Archive for the “Electro-Acoustic” Category
Posted by Christian Carey in Chamber Music, Choral Music, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Experimental Music, File Under?, Interviews, New York, tags: Alvin Lucier, David Lang, Ekmeles, The Tank
Ekmeles rehearses Iddon
On Tuesday 1/11, newish New York vocal ensemble Ekmeles presents a program of music by Martin Iddon, Alvin Lucier, and David Lang at The Tank. I caught up with Ekmeles’ director, baritone Jeff Gavett to learn more about the event.
Carey: Why did you form the group Ekmeles?
Gavett: “While New York is home to many exceptional instrumental groups dedicated to contemporary music, there is a relative paucity of new vocal music. Ekmeles was created to fill the gap, and bring adventurous new music for solo voices to audiences that otherwise have little or no chance to hear it.”
“Our first season so far has included a US premiere by Mauricio Kagel, New York premieres by Aaron Cassidy and Kenneth Gaburo, and new commissions by Troy Herion and Jude Traxler. We also performed as the vocal complement in a sold out performance of Knee Plays from Einstein on the Beach as part of the Darmstadt Essential Repertoire series at Issue Project Room.”
Carey: Tell us about the works on the concert?
Gavett: “First on the program is our commission, Martin Iddon’s Ἁμαδρυάδες (hamadryads). It’s a transformation of Josquin’s Nymphes des Bois which involves retuning the intervals of the original in chains of Pythagorean intervals. These pitches, notated to the hundredth of a cent, are traversed mostly through extremely slow glissandi, requiring the singers to use sine wave reference tracks to achieve the tuning. We’ll also be playing tuned wine glasses, which blend eerily with the vocal textures.”
“Next is Alvin Lucier’s Theme, a setting of a poem by John Ashbery which shares some kinship with his most famous work. Lucier fragments the poem and distributes it between four speakers, who read the text into what he calls “resonant vessels.” These are vases, milk jugs, any empty container into which is placed a miniature microphone, which picks up the sound of the voice as filtered by the vessel, much like the room filters the sound of Lucier’s voice in I am sitting in a room.”
“David Lang’s the little match girl passion rounds out the program. As the title suggests, Lang has taken Hans Christian Andersen’s moralistic children’s story and infused it with the Passion. The suffering and death of a poor little girl is thus directly and explicitly equated to that of Christ, amplifying the story’s emotional impact. The singers all play percussion instruments, and the glockenspiel is featured especially prominently, its crisp attack evoking the freezing night. The clear and sparse textures throughout the match girl text are contrasted beautifully with richer quasi-choral textures in the Passion-derived elements.”
Carey: What’s next for Ekmeles?
Gavett: “Upcoming performances include John Cage’s Song Books at the Avant Music Festival on February 12th, and Chris Cerrone’s Invisible Cities with Red Light New Music in May.”
Tuesday, January 11th, 2011, 7 PM – Ekmeles – Resonances
345 W 45th St, Manhattan, NY 212-563-6269
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For the next few months, The City of Angels is going to be the epicenter of all things Iannis Xenakis (1922–2001). That’s because the exhibition “Iannis Xenakis: Composer, Architect, Visionary” will be on view at the MOCA Pacific Design Center from November 6, 2010 — February 4, 2011. The exhibition explores Xenakis’ wide range of sketches, scores and drawings, not only musical but architectural and aesthetic as well. Not always simply notes on score paper, many of Xenakis’ sketches and drawings conjure up artistic visions, in ways perhaps only matched by John Cage’s documents of his own explorations. Defintely a must-see.
But there are also a couple must-hears, happening right this week, both absolutely free:
Saturday, 6 November at 6pm, in L.A. State Historic Park (1245 Spring Street) a recreation of Xenakis’ legendary Polytope de Persepolis will be performed. Adapted by German sound artist and Xenakis electronic music expert Daniel Teige, Persepolis L.A. will involve six listening stations with eight speakers each. Persepolis was originally commissioned by the then Shah of Iran and performed as the opening event of the controversial 1971 Shiraz Festival that took place in the middle of the ruins of the ancient Persian capital. This performance will encompass more than 70,000 square feet of performance area within the park’s 32-acres, and will feature the recently restored multi-track music composition and computer-generated visual choreography, complete with laser beams, fire, smoke, and searchlights. The event will open with Xenakis’ first electronic work, Diamorphoses (1957), as a “geological prelude”.
Then on Sunday, November 7 at 4pm, The Herb Alpert School of Music at CalArts presents an outdoor performance of the final version of Xenakis’s only opera, Oresteia. This West Coast premiere includes performances by baritone Paul Berkolds, an adult chorus, a children’s chorus, and a chamber ensemble. First-come seating is on the lawn for this highly charged, brutally colorful piece.
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The Electronic Music Foundation’s really big shoo, “Ear to the Earth 2010 — The 5th New York Festival of Sound, Music, and Ecology“, will be running from October 27th through November 1st. This year the theme is “Water and the World”, and features a veritable pantheon of composers, performers and sound artists. A bit from their press release:
Water is essential to the support of all living organisms. Yet, we are headed to a crisis in managing it. For its fifth installment, Ear to the Earth 2010 will turn its attention to the current states of water and our social and cultural attitudes towards it. For five days eco-composers and sound artists will explore the topic of “Water and the World” through compositions, installations and presentations featuring the sound of water and bringing forth critical environmental issues — melting ice and rising sea levels, access and privatization, pollution, storm intensity, salinity, to name a few. The festival will take place at Frederick Loewe Theater, Greenwich House Music School, White Box, and Kleio Projects in New York City.
It all kicks off with a rare New York appearance by probably the dean of Canadian composers, acoustic ecology pioneer R. Murray Schafer (Oct. 27). Highlights include a presentation on how animals (including fish) taught us how to dance by bioacoustician Bernie Krause (Oct. 29); Kristin Norderval’s new vocal electronic work on a virtual polar icecap meltdown (Oct. 30); Michael Fahres’ video concert of dolphin sounds and Senegalese master drummers (Oct. 31); Phill Niblock and Katherine Liberovskaya’s live audio/video work on the sounds of the Rhine and Danube rivers (Oct. 31); Charles Lindsay and David Rothenberg’s new live performance work on water in western United States (Nov. 1); Andrea Polli and TJ Martinez’s documentary on surfing as a way to reflect on climate change (Nov. 1); as well as performances and presentations by Matthew Burtner and Scott Deal, Yolande Harris, David Monacchi, Maggi Payne, and Matt Rogalsky.
On Oct. 30, New York Soundscapes – an evening of premieres offering panoramic portrayals of the metropolis’s audio personality and urban ecology – will feature a team of up-and-coming sound artists focusing on NYC water-related issues such as consumption (Miguel Frasconi), the Gowanus Canal (Aleksei Stevens), and the Atlantic Avenue Tunnel (Paula Matthusen). In addition, this year’s festival will present Daniella Topol and Sheila Callaghan’s highly entertaining, yet disturbing, theatrical work on struggles around water, and sound installations by Annea Lockwood, Liz Phillips and Jennifer Stock.
Everything you need to know about schedules, venues and tickets is here at the EMF website. Read on for some personal words from a few of the particpants:
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Posted by Chris Becker in Contemporary Classical, Electro-Acoustic, Experimental Music, Flute, Houston, Improv, Percussion, Performers, Sound Art, Women composers, tags: Avant Garden, Doggebi, Flute, Houston, improvisation, Labotanica, Michelle Yom, sound installation, Women composers
Pyramid and Michelle Yom at Labotanica (Houston, TX)
This Friday, October 1st at 7pm, Michelle Yom will present her sound performance installation Back To Imagined Spaces at Houston’s alternative arts and music venue Labotanica located at 2316 Elgin Street. This is a part of Labotanica’s ongoing Hear/Her/Ear series spotlighting women in experimental music.
I got a chance to hear Michelle last month in a solo vocal set at Avant-Garden where she recorded and looped her singing in real time to additively build a series of haunting chorales. Michelle is perhaps best known as a flautist with a strong classical technique and the skills and imagination of a great improviser. Her flute and drums duo Doggebi features Michelle with drummer Spike The Percussionist – a musician I name checked in my Houston Mixtape #3: The Epicenter Of Noise – freely and (almost) breathlessly improvising music that is somehow stark yet filled with a minutiae of details.
Back To Imagined Spaces imagines the human body as a collection of cells that sing and are heard in a “self-imposed timeless space” contained within the pyramid Michelle has constructed inside Labotanica. Regarding the music she will perform, Michelle writes: “The first set is a series of staccato vocalizations with syllables from the mantra, Asato Ma Sad Gamaya, processed through seven delays. The second set will be a live performance of tonal pieces titled Heart, Ears, Kidney, and Stomach, also using vocal sounds. The pieces are intended to capture a version of imaginary but prudent sounds, much like taking a microscope and focusing the lens into singing, living cells.”
Also on Friday’s program are performances by artist, vocalist and electronic composer Melanie Jamison and Labotanica’s tireless curator, visual and sound artist Ayanna Jolivet McCloud.
There is a $5 cover charge for the show. All proceeds go to the musicians. Michelle Yom’s installation will be up October 1st through October 9th, 2010.
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Posted by Steve Layton in Canada, Chamber Music, Commissions, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Experimental Music, Music Events, Performers, Post Modern
A few of the of the unusual and interesting events coming up soon, soon soon:
Victoria, B.C. : Wednesday May 12th, 8pm at Knox Presbyterian Church (2964 Richmond Road, Victoria / $10), LaSaM (Luminosity and Sounds by adventurous Musicians) is presenting a program titled “And Beethoven Heard Nothing“. As they tell it, the show will be “exploring Beethoven’s inherent belief systems, his deafness and the sonorities of his later work. Sonic phenomena; tinnitus and deafness; acoustic space, climax and stasis; memory and silence… The ensemble has pulled experiences of Beethoven’s thought and music through the filters of contemporary soundscape and performance practice into an evocative environment of dancing shadows, image and light.” Directed by musicologist Dylan Robinson and composer Tina Pearson, with technical direction by George Tzanetakis and live video projections by Tim Gosley. Besides Pearson (flute, voice, glass) and Tzanetakis (clarinet, saxophone) collaborating musicians include Chris Reiche (piano), Cathy Lewis (voice, percussion), and Alex Olson (bass). Island Deaf and Hard of Hearing Society will be on hand with information; the performance will be followed by a discussion about the project, and about how we use our ears in contemporary urban life.
. . . . .
Baltimore, MD : Friday May 14th is the kick off for the 2010 edition of the Megapolis Audio Festival, running all the way through Sunday the 16th. Right from the horse’s mouth, there’ll be “circuit bending /noisemaker constructions, sonic slumber parties, free-form audio editing sessions, kickass musics, interactive demonstrations, urban sonic explorations, experimental musical practice and theory, film with funfun sounds, musical performances, subversive audio tours, (un-boring) lectures, and moremoremoremore.”
The line up
is mind-boggling in its scope, filled not only with listening but workshops, installations, player participation and likely wild parties hither and yon. A special shout-out to my composer friend Erik Spangler
, who in his alter-ego known as DJ Dubble8
will be working with Baltimore’s intrepid Mobtown Modern
. . . . .
Toronto, ON : Saturday, May 15th is the day to catch Contact Contemporary Music: Six Team League at the Music Gallery (197 John St., Toronto / 416-204-1080 / $20).
In celebration of Canada hosting the 2010 Winter Olympics with a nod to the National Hockey League’s “Original Six,” Contact Contemporary Music is pitching in with an ambitious attempt to connect the country through music. Six ensembles across the country will simultaneously present and perform a concert of six new works by six composers from six regions of the country in a musical sweep from sea to sea to sea.
The participating ensembles are the Motion Ensemble (Fredericton, NB) who have commissioned composer Joel Miller; Bradyworks (Montreal, QC) who have commissioned composer Michel Frigon; St. Crispin’s Chamber Ensemble (Edmonton, AB) who have commissioned Dave Wall; Redshift Music (Vancouver, BC) who have commissioned Jordan Nobles; and Contact Contemporary Music who have commissioned Juliet Palmer..
Six composers. Six ensembles. Six cities. Six concerts. Six Team League.
. . . .
Saint-Gilles, Belgium : Also on Saturday, May 15th, 8pm but half a world away (Maison du Peuple de Saint-Gilles, Parvis de Saint-Gilles, 37-39), the brilliant pianist Stephane Ginsburgh will be joining many other wonderful musicians, in a free concert titled “Constellations-Figure“. A clumsy translation:
What is a constellation? A design, a network. Links forged between the points seen from afar, but apparently close. They are a familiar and enigmatic. A graph that tells us about relationships, geometric and experienced. Paths traced between places and individuals symbolic or real. What form a constellation? The proximity of the points or the path of truth? Twenty artists are encouraged to draw their constellation, while participating in the figure which will rise by the force of things. Do you like the Milky Way?
Did I mention many other wonderful musicians? It’s a “Night of Soloists”: Jean-Michel Agius (voice), Primitiv (beatbox), Laurence Cornez (piano), Tom De Cock (percussion), Fabian Fiorini (piano), Stephane Ginsburgh (piano), Philippe Liénaert (piano), Céline Lory (piano), Barbara Mavro Thalassitis (voice/dance), Laurence Mekhitarian (piano), Gerrit Nulens (percussion), Isabelle Roeland (voice), Jessica Ryckewaert (percussion), Jan Rzewski (saxophone), Johanne Saunier (voice/dance), Laurence Vielle (voice), Gilles Wiernik (voice). It’s a cryptic but promising event, in a beautiful and historic location.
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Posted by Christian Carey in Composers, Concerts, Contemporary Classical, Downtown, Electro-Acoustic, Experimental Music, Festivals, File Under?, New York, tags: Du Yun, Ken Ueno, NYCO, Vox 2010
Big ups to my composer compadre Ken Ueno. He’s had a heck of a busy year. In addition to an active teaching schedule at University of California-Berkeley, where he’s an Assistant Professor of Composition, he’s been busily composing, performing, and supervising recordings of his music.
His new disc on the BMOPSound imprint – the only disc I’ve ever received in the mail with a warning label on it (extreme dynamic range) – is an engaging collection. Featuring the Boston Modern Orchestra project, conducted by Gil Rose, its a collection of his concerti for other musicians – violist Wendy Richman, biwa player Yukio Tanaka, and shakuhachi performer Kiku Mitsuhashi – as well as works featuring his own overtone/throat singing. Another of his concerti, Like Dusted Sparks, written for percussionist Samuel Z. Solomon, appears on Deviation the new CD by the Boston Conservatory Wind Ensemble.
This weekend he’s in NYC to perform a new work with Du Yun at the Flea, part of their May mini-marathon. According to Ken, “Our piece is called Gold Ocean. It’s a multimedia post-modern opera, featuring the juxtaposition of contemporary classical with electronica/pop and Asian sonic references.”
Du Yun is having quite a weekend too. In addition to her performance with Ken, her opera Zolle was premiered on Friday at New York City Opera’s 2010 Vox Festival.
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An illegal immigrant with a civil engineering degree in Paris, fugitive from his native Greece for his WWII resistance activity (for which he nearly died, and lost one eye) Iannis Xenakis (1922-2001) eventually found himself working for the famed architect Le Corbusier, first as one of any number of assistants but soon enough as collaborator. Yet he was always drawn above all else to the need to compose music. Nadia Boulanger, Arthur Honneger, Darius Milhaud –all were either rejecting or rejected. It wasn’t until Xenakis stumbled upon Olivier Messiaen that he found a teacher that saw past the inexperience and willfullness:
I understood straight away that he was not someone like the others. […] He is of superior intelligence. […] I did something horrible which I should do with no other student, for I think one should study harmony and counterpoint. But this was a man so much out of the ordinary that I said… No, you are almost thirty, you have the good fortune of being Greek, of being an architect and having studied special mathematics. Take advantage of these things. Do them in your music.
Thrown almost at once into the hotbed of post-WWII modern music, surrounded by the likes of Karlheinz Stockhausen, Pierre Boulez, Jean Barraqué and Pierre Schaeffer, yet still working for Le Corbusier, Xenakis soon found ways to integrate his love of mathematics and architecture with new musical forms based on points and masses, curves and densities, later even physics and statistics — but somehow always tied to a deeply Greek historical and humanistic root system.
In the late 1950s Le Corbusier received a commisson to create the Phillips Pavillion for the 1958 Brussels World’s Fair. Le Corbusier made a preliminary sketch, but it was Xenakis who would develop and see the structure through to completion. Not only that, Xenakis (along with Edgard Varèse) would create music to inhabit the space, complementing a multi-projection visual program by Le Corbusier himself.
While only standing a short time, the echo of that space, event and music would continue well past 1958; it was constantly mentioned in all the books while I was a university student, and the pieces made for it have become “classics” in the field of early electronic music, still listened to and loved today. (There’s a small documentary on the Pavilion that you can see on YouTube.)
The reason I’m telling you all this? Because from January 15th through April 8th, The Drawing Center in New York City is hosting the show Iannis Xenakis: Composer, Architect, Visionary. And in conjunction with this show, the Electronic Music Foundation is sponsoring a number of Xenakis events, including on the 15th a virtual recreation of the experience of the Phillips Pavilion at the Judson Church (55 Washington Square South).
We’ve asked The Drawing Center’s Carey Lovelace and the EMF’s own Joel Chadabe to give us some background and info, which follows just after the jump:
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A number of Sequenza 21 contributors and readers also populate the site ImprovFriday. It’s a web community that encourages sharing of improvisations, compositions with an element of improv, and recent compositional sketches at a series of web events run on … you guessed it, Fridays.
While this all sounds very free form, the group has specific guidelines for participation, found here. Employing these operating principles are a wide ranging group of spontaneous creators: diverse in style, outspoken yet constructive in critiquing each others’ work, but unified in ambitious music-making.
The community’s first compilation recording, ImprovFriday Vol. 1, is now available from online vendors Amazon and iTunes.
For Sequenza 21 readers, the list of participants contains several of our ‘usual suspects:’ Steve Layton, David Toub, J.C. Combs, Dennis Bathory-Kitsz, and Bruce Hamilton. Included below are a few sound snippets for your preview.
Steve Layton: Spaceship
David Toub: Virtual Music 2
J.C. Combs: The Giant Eye of the Fifth Dimension
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For a lot of you Vancouver, British Columbia is one of those “way out there” places. But coming from its U.S. “way out there” sister Seattle, I know that the art and music scenes are anything but moribund (though the Canadian government seems well on its way to getting in line with the venerable U.S. tradition of “screw the arts, let them find their own damn money!”).
One of the things keeping it hopping is Vancouver New Music, whose 2009-10 season is underway. As part of said season, VNM is presenting a fairly mind-stretching festival, the 21st through 24th of October, titled “Copyright/Copyleft.” The four-day festival will rely heavily (but not only!) on electronic musicians, many of whom appropriate and transform existing music, video and audio material into their own work.
The line-up is adventurous: Andrew O’Connor‘s large analog tape-loop soundscapes; Jackson 2Bears‘ remix and re-narrative of American Native cultures; grandaddy of “Plunderphonics” John Oswald, Eric Hedekar‘s; Jake Hardy‘s and Aja Rose Bond‘s extended-DJ techniques; Percussion/improv/thinking-man legend Chris Cutler; People Like Us (aka Vicki Bennett‘s) disjunct enviroments; Sonarchy‘s “miserabilism”; Scanner‘s highly influential electronica; David Shea‘s unique mix of electro and acoustic; Mark Hosler‘s (Negativland) film, presentation and critique of mass media and culture; and Uri Caine‘s phenomenal reworking of the music of composers such as Bach, Beethoven and Mahler.
The VNM Festival website will give you all the details about dates, locations, times, tickets, as well as info on and preview sounds from each artist. While you’re over there, do check out the rest of Vancouver New Music’ great season, too. Maybe you’ll be able to find some time come and visit the excellent stuff that happens “way out there.”
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