Archive for the “Flute” Category
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.
An evening of chamber music by Beth Anderson will be presented this Saturday, November 17 – 7:00 PM, at St. John’s Episcopal Church, 139 St. John’s Place in Park Slope, Brooklyn.
Flute and piano works to be performed are The Bluebird and the Preying Mantis, Dr. Blood’s Mermaid Lullaby, September Swale and Kummi Dance. The program also includes her Eighth Ancestor and Skate Suite for baroque flute, alto recorder, cello and harpsichord.
Performers will be the composer on piano and Brooklyn Baroque – Andrew Bolotowsky, baroque flute, David Bakamijan, cello, Gregory Bynum, alto recorder and Rebecca Pechefsky, harpsichord.
This concert is free and open to the public, however a free will offering will be taken to support the replacement of the church boiler. For directions to St. John’s Church and more information about the concert, call 718-636-6010 or visit http://www.facebook.com/ConcertsOnTheSlope.
The Bluebird and the Preying Mantis is the first piece Ms. Anderson composed for Andrew Bolotowsky, from about 1979. He’s the bluebird. The accompaniment is the mantis. She writes about Dr. Blood’s Mermaid Lullaby, “One night I had a very bad dream about Dr. Blood stealing my blood. I woke up and wrote what felt like the antidote to this dream – a kind of underwater lullaby with mermaids and a music box. Since the imaginary Dr. Blood was the “cause” of the dream, I gave him credit in the title. I felt much better afterwards.”
September Swale (seen above) combines various oriental scales with Satie-like lyricism and was premiered in Ghent, Belgium. Kummi Dance (in this version for flute & piano), was commissioned by String Poet and based on the poem of the same name by Pramila Venkateswaran.
Beth writes, “The Eighth Ancestor is a character that I read about in a zen book entitled Selling Water By The River. This ancestor’s message is that it does no good to be angry. The music, in an attempt to reflect this message, is not angry music. It resembles a lullaby and a hora…Skate Suite was commissioned by Diane Jacobowitz & Dancers. The dance was related to skating in some way and so I used that idea to compose the music.”
Visit Beth’s YouTube channel at http://www.youtube.com/user/135east?feature=mhee#g/f. For more information about her, including a bio, list of works, discography and much more, please visit http://www.beand.com.
The critically-acclaimed Palisades Virtuosi presents a very special 10th Anniversary Concert - the first concert of their 2012-2013 season on Friday, November 9 – 8:00 PM at the Unitarian Society of Ridgewood, 113 Cottage Place in Ridgewood, New Jersey. The evening will also include a pre-concert composer and performer talk at 7:15.
Flutist Margaret Swinchoski, clarinetist Donald Mokrynski and pianist Ron Levy began their series of concerts in Ridgewood, New Jersey in 2003, when there were relatively few works composed for their instrumentation. So, their “Mission to Commission” was born. 10 seasons later, there are an additional 60 works of concert repertoire for their ensemble as a direct result of their mission. They include a commissioned work in each of their concerts.
Composers who have written for the group include Eric Ewazen, Carlos Franzetti, Paul Moravec, Melinda Wagner, Gwyneth Walker and Lee Hoiby. See the complete list at http://www.palisadesvirtuosi.org/pvcomposers.html.
November 9 concert repertoire will include the World Premiere of composer Jeff Scott’s Poem for a Lost King, commissioned by The Palisades Virtuosi.
Composer Jeff Scott
The composer writes, “Lost King is a musical poem that has been written as a metaphorical homage to the countless African kings, chiefs and village elders expelled and abducted from their homeland during the middle passage.” Visit Jeff Scott at http://www.imaniwinds.com/artist.php?view=bio&bid=1941.
Repertoire will also include Franz Danzi’s Sinfonia Concertante, Maurice Emmanuel’s Sonate and PV’s first commissioned work Lep-i-dop-ter-o-lo-gy  by Aaron Grad.
Tickets for the November 9 concert are $20, $15 for students and seniors and $10 for children age 12 and under. For tickets or more information, call 201-488-4983, visit http://www.brownpapertickets.com/event/286276 or email reservation requests to the Palisades Virtuosi at email@example.com. For directions, go to this link.
Volumes One, Two, Three and Four of the Virtuosi’s New American Masters CD series are available from Albany Records.
One of Chicago’s most notable chamber ensembles, Third Coast Percussion, joined forces on Tuesday evening with flutist Tim Munro (of eighth blackbird) to create an intriguing evening exploring music from the 20th and 21st centuries. While flute and percussion might not be an obvious combination, it worked extremely well with the assistance of some subtle amplification that did not detract or distract from the overall performance and actually assisted in giving what would have been an overly dry ambience some life.
The concert was well-programmed with a healthy balance between new works by Australian composer Anthony Pateras and Third Coast member Owen Clayton Condon against older works by George Crumb, John Fonville, and John Cage (the latter of which we’re going to be hearing a lot from over the next 18 months as we approach the centenary of his birth). Crumb’s An Idyll for the Misbegotten took good advantage of the balconies in the venue and allowed Munro to begin his performance behind the audience, wind his way through the tables and waiters before taking center stage and retracing his steps to conclude the piece with exquisite bird-like flutters where he began the work.
I’ve seen other concerts where two multi-movement works are interlaced, but none that worked quite so effectively as the combination of Fonville’s Music for Sarah for solo flute and Cage’s Quartet for percussion quartet; the extremely varied colors Munro was asked to extract from his instrument with polyphonic textures through singing-while-playing as well as playing without the head-joint shakuhachi-style made a resonant contrast against Cage’s simplistic, almost monochromatic instrumentation and non-melodic excursions that were brought to life through Third Coast’s intense performance. I have to point out David Skidmore’s accuracy during this piece, as the head of one of his mallets flew off near the end of the piece and popped yours truly square in the chest – nice shot, David!
One of two world premieres of the evening, Pateras’ work Lost Compass fit well in the Cage/Crumb mold that the first half of the concert had set; the combination of a meandering alto flute against four percussionists skittering across glassware and metals with knitting needles intentionally did not move forward with a purpose, but rather seemed to just exist as entities of themselves (an effect that was heightened with one’s eyes closed which helped to abstract the percussion sounds into one great and complex rattle). Cage’s Aria again strewed the percussionists around and within the audience to make improvisatory comments on what was the most memorable performance of the evening, with Tim Munro laying down his flute to belt, mutter, caterwaul, coo and stutter in five different languages (from memory, natch) all while wandering throughout the audience; it was a tour-de-force performance that would be a shame not to get recorded at some point. The evening concluded on the right note with Fractalia, Condon’s new percussion quartet for two marimba four-hands with each performer switching back and forth from the marimba to several toms; the work is both memorable and enjoyable while being not overly virtuosic – this piece could easily become a staple in the percussion quartet repertoire.
The concert took place in the Mayne Stage theatre on the North Side of Chicago, one of several “alternative venues” that are popping up all over the country and are unafraid to feature a wide array of styles and genres to a diverse audience. While this concert worked out really well in the venue for many reasons, there were a few times where the whispering of wait-staff and clinking of glasses made unwelcome comments through some of the more intimate moments – though I’m sure Mr. Cage would have approved.
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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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Those of you who are familiar with the contemporary arts scene in Seattle know that there are two organizations which have been dedicated to presenting new and interesting works from around the world for over 20-years: On the Boards and the Seattle Chamber Players. And those of you who are familiar with me know that I have a special love for Seattle and all the interesting musical and artistic projects that are embraced there. So, if you are in Seattle I would encourage you to check-out some upcoming SPC performances at OtB (especially since I can’t be there!).
February 26-28: SCP will be performing five concerts in three days featuring new music from Italy, Hungary, Russia, Ukraine, Denmark, and Iceland. It is all part of their Icebreaker series and this set of concerts is subtitled “Love and War” – all the details can be found here.
March 4-6: SCP return to On the Boards for special collaboration with Pacific Musicworks in a theatrical production of “Songs of War I Have Seen” by German composer and director Heiner Goebbels. More information about these performances can be found here.
There is no question that the Seattle Chamber Players founder and flutist, Paul Taub, has been one of the most influential figures in Seattle’s contemporary music scene for a long time. I was able to get Paul on the phone for a few minutes back in June and I’m happy to finally share it with all of you now. Like most of my interviews with musicians, we talked about composer-performer relationships, but it’s also interesting to hear him speak a little about the Seattle Chamber Players’ dedication to contemporary music from Eastern Europe and countries of the former Soviet Union. You can download or listen to the audio here.
I thought it might be nice to close out the month of interviews from Chicago by featuring a couple musicians from dal niente. The ensemble has some great concerts planned for October, but I caught violinist Austin Wulliman and flutist Shanna Gutierrez back in June.
Austin’s episode is worth listening to just to hear him say, “I love me some Scelsi”. You don’t hear that very often, but it’s true, oh so true. Shanna talks a little in her episode about interesting experiences with composers, but the real value is in the seemingly endless list of resources she mentions if you are writing for flute, or are just thinking about writing for flute.
Listen to Austin’s interview here and Shanna’s here. Subscribe to the podcast here.
Ensemble dal niente begins their season on Friday with what they are calling OKTOBERFest. You can find all the details on their website. How many groups are pairing Franco Donatoni with John Luther Adams, or Bach with Rihm, or Helmut Lachenmann one week and Arvo Pärt the next week? They are doing it all in October – I wish I could be there!
Friday, October 2 – 7:30pm ($10/5)
Columbia College Concert Hall, 1014 S. Michigan Ave.
Sunday, October 4 – 3 pm ($5)
Sherwood Conservatory of Music at Columbia College, 600 S. Michigan Ave.
Sunday, October 18 – 2:00pm ($5)
Green Mill Cocktail Lounge, 4802 N. Broadway Ave.
Sunday, October 25 – 3:00pm (FREE!)
Preston Bradley Hall at the Chicago Cultural Center, 78 E. Washington St.
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