Archive for the “Experimental Music” Category
Acclaimed and award-winning ‘new music specialist’ Sarah Plum (right) is giving a recital of new works for violin this Friday (Sept. 28th) at 8 PM at the Firehouse Space in Williamsburg, Brooklyn.
Sarah has dedicated her career to performing the works of living composers and establishing meaningful, collaborative relationships with them – a fact highlighted by her recital’s program which includes pieces by Christopher Adler, Christopher Burns, Matthew Burtner, Laurie Schwartz, Mari Takano and Sarah’s longtime collaborator, Sydney Corbett.
I talked to Sarah about Friday’s concert, her career, working in Europe and other topics related to contemporary music on my web-based music show/podcast, We Are Not Beethoven on Washington Public Radio. You can stream/download our conversation here.
Once again, violinist Sarah Plum is giving a recital at the Firehouse Space in Brooklyn this coming Friday at 8 PM. Tickets are $10, and the Firehouse Space is located at 246 Frost Street in Williamsburg, Brooklyn. More information about the event can be found here.
Posted by Jonathan Lakeland in American Music Center, Classical Music, Composers, Composers Now, Contemporary Classical, Experimental Music, Interviews, New York, News, The Business, Twentieth Century Composer, tags: laura kaminsky, New York, Symphony Space
Updated : 9/6/12 with added thoughts from Laura Kaminsky.
Every so often we have a conversation that changes us for the better. Sometimes, we have this type of conversation with our mothers, our fathers, our close friends and allies, our colleagues, or with an artist. Last weekend I had a profound conversation with the latter, an artist named Laura Kaminsky.
Laura Kaminsky, composer, is also the artistic director of Symphony Space, the renowned performance venue in New York City. She has received commissions, fellowships, and awards as both a composer and presenter from over twenty organizations including the Koussevitzky Music Foundation and the Aaron Copland Fund. Ms. Kaminsky also plays a large role in the operation of many musical and arts organizations including Chamber Music America, and, in the past, New Music USA (formerly the American Music Center), and as a member of the Artistic Advisory Council of the New York Foundation for the Arts, among others. Laura Kaminsky is an important and influential voice in the arts world today. Having the chance to speak with her by phone, I first asked her about her musical upbringing.
Laura Kaminsky (LK): I grew up in New York City, and was surrounded by musicians, painters, writers, and actors. As a very young child I thought I was going to be a painter when I grew up. But I started taking those typical piano lessons at about age ten or eleven, and quickly decided that practicing wasn’t nearly as much fun as making up my own music. This led me to start trying to figure out how to write down that which I made up. So, I was composing at a very young age, untrained, just writing the things that occupied my imagination. Still, I just thought of it as a fun thing to do. [Around this time] I began tormenting my younger sisters because I used to create family musical evenings that I insisted they participate in. We would perform these programs on the weekend for our parents. I think this is probably where I got my passion for producing.
When I was about 13, it was that time in New York when, if you were a public school kid, you could test and audition to go to a special high school. I wanted to go to [LaGuardia High School of] Music and Art, and originally I thought I was going to audition with an art portfolio. As I got closer to the day of the testing, however, I realized I was more passionate about my time spent in music, and requested that I switch my art audition to a music audition. I got in not because I was a particularly good pianist or clarinetist (that was my second instrument) but I think because I presented music that I wrote, and performed one of my own compositions. My four years at M&A were profound and formative; many of my friends today still date from that time, and many are living active lives in the arts. Read the rest of this entry »
John Shiurba is a composer and guitarist based in Oakland, California whose artistry embraces improvisation, art-rock, composition and noise. In his composer capacity, he’s headlining the second night of the 11th Annual Outsound New Music Summit, an evening entitled The Composer’s Muse. The concert will take place on Thursday, July 19th at 8:00 p.m. at the San Francisco Community Music Center, 544 Capp Street, San Francisco. Tickets are available at the door, or online through Brown Paper Tickets.
Shiurba’s world premiere work for large ensemble, 9:9, is a suite of nine pieces written to be interpreted by nine players with a conductor. (Any reader who is familiar with his work will recall his affinity for numbered concepts, in past works such as Triplicate and 5 x 5.) The score will explore the demise of the print medium through nine different types of notation, all of which are derived from newspapers. The nine players will be called upon to interpret standard music notation along with graphic, textual and pictorial notation, allowing the ensemble some creative input in the interpretation. The form of the suite will be open, allowing the conductor and the players to spontaneously shape the way the music develops in real time. Shiurba will serve as conductor of his own piece next Thursday night. He was also kind enough to take time out to answer some of my questions.
S21: Sequenza21 readers have read about you before in your role as a guitarist in SF Bay Area improvising ensembles. How does your guitar playing inform (or not inform) your compositions?
JS: My experience as an improvising guitarist perhaps affects my compositions mostly by way of contrast. When I seek to interject something composed into an improvising ensemble, I tend toward something that the ensemble wouldn’t otherwise do. So usually I choose pitched tight rhythmic phrases that contrast wildly with the mostly arhythmic timbral material that typifies my improvising. Whether or not my approach to the guitar actually affects the music that I write probably depends largely on what music I’m writing. In the case of one of my more rock oriented projects, where I’m writing actual guitar music, undoubtedly my own guitar language (and my limitations) will factor significantly in what I write. When I’m writing for other instruments, then probably not so much. I’m not much interested in creating ways of notating the things that I (and others) do in an improvised situation– I’m happy to just let that happen as it will, and write something to contrast it.
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Posted by Christian Hertzog in Concert review, Concerts, Contemporary Classical, Experimental Music, Festivals, Ojai, Percussion, Photos, Post Modern, Premieres, tags: Inuksuit, John Luther Adams, Ojai Festival, percussion, Steven Schick
Musicians on the outskirts of Libbey Park performing Inuksuit (note the percussionist playing water gong in the upper left hand corner)
They say a picture is worth a 1000 words, so consider this photo album a 26,000 word review until I file my story. Inuksuit was one of the most extraordinary pieces of music I’ve heard since–well, John Luther Adams’ orchestra and tape work, Dark Waves. (On Sunday, we’ll hear JLA’s two-piano version of Dark Waves.)
Do read Paul Muller’s account of this concert and Thursday evening’s concert.
To give you some idea of what the performance was like, here are some crude videos I made on my not-designed-for-filming camera. The mike on the camera did a reasonable job of capturing the changes in sound as you moved from one spot to another, as I did throughout the performance.
If you’re reading this before or around 11 a.m. PST June 9, hop on over to the live stream from Ojai to watch/hear Marc Andre Hamelin, Christianne Stotijn, and Martin Frost perform Alban Berg, as well as an orchestral work by Eivind Buene. Watch it here.
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Best wishes to Pauline Oliveros, who turned eighty today!
Garth Knox, viola & fiddle
with Agnès Vesterman, cello & Sylvain Lemêtre, percussion
ECM Records CD 2157
Dance music in multiple forms, from the saltarello, a Venetian dance dating back to the Fourteenth century, to Breton and Celtic folk music, as well as transcriptions of medieval era compositions, Renaissance era consort music, and contemporary fare, are featured on Saltarello, violist Garth Knox’s latest ECM CD. Among the early music slections, Particularly impressive is a Vivaldi concerto, performed in a duo arrangement for viola d’amore and cello. Its interpreters, Knox and Agnès Vesterman, take this continuo less opportunity to accentuate a supple contrapuntal interplay between soloist and bass line. Equally lovely is a piece that combines music by Hildegard and Machaut in a kind of medieval style mash-up. Also stirring is this duo’s version of John Dowland’s most famous piece, Lachrimae, perhaps known best in its incarnation as the song “Flow My Tears.”
Knox, who is a past member of both Ensemble Intercontemporain and the Arditti String Quartet, also performs the disc’s newer material with consummate musicality: he also has the bedeviling habit of making virtuosic writing sound far too easy to play (his poor violist colleagues!). Knox’s own composition, “Fuga Libre,” combines jazz rhythms and neo-baroque counterpoint with ever more complicated harmonic tension points and several instances in which Knox demonstrates various extended playing techniques. Meanwhile, Kaaija Saariaho’s Vent Nocturne, an eerily evocative and tremendously challenging piece for viola and electronics, is given a haunting, sonically sumptuous rendering.
Tomorrow night, Knox celebrates the release of the CD at LPR (details below). Early music, new pieces by and for Knox, and lovely comestibles on menu and on tap? Sounds like my evening’s planned!
Tuesday May 22nd – Doors open at 6:30, show starts at 7:30
Le Poisson Rouge
158 Bleecker Street, NYC| 212.505.FISH
music of Hildegard von Bingen, Guillaume de Machaut
John Dowland, Henry Purcell, Antonio Vivaldi, Kaija Saariaho, and Garth Knox
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Posted by Polly Moller in Big Band, Chamber Music, Composers, Contemporary Classical, Events, Experimental Music, Festivals, Improv, jazz, Piano, Premieres, San Francisco, Saxophone, Sound Art, Women composers
The San Francisco Bay Area’s underground music scene will come together this coming July in an annual celebration of its tremendous range of styles, its love of improvisation, and its collective obsession with new and unusual timbres and techniques. It’s the 11th Annual Outsound New Music Summit! All events will take place at the San Francisco Community Music Center at 544 Capp Street near 20th Street in the Mission District, and tickets can be ordered online from Brown Paper Tickets or purchased at the door.
The ever-popular Touch the Gear Expo kicks off the Summit on Sunday July 15, 7-10 pm. It’s designed especially for anyone who’s longed for a closer look at an experimental musician’s gear on stage, and for the opportunity to mess with it. 25-30 sound artists will be there to demonstrate everything from oscillators to planks of wood with strings attached and answer questions. Visitors of all ages have free rein to make sound and experience how these set-ups work, and best of all, it’s free.
The second Summit night is also free, and this time the composers take over. In the Tuesday night Composers’ Symposium (July 17, 7-10 pm), John Shiurba, Christina Stanley, Benjamin Ethan Tinker, and Matthew Goodheart will all discuss how they navigate modern compositional techniques, while combining them with improvisation and their own individual forms of experimentation. The public is invited to talk freely with the composers and ask them questions.
Performances begin at 8:00 pm on Wednesday, July 18th with the first of four themed concerts – Sonic Poetry. This night is curated by Outsound Board members Amar Chaudhary and Robert Anbian, who’ve recruited three leading poets to collaborate with Bay Area improvising musicians to create new word and sound compositions. Words are by Ronald Sauer, rAmu Aki, and Carla Harryman, with music by Jacob Felix Heule, Jordan Glenn, Karl Evangelista, Jon Raskin, and Gino Robair.
The Tuesday night Composers’ Symposium prepares everyone for the second performance evening on Thursday, July 19th – The Composer’s Muse. Christina Stanley, Matthew Goodheart, and John Shiurba will all premiere new works running the gamut from graphic scores for string quartet, to prepared piano with sonified metal percussion, to a major work for large ensemble celebrating the newspaper.
Thwack, Bome, Chime on Friday night, July 20th, curated by Outsound Board member Pete Martin, will feature the world of percussion in all its coloristic and dynamic glory. David Douglas will combine percussion instruments with custom-built delays, loopers, samplers, and other effects to create The Walls Are White With Flame, a series of highly spatialized sound sculptures. In Seems An Eternity, Benjamin Ethan Tinker will assemble three percussion trios of metal and skin percussion to explore the same musical material in canon. And finally the San Francisco percussion ensemble Falkortet will show off its versatility combining traditional percussion, hand drums, and electronics with influences from Indonesian music, Brazilian music, Jazz, minimalism, and rock.
The final day of the Outsound Summit, July 21st, will be a big one starting with a 2-4 pm Harmolodics workshop led by Dave Bryant. Dave will share material from his years of Harmolodic Theory performance and study with Ornette Coleman, plus his own compositional and improvisational techniques developed on his own and with his ensembles. The 8 pm final concert, Fire and Energy, curated by Outsound founder Rent Romus, will feature Dave Bryant with his Trio, along with Jack Wright, the Vinny Golia Sextet, and Tony Passarell’s Thin Air Orchestra.
Posted by Chris McGovern in Concerts, Contemporary Classical, Experimental Music, Interviews, tags: Aaron Siegel, Cough Button, Experiments in Opera, Jason Cady, Matthew Welch, Megan Schubert, Opera, Roulette
Experiments in Opera, the new collective founded by composers Jason Cady, Aaron Siegel, and Matthew Welch, presents its Spring Series on May 10 + 11 (Thursday and Friday) at Roulette in Brooklyn. Four new operas will be heard in workshop performances over the two evenings.
The May 10 program features a complete semi-staged, multi-media performance of Cady’s Happiness is the Problem, plus a semi-staged, work-in-progess presentation of To Scale by the creative trio known as Cough Button, and a concert excerpt from Siegel’s Brother Brother.
May 11 will be devoted to a semi-staged production of Welch’s Borges and The Other, heard in its premiere as a complete work. Both shows begin at 8 pm.
While highly divergent in style and tone, all four works engage in a provocative dialog with the fundamental assumptions of the operatic form. Laugh tracks, graphic novels, localized radio transmitters, characters that are (literally) two-dimensional, two pairs of singers portraying a single historical figure: all of these elements figure in EiO’s experiments. Yet their creators remain devoted to craftsmanship and the expressive power of music to tell a story, no matter how non-linear.
Cady, Siegel, and Welch, who met at Wesleyan University, describe Experiments in Opera as:
“…a composer- and performer-driven initiative, featuring recent and new works with unorthodox answers to the traditional questions about how to connect words, story and music. Our activities emerge from a pronounced need to nurture composers drawn towards extending their work beyond the standard concert experience and into the hybrid space of the theater, performance, installation, dance and storytelling arts.”
Thursday, MAY 10
Cady’s Happiness Is The Problem is a two-act opera buffa about idealism and disillusionment. It presents three young women who sell an elixir of happiness derived from the secretions of slugs which they market as “Euphoressence.” The Problem of Happiness, which has perplexed philosophers since Plato, is explored in lighthearted yet penetrating fashion. Cady’s musical idiom melds postmodernism and pop, with occasional interjections from a very canned laugh track. The script by Cady and Nadia Berenstein takes the form of a comic book drawn by Berenstein, which is projected as sopranos Christie Finn and Megan Schubert and mezzo-soprano Lisa Komara perform to pre-recorded tracks.
“It’s a 2-act opera, semi-staged and directed by Jeremy Bloom,” explains Cady. “We did the first act at Le Poisson Rouge, but this will be the full two-act performance.”.
Aaron Siegel speaks about the work on his piece Brother Brother:
“For the concert last January, I shared 2 selections that were for percussion instruments, and this coming week, I’ll be sharing 2 of the choral excerpts. This is a piece that is still in progress, and I’ve done a little bit of recording on these works just to be able to share them. This is the first time these pieces are to be performed live, and we’re not doing it with the full ensemble this time, just with piano reduction. So there will be about 20 mins. worth of music. I’m super excited to do a work that has some choral elements in it. It just adds a whole other dimension of possibilities when you’re doing a bigger work like this.”.
Cough Button‘s To Scale is a work-in-progress that details the relationship between an architect and his “scalies”–the two-dimensional characters who populate architectural models. Co-written by Cough Button members Lynn Levy, Dave Ruder, and Aliza Simons, To Scale explores the gap between creator and created. The piece will also play with novel techniques to bridge the gap between singer and listener, including the use of localized transmitters, picked up by radios in the audience. The cast includes Paul Pinto, Brian Rady, Lainie Fefferman, Dylan Widjiono, and Aliza Simons, accompanied by instrumentalists Karen Waltuch (viola), Vasu Panicker (keyboards), Lea Bertucci (bass clarinet), and Dave Ruder (electronics).
Friday, MAY 11
Matthew Welch’s Borges and The Other is based on the iconic writer’s life and work. It’s scored for two mezzos, tenor, and baritone, backed by Welch’s ensemble Blarvuster, which serves up a potent brew of Celtic sounds, raga, minimalism, and progressive rock. Says Welch, “In 2007, the ﬁrst of [my] Borges mini-operas featured two mezzo-sopranos portraying an older and younger Borges meeting in a dream space. For a second act written for tenor and baritone, two additional Borges of differing ages meet yet again in a separate encounter of dreaming each other. In both acts, each Borges views his other in disbelief, hashing out self-loathing critique, whilst verifying biographical information.” Mezzo-sopranos Lisa Komara and Amirtha Kidambi, tenor James Rogers, baritone Jeff Gavett, and The EiO Chorus all portray Borges. Blarvuster consists of Leah Paul (flutes), Karen Waltuch (viola), Emily Manzo (piano), Taylor Levine and Matthew Hough (electric guitars), Ian Riggs (bass guitar), Joe Bergen (vibraphone), and Mike Pride (drums). Matthew Welch conducts.
Further information can be found at experimentsinopera.com.
Experiments in Opera
Thursday, May 10th and Friday, May 11th, 8 PM
509 Atlantic Avenue
Over at Sequenza 21
Editor Steve Layton’s Bandcamp page
, is a free download of a comp he’s curated, titled ppp.
Description and embed below.
“Between April 26th-28th 2012, twenty-five musicians from around the U.S. and the world gathered at the music-sharing website known as ImprovFriday.com
. The suggested theme for our sharing was simply “ppp;” i.e., the music term for “extremely soft and quiet.” How each person interpreted this in their own performance was left to them. This CD documents mash-ups I made during the course of the weekend event, of all the different tracks coming in to the site from these musicians. Some tracks were heavily edited, but most were left close to their original state, and simply allowed to interact with the other tracks in an unforced way.”
Musicians: Günter Gläser, Kawol Samarkand, Roger Sundström, Peter Thörn, Glenn Smith, J.C. Combs, Lee Noyes, Kavin Allenson, Steve Moyes, Richard Sanderson, Paul Muller, Lydia Busler-Blais, Benjamin Smith, Jérôme Poirier, Fabio Keiner, Norbert Oldani, Chris Vaisvil, Steve Layton, Paulo Chagas, Steve Moshier, Bruce Hamilton, Shane Cadman, Jim Goodin.
released 29 April 2012
Fast Forward Austin directors (from left to right): Ian Dicke, Robert Honstein and Steven Snowden
The 2012 Fast Forward Austin contemporary music festival begins its 8-hour marathon of performances this afternoon at Austin, Texas’ versatile ND-501 studios. This year’s event, the second installment of the Fast Forward Austin (FFA) idea, features performances by local and nationally-acclaimed performers including renowned pianist Vicky Chow and Graham Reynolds, considered, “Austin’s own new music wizard”. Today’s musical menu features established names from the last few decades of new music – David Lang, Louis Andriessen and Iannis Xenakis – alongside brand new works by up-and-coming composers – Shawn Allison, David Biedenbender and Christopher Cerrone – culled from the festival’s 2011-12 call-for-scores.
Last Thursday, I caught up with Fast Forward Austin’s founders, composers Ian Dicke, Steven Snowden and Robert Honstein, and learned, among other things, that a series of “satellite events” have led to tomorrow afternoon’s marathon performance. These appearances, designed both to promote this year’s festival and strengthen the collaborations on display this afternoon, began with a performance of Phil Kline’s Unsilent Night last December. Austin is the second city Mr. Snowden has successfully introduced to Unsilent Night, a staple of New York’s experimental music circles for two decades, and the event represented more than just a way to draw advanced attention to tomorrow’s marathon string of concerts.
The kind of community involvement manifest in the Unsilent Night performance lies at the heart of Fast Forward Austin’s goals. As Mr. Honstein told me in our chat Thursday evening, “first and foremost, we’re a local festival.” In addition to featuring Austin-based musicians, FFA has a tradition of supporting local, musically oriented charities. Last year, the festival donated all its proceeds to Anthropos Arts, a non-profit organization that provides free music lessons to economically disadvantaged young people in East Austin. This year, FFA has partnered with Austin SoundWaves, a local iteration of the famed “El Sistema” initiative. SoundWaves will receive a portion of FFA’s proceeds and some of the children served by the charity will participate in a performance with Graham Reynolds. Beyond philanthropy, FFA’s founders see this kind of outreach as a way to build an audience. Mr. Dicke, in particular, emphasized the potential for young people to enjoy and be inspired by contemporary music, suggesting opportunities, like those fostered by both Fast Forward Austin festivals, could be benefit all American composers in the long-term, were they to be replicated across the country.
As Fast Forward Austin has grown since last year, its founders have worked to expand the festival’s presence on a regional and national level. This broader scope is no better represented than by FFA’s collaboration with renowned pianist and Bang-On-A-Can All-Star Vicky Chow, who will be performing this afternoon. As Mr. Dicke and Mr. Honstein explained, they’ve been cultivating a relationship with Ms. Chow for some time. Both of them met her at different festivals, and then last year, when the Bang-On-A-Can All-Stars came to Austin, Mr. Snowden and Mr. Dicke showed Ms. Chow around town and convinced her to work participate in this year’s festival. The connection between Vicky Chow and Fast Forward Austin is reciprocal – Fast Forward Austin held a preview show in New York this February as part of Ms. Chow’s Contagious Sounds series. Much like the Unsilent Night event, this performance was simultaneously a promotional tool for today’s marathon of performances and a way to foster a deeper bond with a community – the contemporary music community in New York.
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