Share
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Darmstadt “Institute” in June @ ISSUE Project Room
Darmstadt “Classics of the Avant Garde” presents:
A Month-Long Festival of Concerts, Workshops, Film Screenings, Conversations and World Premieres at ISSUE Project Room Featuring:
Susie Ibarra, Elliot Sharp, Tony Oursler, Anthony Coleman, Tony Conrad, David Grubbs, Joan La Barbara, Luke Dubois, Tom Hamilton, Ha-Yang Kim, Branden W. Joseph, Stephan Moore, John King, Dan Joseph, Ne(x)tworks, Matthew Welch, Elodie Lauten, Bing and Ruth, TILT, Either/Or, Climax Golden Twins, Connie Beckley, Ensemble Pamplemousse and much more!
Darmstadt ”Classics of the Avant-Garde” music series is proud to announce its first ever Institute, a month-long festival at ISSUE Project Room dedicated to exploring the connection between live performance and pedagogical practice. This month of interdisciplinary programming includes concerts, lectures, workshops, film screenings, and talkbacks which celebrate and critically examine the continuum of the experimental tradition in music and related media. It is the hope ofDarmstadt’s curators that its Institute will deepen the understanding and appreciation of experimental work, both within the New York music community and the general public.
This month of dynamic programming involves both established composers and performers, alongside emerging artists. In addition to countless concerts of premieres and cherished repertoire, highlights of the festival include workshops led by Joan LaBarbara and Susie Ibarra, conversations between David Grubbs and Branden W. Joseph and Tony Conrad and Luke Dubois, a lecture-performance by Merce Cunningham Dance Company musicians Stephan Moore and John King featuring a live rendering of John Cage’s “Fontana Mix,” film presentations by Tony Oursler and Bradley Eros, in addition to “sectional” events—a program of guitar music with Dan Joseph and Elliot Sharp and an evening connecting the voice to visual art, with Connie Beckley and Lesley Flanigan. There will also be post-performance talkbacks with performers and composers.
The Institute kicks off Monday, June 1 with a FREE artist-in-attendance screening of Tony Oursler’s video project, Synesthesia, an oral history of New York’s downtown music and art scenes, and concludes on Saturday, June 27th with performances by Tom Hamilton and David Linton
Darmstadt is describing the artists participating in its June Institute as a “faculty” of sorts, enabling a non-institutional, publicly accessible forum. In the spirit of its namesake’s “holiday course,” Darmstadt aims to provide a vital resource, a venue to connect artists, performers, writers, and educators with each other and, in turn, with audiences…all towards the enrichment of New York’s vibrant new music scene.
Darmstadt ”Classics of the Avant Garde” is the Brooklyn-based contemporary music series led by composer-musicians Zach Layton and Nick Hallett, which presents the best of New York City’s live experimental music, and relevant media. Darmstadt will celebrate its fifth anniversary this November with an annual performance of Terry Riley’s In C, which Alan Kozinn described in the New York TImes as “the most vital, audacious and energizing performance of the score I’ve ever heard.” Darmstadt regularly hosts its concerts and DJ sets at ISSUE Project Room while its founders both create and curate work for such institutions as PS1 and The Kitchen. Darmstadt began as a “listening party” of avant-garde recordings at Galapagos Art Space before quickly evolving into a live performance series, and in 2007 was included in The New York Times ’Best of New Music’ rundown. As DJ’s, Layton and Hallett have delivered memorable sets at Steve Reich 70th birthday celebration at the Brooklyn Academy of Music and at the Buenos Aires International Independent Film Festival.
Darmstadt Institute is sponsored in part by funding from Meet the Composer Creative Connections, New York City Department of Cultural Affairs, and the Experimental Television Center (supported by the New York State Council on the Arts)
NOTE: Sunday, 28th with Christy and Emily and Pterodactyl CANCELLED
Share – featured guests GENUX B (Patrick Todd/Autofac1 + Richard Patterson/Octoid)
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s featured guest:
GENUX B- good
GENUX B- great!
GENUX B- amazing!
GENUX B- there
Or GENUX B- [_]
GENUX B- Autofac1 (aka Patrick Todd) and Octoid (aka Richard Patterson)
Autofac1 is a Reason expert bumpin crazy sounds to odd time signatures. Always looking for a way to break the mold and push the limits, he is finding gold inside the computer!
Octoid is dance music for deep sea creatures
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – featured guests Fabricio Nocci & CHiKA
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
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.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
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 —
Tonight’s featured guest:
Fabricio Nocci
bio
Nocci was born on December 13, 1974 in Italy. Since 1999, he has been living and working in Rome and since 2007 in Berlin and New York. 
 
Nocci F. works internationally as a Composer in classical music area as well electronic and experimental music. His music has been performed in all Europa: Milan “Festival 5 Giornate” (Electronic Music), New York “Live set with ChiKa at the Monkeytown, Rome “Concorso Franco Evangelisti” (Orchestral Music), Berlin (Live set with Philpp Geist – Berliner VJ), Foggia “Teatro solisti dauni” (Orchestral and Electronic music), Bologna “Concorso Gigli” (Ensemle music), Abbadia S.S. Siena “Festival le dimore di Euterpe” (Symphony and Piano & Orchestra – Lviv Orchestra). 
 
He has studied composition to the conservatory of “Santa Cecilia”, Rome. 

Currently he collaborates with several Video-Artist of international reputation:
-Philipp Geist – http://www.p-geist.de/start.html
-Lillevan (founding of the Rechenzentrum, Berlin. www.lillevan.com)
-Lorenzo Oggiano (video artis from Italy: lorenzooggiano.net) 
-ChiKa (video artist from New York) www.imagima.com
-“Varitmes” dances company of Sassari, writing music for ballets and performance “between dance and theatre” http://www.myspace.com/varitmes
-Tetraktis”Percussion quartet” – http://www.tetraktis.org/
Pubblicazioni
2 CD di musica elettronica pubblicati dalla:
Earth Monkey Productions – Promoting Sonic Arts
Earth Monkey Productions – 1G Barque Street – Barrow-in-Furness Cumbria, UKLA14 2RE England
1DVD Edizioni Agenda, Bologna. Italy
Contact
fabrizionocci@gmail.com
www.myspace.com/ncco1
http://www.earthmp.com/nocci.html
————–
CHiKA
bio
CHiKA is a live media artist working in the international VJ and experimental music scene. Her performances vary from minimalist geometric patterns to unique compositions overflowing with a variety of forms and color.
She has performed at The Museum of Modern Art, The Hammer Museum, Mutek, The Mapping Festival, Decibel festival, Platform Bohenstrasses, Théâtre Maisonneuve, San Francisco Art Institute, Remix Hotel Miami, Eyebeam, Eyewash as well as many gallery and museum events, festivals and night clubs in the US and Europe. Her work was featured on Club Chroma Channel on Joost, Eyewash’s 3 DVD by Forward Motion Theater and is supported by Modul8, Korg, Experimental Television Center and Forward Motion Theater
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
The Conference of the Guitars (works by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons)
“THE CONFERENCE OF THE GUITARS”
Works for multiple electric guitars by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons.
Mundos Ninos children’s percussion workshop with Susie Ibarra and Roberto Rodriguez
Darmstadt Institute and ISSUE Project Room are proud to present an exciting music workshop for young children.
MUNDO NIÑOS, “Children’s World,” is the educational and entertaining music project for young children and children at heart led by acclaimed percussionists Susie Ibarra and Roberto Rodriguez. Mundos Niños teaches singing and counting rhythm in English and Spanish through music from around the world, including Latin America, Asia, America and Africa. On Saturday June 27, from 1pm to 3pm at ISSUE Project Room, children and their parents are invited to join Ibarra and Rodriguez for this exclusive, hands-on concert. Activities include playing percussion instruments, singing, and learning counting and rhythm exercises. The Mundos Niños CD, “This is a Beat!” contains music for children to sing, dance, count and learn with and will be available for children to follow-up on the program at home.
This workshop is part of “Susie Ibarra Weekend” at ISSUE Project Room for DARMSTADT Institute, which includes a performance by the Susie Ibarra Quartet on Friday evening, June 26 at 8pm.
Tickets (required of all children and adults wishing to attend) are $12 advance (available at ISSUE Project Room, Other Music, and online)/$15 at the door. Parents must accompany all children. This workshop is open to all but recommended for children ages 4 to 8.
ISSUE Project Room is located on the 3rd floor of the OA Can Factory, on 232 3rd Street (at 3rd ave), Brooklyn NY 11215
This program is made possible in part by funding from Meet the Composer
http://www.susieibarra.com/mundoninos.html
http://www.issueprojectroom.org
http://www.darmstadtnewmusic.org
MUNDOS NIÑOS Children’s Percussion Workshop
June 27, 2009 from 1pm to 3pm
ISSUE Project Room at the OA Can Factory
232 3rd Street (at 3rd ave), 3rd Floor, Brooklyn NY 11215
$12 advance/$15 door
F, M, R to 9th Street-4th ave
phone: 718.330.0313
Bios
Susie Ibarra is recognized as an innovative drummer and percussionist as well as composer in her solo works as well ensemble music. She currently leads her own quartet, in addition to her band, Electric Kulintang. She composes music for percussion, new opera/musical theatre, chamber ensembles and jazz ensembles. She has also performed with many groundbreaking artists such as John Zorn, Dave Douglas, Trisha Brown, Yusef Komunyakaa, Tania Leon, Mark Dresser, William Parker, Butch Morris, and Pauline Oliveros, among others. Susie Ibarra is a Yamaha Drums, Paiste Cymbals and Gongs, and Vic Firth Artist. Susie Ibarra has taught music for 6 year-old children at grade schools and she has lectured and conducted workshops at numerous universities and conservatories including Juilliard, Mannes College of Music, Manhattan School of Music, and The New School.
http://susieibarra.com/
Roberto Juan Rodriguez is an acclaimed percussionist who has performed with Michael Tilson Thomas and the New World Orchestra, Gloria Estefan and Miami Sound Machine, Julio Iglesias, Celia Cruz, Paquito D’Rivera, Joe Jackson, and Dr. L Subramaniam among others. He currently composes for and leads his own ensemble, Septeto Roberto Rodriguez. Rodriguez is a Grammy and American Music Award recipient. Roberto Rodriguez has taught mentally challenged and disabled children in Miami, lower income children in the neighborhood programs of Brooklyn, written music for Sesame Street, and conducted workshops at Universities and Festivals.
http://www.robertojuanrodriguez.com
Amir Mogharabi + Amy Granat
AMIR MOGHARABI (b.1982)
Published author and artist, Amir Mogharabi’s practice to date emphasizes ephemerality and non-localizability, producing and destroying work during the course of performances derived from his experimental texts. Mogharabi’s events are quoted as “unfolding in the tradition of Dada and Fluxus,” but surpass the transformation of linguistic experience into a visual one, by exploring the performative possibilities of such a transformation. Educated in Philosophy under the supervision of scholars like Jacques Derrida and Sylvere Lotringer, the collaboration between thinkers, musicians and artists as equals, is integral to the coincidence of formal and poetic qualities found in his work.
Past performances have included Cursed by an Original Will with Stefan Tcherepnin, Lisa Cooley, NY; Conjectural End of Human History with the Silver Apples, The Kitchen, NY; Performance for Monochrome with a Hole with Jeffrey Perkins, Daniel Reich Gallery, NY; Discourse on Hysteria with Clarina Bezzola, a series of performances at the Emily Harvey Foundation, and a forthcoming project presented as part of X Initiative’s Phase II programming. His writing can be found in various publications distributed domestically and abroad.
AMY GRANAT (b.1976)
Amy Granat’s work combines film, sound, performance, photography and installation with distinctly poetic and formal juxtapositions. Drawing inspiration from early cinema, noise music, abstract painting,beat literature– she simultaneously embraces the culture of the past avantgardes, reflecting and informing it’s future. She was born in Saint Louis Missouri and received her BA from Bard College in 1994.
Solo exhibitions of her work have been held at PS1 Museum of Contemporary Art, New York; Eva Presenhuber Galerie, Zurich; Le Confort Moderne, Poitiers, and Basis Art Center in Frankfurt. She has been featured in such recent group exhibitions as Stray Alchemist Ullens Center, Beijing; Strange Magic Luhring Augistine, New York, Bastard Ceature Palais de Tokyo, Paris; and Born to Be Wild Kunstmuseum,St.Gallen. She will show a new feature film at a solo exhibition at The Kitchen in New York, January 2010. She lives and works in New York City.
The Conference of the Guitars (works by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons)
“The Conference of the Guitars”
Works for multiple electric guitars by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons.
Performed by Dan Joseph, Marco Cappelli, and Elliott Sharp with Dither: Josh Lopes; James Moore; David Linaburg; and Taylor Levine.
Septet for Six Electric Guitars and Bass – James Tenney
Particle Accelerator – Dan Joseph
SyndaKit – Elliott Sharp
tba – Marco Cappelli
but because without this – Paula Matthusen
X-Sections (excerpt)– Lisa Coons
ISSUE Project Room Soundwalk-a-thon (DEADLINE EXTENDED!)
A sonic arts experiment in support of Issue Project Room
On the afternoon of Sunday June 7, a group of visionary artists will lead sonic excursions throughout New York as part of a rare live sonic arts experiment — the ISSUE Project Room Soundwalk-a-thon — a fundraiser and collective public inquiry into the connection between urban space and our collective sonic imaginations.
Led and designed by some of New York’s most exciting sound artists and musicians, these walks will take groups of 10-20 people at a time on an intimate journey of sonic discovery to experience our community in a way they may never have done before — through sound. Walks range from meditative deep listening, to sing-a-longs, to noise-making walks incorporating instruments, iPods, boomboxes, cell phones, or silence in order to amplify the nuances of our ever-changing soundscape.
Choose your own adventure:
<<Soundwalk::WalkList>> Space is limited!
Sign-up for a sound walk, register by June 6th (deadline extended!), 2009
Sign-up to sponsor a walker and donate to ISSUE Project Room
All walk participants will be invited to attend the post-walk after-party at Issue Project Room, 232 3rd Street, Brooklyn, NY 11215, featuring musical performance by Ne(x)tworks, where walkers will be able to share their walk experiences and meet other lead artists. Food will be provided.
ISSUE Project Room Soundwalk-a-thon Committee:
Suzanne Fiol, Zach Layton, Todd Shalom, Andrea Williams, Erin Flannery, Sarah Garvey, Lisa Gwilliam, Jonathan Harris, Isabel Walcott Hillborn, Lawrence Kumpf, Michelle Amador , David Martinson, Anila Groft
Special thanks to our Soundwalkathon media sponsor WFMU and post-walk after-party sponsor Sixpoint Craft Ales.
Tom Hamilton with Jacqueline Martelle
Tom Hamilton – electronics
Jacqueline Martelle – flute
Music by Ashley, Lucier, Margolis, and Hamilton
Robert Ashley: El/Aficionado Harmony (arr. Hamilton)
Alvin Lucier: 947
Tom Hamilton: What Fell Through (from Local Customs)
Al Margolis: Rushin’ Lisa
TOM HAMILTON has composed and performed electronic music for over 30 years, and his work with electronic music originated in the late-60s era of analog synthesis. His ongoing series of concerts, installations and recordings contrast structure with improvisation and textural electronics with acoustic instruments. Rather than addressing traditional modes of expression, presentation and observation, Hamilton often explores the interaction of many simultaneous layers of activity, prompting the use of “present-time listening” on the part of both performer and listener.
Hamilton is a 2005 Fellow of the Civitella Ranieri Foundation, participating in a residency at the foundation’s center in Umbria. His CD London Fix received an honorary mention in the 2004 Prix Ars Electronica. Hamilton’s performing and recording colleagues include Peter Zummo, Bruce Gremo, Karlheinz Essl, Bruce Arnold, Rich O’Donnell, Jonathan Haas, Jacqueline Martelle, Thomas Buckner and Richard Lerman. He has been a collaborator with visual artists, including Fred Worden (filmmaker), Van McElwee and Morey Gers (video artists), and the late Ernst Haas (photographer).
An active participant in New York’s new music scene, Hamilton was the co-director of the 2004 Sounds Like Now festival, and he has co-produced the Cooler in the Shade/Warmer by the Stove new music series since 1993.
Since 1990, Hamilton has been a member of composer HYPERLINK “http://www.lovely.com/artists/a-ashley.html”Robert Ashley’s touring opera ensemble, performing sound processing and mixing in both recordings and concerts. His audio production can be found in over 50 CD releases of new and experimental music, including recordings by Muhal Richard Abrams, Bruce Arnold, David Behrman, Thomas Buckner, George Lewis, Annea Lockwood, Alvin Lucier, Roscoe Mitchell, Phill Niblock, and “Blue” Gene Tyranny.
Hamilton appears on synthesizer in his own ensembles, and has performed as a member of Slybersonic Tromosome and the Noisy Meditation Band (Peter Zummo), The Spinozas (David Soldier), and Analogos (Michael Schumacher). He has recently performed with Thomas Buckner, Lisle Ellis, Chris Mann, Al Margolis, and Jacqueline Martelle. Hamilton was a 2005 Fellow of the Civitella Ranieri Center in Umbria, Italy. His CD London Fix received an award in the 2004 Prix Ars Electronica. He is a longtime member of composer Robert Ashley’s touring opera ensemble, performing sound processing and mixing in both recordings and concerts. His audio production can be found in over 50 CD releases of new and experimental music, including recordings by Muhal Richard Abrams, Bruce Arnold, David Behrman, Thomas Buckner, George Lewis, Annea Lockwood, Alvin Lucier, Al Margolis, Roscoe Mitchell, Phill Niblock, and “Blue” Gene Tyranny.
Tom Hamilton has two recent CD releases: “Shadow Machine” (Pogus), with guitarist Bruce Eisenbeil, and “Local Customs” (Mutable), for a small ensemble with electronics.
Flutist JACQUELINE MARTELLE has performed in diverse settings in New York, including Experimental Intermedia, Symphony Space, Issue Project Room, Roulette, Third Street Music School Settlement, Merkin Concert Hall, and Carnegie Hall. She has been a featured artist in the World Music Institute’s Interpretations series. Martelle has presented concerts highlighting the flute in combination with electronic media and has premiered works written for her by Larry Austin, David Behrman, Tom Hamilton, Alvin Lucier, Al Margolis, and Robert Rowe. A native of Kenosha, Wisconsin, Martelle was given her first flute lesson by a trombonist. Her teachers include Samuel Baron, Israel Borouchoff, and Charles DeLaney. She has recorded for the Pogus, Mutable, Mode, and Centaur labels.
Susie Ibarra Quartet
Susie Ibarra, percussionist and composer lives in New York City. She received a music diploma from Mannes College of Music and B.A. from Goddard College. Susie Ibarra studied Kulintang with Danongan Kalanduyan and drum set with Buster Smith, Vernel Fournier and Milford Graves.
As a percussionist, she has performed southeast Asian gong music, jazz, avant-garde, improvised and solo concert works. She has performed with many great artists such as John Zorn, Dave Douglas Pauline Oliveros, Derek Bailey, Ikue Mori, Sylvie Courvoisier, William Parker, Dr. L Subramaniam, Kavita Krishnamurti, John Lindberg, Wadada Leo Smith, Mark Dresser, Thurston Moore, Savath and Savalas, Prefuse 73, Yo La Tengo, among others.
Susie Ibarra has taught across the U.S and attended. Artist Residencies including: The Walker Art Center, Mills College, Bard College, Swarthmore College, Fundacio Joan Miro, University of Michigan, Juilliard, Manhattan School of Music, The New School.
She was nominated “Best Drummer” in the Village Voice, Downbeat, Jazziz, The Wire. Susie Ibarra is a Yamaha, Paiste & Vic Firth Artist.
She currently performs solo works and with Susie Ibarra Trio with Jennifer Choi & Craig Taborn; Mephista, collective electro-acoustic trio with Sylvie Couvoisier & Ikue Mori; Shapechanger with poet Yusef Komunyakaa; Mark Dresser & Susie Ibarra Duo; Mundo Ninoschildren’s music; and Filipino trance music, with Roberto Rodriguez,Electric Kulintang.
Lesley Flanigan + Connie Beckley
Speaker Synth is a kinetic, sculptural instrument built by Lesley Flanigan to play the sounds of speaker feedback. Her performances with these instruments are a process of sculpting noise to make music as she samples sounds from her voice and feedback to create a pallet of melodies and rhythms. The interplay of feedback and voice takes metaphors of noise as material, instrumentation as form, and amplification as communication to build a performance of new electronic music originating entirely from human voice and speaker feedback.
Speaker Synth can be performed as a musical instrument and arranged in various configurations to create immersive sound works from spatial soundscapes to electronic music compositions. These installations and/or performances reveal a sculptural process shaping noise to make sound. The main components of Speaker Synth are amplifying circuits between a piezoelectric microphone and speaker, on/off control, volume, and the hands of the performer. Additional controls include switches that communicate with a computer to allow for remote sampling of sounds and sequencing of on/off states during an installation or performance, and create the sense that the speakers have a life of their own. With these basic elements, a wide range of speaker feedback tones and rhythms can be “sculpted”. Speaker Synth has been presented and performed at numerous clubs, conferences, and art venues including Exit Art (NYC), Saint Patrick’s Old Cathedral (NYC), The Bent Festivals (NYC and LA), and Monkey Town (Brooklyn); and will be featured in the 2nd edition of Nicolas Collins’ “Hardware Hacking: The Art of Handmade Electronic Music.”
Connie Beckley
“…Connie Beckley is a composer and performance artist of distinct individuality; her work is suffused with a cool methodology that can clarify emotion or confound it … [her] performances occupy that elusive but powerful nether world between theater and music– a form of small scaled but intense lyric drama that may some day soon blossom into full-dress opera.”
– John Rockwell, New York Times
Connie Beckley continues to occupy the above mentioned nether world. And the work has blossomed. Her special talent of composing music that illuminates her original texts by way of abstract visual ideas has become more theatrical in nature, yet no less thoughtful. This was 
apparent in her work entitled The Aquarium: A Meditation on Life in the City, premiered at Lincoln Center Festival 97. Her current work, “from: a masque in seven inventions,” while existential in its thinking, further emphasizes Ms. Beckley’s strong roots in art and music.
Ms. Beckley’s interdisciplinary sensibility was forged with her appearance as a singer and actor in the 1976 seminal production of Einstein on the Beach by Philip Glass and Robert Wilson. As a classically trained composer and visual artist who had been told she had to choose between art and music, she rejected the choice and experimented with sound installations in conjunction with sculpture and performance. She coined the term “temporal sculpture” to distinguish her work from the more stage-oriented works of other performance artists.
For instance, in Spiral Cloud 1986, while a pianist played a theme and variations on a baby grand piano in an open field, surrounded by a tethered spiral of black helium balloons, she gradually released the balloons to form an evolving and rising spiral.
In The Funeral of Jan Palach, 1990, based on the dreamy, tragic poem by David Shapiro, singers became living sculptures within a set consisting mainly of light, one of her preferred materials.
Ms. Beckley has presented her work in both commercial and public cultural institutions throughout Europe and North America, including the New Music America Festivals, the Venice Biennale, the Paris Biennale, and the Museum of Modern Art. Reviews and articles appear in publications including The New York Times, Art in America, Arts, Artforum, Tel Quel, Flash Art, and Art Press. Her musical composition from The Aquarium, initially released by Steirischer Herbst Festival, Graz, Austria, has been re-released in New York by Composers Recordings, Inc.
Flexible Music + Imaginary Band
Haruka Fujii- percussion Eric Huebner- piano Tim Ruedeman- saxophones Dan Lippel- guitars
With an instrumentation that blurs the line between jazz, rock and classical music, Flexible Music was inspired by Dutch composer Louis Andriessen’s Hout for saxophone, guitar, piano and percussion. Since 2003, the group has commissioned over 30 pieces including new works by Nico Muhly, Orianna Webb, Vineet Shende, John Link, Ryan Streber, Mikel Kuehn, Andrew Waggoner, Steve Ricks, Nizan Leibovich, Ethan Wickman, Ross Bauer, Carl Schimmel, Seung-Ah Oh, and Adam B. Silverman.
Flexible Music looks forward to engagements in fall of 2010 on the Macau International Music Festival in China and at the University of Montreal. This season’s concerts have included performances at Syracuse University, Bowling Green State University’s Mid-American Festival of New Music, Evolution Music Series (Baltimore), and Chamber Music Now (Philadelphia), and masterclasses at the Peabody Institute of Music and American University. Some of the ensemble’s past concerts and residencies include Brigham Young University, University of Utah, Manhattan School of Music, Cleveland Institute of Music, William Paterson University, and The Stone (NYC). Flexible Music’s debut cd, FM, was released by New Focus Recordings in March 2009. “This was my first encounter with Flexible Music, but it certainly won’t be my last. Each player was estimable in his or her own right; together, they provided a broad canvas upon which tonight’s composers could unfurl their imaginations.” Steve Smith, Night after Night Blog (Music Reviewer for NY Times and Time Out NY)
http://www.myspace.com/flexiblemusic
Imaginary Band
Gordon Beeferman – piano/compositions
Kirk Knuffke- tpt
Ken Thomson – alto sax
Matt Bauder – tenor sax
Josh Sinton – bari/bass clarinet
Brad Kemp – bass
Michael Evans – drums
“Complex and daringly modern…Mr. Beeferman’s music, with its skittish melodic lines and pungent atonal harmony, is gritty, fidgety and intriguing.”
—New York Times
GORDON BEEFERMAN is a composer, pianist and improviser based in New York City. His works — orchestral, solo, chamber, and opera — have been been performed by the Minnesota Orchestra, Albany Symphony, California EAR Unit, Quartet New Generation recorder collective, American Brass Quintet, eighth blackbird, pianist Winston Choi, soprano Lisa Bielawa, and others. His chamber opera “The Rat Land,” performed by the New York City Opera on its VOX: Showcasing American Composers series, was praised by the New York Times as “complex and daringly modern.” The Albany Times-Union described his orchestral work as “Chilling… unpredictable… brutal.”
Beeferman has received commissions from the Fromm Foundation, the BMI Foundation, and Concert Artists Guild, among others, and prizes including three BMI Student Composer Awards, an ASCAP Young Composer Award, and the BMG/Williams College National Awards to Young Composers Grand Prize. He has been a fellow at Tanglewood and a resident composer at the Copland House.
A “fully liberated pianist” (Cadence Magazine), Beeferman has performed in a wide range of settings, from concerto soloist to free-improviser. In New York he has performed at Roulette, the Vision Festival, the Knitting Factory, MATA, Columbia University’s Italian Academy and the Improvised and Otherwise Festival, as well as at other venues across the US and Canada. He has collaborated extensively with dancers, writers, and visual artists, in particular, with choreographer Anita Cheng; his work has been performed locally at spaces including the Joyce SoHo, Danspace, and the Merce Cunningham Studio.
A native of Cambridge, Mass., Beeferman was born in 1976. He played piano from an early age; he studied jazz and Third Stream privately with Ran Blake. He received his B.M. in composition from the University of Michigan and was awarded the Stanley Medal, the School’s highest undergraduate honor. His teachers have included William Albright, William Bolcom, Bright Sheng and Leslie Bassett for composition, and Steven Drury and Anton Nel for piano.
Beeferman’s recordings of improvised music are available on Generate Records. Scheduled for release in 2009 are chamber works on the Genuin and Summit labels.
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.
Either/Or plays Morton Feldman’s “Why Patterns” + David Budin plays Karlheinz Stockhausen’s “Klavierstuck IX”
Either/Or returns to Issue Project Room with another “early music” concert, presenting Morton Feldman’s “Why Patterns?” (1977). E/O directors Richard Carrick and David Shively are joined by flutist Jane Rigler for the performance.
Mivos String Quartet and the CNS Symphony Orchestra play works by Tony Conrad, Huang Ruo and Luke Dubois + Dave Soldier and Brad Garton
Dave Soldier and Brad Garton, June 2009
For my third string quartet, we choose to return to the essential quartet, that which is pure. To attain this ideal, one would bring to existence a string quartet untouched by human hands.
The piece is constructed as follows:
1. We selected a favorite string quartet, Schoenberg’s Second, scherzo movement.
2. We retained the original pitches and extirpated all of his rhythms and phrasing marks, rewriting them completely at our whim
3. The string players record our “enhanced” score
4. In performance, they place the instruments on chairs, and sit behind on other chairs. They trigger sections of their own playing using electroencephalograms: the brain waves are projected for the audience to see. The amplitude threshold of the brain signals trigger the entry of their various parts, while frequency and slope are derived to trigger transformations, including changes in tempo and pitch.
There are two movements
1. Fourier Transformations
This is the original Schoenberg second movement in amplitudes of frequency distributions without a time dimension: all frequencies (pitches) used in the piece are played simultaneously, in amplitudes (volume) which are the product of the number of times the pitch is played and the volume used. It is thus quite short in duration, and could be listened to music lovers in a hurry, as it is identical to the original version of the piece, containing all of the same information.
2. Exobiology: I breathe the air on other planets
Expanding time to a variable fractal dimension in our second movement, the recorded phrases are triggered by the performer’s minds. Performers may use motor actions, such as eye closure or isometric muscle presses, to trigger variable brain waves from the cortex and transform their prerecorded performance.
An epigram and further analysis for The Essential Quartet is a western blot (Figure 1) prepared by acquiring two violins, a viola, and a cello, boiling them (or boiling followed by varnish extraction with benzene), and displaying their entire constituent proteins on the basis of molecular weight on a polyacrylamide gel. This provides all essential information on the string quartet and is completely identical to the original.
Mari Kimura, Curtis Steward, violins & brainwaves
Herve Bronnimann, viola & brainwaves
David Eggar, cello & brainwaves
Brad Garton, Dave Soldier, conductors
Artist In Residence: Ha-Yang Kim
Cellist, composer and improviser Ha-Yang Kim was born in Seoul, Korea. Ha-Yang made her professional solo debut at age 16 with the Atlanta Symphony Orchestra. Hailed as “phenomenal” and playing with “brilliant technique full of energy, concentration, musicality and expression” (Mainpost, Germany), she performs new music as a soloist and with ensembles and artists in festivals and concert venues throughout the world. She is the founder of Odd Appetite, a cello-percussion duo which performs and commissions new contemporary works alongside original works and improvisations. Ms. Kim has developed a unique language of extended string techniques and has created her own music based on this work, as well as collaborating on new pieces from other composers. Her musical influences draw equally from a range of western classical music, American experimentalism, rock, jazz, and improvised music, to non-western musical sources from Bali, Korea and South Indian classical music (Karnatic). Her music has been performed in the US, Turkey, The Netherlands, Belgium, Korea, and Germany. In seeking new musical experiences, Ha-Yang has performed traditional and new Balinese music as a member of Gamelan Galak Tika, and has collaborated/ performed with many diverse musicians such as Evan Ziporyn, Cecil Taylor, John Zorn, Christian Wolff, Lee Hyla, Louis Andriessen, Lukas Ligeti, Larry Polansky, and Stefan Poetzsch, with whom she has presented original compositions incorporating electronics, dance, theatre, and multi-media.
Past performances include as soloist at Carnegie Hall, touring and playing at festivals in the US, Europe, Cuba and Bali, Indonesia, performing at the Bang on a Can Marathon with both her duo and the All-Stars, composing for and performing at the Kwacheon International Theatre Festival in Seoul, Korea, a solo recital at the Hochschule für Musik in Würzburg, Germany, and broadcast recordings for the Bavarian Radio Network. Upcoming performances of her music include at festivals in St. Petersburg and Moscow, Russia, Holland, Belgium and in the US. Ama, a CD of her own compositions, is released on Tzadik. Ms. Kim has also recorded for New World, Cold Blue, New Albion, Karnatic Lab and Bridge Records.
She has received prizes and awards including a grant from Meet the Composer, Trust for Mutual Understanding, the Argosy Foundation, the Ruth Schwob Foundation, and The Atlanta Symphony Orchestra. Ms. Kim has been an artist-in-residence at Princeton University, Brown University, Harvard University, Dartmouth College, Bates College, Brandeis University and at the Walden School for Young Composers. Ha-Yang studied cello, improvisation, and microtonality at the New England Conservatory of Music, Karnatic music concepts at the Conservatorium van Amsterdam, and was on the faculty at Franklin Pierce College in New Hampshire, USA. She currently lives in Brooklyn, New York.
ISSUE Project Room’s Artist In Residence Program is made possible through generous support from the Jerome Foundation
Vocal workshop with Joan La Barbara
ISSUE Project Room and Darmstadt are thrilled to host a vocal masterclass with Joan La Barbara.
click here to watch a video of a mini-masterclass via New Music Box
JOAN LA BARBARA’s career as a composer/performer/soundartist explores the human voice as a multi-faceted instrument expanding traditional boundaries in developing a unique vocabulary of experimental and extended vocal techniques: multiphonics, circular singing, ululation and glottal clicks that have become her “signature sounds”. Creating works for multiple voices, chamber ensembles, music theater, orchestra and interactive technology, her awards in the U.S. and Europe include the 2008 Letter of Distinction from the American Music Center; 2004 Guggenheim Fellowship in Music Composition; DAAD Artist-in-Residency in Berlin and 7 National Endowment for the Arts fellowships: Music Composition, Opera/Music Theatre, Inter-Arts, Recording (2), Solo Recitalist and Visual Arts; ISCM International Jury Award; Akustische International Competition Award; Aaron Copland Fund for Music; Foundation for Contemporary Arts; Collaboration Award of NY Coalition of Professional Women in the Arts and Media; Meet The Composer and ASCAP Awards. Numerous commissions for concert, theatre and radioworks, including: “in the dreamtime” and “Klangbild Köln” for WestDeutscher Rundfunk, Cologne; “Dragons on the Wall”, a music score commissioned by Mary Flagler Cary Trust and “Calligraphy II/Shadows” for voice and Chinese instruments, both for Nai-Ni Chen Dance Company; choral work “to hear the wind roar” for Gregg Smith Singers, I Cantori and the Center for Contemporary Arts/Santa Fe,; “Events in the Elsewhere” from “The Misfortune of the Immortals”, funded by Meet the Composer/Lila Wallace; “Awakenings” for chamber ensemble, from the University of Iowa Center for New Music; “l’albero dalle foglie azzurre” (tree of blue leaves) for solo oboe and tape, commissioned by The Saint Louis Symphony, and “A Trail of Indeterminate Light” for cellist who sings. “73 Poems”, her collaborative work with text artist Kenneth Goldsmith, was included in “The American Century Part II: SoundWorks” at The Whitney Museum of American Art. “Messa di Voce”, an interactive media work, in collaboration with Jaap Blonk, Golan Levin and Zachary Lieberman, premiered at Ars Electronica in Linz, Austria on September 7, 2003 and was awarded Honorary Mention in the 2004 Prix Ars Electronica. Live Music for Dance commissions include “Landscape over Zero” (2004-05 for Nai-Ni Chen Dance Company), “Fleeting Thoughts” (2005-06 for Jane Comfort & Company), and “Desert Myths/Isle of Dunes”(premiered at NJPAC April 29, 2006 featuring Ne(x)tworks and Nai-Ni Chen Dance Company). “Atmos” for flute and sonic atmosphere, commissioned by Meet The Composer/NYSFM, premiered March 2008 at Symphony Space, performed by Margaret Lancaster; recording will be released on New World Records in 2009. In 2007-08, La Barbara received a NYSCA Music Composition award to compose a new spoken word opera, “An American Rendition”, in collaboration with choreographer/theater artist Jane Comfort, which premiered September 2008 at Duke Theatre, NYC. La Barbara is currently composing a new opera.
La Barbara has collaborated with artists including Lita Albuquerque, Cathey Billian, Melody Sumner Carnahan, Judy Chicago, Ed Emshwiller, Kenneth Goldsmith, Peter Gordon, Bruce Nauman, Steina, Woody Vasulka and Lawrence Weiner. In the early part of her career, she performed and recorded with Steve Reich, Philip Glass and jazz artists Jim Hall, Hubert Laws, Enrico Rava and arranger Don Sebesky, developing her own unique vocal/instrumental sound. She has premiered landmark compositions written for her by noted American composers, including Morton Subotnick’s chamber opera “Jacob’s Room” for American Music Theater Festival, Philadelphia and MANCA, Nice, his media poems “Hungers” for Los Angeles Festival and Ars Electronica, Linz and “Intimate Immensity” for the Lincoln Center Festival; the title role in Robert Ashley’s opera “Now Eleanor’s Idea” at Festival d’Avignon and BAM’s Next Wave Festival, “Balseros” for Miami Grand Opera, “Dust” in Yokohama and NYC, “Celestial Excursions” for MaerzMusic Berlin and NYC, and “Concrete”for La Mama E.T.C. in NYC; Philip Glass and Robert Wilson’s “Einstein on the Beach” at Festival d’Avignon; Morton Feldman’s “Three Voices”; Steve Reich’ “Drumming” at New York’s Town Hall and John Cage’s“Solo for Voice 45” with “Atlas Eclipticalis” and “Winter Music” at Festival de La Rochelle, France. Her collaboration with Judy Chicago, “Prologue to The Book of Knowing … (and) of Overthrowing” was performed at the First New York International Festival of the Arts and Telluride’s Composer-to-Composer Festivals.
In addition to the internationally-acclaimed “Three Voices for Joan La Barbara by Morton Feldman” (New Albion NA018), “Joan La Barbara Singing through John Cage” (New Albion NA035) and “Joan La Barbara/Sound Paintings” (Lovely Music LCD 3001), she has recorded for A&M Horizon, Centaur, Deutsche Grammophon, Elektra-Nonesuch, Mode, Music & Arts, MusicMasters, Musical Heritage, Newport Classic, New World, Sony, Virgin, Voyager and Wergo. “Voice is the Original Instrument”, La Barbara’s seminal works from the 70’s, was released March 2003, as a 2-cd set (Lovely Music LCD3003-2) and hailed as one ofThe Wire’s 10 best reissues of the year. “ShamanSong” (New World Records 80545-2) includes her compositions “ShamanSong”, “Calligraphy II/Shadows” and “ROTHKO”, a sound painting inspired by the Rothko Chapel. Her collaboration with visual/text artist Kenneth Goldsmith, “73 Poems”, is an edition of prints, book and cd produced by Permanent Press and Lovely Music Ltd (LCD 3002). “The Time Is Now” a compilation of music composed to texts by Melody Sumner Carnahan, includes La Barbara’s works: “de profundis: out of the depths, a sign” and “A Different Train” (Frog Peak FP006). Recording projects as singer and/or producer include “Only: Works for Voice and Instruments” by Morton Feldman” (New Albion NA085); “Rothko Chapel/Why Patterns” (New Albion), “John Cage at Summerstage with Joan La Barbara, Leonard Stein and William Winant”, Cage’s final concert performance on July 23, 1992 in NYC’s Central Park (Music & Arts CD-875); “Centering – the music of Earle Brown” (Newport Classics npd 85631). La Barbara is featured on two new Earle Brown cd releases: “Folio and Four Systems” (Tzadik TZ 8028) and “Tracer”, with her ensemble Ne(x)tworks, on Mode Records, as well as Robert Ashley’s “Now Eleanor’s Idea”, “Your Money My Life Good-Bye” and “Dust” (Lovely Music).
Her works have been choreographed by John Alleyne for Ballet British Columbia, Nai-Ni Chen, Jane Comfort, Martha Curtis, Catherine Kerr, Martha Scott, and she performed her music with Merce Cunningham for a 1976 “Events” evening. Filmscores include “Anima” (Elizabeth Harris Productions); a score for voice with electronics for Steve Finkin’s “Signing Alphabet” animation to assist hearing children in learning to communicate with the deaf, broadcast worldwide since 1977 for “Children’s Television Workshop/Sesame Street”; and music for films by Richard Blau, Monica Gazzo, Amy Kravitz, Elyse Rosenberg, Steven Subotnick and Harvey Wang, and for video works by Susanna Carlisle. “Immersion”, an underwater dance film by Jodi Kaplan featuring La Barbara’s music was shown at the 1999 “New Directors/New Films” Festival at the Museum of Modern Art and at the Metropolitan Museum of Art in New York. La Barbara also composed and performed the “Angel Voice” for actress Emmannuelle Béart in the feature film “Date with an Angel”, performed the “Alien Newborn Vocals” for “Alien: Resurrection” and was vocal soloist on the John Frizzell musical soundscore for “I Still Know What You Did Last Summer”.
Educated at Syracuse and New York Universities and Tanglewood/Berkshire Music Center, studying voice with Helen Boatwright, Phyllis Curtin and Marian Szekely-Freschl, she learned her compositional tools as an apprentice with the numerous composers with whom she has worked for three decades. La Barbara served on the faculties of California Institute of the Arts, Hochschule der Künste in Berlin, The College of Santa Fe, The University of New Mexico, as guest lecturer at Princeton University Autumn/Winter 2006-07, and recently joined the Composition Faculty of New York University’s Department of Music and Performing Arts Professionals, as well as maintaining a private studio in New York City. She served as Vice President of the American Music Center in New York; co-Artistic Director of the New Music America Festival in Los Angeles; was Contributing Editor for Musical America/High Fidelity (1977-87) and Schwann/Opus magazines, and, from 1989-2002, produced and co-hosted “Other Voices, Other Sounds,”a weekly radio program focusing on contemporary classical music. She serves on the Board of Directors of MATA-Young Composers Now!, and is Vice President of the Electronic Music Foundation.
La Barbara was Artistic Director of the multi-year Carnegie Hall series, “When Morty met John”, and Artistic Director, Curator and Host of “Insights”, a series of encounters with distinguished composers for The American Music Center. In 2005 she produced a series of radio programs for NPS in Holland, “Sonic Lives”, which has met with critical acclaim.
La Barbara has been awarded the American Music Center’s 2008 Letter of Distinction for significant contributions to the field of contemporary American music. Joan La Barbara is a composer and publisher member of ASCAP and is a member of The American Music Center, SAG, AFTRA and AEA. For press quotes, photos and additional information see
http://www.joanlabarbara.com
Bing and Ruth + Elodie Lauten
Formed in 2006 by Brooklyn based composer and pianist David Moore, ambient chamber band Bing and Ruth utilizes a large number of traditional acoustic instruments to craft expansive soundscapes and quiet microtonal textures. With clarinets, voices, cellos, bass, percussion, and piano, the group calls upon a family of experienced musicians and improvisers who ably interpret Moore‘s slow-developing, visceral compositions. Recent performances for the ensemble include a pair of shows for New York’s Wordless Music Series; sharing the stage with Icelandic super-band Mum and British minimalist composer Max Richter.
http://www.myspace.com/bingandruth
Composer Elodie Lauten’s musical oeuvre includes many electronic and electro-acoustic pieces, as well as chamber and orchestral music. Lauten’s landmarks are unique neo-operas – some of which she has directed – evolving or deconstructing the classic form: The Death of Don Juan (1985), Existence (1991), The Deus Ex Machina Cycle (1997), Orfreo (2004) and Waking in New York (1999), which appeared on a list of the most influential works of the last three decades.
Lauten’s music has been presented by the Lincoln Center Festival, the New York City Opera, WNYC, The Kitchen, the Performing Garage, the Dance Theater Workshop, La Mama, the Soho Baroque Opera, Downtown Music Productions, AFMM, Interpretations, the SEM Ensemble, The Whitney Museum, and at the Paris Museum of Modern Art. The current discography includes 27 titles to-date, released on Lovely Music, O.O. Discs, Point/Polygram, New Tone (Italy), 4-Tay, Tellus, Nonsequitur, Capstone, Frog Peak, Pitch, Studio 21 and Unseen Worlds.
No stranger to visual and media arts, Lauten has had solo, collaborative and group gallery showings in New York and Boston including sound installations, drawings, as well as computer-based art and animation.
In 2008 Lauten’s music was featured in the Seattle Chamber Players’ Classics of Downtown program along with major names in the industry, curated by critics Alex Ross and Kyle Gann.
Lauten received awards from the National Endowment for the Arts, the Massachusetts Council on the Arts, ASCAP, Meet the Composer, the American Music Center, and The Music Liberty Initiative. Lauten has taught on the composition faculty at New York University. She currently teaches music technology at NYC Tech. She is a regular contributor to the classical music internet publication Sequenza21. With 20 years of experience as a producer of both recordings and live events, she is currently the artistic director for Lower East Side Performing Arts. She is a writer/publisher member of ASCAP.
Climax Golden Twins with Sublime Frequencies Film Screening
MY FRIEND RAIN
Sublime Frequencies, 2007.
(36 minutes)
Filmed on various trips through Southeast Asia by Robert Millis and Alan Bishop from 2002 to 2007, My Friend Rain is an impressionistic collage of musical segments and tropical ambiance. Decay and rebirth through the endless Asian monsoon cycle. Locations include: Myanmar (Burma), Angkor Wat in Cambodia, Thailand, Laos, and Indonesia.
INDIA AT 78rpm
Excerpt from a work in progress, 2009
(19 minutes)
An excerpt from a project about 78rpm records and the intersection of folk and classical musical traditions in India. Mostly filmed in 2008 in the Southern Indian state of Tamil Nadu, including processions, street musicians and an interview with a slightly nutty Indian 78 collector.
PHI TA KHON: GHOSTS OF ISAN
Sublime Frequencies, 2006
(47 minutes)
Phi Ta Khon: Ghosts of Isan documents a traditional Buddhist “ghost festival” held yearly in Thailand’s Isan province that features beautiful handmade masks, outrageous wooden phalluses, ceremony, ritual, dancing, and endless live Thai mo lam music. The film has almost no narration (some titles set the scene and provide a little background), the idea being to create a sense of trance and to throw the viewer into the middle of the celebrations to just enjoy the colors and sounds. Music is what led me to explore this festival and sound is one of its key elements: there were live bands, bells, loudspeakers and boom boxes co-mingling all over town, creating an amazing soundscape. The live bands progressed from traditional acoustic ensembles to overlapping electrified bands with hybrid Western instrumentation and back again. Phi Ta Khon appears at once to be deviant and holy, pagan and Buddhist, Thai and Lao; it is full of incongruent characters and situations. But the Thai are master assimilators: everything falls into place and works together for the participants, coming back to Buddhist merit-making for future lives and for a good harvest and monsoon season, while living in the moment with family and friends. This is a 45 minute edit of Phi Ta Khon: Ghosts of Isan. The DVD is 75 minutes but in reality there is no way to accurately present the full 3 day festival in all its ridiculous, drunken glory.
Intermission ambiance provided by DJ Victrola Favorites, playing scratchy old and mysterious music from the early days of recording, as well as field recordings and music from Asia and beyond.
Climax Golden Twins is a Seattle, WA based experimental collage outfit originally consisting of Rob Millis and Jeffery Taylor, then picking up Scott Colburn in 1996. The group’s earliest material was recorded in 1993 but wasn’t released until their 1996 album Imperial Household Orchestra. In 1994 they started Fire Breathing Turtle to distribute their work along with audio exotica, especially their ongoing “Victrola Favorites,” complations of rare 78s from around the world. With numerous tapes, CDRs, mini-CDs, singles, side and solo projects, audiophile records and other aural collectables, being a CGT fan is no simple, or inexpensive, task.
Early CGT albums Climax Golden Hiss (1995) and Imperial Houshold Orchestra (1996) offer a glimpse into their unique world of lo-fi collage — organic, acoustic instruments mix with found sounds, electronics, and clips of sampled exotica. Their fascination with bygone days of phonography begins here, and their quirky sense of humor is already present as well. Locations (1998) focuses on voice and found sound. Dream Cut Short In The Mysterious Clouds (Anomalous, 2000), is a studio album that returns to their earlier formula with random noise-punk interludes, dreamy scapes and acoustics mixed with field recordings.
Also in 2000 was the album known as “TheRock Album” (Fire Breathing Turtle), a critically acclaimed tongue and cheek foray into the rock mindset, with a nod to prog rock and the math rockers who loved it.
Session 9 arrived in 2001 and is one of CGT’s many music for film projects, a weird, haunted mix of non-objective soundscaping. Lovely (Anomalous, 2002) reworked older material. Highly Bred and Sweetly Tempered appeared in 2004 and contains a collection of samples from eerie 78s, found speech, excellent Godspeed You Black Emperor style apocalyptic post-rock and shimmery guitar tracks. Member Rob Millis put out Leaf Music Drunks Distant Drums – Recordings from Laos, Cambodia, Thailand, and Myanmar also in 2004. Scott Colburn owns and engineers at Seattle’s Gravelvoice Studios and Jeffery Taylor owns and runs Seattle’s Wall of Sound record store. The band shares a special kinship with one of the city’s most famous cult bands — The Sun City Girls and have worked since their inception to support the American experimental music underground.
Francesco Dillon & Emanuele Torquati
“Simple Space”
New Music for cello and piano
Emanuele Torquati, piano
Francesco Dillon, cello
Program
G. Scelsi: To the Master for cello and piano
M. Van der Aa: Oog for cello solo and electronics
S. Sciarrino: Melancolia 1 for cello and piano
M. Srnka: Simple Space
J. Harvey: Tombeau de Messiaen for piano and DAT
Silvestrov: Postludium 3 for cello and piano
Cellist Francesco Dillon was born in Torino in 1973.He graduated with the maximum of degrees at the Conservatorio “L.Cherubini” in Firenze under the inspirational guidance of Andrea Nannoni. Other very influential teachers where David Geringas, Mario Brunello and Amedeo Baldovino and for the composition studies Salvatore Sciarrino. Beside his solo activity (with Orchestra nazionale della RAI, Orchestra Sinfonica Siciliana,Orchestra Haydn among the others) he’s very active as cellist of the Quartetto Prometeo (wich tours regularly in Europe, Japan and South America). His deep interest in contemporary music led him to collaborate closely and regularly with some of the most important composers of today such as Gavin Bryars,Philip Glass,Vinko Globokar,Jonathan Harvey,Toshio Hosokawa,Giya Kancheli,David Lang,Henri Pousseur,Kaja Saariaho,Salvatore Sciarrino and with well renowned electronic musicians such as Matmos,Pansonic,Scanner,Midaircondo.
As a member of the internationally acclaimed group AlterEgo he has performed in all the major contemporary music festivals (Stockholm New Music, MaerzMusik, Festival Archipel, Ircam, Romaeuropa Festival, Ultima Festival Oslo, Wien Modern, Gaida Festival, Huddersfield Festival, Nous Sons Barcellona, Taktlos Berna, Musica Electronica Nova Wroclaw,Temporada Buenos Aires,Milano Musica,Biennale Venezia among others). He regularly plays chamber music with partners such as I.Arditti,G.Carmignola,M.Campanella,P.Farulli,V.Hagen,A.Lonquich,A.Lucchesini,E.Pace,R.Schmidt (Hagen string quartet),P.Vernikov. He won several competitions and with the quartet prizes at Pague spring (1st prize 1998), ARD Munich, Bordeaux. His performances were broadcasted by the German ARD, Saarländischer Rundfunk and Bayerische Rundfunk, the English BBC, Radio France, the Austrian ORF, Australian ABC and regularly for the Italian RAI Radio 3. He recorded for the labels Aulos,Dynamic,Ricordi,Stradivarius and Touch. His next releases will be the first world recordings of Variazioni for cello and orchestra by Salvatore Sciarrino and the Ballata by Giacinto Scelsi with the Italian National Radio Orchestra. He teaches at the Scuola di musica di Fiesole.
Stephan Moore and John King present Music of the Merce Cunningham Dance Company
8:00 pre-concert talk regarding Music and Dance, the work of John Cage, David Tudor and the current musical practice of the MCDC
8:30 concert featuring Music for a MinEvent, Blues99, composed by John King, for two performers (commissioned by MCDC for the dance “CRWDSPCR”).
Stephan Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.
JOHN KING, composer and guitarist, has had his music presented in many major festivals, including the tba/Time-Based Arts Festival (Portland, OR); Fronteras Festival (London); Next Wave Festival (NY); Schleswig Holstein Musik Festival (Hamburg); Intermedium 1 Festival (Berlin); Creative Time’s “Music in the Anchorage” (NY); Warsaw Autumn and Bang On A Can (NY). Mr. King’s experimental opera, “La Belle Captive”, based on texts by Alain Robbe-Grillet, was premiered in Buenos Aires at the Centro Experimental de Teatro Colon in April 2003, receiving further performances in London and NYC.
He has had many working bands over the years, including ELECTRIC WORLD (with Abe Speller and Jean Chaine), VIBROVERB (with Nioka Workman and Michael Wimberly), and KING KORTETTE (Jonathan Kane, Nicki Parrott and Christopher McIntyre), all blues/funk/jazz based. He plays lead guitar with the avant-blues group Deep Blue Sea, led by French avant-noise guitarist Jean-Francois Pauvros and art rock drummer extraordinaire Jonathan Kane; and also performed with : William Parker’s “Little Huey Creative Orchestra”, Butch Morris’ “Conduction #115 E-Mission”; Guy Klucevsek’s “Ain’t Nothin’ But A Polka” band; and Rhys Chatham’s 6-guitar band.
His commissions and collaborations include those for the Kronos Quartet; Red {an orchestra}, Ethel; the Albany Symphony/”Dogs of Desire”, Bang On A Can All-Stars; Mannheim Ballet; the Royal Danish Ballet; New York City Ballet/Diamond Project, Stuttgart Ballet, Ballets de Monte Carlo; SüdWestRundfunk (Baden-Baden), Pennsylvania Ballet, Les Grands Ballets Canadiens, and the Merce Cunningham Dance Company. He has written music for the Clussgarten Theater in Ludwigsburg, Germany (Shakespeare’s “Tempest”, Goethe’s “Faust” and Hesse’s “Steppenwolf”) as well as Target Margin, in NYC and the Children’s Theater Company, in Mpls., MN.
He has received grants from the NEA/Music in Motion, New York State Council on the Arts, Jerome Foundation, Asian Cultural Council, Meet The Composer/Readers Digest Dance Commissioning Program, Minnesota Composers Forum, the Fund for US Artists at International Festivals, and New York Foundation for the Arts.
Mr. King curated the music for the Merce Cunningham Dance Company’s EVENTS at the Joyce Theater and at The Barbican Center in London. He was Music Curator at The Kitchen from 1999-2003 and is currently a co-director of the Music Committee at MCDC.
His radioplay “TORN/zerrisen” was commissioned by SüdWestRundfunk radio, Baden-Baden, Germany. His music can also be heard on HBO promoting the series “Deadwood”.
“IMAGINARY PLASTIC” : projections & music (live and not) hosted by Bradley Eros
Darmstadt at Issue Project Room presents:
Bradley Eros in collaboration
on Wednesday, June 10th, at 8 pm
“IMAGINARY PLASTIC” : projections & music (live and not)
1) “OFF”, a work inspired by Cage‘s 4’33″ using silence & darkness, for piano & projector. {approx. 5 min.}
2) ‘spidery‘, a BE video (that uses Stockhausen‘s music box piece Zodiac ) an ephemeral film performance with water glass lenses, colored gels & distorted 8mm arachnid footage. {8 min}
3) Imaginary Escapes, a new sound/image work inspired by Cage‘s ‘Imaginary Landscapes’,’Variations IV’ & ‘Williams Mix’
using slides, film, video + records, tapes, CDs, radios, ipod
by Bradley Eros & Nastya Osipova
(part 1: N.O. images / B.E. sound)
(part 2: B.E. images / N.O. sound) {approx. 20 min.)
4) ‘Aurora Borealis’, a BE film (that uses music from Messiaen‘s Turangalila Symphonie) made from found science footage(astronomy,biology,geology,chemistry & optics) {12min}
5) P=CM2, a new sound/image work inspired by Stockhausen‘s “Kontakte”, “Mikrophonie” and“Mixtur”
using ‘musique plastique’ (burning gel & film projections
with contact mics) plus slides + contact miked instruments
& electronics by Bradley Eros & Nastya O and the music duo TwistyCat (Lea Bertucci & Ed Bear){approx. 20 min}
6) “and they leap looply,looply, as they link to light” –James Joyce
an improvised collaboration of film loops & tape loops (distortion processes), with
C. Lucas Crane / Non Horse and Bradley Eros {approx. 15 min}
Søren Kjærgaard, Andrew Cyrille duo & Søren Kjaergaard plus friends including Kato HIdeki, Zach Layton, Bruce Tovsky
There is a somnambulant quality to Optics, a kind of waking-life feeling. Søren Kjærgaard, a 29-year-old Danish pianist, recruited bassist Ben Street and the phenomenal drummer Andrew Cyrille for this trio, and, boy, do they listen to one another.
Cyrille, known for his work with the likes of Cecil Taylor and Oliver Lake, is the senior member, and much of what happens revolves around him. The 14-minute title track that opens the CD demands patience from its musicians. Kjærgaard plots out deep, serious chords, employing dramatic pauses as the rumble of mallets on skins establishes the tone. Street picks deliberately on the upper neck of his bass as Kjærgaard then lays down an ascending series of minor chords. A quiet snare roll, a repeated three-key phrase played lightly—this is minimalist bliss. On “Cyrille Surreal,” icy, detached chords play against a reluctant swing rhythm, but things evolve, as they always do, and rowdiness finally replaces inertia.
Some of the song titles are unfortunate (including the aforementioned one). “Mallets”? No, the tune is cleverer, and more fun, than that. Kjærgaard’s staccato notes and chords conjure a movie scene: How about calling it “Gene Hackman chases Tom Cruise through the streets of Memphis”? This idea, piano as percussion, informs much of the album. “Work of Art” has the pianist playing melody and rhythm, despite the fact that it’s a duet—a percussive duet—with Cyrille. The disc ends with the funereal “Radio House Requiem,” an elegy for Danish Radio, which ceased most of its jazz programming last year because of budget cuts. We hope that doesn’t mean Kjærgaard has lost an outlet in his homeland.
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,...