Composer/keyboardist/producer Elodie Lauten creates operas, music for dance and theatre, orchestral, chamber and instrumental music. Not a household name, she is however widely recognized by historians as a leading figure of post-minimalism and a force on the new music scene, with 20 releases on a number of labels.

Her opera Waking in New York, Portrait of Allen Ginsberg was presented by the New York City Opera (2004 VOX and Friends) in May 2004, after being released on 4Tay, following three well-received productions. OrfReo, a new opera for Baroque ensemble was premiered at Merkin Hall by the Queen's Chamber Band, whose New Music Alive CD (released on Capstone in 2004) includes Lauten's The Architect. The Orfreo CD was released in December 2004 on Studio 21. In September 2004 Lauten was composer-in-residence at Hope College, MI. Lauten's Symphony 2001, was premiered in February 2003 by the SEM Orchestra in New York. In 1999, Lauten's Deus ex Machina Cycle for voices and Baroque ensemble (4Tay) received strong critical acclaim in the US and Europe. Lauten's Variations On The Orange Cycle (Lovely Music, 1998) was included in Chamber Music America's list of 100 best works of the 20th century.

Born in Paris, France, she was classically trained as a pianist since age 7. She received a Master's in composition from New York University where she studied Western composition with Dinu Ghezzo and Indian classical music with Ahkmal Parwez. Daughter of jazz pianist/drummer Errol Parker, she is also a fluent improviser. She became an American citizen in 1984 and has lived in New York since the early seventies

Visit Elodie Lauten's Web Site
Sunday, May 10, 2009
Richard Kostelanetz: Openings

On Thursday evening at the AC [Institute Direct Chapel] (sic), a gallery in Chelsea, I watched, along with a few privileged viewers, the unfolding of Openings by Richard Kostelanetz. In this time of mainstream predominance, it is refreshing to see an informal event in a gallery setting, without any of the expected performance parameters; when the piece started Richard was sitting on the floor near the performer and I didn’t know if he was going to be in the piece or if that was his participation to the performance, which actually did not matter. It was just very relaxed.

I own two books by Richard, signed by him, and they are among my favorites: John Cage and Soho: The Rise and Fall of an Artist Colony. Born in New York, he has written for hundreds of magazines and published over fifty books. He ironically calls himself “Earl of Wordship”, but the remarkable fact is that he also creates equally valuable pieces as a composer, filmmaker and holographer.

Openings – inasmuch as I am able to comprehend – is an experiment in performed text, a very oblique reading, where four women, one after the other, improvise with voice and/or musical instruments and choreography; then a male trio, two musicians and a visual artist doing live projections, present a free-form interpretation of his text.

Laura Barger, Holly Crawford, Margaret Lancaster and Paige H. Taggart were all really involved and interesting to watch; through the performances, the meaning of the text was somehow made purposely chaotic and possible hidden or unintelligible, in other words, as far as possible from a television commercial. The trio included flutist Robert Dick playing wild textures with an added vocal microphone and electronic musician Morgan Packard working from his laptop, facing Joshue Ott also with a laptop creating moving shapes in sober hues following the music, projected on the gallery wall.