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.
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.
On Tuesday, September 9, 2014 the Southland Ensemble presented a concert of the music of Pauline Oliveros at Human Resources in the arts-friendly Chinatown district of downtown Los Angeles. The performance space, with its wide open floor and lively acoustics was the perfect place given that the works of Ms. Oliveros typically include a theatrical component. The seating, arranged logically around the perimeter, was completely filled by those attending.
The concert opened with Sonic Rorschach (1971) and for this groups of electric fans were arrayed in the corners to provide white noise, as called for in the composers notes for this piece. A member of the Southland Ensemble was also stationed in each corner to model a contemplative pose for the audience as they filed in. After a dozen or so minutes, when all were seated and quiet, the ensemble rose together, each holding a percussive whip – two wooden slats joined by a hinge. At a signal, all the whips sounded simultaneously with a single loud crack that reflected nicely off the cement walls. The single sonic pulse from the whips was delivered with remarkable precision, given that the players were several dozen feet apart. The performers then resumed their seats as the piece concluded, immersed in the meditative white noise of the fans. Sonic Rorschach is scored for a duration of 30 minutes – and this performance was probably close to that – the time spent in meditation was a useful prelude to the rest of the concert.
Thirteen Changes (1986) followed, performed by Eric KM Clark on violin. For this piece there was recorded narration of thirteen phrases such as “Standing naked in the moonlight – Music washing the body.”, “Rollicking monkeys landing on Mars”, “A singing bowl of steaming soup”, etc, and these preceded a short impression of the text by the violin. This was also accompanied by recorded samples and audio effects – skittering and swirling, or at times a wash – and various other recorded sounds. Eric KM Clark created all of this and his voice read the text. In one sequence there were the sounds of a forest coming from the speakers, and the violin answered with a sort of mooing, matching the organic character of that segment. A distinct sentimentality is brought into the recorded mix by the violin. This seems characteristic of Ms. Oliveros work – which seems to exist at the conjunction of human emotion and ambient sound. The playing by Eric Clark was controlled and precise and nicely complimented the evocative recordings.
The New York Virtuoso Singers, Harold Rosenbaum, Conductor and Artistic Director, will present the third concert of their 25th Anniversary season on Sunday, March 3, 2013 at 3:00 PM at Kaufman Center’s Merkin Concert Hall, 129 West 67th St. (btw Broadway and Amsterdam) in Manhattan. This event, co-sponsored by Merkin Concert Hall, marks NYVS’s return to the venue where they presented their first concert in 1988.
To celebrate their 25th Anniversary, Harold Rosenbaum and the NYVS asked 25 of this country’s most important composers to create new works. The March 3 concert will feature World Premieres of 13 of these commissioned works from Richard Wernick, Ellen Taaffe Zwilich, Aaron Jay Kernis, David Lang, Mark Adamo, Richard Danielpour, Augusta Read Thomas, Thea Musgrave, Joseph Schwantner, William Bolcom, Roger Davidson, David Felder and Joan Tower.
Tickets for the March 3 concert are $25/$15 students. For tickets or more information, call Merkin Concert Hall at Kaufman Center at 212-501-3330 or visit http://kaufman-center.org/mch/.
The other 12 works commissioned works, by Jennifer Higdon, George Tsontakis, John Corigliano, David Del Tredici, Shulamit Ran, John Harbison, Steven Stucky, Stephen Hartke, Fred Lerdahl, Chen Yi, Bruce Adolphe and Yehudi Wyner were premiered on October 21, 2012 at Kaufman Center’s Merkin Concert Hall. All 25 of the commissioned works will be recorded for Soundbrush Records.
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 includesher Eighth Ancestor and Skate Suite forbaroque 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.”
Sometimes, classical music gets a bad rap. To be perfectly honest, there is a chunk of the population that finds it to be synonymous with any number of derogatory terms: boring, annoying, or pompous. Some classical music lovers and advocates will counter this popular belief with arguments that only go to further the opinion of the other side: “Some people want to listen to mindless music”, “Some people simply don’t have patience”, etc. These ridiculous arguments only go to further the stereotype that classical music lovers are all pompous windbags who believe themselves to be uniquely educated and informed.
How, then, do we get people to forget their misconception, and believe that EVERYONE can enjoy or even love classical music, regardless of education, socioeconomic standing, or profession?
It all comes down to how classical music is presented; and now, for a limited time, you could join one organization that does it right.
Christina Stanley a violinist and vocalist who received her MFA in Music Performance and Literature from Mills College, and her Bachelor of Music degree from San Francisco State University where she received a full performance scholarship and studied violin with Daniel Kobialka, Jassen Toderov and the Alexander String Quartet. She is an active performing violinist, working as as a soloist as well as an ensemble. The composer along with the other members of the Skadi Quartet will perform two new graphic scores to open The Composer’s Muse, thesecond night of the11th Annual Outsound New Music Summit. Both scores are 40 x 40 oil and charcoal on canvas. One will be played by the full quartet, and the other as a violin and cello duet.
The Composer’s Muse concert will take place onThursday, July 19th at 8:00 p.m. All four nights of the festival will take place at the San Francisco Community Music Center,544 Capp Street, San Francisco. Tickets are available at the door, or online through Brown Paper Tickets.With the festival fast approaching, I was happy Christina had a moment to answer some of my questions.
S21: Your alma mater, Mills College, is well known for creating composer/performers. I’m wondering if in your student years before coming to Mills, if you ever felt pressure to become exclusively a composer, or exclusively a performer?
CS: Yes, I did feel pressure to be exclusively a performer, though I’m not sure it was anyone’s fault other than my own. I wanted to achieve as much as I possibly could as a classical violinist, and learn all the standard repertoire, and as much of the 20th century as I could before moving into the 21st. However, I could never quite shake that I had all this desire inside me to create, and I sometimes wondered If I’d chosen the wrong path, despite the fact that I loved playing violin so intensely and completely. After I finished my undergraduate degree, I moved to new York and was trying to figure out what to do with myself creatively. I was still writing songs, but at that time I also began recording myself playing violin and cello, improvising and relishing the dissonances and harmonies. I was completely thrilled at the possibilities, and knew I would continue composing, though I didn’t know how.
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 Goodheartwill 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.
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Composer/vocalist Sabrina Lastman, whose duo SoCorpo is also a great fixture of the performing arts, is involved in another wonderful project. The Sabrina Lastman Quartet (and they also perform as the Sabrina Lastman Trio sans the drummer) are offering up the tantalizing combination of jazz and world music. Their CD The Candombe Jazz Sessions has been issued this month and was accompanied by a CD release show at Joe’s Pub in NY. They will be also appearing on March 10th at Pregones Theater in the Bronx. Sabrina had a few minutes to spare for a small chat. Read the rest of this entry »
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Photo courtesy of Andre Penven for Coilhouse Magazine
Zoë Keating (Wow, what can I say??) has definitely cultivated a very respectable place in the new music and indie music circles. After rethinking a classical concert career as a cellist for working a tech job, she was intervened to perform with various friends, played in the band Rasputina, eventually went solo with a gorgeously layered, rhythmic cello sound. Zoë went on to sell over 40,000 copies of her CDs without distribution, a record label or management. And she has over one million Twitter followers. The internet loves her!