (in the anti-imperialist sense), to music-making. If improvisation posits a direct-democracy alternative to the imperial composer/conductor/ensemble hierarchy, then the ocarina fires a sonic shot across the equal-temperament bow. Forgive the tortured analogies — such are the deep thoughts that Outsound concerts regularly evoke. (Besides, it’s Bulwer Lytton season.)
Kanonko Nishi’s piece (some explanation of her aims and methods may be found here), a graphic score realized by bassist Tony Dryer and guitarist IOIOI, seemed to be all about punishment of the ears, aided and abetted by a sound engineer who blasted the audience not once but four times with feedback before the thing even got started, then pegged the levels of Dryer’s droning bass-feedback section at stadium-rock levels — maybe fifteen minutes’ worth, although it went by like hours. IOIOI followed Dryer, dropping stuff on her electric guitar and banging on it occasionally, which was a little softer but more piercing and unpredictable. At least their racket drowned out the party carrying on next door. Somebody must’ve liked it — from my bunker I heard applause after it was over.
Saturday night of the Outsound Summit was dedicated to instrument makers. Co-curated by Outsound founder/quarterback Rent Romus and Edward Shocker, of the Thingamajigs group, the evening proved the maxim that the inventor is not always the most winning exponent of his or her invention. (Another point, demo’d by Walter Funk: It may not be the best idea to put a lasagna pan full of water onto a stage bustling with electric wires, computers and effects boxes, etc.) Among the presenters were new-instrument stalwarts Bart Hopkin and Terry Berlier (Her instruments are often quite beautiful sculptures). David Michalak played them in place of Ms. Berlier; unfortunately, the most impressive-looking one, a wooden dodecahedron riddled with sound-tubes and slapped with spatulas, was a sonic dud), Tom Nunn with Michalak and Stephen Baker, Brenda Hutchinson and Bob Marsh, Sasha Leitman and Walter Funk, and Sung Kim with Dan Ake. Ms. Hutchinson manipulated and sang into her long tube, enhanced by electronics and field recordings while Mr. Marsh, having donned a full-body suit covered in sliced-up water bottles, performed a pantomime to Ms. Hutchinson’s sounds that suggested Godzilla waking up to find he’s been genetically spliced with a jellyfish. It worked.
The highlight performance of the evening belonged to Tom Nunn, supported by Michalak and Baker. Mr. Nunn has been doing what he does for a very long time; he may be fairly said to be one of the granddaddies on the sonic sculpture family tree. His instruments are always a treat to look at and a delight to the ear. He favors nonharmonic, complex resonances such as are generated by metal rods and plates. His Skatchboxes generate insect and electronic sounds from mundane materials like combs, screws, and washers. Nunn debuted a new instrument on this night, a 3’ by 3’ stainless steel plate suspended by balloons in buckets and vibrated by cardboard tubes. Somehow the varying lengths of the tubes make different tones possible when rubbed along the steel. Mr. Nunn’s performing style is deeply rooted in his long, lanky body, never showing any doubt that he knows exactly what sound he wants and how to get it. The groaning sounds coming from the plate plunged the room under a mile-deep glacier, where blue echoes lightly glanced off the icy, inching walls.
Outsound.org’s New Music Summit has been around ten years, and granters like SF Friends of Chamber Music and The Zellerbach Family Foundation are just now beginning to pay attention. The programming that Outsound practices is vital in supplying fresh ideas and energy into the Bay Area’s music culture. Emerging and difficult-to-classify artists are given a forum. The value of these services cannot be overstated. Here’s to ten more years of Outsound.
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Book of Ice
by Paul D. Miller with an introduction by Brian Greene
Mark Batty; 128 pages
Paul D. Miller is probably best known as DJ Spooky, outelectronica artist. But he’s also an eloquent author about DJing and musical aesthetics in books such as Rhythm Science and Sound Unbound. Well versed in contemporary classical music, Miller has collaborated with and remixed music by Steve Reich, Iannis Xenakis, and Terry Riley. His latest project is perhaps his most ambitious and it involves one of the longest field trips and most far flung residencies an artist can make: a trip to Antartica.
In order to do research for Terra Nova: Sinfonia Antartica, a work commissioned by BAM for its 2009 Next Wave festival, Miller travelled to this remote region, soaking in its forbidding landscapes. Book of Ice is a companion to the Terra Nova project, a journal of the work in process. It’s also a travelogue for this most unlikely of destinations. Miller meditates on a complex array of associations – historical, sociological, and imaginational – that humankind has with this principally uninhabited continent.
Along the way, readers are treated to a glimpse of Antartica’s fascinating past and its very uncertain and environmentally unstable future. Miller is a nimble ecological advocate, expounding upon the dangers we face from climate change – underscored by the impact it’s already had on polar ice caps – without ever allowing the book to tread too heavily. He also manages to make what might at first seem to be an unlikely pairing – that of DJ culture and Antartic exploits – cohere into an edifying and engaging read throughout.
Krys Bobrowski is up next in our series of interviews with composers who are premiering new works at the 10th Annual Outsound New Music Summit in San Francisco on Friday, July 22nd. The Friday night concert, entitled The Art of Composition,starts at 8 pm at the Community Music Center, 544 Capp Street, San Francisco. Tickets are available online from Brown Paper Tickets, and you can also buy them at the door. Listeners who don’t want to wait that long can get up close and personal with the composers, and learn about their creative process, at a free Monday night panel discussion at 7 pm on July 18th.
Krys is a sound artist, composer and musician living in Oakland, California. In addition to French horn she plays acoustic and electronic instruments of her own design. Her collection of original instruments includes prepared amplified rocking chairs, bull kelp horns, Leaf Speakers, Gliss Glass (pictured at left) and the Harmonic Slide. Krys received her M.F.A. in Electronic Music and Recording Media from Mills College and her B.A. in Computers and Music from Dartmouth College. In addition to performing her own work, Bobrowski plays with the Bay Area-based improvisation ensemble Vorticella.
Her new work, Lift, Loft, Lull, is a series of short pieces exploring the sonic properties of metal pipes and plates and the use of balloons as resonators, performed by the composer and Gino Robair. The compositions have their origins in Bobrowski’s recent instrument prototyping work for the Exploratorium.
S21: Do your pipes, metal plates, and balloons come with any sound-generating history? Is there any “tradition” behind their use in music?
During my artist residency at the Exploratorium, I began experimenting with alternative resonators for musical instruments. I wanted to create an experience that would allow the listener to hear the ‘sonic bloom,’ the moment a resonator comes in tune and couples to a vibrating object.
As part of this project I started researching resonators in traditional and experimental instruments. I came across an interesting photo from the 1950s of someone playing an instrument made of glass rods attached to a series of inflated plastic cushions. The cushions were acting as the resonators for the glass. Later, I learned that the Baschet brothers, Francois and Bernard Baschet, invented this instrument along with dozens of other beautiful sound sculptures, including an inflatable guitar!
This started my exploration of using balloons as resonators, mostly for instruments made out of various kinds of metal: plates, pipes, bars, odd-shaped scraps. I also came across references to Tom Nunn’s and Prent Rodgers’ work with balloons and balloon resonators in a book by Bart Hopkin, ‘Musical Instrument Design.’ This led me to make a version of the ‘balloon gong’ instrument shown in the book.
Here’s the first in a series of interviews with composers who are premiering new works at the 10th Annual Outsound New Music Summit in San Francisco on Friday, July 22nd. The Friday night concert, entitled The Art of Composition,starts at 8 pm at the Community Music Center, 544 Capp Street, San Francisco. Tickets are available online from Brown Paper Tickets, and you can also buy them at the door. Listeners who don’t want to wait that long can get up close and personal with the composers, and learn about their creative process, at a free Monday night panel discussion at 7 pm on July 18th.
Andrew Raffo Dewar (b.1975 Rosario, Argentina) is an Assistant Professor in New College at the University of Alabama. He’s a composer, improviser, soprano saxophonist and ethnomusicologist. He’s studied and/or performed with Steve Lacy, Anthony Braxton, Bill Dixon, Alvin Lucier, and Milo Fine. He has also had a long involvement with Indonesian traditional and experimental music. His work has been performed by the Flux Quartet, the Koto Phase ensemble and Sekar Anu. As an improviser and performer Andrew has shared the stage with a plethora of musicians worldwide, both the celebrated and the little-known.
As a member of his own Interactions Quartet, Andrew will premiere “Strata” (2011), dedicated to Eduardo Serón and inspired by the Argentine artist’s 2008 series of paintings, “La Libertad Es Redonda” (“Freedom is Round”). His description tells us that “Through a combination of improvisation and notation, performers negotiate several “layers” of written material, mixing and matching components that are eventually assembled into nested counterpoint.”
S21: You’re traveling quite a distance to premiere your piece at the Outsound Summit but it’s certainly not the first time you’ve been here. How did you become associated with the San Francisco Bay Area new music community?
I lived in Oakland for roughly two years (2000-2002) before heading off to graduate school at Wesleyan University in Connecticut to study with people like Anthony Braxton and Alvin Lucier. My first exposure to the Bay Area community was, if I remember correctly, a two-day workshop with legendary bassist/composer Alan Silva organized by Damon Smith at pianist Scott Looney’s performance space in West Oakland in 2000, which was an excellent experience. After that, I worked regularly — I think it was weekly — in a “guided improvisation” workshop ensemble at Looney’s organized by clarinetist Jacob Lindsay and guitarist Ernesto Diaz-Infante, and separate improvisation sessions with violist/composer Jorge Boehringer, which were both situations where I had the opportunity to play with many great Bay Area folks, like trumpeter Liz Albee and many others, which was wonderful. Around that time I was walking by guitarist/composer John Shiurba’s house with my horn, and he happened to be outside watering his garden. He asked me what kind of music I played, and I think the combination of the perplexed look on my face and my inability to answer his question easily is why we connected that day — he invited me in to chat, and when I saw a framed photo of Anthony Braxton on his mantle (whose work I’ve appreciated since my late teens, and who I’ve had the great opportunity to study and perform with) I knew I was “home.” Read the rest of this entry »
Maya Beiser, everyone’s favorite ex-Can Banging All Star downtown cellist, was an invited presenter at the March 2011 TED conference. The TED site recently released a high quality video of her lecture recital, and it’s already garnered over 80,000 views!
TED’s slogan: “Ideas worth spreading.” We’re glad that Maya’s getting the chance to spread the word about Steve Reich’s Cello Counterpoint and David Lang’sWorld to Come far and wide!
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Outsound acquired a Board of Directors and incorporated its bad self in 2009. Now with a 501(c)(3) IRS determination in hand, it’s a stalwart provider of experimental music, sound art, found sounds, improvisation, noise, musique concrete, minimalism, and any other kind of sound that is too weird for a mainstream gig in the Bay Area.
The upcoming 2011 Outsound New Music Summit is the 10th annual, running from July 17-23, 2011. All events will take place at the San Francisco Community Music Center, 344 Capp Street, San Francisco. Eager listeners can purchase advance tickets online.
Sunday July 17: Touch the Gear Exposition
Outsound’s free opening event allows the public to roam among the Summit’s musicians and sound artists and their sonic inventions, asking questions, making noise and learning how these darn things work.
Monday July 18: Discussion Panel: Elements of non-idiomatic compositional strategies
Another free public event in which composers Krys Bobrowski, Andrew Raffo Dewar, Kanoko Nishi and Gino Robair will discuss the joys and pains of creating new works some of which to be premiered in The Art of Composition. The public is invited to participate in a Q&A session.
Wednesday July 20: FACE MUSIC
This concert is devoted to the voice, the world’s oldest instrument, and artists who expand its horizons: Theresa Wong, Joseph Rosenzweig, Aurora Josephson, and Bran…(POS).
Thursday July 21: The Freedom of Sound A night of operatic free expression, and power of spontaneous sound from Tri-Cornered Tent Show featuring guest vocalist Dina Emerson, Oluyemi and Ijeoma Thomas’ Positive Knowledge, and Tom Djll’s “lowercase big band”, Grosse Abfahrt with special guest Alfred Harth (A23H).
Friday July 22: The Art of Composition
Gino Robair premieres his Aguascalientes suite based on scenes captured by Jose Guadalupe Posada, Andrew Raffo Dewar’s Interactions Quartet performs Strata (2011) dedicated to Eduardo Serón, Kanoko Nishi premieres her graphic scores along with bassist Tony Dryer, and Krys Bobrowski offers Lift, Loft and Lull, a series of short pieces exploring the sonic properties of metal pipes and plates and the use of balloons as resonators.
Saturday July 23: Sonic Foundry Too!
In a sequel to the first Sonic Foundry performance in 2006, 10 musical instrument inventors are paired up in 5 collaborations: Tom Nunn, Steven Baker, Bob Marsh, Dan Ake, Sung Kim, Walter Funk, Brenda Hutchinson, Sasha Leitman, Bart Hopkins, and Terry Berlier.
Composer Mario Davidovsky turns 77 today. The International Contemporary Ensemble and soprano Tony Arnold are celebrating his birthday with a Portrait Concert at Miller Theatre tonight at 8 PM (details here). They’ve also recorded a birthday greeting for the composer (video below), adding a bit of angularity and jocular dodecaphony to a more traditional number.
HOUSTON, TX – On February 17th, 6:30 pm at the Contemporary Arts Museum of Houston, the Houston music group Musiqa in collaboration with the Mitchell Center and CAMH present Answers to Questions with works by composers Bill Ryan, Michael Lowenstern, David T. Little, Ingram Marshall, and Nick Zammuto all performed by composer and violinist Todd Reynolds. The concert is produced in conjunction with and in response to the CAMH exhibition Answers to Questions: John Wood & Paul Harrison, the first United States museum survey of work in video by this British artistic team. Admission is free.
Composer, conductor, arranger and violinist, Todd Reynolds is a longtime member of Bang On A Can, Steve Reich and Musicians and an early member of Yo-Yo Ma’s Silk Road Project. His commitment to genre-bending and technology-driven innovation in music has produced innumerable artistic collaborations that cross musical and disciplinary boundaries. As a solo performer, Reynolds continues to develop and perform a repertoire of works for his instrument in combination with the laptop computer and his main software weapon of choice Ableton Live. His forthcoming double CD Outerborough (Innova) features a CD of original works paired with a second disc of works composed especially for Reynolds in the past year. Reynolds will include two of his own works from Outerborough on the Feburary 17th concert. Outerborough is due out in March.
(Outerborough design, photography, and artwork by Mark Kingsley)
Reynolds says that while certain violinists impressed and inspired him from his very beginnings as a musician, including Stuff Smith, Stephane Grappelli, and electric violinist Jerry Goodman, more relevant to him as composer and soloist is guitarist Robert Fripp (“The first looper!”) and his Frippertronics performances, as well as composer singer Meredith Monk. Like Fripp and Monk, Reynolds has absorbed the musical techniques of many musical worlds, including country, blues, Indian music, jazz, and rock. As an independent instrumentalist, he reaches to fellow composers to compose pieces that utilize his formidable technique in combination with the edges of what is possible with digital technology. Other composer/performer/composer collaborations like Dawn Upshaw with Osvaldo Golijov, Helga Davis with Paola Prestini, and Pat Metheny with Steve Reich have similarly helped “strengthen the art” of both new music and its interpreters.
This is Reynolds’ first visit to and performance in Houston, Texas. He admits he has little knowledge of Houston’s artistic output, and is tremendously excited to get to know the city. With a music and multidisciplinary scene that includes experimental music hosted by the Houston Museum for African American Culture, Nameless Sound, and the aforementioned Musiqa, to the recently lauded production of Dead Man Walking by the Houston Grand Opera, creative programming by several smaller opera companies, chorale ensembles and chamber groups including the Grammy nominated Ars Lyrica, Houston should be a destination of choice for experimental musicians from other parts of the U.S. and the world. H-Town is beating the drum loudly. The question is, are you listening?
Musiqa presents Answers to Questions with violinist Todd Reynolds. February 17, 2011, 6:30 pm, at the Contemporary Arts Museum Houston, 5216 Montrose. Admission is Free.
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Before any of the musical gadgetry could be used on night three of the Ecstatic Music Festival at Merkin concert hall, the audience rang the evening’s first notes by singing “Happy Birthday” to So Percussion member Jason Treuting, joyfully absent due to the birth of his child earlier in the day. In jeans and t-shirts, the present members (plus Jason’s skillful stand-in) then gathered around a large bass drum stage right and began the evening with a wonderful introduction to their music: chimes mixed with frenetic drumming rhythms I dare not describe.
The young men were then joined onstage by guitarist Grey McMurray and performed pieces from their Where We Live project. Simply put, various friends and family of the band submit short videos in the intimate format of YouTube, to which the group scores an appropriate number. First, a fellow brushing his teeth was projected onto the large screen behind the stage. The quartet wrote a harmonic and buzzing piece, turning the awkward video of a frothy mouth into a pretty drone of varying proportions. Next was the cutesy video of a baby playing with a bright orange balloon. Fittingly, orange balloons sat idle until they were tossed into the audience, adding the sound of our batting the air-stretched plastic to the beautiful sing-song inspired by an infant.
Two more pieces followed, the first a showcase of Grey McMurray’s guitar as it warbled and synthesized from the stomping of various pedals, the rumble accompanied by birdsong sourced from a computer file. Martin Schmidt of Matmos appeared in the night’s final video projection as the interesting denizen of an audiophile’s basement, his egg-shaking antics appropriated by the five players in a medley of electronic-acoustic wanderings a la the Boredoms. But these musicians come from a background of Bach, Ives, and worldly rhythm, surely a sign that prior giants still influence our present and future networked moment.