Chris McIntyre + Arthur Kampela
ARTHUR KAMPELA
“Navigating between Avant-Bossas-Novas, Atonal Sambas, and complex new music pieces…”
Kampela’s “chamber music band”:
Arthur Kampela on guitar, viola, vocal(s) and electronics
Margaret Lancaster on flute(s),
Stephanie Griffing viola,
Joanne Lin, Cello,
Danny Barrett, cello,
Jose Moura electric bass
Pradeep Ratanyake, Sitar
Arthur Kampela is an internationally acclaimed composer and guitar player, who has recently been commissioned by the NEW YORK PHILHARMONIC for a composition, scheduled to be conducted by Magnus Lindberg in December 2009. In 2007, his “Elastics II” (for flutes, guitar, and electro-acoustic sounds) and “Percussion Study V” (for viola and-acoustic sounds) were premiered at Musée d’Art Moderne et Contemporain de Strasbourg, by the Linea Ensemble; and in 2006, his “Antropofagia” (for electric guitar and large chamber ensemble) was premiered at the ISCM World Music Days 2006 Festival, by the Kammerensemble Neue Musik Berlin with Wiek Hijmans on electric guitar.
Today in New York, Kampela is also regarded as a Dionysian performer: in his review of Kampela’s performance at the 92nd Street Y, Tim Brookes stated, “[Kampela] played the most avant-garde music of the show,using tapping effects, using a spoon, playing with the strings bent off the side of the fingerboard: one of the pieces ended with a noise that sounded like a Geiger counter…he never lost a sense of joy, of surprise or that infectious rhythm. It was clearly the work of a madman…a Brazilian madman.”
Pianist Jenny Lin just recorded his piano ‘tour-de-force’ “Nosturnos” opening her CD “The Eleventh Finger” released by by Koch label. Kampela’s compositions have been performed all over the world. Locally, at Weill Hall, Merkin Concert Hall, Miller Theater, Mannes College, 92Y, Americas Society, at Satalla, The Cutting Room, etc. He has toured with his band playing in places as diverse as Mexico City, São Paulo, Strasbourg and most recently the Outreach Festival, in Schwaz, Austria.
In the ’80s, Kampela was celebrated in Rio de Janeiro for compositions that fused popular Brazilian styles (Bossa Nova, Samba, Tropicália) with Free Jazz and contemporary textural techniques. In Brazil, he was likened to Frank Zappa for his virtuosic musicianship and madcap performances, such as playing lead guitar while dressed as a hermaphrodite–his right side in drag, left in a suit–to portray two characters–one singing falsetto–in a short opera about a couple negotiating the perils of lovemaking in a Volkswagen.
Kampela holds a Doctorate degree (D.M.A.) from Columbia University, having been taught by such composers as Mario Davidovsky, at Columbia, and abroad,, by the British Brian Ferneyhough. A recent graduate from CUNY, partly wrote her dissertation (Rhythm in the Music of Brian Ferneyhough, Michael Finissy, and Arthur Kampela: a Guide for Performers) on Kampela’s music and a rhythmic system he developed: “micrometric modulation” based on commutative and associative properties that coordinate the unfolding of complex ratios and sub-ratios, expanding Elliott Carter’s work on rhythm. In some compositions, Kampela employs ergonomic and motoric approaches to subvert traditional playing techniques. For example, in “Exoskeleton” for solo viola, a guitarist plays the viola, using guitar-playing techniques.
Kampela’s links:
http://www.youtube.com/results?search_type=&search_query=arthur+kampela+videos&aq=f (VIDEOS YOUTUBE)
http://www.myspace.com/arthurkampela (MUSIC MYSPACE)
http://www.kampela.com (MY WEB SITE)
Ben Katz
Ben Katz is a harpsichordist and composer based in New York City. He has studied harpsichord with Arthur Haas and composition with Kitty Brazelton, Jim Pugliese, and Anthony Coleman. Past projects have included an all-Bach program for Classical Action: Performing Arts Against AIDS Johannathon Event and an Evening of Young Composers at ISSUE Project Room. Katz has worked extensively as a continuo player. Many of his compositions incorporate the sounds of Willard Martin’s unique keyboard instruments including the Ultimo, a just-intonation harpsichord, and the Lautenwerk, strung in gut to sound like a lute.
Steven Long, composer/visual artist/harpsichord
Mandy Wolman, violin
Brendan Evans, guitar
On February 27th composers Ben Katz and Steven Long, joined by Amanda Wolman and Brendan Evans, will present new music for Les Neiges D’Antan, a chamber group of two harpsichords, violin, and guitar formed for the occasion. Long has a painted a harpsichord lid as a visual counterpoint to the music. Long and Katz will peform Jacques Champion de Chambonnieres’s Pavanne: L’entretien des Dieux in their arrangement for two harpsichords.
Shelley Burgon + Michael Wilhelmi
Shelley Burgon (harp & computer) is a member of the collaborative chamber ensemble Ne(x)tworks and the band Stars Like Fleas. She has spent the last six years improvising as a soloist and with many legendary people associated with the New York downtown avante-garde music scene. Currently, she is spending her time composing and songwriting. She received a BA in Jazz Studies from SFSU and and MFA in Electronic Music from Mills College. She can be heard on many labels including Hometapes, Ipecac and Tzadik.
www.myspace.com/starslikefleas
Berlin Based Pianist, Michael Wilhelmi presents new works for interactive electronics and Piano.
ISSUE Project Room’s Artist In Residence: Duane Pitre *
Duane Pitre (originally from New Orleans) is a Brooklyn-based, avant-garde composer and performer. His current works explore both chaos and discipline—and the relationship that exists between the two. Pitre primarily works with long-tones and utilizes alternate tuning schemes that focus on microtonally, enabling him to explore unaccustomed harmonic intervallic relationships.
Composing primarily for acoustic and electro-acoustic instrumentation, Pitre has scored works for large String/Wind Ensembles, String Quintet, his own Bowed Harmonic-Guitar Ensemble, solo performers, among other instrument configurations. In 2008 Pitre started exploring simple electronic sounds and their role in a dualistic relationship with acoustic instruments, as well as utilizing them in his recent “tape” pieces.
Pitre has releases on Important Records, Trome Records, NNA, and Quiet Design, among others. He has appeared on compilations with artists such as Keith Rowe (AMM), Sir Richard Bishop, Tetuzi Akiyama, Jandek, Sebastien Roux, and Thierry Muller/Ilitch. He recently curated and contributed a track to an upcoming Just Intonation compilation (Important Records), alongside Pauline Oliveros, Ellen Fullman, Michael Harrison, Greg Davis, Charles Curtis, and others.
Pitre has presented his works in NYC at such spaces as Roulette, The Stone, Phillips de Pury & Co., St. Marks Church, The Knitting Factory, and ISSUE Project Room (where he will be Artist in Resident for spring 2009). He has also performed in other cities across the U.S., as well as in Europe at Les Voûtes (Paris), St. Giles-in-the-Fields Church (London), and in Bristol, U.K.
In 2009, Pitre is planning more performances (national and abroad), a variety of releases, recording sessions, new works, and further exploration of electronic sound material.
Anthony Coleman + Huang Ruo’s Future in REverse (FIRE)
Huang Ruo’s Future in REverse (FIRE)
Three Pieces for Piano (1999-2005)
Stephen Buck, Piano
Tree Without Wind (2004)
Stephen Buck, Piano
Four Fragments (2006)
Judy Kang, Violin
Five Lights, Ten Colors (2008)
Stephen Buck, Piano
String Quartet No.1: The Three Tenses (2005)
Judy Kang, Violin I, Aaron Boyd, Violin II
Erin Wight, Viola, Charles Tyler, Cello
About the Composer:
Huang Ruo (Composer & Conductor)
Recently awarded both the First Prize and the Audience Award from the prestigious Luxembourg International Composition Prize 2008, Huang Ruo is Hailed by the New Yorker as “one of the most intriguing of the new crop of Asian-American composers.” Hailed by the New Yorker as “one of the most intriguing of the new crop of Asian-American composers,” Huang Ruo’s music has been premiered and performed by, among others, the New York Philharmonic, the Philadelphia Orchestra, the Asko Ensemble, the Nieuw Ensemble, the Dutch Vocal Laboratory, and the Chamber Music Society of Lincoln Center, under conductors such as Wolfgang Sawallisch, James Conlon, Dennis Russell Davies, Ed Spanjaard, and Ilan Volkov. In 2003, Miller Theatre featured him on its Composer Portraits series. New York Times critic Allan Kozinn hailed the concert as the second on the list of his “Top Ten Classical Moments of 2003.” In February 2007, Naxos Records released his Chamber Concerto Cycle on its acclaimed American Classics series, and his orchestral lyric Leaving Sao was released on Albany Records in 2008. Planned CD releases include Divergence on Koch Records and The Three Tenses on Summit Records. His future commissions and premieres include chamber concerto MO for the Luxembourg Sinfonietta (Luxembourg), a chamber opera for the Dutch Vocal Laboratory (Netherlands), String quartet No.2 for the Carducci Quartet (Great Britain), and String Quartet No.3 for the Quartuor Diotima (France), chamber works for UMS ´N JIP (Switzerland), the Continuum Ensemble, Camerata Pacifica, the Bowdoin Summer Music Festival, and a documentary film sound tracks for the Museum of Chinese in America (MOCA). Huang Ruo’s past film credits include sound tracks to the films Jian-Fu Garden as well as Stand Up. His works are published by the Huang Ruo Publishing and Recording Company, which he founded in 2000. Also noted as an author, he published Selection of Classic Chinese Folk Songs (Zhong Shan University Press). In 2006, the National Committee on United States–China Relations selected him as a Young Leader Fellow. Huang Ruo was born in Hainan Island, China, in 1976, the year the Chinese Cultural Revolution ended. His father, who is a well-known composer in China, began teaching him composition and piano when he was six years old. Growing up in the 1980s and 1990s, when China was steadily opening up its gates to the Western world, he received both traditional and Western education at the Shanghai Conservatory of Music. He was admitted into its composition program, studying with Deng Erbo when he turned twelve. As a result of the dramatic cultural and economic changes in China following the Cultural Revolution, his education expanded from Bach, Mozart, Stravinsky, and Lutoslawski to include the Beatles, rock and roll, heavy metal, and jazz. Huang Ruo was able to absorb all of these newly allowed Western influences without inhibiting factors. As a member of the new generation of Chinese composers, he clearly knows that his goal and task is not just to simply mix both Western and Eastern elements, but to go beyond that to create a seamless synthesis and a convincing organic unity, drawing influences from various genres and cultures. After winning the Henry Mancini Award at the 1995 International Film and Music Festival in Switzerland, he moved to the United States to further his education. Since then, he has earned a Bachelor of Music degree from the Oberlin Conservatory of Music and Master of Music and Doctor of Musical Arts degrees in composition from the Juilliard School. His composition teachers have included Randolph Coleman and Samuel Adler. Huang Ruo is currently a member of the composition faculty at SUNY Purchase. For more information about Huang Ruo, please visit his website at www.huangruo.com.
About the Performers:
Future In REverse (FIRE)
Future In REverse (FIRE) is dedicated to the future of music. Specializing in multi-media and cross-genre projects, FIRE is widely praised for its innovative programming and performances. Founded in 2005 by composer and conductor Huang Ruo, FIRE has performed at Lincoln Center, Time Warner Center, Rubin Museum of Arts, Aspen Summer Music Festival, and the Greenwich Music Festival. FIRE’s diverse collaborations include visual music with kinetic painter Norman Perryman and ballets with choreographers James Sewell from the James Sewell Ballet and Charlotte Griffin from the New York Choreographic Institute. In 2008, FIRE recorded sound tracks for two films (Emperor’s New Garden and Stand Up), which will be released in 2009. FIRE’s upcoming projects including a U.S. tour in Fall, 2009, as well as concerts at Austrian Cultural Forum, Issue Project Room, and Lincoln Center. Comprised of both Eastern and Western instruments and some of today’s most gifted and promising young musicians, FIRE advocates music in a wide variety of styles, ranging from avant-garde modernism to world music, visual arts, and experimental music. For more information about FIRE, please visit: www.myspace.com/futureinreverse
Aaron Byod (Violin)
Violinist Aaron Boyd enjoys a versatile career as an established chamber musician, soloist and teacher. Since making his debut with the Pittsburgh Symphony at the age of 17, Mr. Boyd has been heard in concert across the United States, Europe and Asia. As a chamber musician, he as collaborated with members of the Beaux Arts Trio, the Juilliard, Guarneri and Orion Quartets, Phillippe Entremont, Mitsuko Uchida, Anner Bylsma and Gerard Poulet. Mr. Boyd has played as a member of the Metamorphosen, Prometheus and Orpheus chamber orchestras and toured internationally as a member of the Sejong Soloists. Mr. Boyd has participated in the Marlboro, Tanglewood, Fontainbleau, IMS Prussia Cove, Great Mountains (Korea) and La Jolla festivals and has been a prizewinner in numerous competitions including the Klein Violin Competition, the Tuesday Music Society and the Pittsburgh Concert Society.
Mr. Boydصs passionate interest in contemporary music has led to numerous premiers in concert and on record, including Milton Babbittصs 6th String Quartet and Babbittصs Clarinet Quintet. Mr. Boyd is currently first violinist and a founding member of the Zukofsky Quartet, Quartet-In-Residence at New Yorkصs Bargemusic series. With interests ranging beyond the classical genre, Mr. Boyd has played and recorded in collaboration with Jazz legend Dick Hyman, Chanteuse Badomi DeCesare, and appeared in concert on the mandolin with flutist Paula Robison. Highlights of the upcoming season include an appearance on Lincoln Centerصs زGreat Performersس series with Midori, the premier of David Gommperصs Violin Concerto with the Manhattan Sinfonietta, and at the invitation of Columbia University and The University of Chicago the Zukofsky Quartet will present all of Milton Babbittصs String Quartets in one concert. Born in Pittsburgh, Mr. Boyd began playing the violin at age 7 and graduated from The Juilliard School where he studied with Sally Thomas and coached extensively with Harvey Shapiro. As a recording artist, Mr. Boyd can be heard on the Tzadik, Furious Artisans, North/South and Naxos labels. Mr. Boyd recently joined the Violin Faculty of Columbia University and plays a violin crafted in 1995 by Samuel Zygmuntowicz.
Stephen Buck (Piano)
Stephen Buck, pianist, has performed solo and chamber works around the world. His most recent projects include joining the piano quartet Ensemble Argos and the co-founding new music ensemble Hammer/Klavier. Currently serving on the faculties of SUNY Purchase and the Hoff-Barthelson Music School in Scarsdale, NY, Dr. Buck was recently awarded his doctoral degree from Yale University. Recent engagements have included work with So Percussion at Columbia University’s Miller Theater, a concert of works by composer Huang Ruo, four-hand recitals and a performance of Mozart’s Concerto for Two Pianos with pianist and wife Tanya Bannister and the Westchester Philharmonic, vocal collaboration with soprano Heather Buck, and a lecture on the commedia dell’arte in piano repertoire at the Casa Italiana of NYU. An avid chamber musician and collaborative pianist, Mr. Buck has taught and performed for several summers at the Adriatic Chamber Music Festival in southern Italy. In 2006 he co-founded theAlpenKammerMusik Festival in Austria, an intensive 9-day course for musicians of all ages. He has studied at many prestigious summer music festivals, including Boston University Tanglewood Institute, Aspen Music Festival, Music Academy of the West in Santa Barbara, and Kneisel Hall in Blue Hill, Maine. A firm believer in the value of new music, Mr. Buck has performed works of George Crumb, Steve Reich, and Alvin Singleton for the composers, as well as many works by his own contemporaries, including Marcus Maroney, Sebastián Zubieta, Roshanne Etezady, and others.
Judy Kang (Violin)
This charismatic violinist, born and raised in Canada, is establishing a career filled with diversity in musical style and artistic flair, and a continuous innnovation in performance. Judy burst onto the classical music scene at age ten, in a nationally acclaimed televised performance as soloist with the National Arts Center Orchestra. At 17, Judy captured the Grand-Prize as well as the “Best Interpretation” prize at the CBC Competition for Young Performers, Canada’s most honoured competition. Judy has performed throughout North and South America, Europe, Asia, and the Caribbean Islands and has performed in recital and with all of the major orchestras of Canada. She gave a solo performance for former Canadian prime-minister Brian Mulroney when she was nine and has also had the privilege of performing for former US president Bill Clinton. She made her debut in Weill Hall at Carnegie Hall to critical acclaim, and has performed at Lincoln Center, Tokyo Suntory Hall, and Wigmore, as well as at the Metropolitan and Guggenheim Museums in New York. Judy has worked closely with notable composers, Leon Kirchner, Richard Danielpour, Alexander Goehr, and Pierre Boulez, with whom, after an intense week of collaboration, lead to a successful culminating concert. Canadian composer, Michael Matthews, has written a violin concerto for her. A founding member of the piano quartet ‘Made In Canada’, formed at the Banff Center in 2006, the group immediately earned recognition in their native Canada and have received scholarships and awards including the eminent 2006 Galaxie Rising Stars Award. They were featured in Chatelaine Magazine for Women as one of 80 women to watch. At the age of 19, Judy was granted the Lily Foldes Scholarship from the Juilliard School, and graduated with a Masters Degree. She became the first graduate, with high honours, of the prestigious Artist Diploma at the Manhattan School of Music. Her mentors include Sylvia Rosenberg, Robert Mann, and Lorand Fenyves, Aaron Rosand, and Gary Graffman.She won top prizes at the Nielsen, Dong-A, Kreisler, and Naumburg International Violin Competitions. Judy has appeared on CBC, CNN, and MTV. She released two critically acclaimed CDs on the CBC Records label. She is also frequently heard live and through broadcasts on CBC (Canada), BBC (London), and on WQXR (New York). She won the ‘Sylva Gelber’ Prize given to the most talented musician under 30. In recognition of her outstanding achievement and contribution to the arts, Judy is featured as an accomplished artist and inspiration in a book entitled Korea and Canada: A Shared History. Judy is a mentor and artist for Young Audiences (YA), the nation’s largest nonprofit arts in education organization. She is also an artist and ambassador for WorldVision, a Christian relief and development organization dedicated to helping children and their communities worldwide reach their full potential by tackling the causes of poverty. She currently plays on the 1689 “Baumgartner” Stradivarius on generous loan from the Canada Council for the Arts.
Erin Wight (Viola)
Violist Erin Wight, a Midwestern transplant to New York City, is an active chamber musician and avid performer of new music. She performs frequently as a member of the Red Light New Music Ensemble, Talea Ensemble, and Future In Reverse (FIRE), all ensembles with a dedication to exploring contemporary repertoire. Ms. Wight has also played with the New Juilliard Ensemble, Axiom, the Juilliard Electric Ensemble, and worked closely with members of Ensemble Modern. In addition, Ms. Wight is a founding member of the Toomai String Quintet, 2007 winners of the 92nd St. Y’s Music Unlocked! competition for emerging ensembles dedicated to educational outreach. Ms. Wight is deeply committed to community engagement and is on the teaching artist faculty of the New York Philharmonic’s School Partnership Program, Chamber Music Society of Lincoln Center, and the Weill Institute at Carnegie Hall. Ms. Wight completed her Master of Music degree at The Juilliard School where she studied with Paul Neubauer.
Charles Tyler (Cello)
Having been named winner of the 2006 Cleveland Institute of Music’s Concerto Competition and the 2007 Cleveland Cello Society Competition, Charles Tyler is a rising musician who has performed live on radio stations of Cleveland and Chicago and with orchestras around the country as soloist. Most recently Tyler acted as principal cellist for the National Repertory Orchestra’s 2008 summer season in Breckenridge Colorado. There he performed Tchaikovsky’s Variations on a Rococo Theme and Bernstein’s Three Meditations from Mass as soloist under conductors Andres Moran and Kristjan Järvi. In previous summers, Tyler attended the Meadowmount School of Music in 2002 and 2003 and the Encore School for Strings in 2005 and 2006 where performed works of Rachmaninoff, Martinu, and Brahms. In the summer of 2007 he attended Villefavard, an intensive master class session lead by Maurico Fuks and Michel Strauss in central France. He then continued his studies with Strauss at the Conservatoire National Superior de Musique de Paris for the fall of 2007. In addition to performing more traditional repertoire, Tyler has also performed George Crumb’s innovative electric string quartet Black Angels on a live radio broadcast on Cleveland’s WCLV. Being an advocate of new music, he has premiered and performed numerous new works in orchestral, chamber and solo settings. Tyler has performed in masterclasses for Paul Katz, Steven Doane, Eleonore Schoenfeld, Zvi Plesser, Peter Salaff, the Cavani String Quartet, and the Osiris Piano Trio and has previously studied with Tanya Carey and Jeanne Johannesen. In the spring of 2008 he received his Bachelor of Music degree from the Cleveland Institute of Music graduating with honors. There he was a student of Richard Aaron, Melissa Kraut, and Richard Weiss and will continue his studies in the fall of 2008 at The Juilliard School with Joel Krosnick.
ANTHONY COLEMAN – NEW WORKS
Six Short Pieces For Solo Piano (2008)
Flat Narrative (2008)
And More!
Anthony Coleman is a composer-keyboardist who has performed and recorded throughout the world. His projects include the piano trio Sephardic Tinge, which has released three discs: Sephardic Tinge, Morenica, and Our Beautiful Garden Is Open (all Tzadik) and has performed at the Sarajevo Jazz Festival (with support from Arts International), North Sea Jazz Festival, Saalfelden Festival, and the Krakow and Vienna Jewish Culture Festivals. His Selfhaters Orchestra has issued two CDs: Selfhaters and The Abysmal Richness of the Infinite Proximity of the Same (both Tzadik).
His compositions for other ensembles include Latvian Counter-Gambit for chamber orchestra, commissioned by the Crosstown Ensemble, Mise en Abime, commissioned by the Bang On A Can All-Stars/Jerome Foundation, Goodbye and Good Luck, commissioned by Neta Pulvermacher and Dancers/Meet The Composer, as well as commissions from Relche, Aspen Woodwind Quintet, and David Krakauer/Concert Artists Guild. Coleman’s compositions can also be heard on the following CDs: Carol Emanuel’s Tops of Trees (Koch); Guy Klucevsek’s Manhattan Cascade (CRI); A Guide For The Perplexed (Knitting Factory Works); A Conspiracy of Dances (Einstein); and Polka From the Fringe (Wave/Eva). Coleman’s other major projects have included by Night, a series of pieces based on experiences in the ex-Yugoslavia (Disco by Night [Avant]) and the duo Lobster and Friend, with saxophonist Roy Nathanson (The Coming Great Millennium, Lobster and Friend [both Knitting Factory Works] and I Could’ve Been A Drum [Tzadik]). He has also produced several recordings for other artists, including Marc Ribot, Basya Schecter and Pharoah’s Daughter, Romanian singer Sanda, as well as the acclaimed With Every Breath – the Music of Shabbat at BJ [Knitting Factory Works]. Anthony Coleman has received grants and residencies from the New York Foundation for the Arts, the Djerassi Colony, the Civitella Ranieri Center, the Frei und Hansestadt Hamburg Kulturbehrde and the Yellow Springs Arts Center.
In the last year, Coleman has been the subject of a three-day festival, Abstract Adventures, in Brussels, Belgium. He presented a concert of his music as part of the Interpretations series at Merkin Concert Hall, NYC. He spent the spring semester of 2003 teaching theory and composition at Bennington College in Vermont and toured Europe with his new trio, Professionales, featuring Brad Jones and Roberto Rodriguez. He has degrees in composition from the New England Conservatory of Music and the Yale School of Music and attended Mauricio Kagel’s seminar at Centre Acanthes in Aix-en-Provence, France.
Emily Manzo & Daisy Press perform Erik Satie’s SOCRATE + VEXATIONS for Toy Pianos
Emily Manzo & Daisy Press perform Erik Satie’s SOCRATE + Flux Quartet
ISSUE Project Room is pleased to host a special performance of Erik Satie’s masterpiece, “Socrate” based on the life and death of Socrates, featuring a libretto by Jean Cocteau, performed by soprano Daisy Press and pianist Emily Manzo.
A specialist in the field of contemporary music, Daisy Press, vocalist, was born into a performing family as the daughter of two musicians. In addition to her solo and ensemble vocal work, she also plays the violin and guitar and has appeared as an actor in an upcoming Adam Goldberg independent film. Most recently, she was praised by the New York Times for her “winning subtlety and understatement” in her rendition of George Crumb’s new folk-based song cycle “Unto the Hills” at Miller Theater with the acclaimed group So Percussion. Previously, she has sung with them the works of Steve Reich, including “Music for 18 Musicians” and “Drumming,” which she has also performed as a guest artist at Juilliard.
Additional credits include being the featured soloist for the New York premiere of Phillipe Leroux’s “Voi(rex)” at Miller Theater alongside IRCAM; “Apparition” by George Crumb at the Bang on a Can Marathon, where Ms. Press was for two years singer-in-residence; “Attila-Joszef Fragments” by Kurtag at Symphony Space; and excerpts, with the composer in attendance, for Elliot Carter’s “Of Challenge and of Love.” She has also appeared in Ireland with the Argento Ensemble in Earl Kim’s “Exercises en Route” and was hailed for her “calm naturalness” by The New York Times for her performance of early and late Webern song cycles.
Ms. Press has performed Morton Feldman’s “Three Voices” (the studio recording of which is soon to be released) and has appeared with the renowned VOX vocal ensemble. She is currently on faculty at Manhattan School of Music, where she received her Masters degree. She also holds academic degrees from Sarah Lawrence College and Oxford University, and she has studied voice in the studios of Trish McCaffrey and Hilda Harris, and North Indian ragas with Michael Harrison.
VEXATIONS for toy pianos
with
Andrea LaRose (antisocial music)
Barry London (from Oneida)
Nick Hallett
Tom Chiu
Katie Young
Emily Manzo
VERGE Ensemble
VERGE Ensemble
an evening of electronic/computer music
Another Face for solo violin & video David Felder
Lina Bahn, violin
come into – a cello & computer improvisation Steve Antosca & Ignacio Alcover
Ignacio Alcover, cello
Steve Antosca, computer
threnody for clarinet and audio Larry Austin
David Jones, clarinet
Video IX for piano, computer and video Frederick Weck
Jenny Lin, piano
reaLive2008 (Steve Antosca)
Ignacio Alcover, cello
Steve Antosca, computer
Lina Bahn, violin
David Jones, clarinet
Jenny Lin, piano
VERGE ensemble, formerly known as the The Contemporary Music Forum, has been presenting concerts of new music to Washington audiences for 35 years. Throughout its existence, the ensemble has pioneered the performance of works involving music and technology, and supported music by American women composers, Native American composers and the music of African-American composers.
The ensemble recently performed an all John Cage concert at the National Gallery of Art as part of the Gallery’s 62nd American Music Festival in conjunction with the Gallery’s exhibit Jasper Johns: An Allegory in Painting 1955 – 1965. In May 2007, the ensemble joined Ensemble Aleph at Theatre Dunois in Paris for the Festival de musique Americaine to present four concerts of American music.
For the 2007/2008 season, VERGE worked with the Embassy of France to create a unique, year-long collaboration between French and American musicians, promoting new American and French music. A consortium of venues in Washington participated in these events including The National Gallery of Art, La Maison Francaise, the Corcoran Gallery of Art and Loyola College in Baltimore.
In November 2007, this collaboration produced a world premiere of Sanctuary, a work for percussion and computer by Roger Reynolds at the National Gallery of Art East Building and a concert of French violin and piano music at La Maison Francaise. The festival included a series of three concerts in Washington with VERGE and Ensemble Aleph in April 2008.
During the 2008/2009 season, VERGE promoted the 3-gen festival in Washington. The festival included special concerts throughout the Fall celebrating the centennial birthdays of Elliott Carter and Oliver Messiaen at the Corcoran Gallery of Art, the National Gallery of Art, La Maison Francaise and the Library of Congress.
VERGE ensemble was in residence at Cleveland State University in October 2008 and will be in residence at June in Buffalo in 2009.
VERGE ensemble is the new music ensemble in residence at the Corcoran Gallery of Art in Washington, DC.
Bob Holman + Anne Waldman w Peter Gordon + Kit Fitzgerald
Bob Holman is best known as a free-wheeling impresario of new poetry:
slams, hiphop, performance. But he’s also written eight books, most
recently A Couple of Ways of Doing Something, a collaboration with
Chuck Close published by Aperture, teaches at NYU and Columbia, and is
the Proprietor of the Bowery Poetry Club. He’s made recent trips to
the Kolkata Book Fair, Banff Arts Centre, the Costa Rican
International Poetry Festival, and the Naropa Summer Writing Program.
His new project is a film documentary on the Poetry of Endangered
Languages, starting with his recent two month shoot in West Africa,
“On the Griot Trail,” and another on Ginsberg in India
watch
Anne Waldman
“She is the fastest, wittiest woman to run with the wolves in some time”- Ken Tucker,
The New York Times
Poet Anne Waldman has been an active member of the “Outrider” experimental poetry community for over 40 years as writer, sprechstimme performer, professor, editor, magpie scholar, infra-structure and cultural/political activist. She grew up on Macdougal Street in Greenwich Village where she still lives, and bi-furcated to Boulder, Colorado in 1974 when she co-founded The Jack Kerouac School of Disembodied Poetics with Allen Ginsberg at Naropa University, the first Buddhist inspired school in the West, where she currently serves as Artistic Director of its celebrated Summer Writing program. Allen Ginsberg has called her his “spiritual wife”. She is the author of over 40 books of poetry including Kill or Cure, Marriage: A Sentence, Structure of the World Compared to a Bubble, and the poetic text: Outrider which includes an interview with Ernesto Cardenal, and essays on Lorine Niedecker and Charles Olson. Manatee/Humanity will be published by Penguin in 2009 and she will be on a reading tour in April. She has also the author of the legendary Fast Speaking Woman (City Lights, San Francisco), now translated into Italian, Czech and French, as well as the 800 page epic Iovis trilogy (Coffee House Press), forthcoming in 2010. She is editor of The Beat Book(Shambhala Publications) and co-editor of The Angel Hair Anthology (Granary Books), Civil Disobediences: Poetics and Politics in Action (Coffee House) and a comprehensive Beats at Naropa (Coffee House, 2009), with previously unpublished work by Allen Ginsberg, Gary Snyder, and William Burroughs, among others. A book translated into Chinese is forthcoming in 2009.
Waldman has worked actively for social change, and has been involved with the Rocky Flats Truth Force and was arrested in the 1970s with Daniel Ellsberg & Allen Ginsberg protesting the site of Rocky Flats which was bringing plutonium onto property 10 miles from Boulder for the manufacture of “triggers” for nuclear warheads. She has been involved with clean-up issues and also with Poets Against the War, organizing protests in New York and Washington, D.C. , and with the Poetry Is News events, co-curated with Ammiel Alcalay.She has been active in the current election, along with countless young people and elders and artists. She took a vow at the Berkeley Poetry Conference in 1965 to devote her life to poetry and artistic “community”. She helped found and direct The Poetry Project at St Mark’s Church In-the-Bowery where she worked as first assistant director and then director a decade. She currently serves on the Board of the Bowery Poetry Club in New York City. She has been an editor of several small press venues over the years, including Angel Hair Magazine and Books, Full Court Press, Rocky Ledge, Erudite Fangs and Thuggery & Grace.
She has been a student of Buddhism since 1962, a feminist, and an ambassador for the oral revival of poetry, appearing on stages from Berlin to Caracas , from Mumbai to Beijing. She has been instrumental in encouraging poetry projects world-wide and has helped organize programs in Vienna and Indonesia. She has also collaborated with artists Elizabeth Murray, Richard Tuttle, Donna Dennis and Pat Steir as well as dancer Douglas Dunn, filmmaker Ed Bowes, and her son, musician/composer Ambrose Bye. Her extensive historical literary, art and tape archive resides at the Hatcher Graduate Library in Ann Arbor, Michigan.
Some of her performances may be viewed on YouTube.
Some Responses to Anne Waldman’s Poetry:
“It’s as if people have ceded both their destinies and their imaginations to “a hopeless gray area of defeat an despair, Anne Waldman comments in Civil Disobediences: Poetic and Politics in Action. Few other American writers have responded to that malaise with as much joy, ferocity and irrepressible charge as Anne Waldman.”- Forrest Gander. The Harriet Blog, National Poetry Foundation, Chicago
“Here is a voice from the frontlines of poetry’s improvisational traditions”- Peter Gizzi
“She’s the fastest, wisest woman to run with the wolves in some time.” Ken Tucker, New York Times Book Review
“From St Marks in the early sixties, to her stewardship of Naropa, to her worldwide travels, Anne Waldman has shown herself to be one of the key players on the U.S.A. poetry scene. Her energy, her total commitment to her art, and her cultural work are a wonder to behold. Wherever it happened, Anne was there.” - Marjorie Perloff
All 3 below from an essay by Ravi Shankar, in the Quarterly Conversation 2008:
“The apocryphal rumor that she started – started- the phenomenon of Poetry Slams when she and Ted Berrigan donned shiny trunks and boxing gloves to verbally pummel each other with uppercuts of verbs and roundhouses of metaphor.. Her prodigious proliferation: publishing a book of poems a year, not to mention translations, edited anthologies, sound recordings, cameo appearances in Bob Dylan’s film Renaldo and Clara, performances with Allen Ginsberg, Meredith Monk in the documentary Cooked Diamonds, fried Shoes, collaborations with artists Richard Tuttle and Elizabeth Murray, with musicians Steven Taylor and Steve Lacy, the co-founding with Allen Ginsberg of the Jack Kerouac School of Disembodied Poetics at Naropa University, the first Buddhist-inspired educational institution in America, two-time winner of the International championship Poetry Bout in Taos, New Mexico, recipient of many of the country’s major grants and literary awards, onwards…
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“Waldman is a transpersonalist and Maximalist. [Her] choice of deity is Kali, Hindu goddess of time and ferocity, meat and skulls, remover of the advidya (the ignorance that makes us fear death), a creative and destructive force that wears a girdle of severed arms, a bracelet of cobras, corpse-earrings, and a mouth darkened with blood…Waldman is a Flame.”
“Anne Waldman’s work is the antithesis of stasis. Orality is crucial to her. She is a force of nature. Needed to be in order to hold her own in the male-dominated world of the Beats. And her work is an specially potent example of Helen Cixious’s idea of ecriture feminine, female writing that overcomes the limits of Western logocentrism and male patriarchy, or in Waldman’s own words, “body poetics and politics, right now.” Her erudito, which she wears like a mantle, is deeply eclectic and one feels that all of the turbulent waves of the late 2oth century have washed over her From Olson to Oulipo, from Sappho to Diane di Prima, from apperceptions of genocide to sexual empowerment that enclose menstruation. Waldman’s a sponge who has soaked up art and drips what she’s absorbed into splotches of color. She also leans Eastward, using Buddhist concepts and Sanskrit words in a way that doesn’t feel like dilettantism or mere shrubbery in her poems, but something meditated upon over a course of years, studied and given breath to breathe.”- Ravi Shankar, the Quarterly Conversation
Of IOVIS:
Iovis is a monumental improvisation, epic length, major work by a major poet, Anne Waldman” - Allen Ginsberg
“A marvelous mytho-poetic collage of self-and-other, male an female, in demonstration of a female universe (“open system”) packed with seed. The Goddess considers the role and power of Jove in detail, in cosmic gossip and multiple language. Anne Waldman’s vast poem is a net of language and spirit that opens out the possibilities of writing and our enactment of
Archetypes in one long breath” – Gary Snyder
“Waldman’s chapters are fuid and ever-changing-like life. Hers is a pedagogic poetic that teaches as much as it complicates, enlightens as much as it mystifies, is filled with stories and myths, personal reflections and homages. Because the poem moves through time, contained among clusters of practical information are also elegies for the deaths of loved ones, ritual practices, erotic wishes… Waldman is carrying on the 20th century epic tradition…” Poetry Project Newsletter
Of Vow to Poetry
“Waldman’s utopianism a good antidote to current militarism. Vow to Poetry is an enticement to vocalize, to make ideological interventions with language. Deluged as we are by agenda-hiding, mendacious rhetoric of profiteering, I is good time to read Waldman. She has spent a lifetime artfully hexing and arguing against violent territoriality. The utopian imagination is embodied in this stellar poet whose heart has an interstellar wingspan.” The Sunday (Boulder Daily) Camera, Boulder, Co.
Of Structure of the World Compared to a Bubble:
“Waldman accomplishes an open alliance between the bodhisattva path and her radical poetic and artistic determination. In this marvelous volume, Waldman makes a vow to poetry. [The poem] upholds the complexity of being human in the entire bubble-shaped world that it confronts..Waldman leaves her readers with a sense of provisional hope, conditioned by our participation in making the possible world possible.”-The Poetry Project Newsletter
PETER GORDON is a seminal figure in the New York music community. He first gained attention with his Love of Life Orchestra, which helped define the fusion of experimental composition with punk and jazz infused dance music. Gordon has worked some of the most influential artists and musicians of the past decades, including Laurie Anderson, Arthur Russell, Lawrence Weiner, Richard Foreman, Bill T. Jones/Arnie Zane, Flying Lizards, David Van Tieghem, Stephen Petronio, The Talking Band and Chuck Berry. His work in film and television is featured on the soundtracks of “Desperate Housewives”, “Joe Versus the Volcano”, “Déjà Vu” and “Eternal Sunshine of the Spotless Mind”. His collaborations with video-artist Kit Fitzgerald at venues such as DTW, La Mama and BAM/Next Wave Festival have pioneered live video performance.
Gordon’s music has been released on the Lovely Music, CBS Masterworks, Warner Brothers and Newtone Record labels. Recent releases include: LCD Soundsystem James Murphy and Pat Mahoney’s remix of LOLO’s “Beginning of the Heartbreak” on the critically acclaimed “Fabriclive 36″ mix album; Gordon’s opera collaboration with Lawrence Weiner, “The Society Architect Ponders the Golden Gate Bridge”, on the “Crosstalk” anthology (Bridge Records); and the re-release of Gordon’s debut album “Star Jaws” (Lovely Music). Peter Gordon is currently working on a new retrospective LOLO album to be released in the fall by DFA Records. Gordon’s collaboration with Bob Holman, INDIA JOURNALS, will be appearing in the new issue of Rattapallax.
Kit Fitzgerald is a media artist and director working in video art, live performance, digital painting, and music video. Her works are in the collection of the Museum of Modern Art and have been presented in the Whitney Biennale, at the Brooklyn Academy of Music Next Wave, the Hetmusiktheater (Amsterdam) and LaMama E.T.C. Ms. Fitzgerald has collaborated with composers Peter Gordon, Ryuichi Sakamoto, and Max Roach; poet Seiku Sundiata and choreographers Donald Byrd, Bill T. Jones, and Bebe Miller. Her hi-definition video, Painted Melodies, won 1st prize at the Electronic Cinema Festival in Montreaux. The Deadman, her film adaptation of Bataille’s Le Mort, won second prize at the Riccione Film & TV Festival. Ms. Fitzgerald has been awarded fellowships from the Rockefeller Foundation, the Japan Foundation, and the NHK Foundation of Japan. She is a graduate of the American Film Institute Directing Workshop for Women and Director of the Department of New Media and Digital Production at Concordia College, New York.
Jason Cady + Ben Neill
“But, I mean, in order to, to actually do human trials you have to go through all this rigmarole, and rent is due, we don’t have time…”
Happiness is the Problem is a two-act opera buffa and comic book about idealism and disillusionment. It stars three young women who sell an elixir of happiness derived from the secretions of slugs that they market as “Euphoressence.”
Deanna Neil, soprano
Erin Flannery, soprano
Lisa Komara, mezzo-soprano
Mary Halvorson, guitar
Jason Cady, synthesizer
Joe Bergen, vibraphone
Tim Dahl, bass
Tomas Fujiwara, drums
music by Jason Cady
comic book by Nadia Berenstein
libretto by Jason Cady and Nadia Berenstein
dialogue by Jason Cady, Nadia Berenstein and Amy Cimini
Ben Neill will present a concert of music for his self-designed mutantrumpet and interactive electronics. The program will include a new version of Neill’s earliest interactive computer piece, Dis-Solution 2 (1986), as well as new music with live digital video by Bill Jones. In these works the dynamics of Neill’s musical performance affect the video images in real time. Also joining Neill will be percussionist Shawn Trail.
www.benneill.com,
Ensemble Pamplemousse
Founded in 2002 as a vehicle for musical exploration, Pamplemousse presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in classical, electronic, and improvisational realms, the group consistently delivers fresh, exhilarating new concepts in sound. The members’ eagerness for aural discovery has allowed for ample experimentation processes, where boundaries are non-existent, and from which a strong dialogue has emerged. Among the group’s vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other, and with the composers who are an intrinsic part of the ensemble. The product, uncompromising and resolutely beautiful, is created by incredibly innovative, yet-to-be-named approaches to performance and composition.
MATA Interval 2.4
Play! Music for Toys
Curated by Angelica Negrón
Featuring performances by ensemble TRANSIT, Judy Dunaway, Jenny Walshe, and special guest Margaret Leng Tan
Works by Angelica Negrón, Judy Dunaway, Tristan Perich, Daniel Wohl, Nathan Davis and John Kennedy
MATA Interval 2.4 PLAY! – Composers
Nathan Davis (NYC) makes music as a composer and percussionist. He has received commissions from the International Contemporary Ensemble, the Meehan/Perkins Duo, Ethos Percussion Group, the Jerome Foundation, Concert Artists Guild, and received awards from ASCAP, Meet the Composer, the Look and Listen Festival, and the ISCM. Several of his electroacoustic percussion pieces are available on a solo cd, Memory Spaces, and his acoustic music is published by Frog Peak. As a percussionist, he tours extensively in the cello/percussion duo Odd Appetite and is a member of ICE. He has recorded for Tzadik, New Albion, Bridge, and Cold Blue records. More info is at www.nathandavis.com.
For the past fifteen years Judy Dunaway has been primarily known for her numerous works for latex balloons as sound producers. Her works for balloons include sound installations, multimedia works, improvisational performances, and avant-garde musical compositions. She has presented these works throughout North America and Europe at many important venues, festivals, museums and galleries including the Alternative Museum (NYC), Bang on a Can Festival (NYC), Everson Art Museum (Syracuse), Frau Musica Nova (Germany), the Guelph Jazz Festival (Canada), Lincoln Center Out-of-Doors (NYC), the New Museum of Contemporary Art (NYC), Performance Space 122 (NYC), Podewil (Berlin), Galerie Rachel Haferkamp (Koeln), the Roy and Edna Disney Center (Los Angeles), Seltsame Musik Festival (Austria), the SoHo Arts Festival (NYC), STEIM (Netherlands), Diapason Gallery (NYC) and ZKM (Germany). Her discography includes CDs on the CRI (Composers Recordings Inc.) and Innova labels.
Eclectic Australian-American musician Erik Griswold fuses experimental, jazz and world music traditions to create works of striking originality. Specializing in prepared piano, percussion and toy instruments, he has created a musical universe all his own that is “sincere” (neural.it), “playful” (igloo magazine), “colourful and refreshingly unpretentious” (Paris Transatlantic). Griswold performs as a soloist, in Clocked Out Duo (with percussionist Vanessa Tomlinson), and collaborates with musicians from diverse backgrounds as well as visual artists, and writers.
Composer and conductor John Kennedy is Artistic Associate of Spoleto Festival USA, where he plans and leads many of the festival’s music programs, and is the Artistic Director of Santa Fe New Music. He has composed numerous works for traditional and experimental ensembles, and has been commissioned by the Santa Fe Opera and Sarasota Opera among others. He has guest conducted with many organizations including the Lincoln Center Festival, New York City Ballet, Santa Fe Opera, Santa Fe Chamber Music Festival, and the Merce Cunningham Dance Company. Kennedy also founded the ensemble Essential Music, which was active in New York from 1987. He has been on the board of the American Music Center since 2000 and served as President from 2002-2005.
Angélica Negrón (b. 1981, Puerto Rico) received an early education in piano and violin at the Conservatory of Music of Puerto Rico where she later studied composition under the guidance of composer Alfonso Fuentes. She was the winner of the scholarship that the Amaury Veray Foundation gives to an outstanding student in the music composition department of the Conservatory of Music of Puerto Rico as well as the Phantomvox Scholarship (2004) and the Roberto I. Ferdman Award (2006). Her music has been performed by the NYU Percussion Ensemble, Astoria Symphony Orchestra, Lumina String Quartet, NYU Symphony Orchestra and the Puerto Rico Symphony Orchestra and she has written music for documentaries, films, theater and modern dance. She also holds a bachelor’s in audiovisual communications from the University of Puerto Rico, and is a founding member of the Puerto Rican electro-acoustic pop outfit Balún where she sings and plays the accordion, violin and keyboard. With her solo project, Arturo en el Barco, she concentrates on working with lo-fi ambient compositions and has released albums on Observatory (Austria) and Carte Postale Records (Belgium).
In 2008, as a recipient of the Lindsay and Brian Shea Fellowship, she participated in the European-American Musical Alliance (EAMA) Summer Music Program at L’Ecole Normale de Musique de Paris where she studied with Dr. Robert Beaser, chair of the Composition department of The Juilliard School, and guest composer Sofia Gubaidulina. Her recent work for toy piano and electronics “Columpio” won second prize on the UnCaged Toy Piano Competition and she is currently a curatorial associate for MATA Interval Series. She recently completed her master’s degree in music composition at New York University where she studied with Portuguese guitarist and composer Pedro Da Silva and film composer Ira Newborn. Angélica is currently part of the Teaching Artists Collaborative from The Weill Music Institute at Carnegie Hall and a member of ASCAP, the International Alliance for Women in Music and New York Women Composers.
In all of his creative activities, Tristan Perich is inspired by the aesthetics of math and physics, and works with simple forms and complex systems. The challenge of elegance provokes his compositions for solo instruments, small ensemble and orchestra. As a visual artist, he works primarily with machines to create pen-on-paper drawings that explore the limits of traditional drawing through randomness and order.
In 2004 he began work on 1-Bit Music, combining his music with primitive, hand-programmed electronics that investigate the foundations of digital sound. The Village Voice, BOMB Magazine, BPM Magazine, Res Magazine, Wired News, Cool Hunting and Spin Magazine covered the release, which has also been featured on television. Surface Magazine called the boxes “profound throwbacks to the traditional album, a response to the intangibility of iTunes and mp3s in the form hand-held artwork.”
Perich’s compositions have been performed by ensembles including Bang on a Can (2008 People’s Commissioning Fund), counter)induction, Calder Quartet, New York Miniaturist Ensemble, Due East, Y Trio and Ensemble Pamplemousse at venues including the Whitney Museum, P.S.1 and Mass MoCA. His recent activities include electroacoustic pieces for 1-Bit Music with instrumental accompaniment. His experimental electronic music group, the Loud Objects, has performed in Germany, Japan, Italy (Screen Music 2), Norway (Piksel), England (Evolution) and the USA (including at the NIME festival). He has spoken twice at Dorkbot. Perich studied math, music and computer science at Columbia University after attending Philips Academy, Andover. More recently, he studied art, music and electronics at the Interactive Telecommunications Program at Tisch School of the Arts, NYU.
Paris born Daniel Wohl (1980) is a composer of electronic and acoustic music based in Brooklyn. His music is played by ensembles and performers such as the American Symphony Orchestra, The Calder Quartet, the Da Capo Chamber Players, TRANSIT, the Nucleus Ensemble, California E.A.R Unit, St Luke’s Chamber Ensemble, the University of Michigan Philharmonic, and performers such as Tara Helen O’Connor and Vicky Ray. Awards, commissions and grants have come from ASCAP, Carlsbad Music Festival, New York Youth Symphony First Music, Society for New Music, the Definiens Project C3 competition, Meet the Composer, and the Brooklyn Arts Council for his work with TRANSIT, an ensemble he cofounded.
Most recently, he was a featured composer in both Da Capo’s Sonic Youth at Symphony Space concert, and St Luke’s Chamber Ensemble 2nd Helpings series at the Chelsea Art Museum and DIA, Beacon. In 2008 he was awarded an ASCAP Morton Gould prize for his orchestra piece Helium, an ASCAP Plus award, and a New York Youth Symphony commission, which will be premiered at Carnegie’s Weill Recital Hall in 2009. He is also the winner of the 2009 Carlsbad Music Festival / Calder quartet commission.
Daniel completed his Master’s Degree at the University of Michigan School of Music, studying with Bright Sheng and William Bolcom, and Bard College with Joan Tower. He has also studied with Julia Wolfe, David Lang, and Michael Gordon at the Bang on a Can Summer Institute. Daniel teaches composition at Sarah Lawrence College in New York.
Matthew Welch
Matthew Welch
The music of Matthew Welch (b.1976) stems from a remarkably multi-faceted foundation. Matthew holds two university degrees in Experimental Music Composition, a BFA from Simon Fraser University (1999), and an MA form Wesleyan University (2001), studying with noted composers such as Barry Truax, Rodney Sharman, Alvin Lucier and Anthony Braxton. His compositions range from traditional-like bagpipe tunes to electronic pieces, improvisation strategies and fully notated works for solo instruments, chamber ensembles and orchestra. He has also taken part in a number of compositional collaborations with Indonesian Gamelan composer-performers in Bali and Java, performed in free improvisation contexts with numerable New York City improvisors, and played with art rockers in the Brooklyn underground. As a virtuoso of the Highland Bagpipe, he studied traditional music with Gold Medalist masters such as Colin MacLellan, Jack Lee, Angus MacLellan and Andrew Wright. Matthew also was a member of the four – time World Champion Simon Fraser University Pipe Band, winning with them in 1999 and 2001. As an ambassador for the instrument, Matthew has premiered a number of new compositions written for bagpipes by contemporary composers. This involvement with a more diverse musical context has led him into an expansion of his instrumental array to include alternative bagpipe configurations, accordion and various saxophones. Indonesian Gamelan percussion music, both Javanese and more recently, Balinese, have been another focus of Matthew’s, which he has pursued throughout his academic career, with the New York Indonesian Consulate gamelans, and in Bali. Matthew appears on Anthony Braxton’s 10 [Solo Bagpipe] Compositions, 2000, and a few compact discs of his own music, Ceol Nua (Leo 336, 2002) highlighting orchestral and chamber works, Hag at the Churn (Newsonic 33, 2003), a collection of electronic concoctions and Dream Tigers (on John Zorn’s Tzadik Records’ Composer Series 8015, 2005) a program of ecstatic chamber music featuring his critically acclaimed string quartet, Siubhal Turnlar. His compositions for Balinese Gamelan Semara Dana are featured in his multi-media collaboration with Ikue Mori known as Bhima Swarga (Tzadik DVD edition 3007, 2007). The eclectic breadth of his interests in Celtic music, gamelan, minimalism, improvisation and rock also converge in compositional amalgams for his New York based ensemble, Blarvuster. ……”The Brooklyn-based composer leaps vast geographical distances, imagining statistically implausible musical melting pots that sound utterly natural…a composer possessed of both rich imagination and the skill to bring his fancies to life” – TimeOut NY “some serious bagpipe wizardry…as far as I can tell, Matt Welch must be the Eddie Van Halen of the bagpipes.” – Pop Matters
Ai Ensemble + MIVOS Quartet
ai ensembl
Based in New York, the ai ensemble is a duo founded by clarinetist Alejandro Acierto and cellist Isabel Castellvi in Chicago 2007 to promote contemporary works for clarinet and cello. Alejandro and Isabel met while pursuing performance degrees at DePaul University and have worked together on several projects including performances with ensemble dal niente, TACTUS, Millennium Chamber Players, and Chicago Composers Forum. Since their conception, they have already had over a dozen works written for them by emerging young composers featured on programs that also included works by established composers such as Xenakis, Lim, Saariaho, and Ran. The 2007-2008 debut season featured 9 concerts in New York and Chicago in various venues, drawing a diverse crowds. This season will feature several premieres, collaborations, and touring. Currently Alejandro and Isabel are pursuing a Master’s Degree at Manhattan School of Music for Contemporary Music Performance.
Isabel Castellvi
Cellist Isabel Castellvi is currently pursuing a Master’s Degree in Contemporary Music Performance at Manhattan School of Music, studying with Fred Sherry. Isabel received her B.M. from DePaul University in 2006, where she studied with Katinka Kleijn and Steve Balderston. Previous teachers include Fred Zlotkin and Danny Morganstern. As a versatile musician she performs a broad range of music including contemporary classical, experimental, world, free-improvisation, electro-acoustic, ambient, hip-hop and rock. Collaborative creation is an integral part of her work, which has led to various projects with composers, dance, theater and visual art. Currently she is the cellist for the new music ensembles: ai ensemble, WetInk, ThingNY, dal niente, and TACTUS. She has premiered over 50 compositions. On going collaborations and recent touring include Copal, Love in the Mud; CelloVox; Stone Forest Ensemble; ai ensemble. Past ensembles and performances include The Raw and the Cooked, ICE, Oistrach Orchestra, Millennium Chamber Players, New Millenium Orchestra, Ensemble Akasha and the Accende Ensemble. She has also participated in the SLSQ Chamber Music Seminar at Stanford University, Oregon Shakespeare Festival, Symphony Orchestra Academy of the Pacific in British Columbia, Las Vegas Music Festival and performed a recital and taught in Argentina. Isabel is dedicated to performing for diverse audiences, expanding consciousness and promoting peace.
Alejandro Acierto
Alejandro Acierto is a Chicago clarinetist, composer, and activist living, working, and organizing within the community. He has completed degrees in clarinet performance and composition studies with a minor in Asian American Studies at DePaul University. Currently pursuing a degree in Contemporary Performance at the Manhattan School of Music, he studies with David Krakauer and has worked with teachers John B. Yeh, Julie DeRoche and Wagner Campos in addition to composers Kurt Westerberg, Pat Morehead, and David Smooke. As a performer, Alejandro has performed with several ensembles such as the Millenium Chamber Players, Yes is a World, Chicago Composers Forum, the improvising trio Preclear, and is also a principal and founding member of dal niente and the ai ensemble. He has also performed in such festivals and series as Opera Cabal in Chicago, New Music Northwestern and the New Music Marathon at Northwestern University, and the Midwest Consortium of Graduate Composers. An active performer of new and contemporary classical music, Alejandro has given local premieres by prominent composers such as Giacinto Scelsi, Steve Reich, and Jason Eckart, as well as world premieres by Drew Baker, Kirsten Broberg, and Nicholas DeMaison. As a composer, Alejandro received a Union League Civic and Arts Award for Composition in 2003 and the Sidney and Mary Kleinman Prize in Composition in 2007 for his work ‘strangers in our own land’. His current work focuses on using music as a means of social transformation and is committed to playing new works, particularly by historically marginalized people.
MIVOS Quartet
Olivia de Prato and Joshua Modney violins, Victor Lowrie, viola, and Isabel Castellvi, cello.
Missi St. Pierre plays John Cage’s Sonatas and Interludes for Prepared Piano + Igor Cubrilovic’s Glaciers
Chance. You can give it, you can take it, and if you’re daring, you can create with it. Protean composer, performer and aural provocateur Melissa St. Pierre does all three.
As a classically trained pianist, she specializes in the works of two giants of aleatoric music and chance operations, John Cage and Christian Wolff. In concert, she tackles Cage’s “Sonatas and Interludes” (1946) and Wolff’s “For Prepared Piano” (1951) with a vigor and creative insight that belies her years (she’s only in her 20s). Peppering the strings, hammers, and dampers of the piano with a variety of objects, St, Pierre transforms the instrument’s typical timbre and gives it a chance, an opportunity to reveal its true nature. In her adroit, gifted hands, it becomes not just a percussion instrument, but 88 percussion instruments, each key a portal to a new world of sound. Sparkling gamelans chatter; harrowing voodoo drums call out in the night.
However, St. Pierre is no mere recitalist; she is an ingeniously facile free-improvisor, and between the Cage and Wolff pieces, she performs her own work, utilizing not only piano, but an array of everyday cracked (i.e., deliberately altered) electronics. The transition, from Bosendorfer to Casio and back again, is seamless, and wholly successful. In doing so, she opens a dialog: between drastic classicism and disheveled modernity; high and low technology; twentieth and twenty-first centuries.
Melissa St. Pierre takes a chance, presenting her work and that of John Cage in the same breath. In succeeding, she vivifies the spirit of 60 years’ worth of experimental music-making. And that’s what taking risks is all about.
www.myspace.com/melissastpierre
Igor Cubrilovic is composer, producer, and a guitarist. Glacier Series are set of compositions which were composed over last 3 years, since he relocated from New York City to Geneva, Switzerland.
These works explore friction of constantly moving intervals. Using long sustained glissando’s in permanent state of change, this music is static and ecstatic.
Sonically between Alvin Luciers and Elaine Radique, yet neither academic or mystic, music of Glaciers is a crash in slow motion,its a confrontational and insistent.
Glaciers Series have been performed in Switzerland and France, and this is their US premiere.
Igor was member of Jonathan Kane’s February and produced both the luminous first and long awaited 2nd album. He was lead guitarist in Rhys Chatham Guitar Army, and is now active in European Improv scene with Duet/Duel Series, and composing for film and modern dance.
He studied architecture in Belgrade, sound technology in Stockholm, sound installation in London, and is now pursuing his interest in psycho-acoustics and traditional music of the Balkans. He does not like to record his work.
Duane Pitre
ISSUE Project Room’s Artist In Residence Duane Pitre presents Perfect/Imperfect, for Amplified String Quintet and Sine Tones.
Perfect/Imperfect (x5)
For Amplified String Quintet & Electronic Sine Tones
A new work by Duane Pitre
March 8, 2009 • ISSUE Project Room • Brooklyn, NY
(The artist’s first of four presentations as Spring 2009 Artist in Residence)
Duane Pitre – composition
Damon Holzborn – programming
Jesse Peterson – violin
Chris Otto – violin
Frantz Loriot – viola
Chris Welcome – cello
Emily Dufour – cello
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Bow a violin (or instrument from the violin family) to match a predetermined electronic sine tone pitch as closely and steadily as possible, without vibrato.
This “pairing process” can be carried out once or multiple times, by a solo performer or by multiple performers, in the same pitch or in different pitches, and arranged however one chooses.
The amount of times that this process is carried out within a recording or live performance determines the (x numeral) in its title
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The three paragraphs above comprise the score for Perfect/Imperfect, a composition with simplicity at its core. The score does not address a specific arrangement, performance length, or pitch choices, as these aesthetic-based decisions are not at the core of the piece; they are secondary and can be changed from performance to performance.
The piece came to me while I was walking home from work last summer. When I arrived home I typed out the score on an old typewriter and tucked it away to let it “germinate” (which I find is the best method for my works). After being invited to participate in the ISSUE Project Room Artist in Residence Program, I decided to return to this simple idea and create a special arrangement of it to premiere at ISSUE.
Tonight’s arrangement, titled Perfect/Imperfect (x5), utilizes an amplified string quintet (two violins, two cellos, and viola), is 50 minutes in length, and uses pitches calculated from ratios that adhere to the tuning system known as Just Intonation. These pitch relationships are found in nature’s own Harmonic Series.
It is worth noting that the title of this piece came to me immediately; it may have even started the thought that led to the score. The title possessed a certain strength and made me think about aspects of modern society in which perfection is expected from “imperfect” creatures. This spiraled into me asking myself what “perfect” even means. It is a term relative to the cultural context in which it is used, changing from country to country, village to village. These thoughts made the piece all the more interesting to me.
The most relevant topic, both for me and for the piece, centers on the interaction of computer technology and the human race — and the relationships that exist between the two. As we strive for “perfection” we look for the most efficient (in terms of time, money, etc.) ways to carry out various tasks — important ones, menial ones, and everything in between. Can a computer do the job better or can a human? What about a mixture of both? Automated 1’s and 0’s or human flesh operated? Is the computer output too cold? Does the human touch give, well, life?
As I began writing these program notes, it occurred to me that my initial choice to type out the score for this composition on an old typewriter is significant. It offers a contrast to the 50+ hours a week I spend working with computers, often keying out perfectly rendered typeface characters. It is this contrast between the computer-generated and the handmade that this composition seeks to explore.
My Perfect/Imperfect experiment intends to put its performers in a silent space (a vacuum of sorts) to enable them and the audience to focus on the differences between the tireless stability of pitch offered by the electronic sine tones and the human-generated pitches of the sustained bowed strings, which over time will inevitably fluctuate to some degree. On a theoretical level Perfect/Imperfect is my way of creating a balance within the computer/human relationship. On an aural level it is a focus-piece, a concentration-piece, for both performers and audience.
- Duane Pitre (February 2009)
Duane Pitre (originally from New Orleans) is a Brooklyn-based, avant-garde composer and performer. His current works explore both chaos and discipline—and the relationship that exists between the two. Pitre primarily works with long-tones and utilizes alternate tuning schemes that focus on microtonally, enabling him to explore unaccustomed harmonic intervallic relationships.
Composing primarily for acoustic and electro-acoustic instrumentation, Pitre has scored works for large String/Wind Ensembles, String Quintet, his own Bowed Harmonic-Guitar Ensemble, solo performers, among other instrument configurations. In 2008 Pitre started exploring simple electronic sounds and their role in a dualistic relationship with acoustic instruments, as well as utilizing them in his recent “tape” pieces.
Pitre has releases on Important Records, Trome Records, NNA, and Quiet Design, among others. He has appeared on compilations with artists such as Keith Rowe (AMM), Sir Richard Bishop, Tetuzi Akiyama, Jandek, Sebastien Roux, and Thierry Muller/Ilitch. He recently curated and contributed a track to an upcoming Just Intonation compilation (Important Records), alongside Pauline Oliveros, Ellen Fullman, Michael Harrison, Greg Davis, Charles Curtis, and others.
Pitre has presented his works in NYC at such spaces as Roulette, The Stone, Phillips de Pury & Co., St. Marks Church, The Knitting Factory, and ISSUE Project Room (where he will be Artist in Resident for spring 2009). He has also performed in other cities across the U.S., as well as in Europe at Les Voûtes (Paris), St. Giles-in-the-Fields Church (London), and in Bristol, U.K.
In 2009, Pitre is planning more performances (national and abroad), a variety of releases, recording sessions, new works, and further exploration of electronic sound material.
Optosonic Tea
OptoSonic Tea
Live sets by:
- Richard Lainhardt (live visuals and live sound)
- Domenico Sciajno (I) (live visuals and live sound)
Invited respondent/moderator:
- Zach Layton
Suggested donation: $ 7
OptoSonic Tea is a regular series of meetings dedicated to the convergence of live visuals with live sound which focuses on the visual component. These presentation-and-discussion meetings aim to explore different forms of live visuals (live video, live film, live slide projection and their variations and combinations) and the different ways they can come into interaction with live audio. Each evening features two different live visual artists or groups of artists who each perform a set with the live sound artists of their choice. The presentations are followed by an informal discussion about the artists’ practices over a cup of green tea. A third artist, from previous generations of visualists or related fields, is invited specifically to participate in this discussion so as to create a dialogue between current and past practices and provide different perspectives on the present and the future.
Organized by Katherine Liberovskaya and Ursula Scherrer
OptoSonic Tea is partly funded by the Experimental Television Center.
About the artists:
Richard Lainhart is an award-winning composer, author, and filmmaker. He studied composition and electronic music with Joel Chadabe at the State University of New York at Albany, and has worked and performed with John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among many others. He’s also played vibes in a swing band; composed music for film, television, CD-ROMs, interactive applications, and the Web; engineered audio for recordings and live sound; and served as technical director at Intelligent Music, a pioneering music software company.
His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan. Recordings of his music have appeared on the Periodic Music, Vacant Lot, XI Records, ExOvo and Airglow Music labels and are distributed online via MusicZeit. As an active performer, Lainhart has appeared in public approximately 2000 times. He has composed over 100 electronic and acoustic works, and has been making music for 40 years. In 2008, he was commissioned by the Electronic Music Foundation to contribute a work to New York Soundscape (www.arts-electric.org/stories/080511_nycsoundscape.html).
Lainhart’s animations and short films have been shown in festivals in the US, Canada, Germany, and Korea, and online at ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. His film “A Haiku Setting” won awards in several categories at the 2002 International Festival of Cinema and Technology in Toronto. In 2008, he was awarded a Film & Media grant by the New York State Council on the Arts for “No Other Time”, full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four-channel playback, and high-definition computer-animated film projection.
You can find examples of his music and digital artworks at his website, http://www.otownmedia.com.
Some of his short films are available at http://www.vimeo.com/rlainhart.
Domenico Sciajno was born in Torino (Italy) in 1965. He is based in Palermo since 1999. A double bass player and composer, he studied ‘Instrumental and Electronic Composition’ with Gilius Van Bergeijk and Double bass in the ‘Royal Conservatory’ of Den Haag in Holland. His interest in improvisation and the influence of academic education bring his research to the creative possibilities given by the interaction between acoustic instruments, indeterminacy factors and their live processing by electronic devices or computers.
From 1992 he has played at some of the most important festivals as musician, improviser or composer in the contemporary and experimental music scene and some of his work is documented by worldwide independent labels of experimental and electronic music.
The wide spectrum of his experiences bring him very close to the concept of performance, where he uses texts and electronics in combination with a choreografic use of the scene space and the projection of visuals made by himself. He also makes Interactive Sound Installations for art galleries and exhibitions.
He is also an activist in the developement of experimental arts. In 1995 he founded the association Antitesi and from 1995 and 1998 organized concerts and little festivals (Antitesi in musica ‘95/‘96, Folk it out! ‘97, i(n)terazioni ‘98, Inaudito! ‘99). In 1997 he collaborated to give birth to the Fringes record label. In 2003 he started toghether with other musicians the label Bowindo and founded the national collective iXem (italian eXperimental electronic music).
In the 2004 edition of Prix Ars Electronica his work OUR UR in collaboration with Alvin Curran received an honorary mention.
http://www.myspace.com/sciajno
Zach Layton is a composer, curator, improviser and new media artist based in Brooklyn with an interest in biofeedback, generative algorithms, experimental culture and architecture. His work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns.
Zach’s work has been performed by the Cleveland Chamber Symphony and he has performed and exhibited at the Kitchen, Roulette, Joe’s Pub, exit art, Art forum Berlin, New York Electronic Art Festival, Yerba bBena Center for the Arts, Eyebeam, Sculpture Center, Diapason, Issue Project Room, Millenium Film Workshop, Bushwick Arts Project, St. Mark’s Ontological Theater, Dumbo Arts Festival, New York Digital Salon, Miguel Abreu Gallery, Participant Gallery, Monkeytown and many other venues in New York, South America and Europe. He has collaborated with Luke Dubois, Vito Acconci, Joshua White, Jonas Mekas, Bradley Eros, Andy Graydon, Nick Hallett, Matthew Ostrowski, Michael Evans, MV Carbon, Seth Kirby, Matthew Welch, Christine Bard, Alex Waterman, Patrick Hambrect, Marissa Olsen, Angie Eng, Adam Kendall, Chika Ijima, Tristan Perich and Ray Sweeten among many other artists, filmmakers, curators and musicians.
Zach is also founder of Brooklyn’s monthly experimental music series, “darmstadt: classics of the avant garde” co-curated with Nick Hallett featuring leading local and international composers and improvisers, co-curator of the PS1 summer warmup music series and is one of the directors of Issue Project Room. Zach has received grants from the Netherlands America Foundation, Turbulence and the Jerome Foundation and is a graduate of the Oberlin Conservatory and the Interactive Telecommunications Program.
http://www.zachlaytonindustries.com
for more information about OptoSonic Tea please visit:
http://www.diapasongallery.org/optosonic.html
Ned Rothenberg + Paolo Angeli
Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Sync’s Harbinger, Intervals, a double-cd of solo work,Live at Roulette with Evan Parker and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Inner Diaspora and Ghost Stories, on Tzadik and Power Lines on New World, along with The Fell Clutch on Animul. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot and Yuji Takahashi.
paolo angeli
Paolo Angeli plays the Sardinian prepared-guitar: an orchestra-instrument with 18 strings, an hybrid between guitar, baritone, violoncello and drums, gifted with hammers, pedals, some propellers at variable speed. With this singular instrument, constructed by the craftsman Francesco Concas, Paolo elaborates, improvises and composes unclassifiable music, suspended between free jazz, folk noise and minimal pop.
Elliott Sharp performs “Octal” and “Syndakit”
automata, hunting packs, and recombinant amino acids. The sum effect is that of a lifeform that lives to loop and groove, always mutating.
Music Ensemble and ensembles in Vienna, Palermo, Tubingen, Bratislava, Los Angeles, plus many more.
There have been versions of SyndaKit for all guitars, all brass and all percussion but this performance presents SyndaKit for a completely acoustic ensemble of twelve strings: violins, violas, cellos, bass.
been performed by the Symphony of the Hessischer Rundfunk, The Ensemble Modern, Ensemble Rezonanz, Continuum, Meridian Arts Ensemble, Flux
Quartet, Sirius Stirng Quartet, and Zeitkratzer and collaborators have included qawaali singer Nusrat Fateh Ali Khan, blues legend Hubert Sumlin;
playwright Dael Orlandersmith, cello innovator Frances-Marie Uitti, sci-fi writers Pat Cadigan and Lucius Shepard; jazz greats Sonny Sharrock, Jack
deJohnette, and Oliver Lake; and Bachir Attar, leader of the Master Musicians of Jajouka. His composition “Quarks Swim Free” was premiered
at the Venice Biennale in September 2003 and his chamber opera EmPyre was premiered at the 2006 Biennale. He has recently completed the scores to
the feature-films “What Sebastian Dreamt”", “Commune” by Jonathan Berman, and “Spectropia” by Toni Dove.
Rick Moody and Amy Denio
Acclaimed composer and musician Amy Denio and novelist/singer-songwriter Rick Moody trade spots reading and accompanying one another on a variety of experiments in text and music.
Seattle resident Amy Denio is a composer, singer, multi-instrumentalist, audio engineer, and international collaborator. She started her own label, Spoot Music, in 1986. Her main instruments are voice, accordion, saxophones, clarinet, electric guitar, and bass, and she makes field recordings. She has collaborated with musicians and artists from East and West Europe, Japan, India, and throughout North America, and has 35 CD releases. She has played concerts in N. America, Brazil, Argentina, Japan, Hong Kong, India, Taiwan, and throughout Europe. She composes sound tracks for theater, film and dance, and works with choreographers such as Pat Graney, Li Chiao-Ping, and Victoria Marks. In 1997 she received a Bessie Award for her work with David Dorfman Dance. Her music has been performed at the Venice Biennale in Italy, at the Brooklyn Academy of Music, Carnegie Hall in New York, and The Ethical Society in Philadelphia.
Rick Moody has published four novels (including THE ICE STORM and THE DIVINERS), three collections of stories, and a memoir, THE BLACK VEIL. His work has been translated in over twenty languages. He sings and records with The Wingdale Community Singers, whose second a
lbum, SPIRIT DUPLICATOR, will be released in June 2009
Lethem, Auster and Borough President Markowitz support ISSUE Project Room and Brooklyn Culture
paul auster reading at "grocery"
On Saturday, Feb 7, Authors and ISSUE Project Room Art Advisory Board Members Jonathan Lethem and Paul Auster, provided a rare treat for St. Ann’s parents: intimate readings from “The Collector” and “Brooklyn Follies” at Grocery on Smith Street. Marty Markowitz said a few words at the start of the event and we couldn’t have been more pleased to have him join us.
alex waterman performing at 110 Livingston
The lunch was followed by the first public tour of ISSUE’s future home at 110 Livingston with a special performance by Alex Waterman and talk on the unique acoustic characteristics of the room by Raj Patel of one of the world’s leading engineering firms, ARUP.
Interested in seeing the new space? Contact us, we’d love to share it with you!
Eighteen Linear Constructions – Installation by Tristan Perich
232 3rd St (at 3rd Ave), Brooklyn (map)
Ensemble Pamplemousse
ensemble pamplemousse
Founded in 2002 as a vehicle for musical exploration, Pamplemousse presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in classical, electronic, and improvisational realms, the group consistently delivers fresh, exhilarating new concepts in sound. The members’ eagerness for aural discovery has allowed for ample experimentation processes, where boundaries are non-existent, and from which a strong dialogue has emerged. Among the group’s vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other, and with the composers who are an intrinsic part of the ensemble. The product, uncompromising and resolutely beautiful, is created by incredibly innovative, yet-to-be-named approaches to performance and composition.
http://www.ensemblepamplemousse.org
Listen to Ensemble Pamplemousse play “Butterfly Effect” by composer Natacha Diels:
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Share with guest OORUTAICHI – Share starts at 9:30PM
what is share?
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday in New York City at the Issue Project Room (through December), from 8 to Midnight.
open jams and walk-in sets
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free — featured guest set will start at around 10:30P
OORUTAICHI
OORUTAICHI began recording and performing in 1999, inspired by The Residents, The Doors, Tyrannosaurus Rex, Aphex Twin and Dancehall Reggae.
Initial recordings were multi-tracked improvisations using “real” instruments, toys and voice, evolving to composed songs using midi triggerd instrumentation.
His first album, “YORI YOYO”, was received airplay on BBC Radio.
He has been profiled in a number of Japanese magazines, and is very active in Japanese underground music, including improvisation with many musicians and three appearances at Kazuhisa Uchihashi “Beyond Innocence” festival. He has also provided music for contemporary dance. In 2007 he completed a U.K tour, part of his continuing efforts to raise his profile abroad.
His music is the strong melodies, wide-ranging beats & free style chorus work create an original sound that could almost be traditonal music from a fictitous country called “OORUTAICHI.” This progressive style will be appreciated by dance music listeners, free folk fans etc.
links:
OORUTAICHI Myspace;
http://www.myspace.com/oorutaichi
Urichipangoon (OORUTAICHI’s band) Myspace;
http://www.myspace.com/urichipangoon
Direct link to Share.dj site:
http://www.share.dj/share/event_info.php?eventID=561
For more info please visit:
http://issueprojectroom.org/
http://share.dj
On January 25, ISSUE Project Room will inaugurate its new space at 110 Livingston with Gaudeamus Muziekweek, a four-day festival celebrating groundbreaking and challenging new music by emerging composers from around the world. Working in partnership ...
ISSUE is starting off the New Year with a change of scenery. That's right, Issue Project Room is moving out of our space at the Old American Can Factory and into 110 Livingston in Downtown Brooklyn. We've had a great run at the Can Factory,...