SOLD OUT! Jozef Van Wissem & Jim Jarmusch: Concerning the Entrance into Eternity (Record Release Party)
Image by Sara Driver
Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker & guitarist Jim Jarmusch. Jarmusch’s previous collaborations with Van Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another’s space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth expemplifying an austere understanding and compatibility. Jarmusch’s guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, He Is Hanging By His Shiny Arms, His Heart An Open Wound With Love, finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg’s work, this record is extraordinary, new and arcane at the same time, modern but timeless.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Share – free audio & video jam – Featured guests Leslie Ross + Katherine Liberovskaya and Compactor
This is to be a very special Share. Our long-term amazing host, Issue Project Room is moving from the Can Factory after Jan 20th, 2012. So, our following Sunday is still up in the air… but do not worry. We’re working on every possible way to find an alt space or stay at the same space with our own PA for a while. (But if you happen to know a possible venue, let us know (http://share.dj/share). We’re always curious!:) We’ll update you soon!
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.
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 are:
Leslie Ross + Katherine Liberovskaya
http://www.share.dj/share/event_info.php?eventID=822
Leslie Ross (quadrophonic sound performance) + Katherine Liberovskaya (visuals) will perform a rare duet set at Share!
Leslie Ross, performer, sound-installation artist, bassoonist and instrument-maker, has been exploring and experimenting with sound for over 25 years. In both gallery and street performance settings as well as in collaboration with choreographers, she has created works for numerous constructed instruments and installations. Her compositions for performance are mostly structured scores that play with memory and recall, where the ‘recalled’ may be developed in predetermined various ways. Improvisation remains the central and essential element of these scores.
In the past few years she has returned her focus to a detailed exploration and understanding of bassoon multiphonics. This process of investigation has led to the creation of solo works that use an extensive system of micro-amplification: 15 microphones are placed at tone holes on the instrument and the signal from these microphones are directed to many speakers around a room. She continues to build replicas of historical bassoons in her workshop on the Lower East Side of NYC.
Web site:http://www.leslieross.net/otherT.html
Katherine Liberovskaya is a video/media artist based in Montreal, Canada and New York City. Involved in experimental video since the 80s, she has produced numerous videos, video installations and performances shown around the world. Since 2001 her work mainly focuses on collaborations with composers/sound artists mainly in live video+sound performance. Among these: Phill Niblock, Al Margolis/ If,Bwana, Keiko Uenishi (o.blaat), Zanana, Hitoshi Kojo, Tom Hamilton, David Watson, Anne Wellmer, David First, and many others. In addition to her art practice she has concurrently always been involved in the programming and organization of diverse media art events, notably with Studio XX and Espace Vidéographe in Montreal, as well as Experimental Intermedia, NY (Screen Compositions 2005, 2006, 2007, 2008, 2009, 2010, 2011) and the OptoSonic Tea series at Diapason in NYC.
http://www.liberovskaya.net
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& also.. (a little later…)
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Compactor
http://www.share.dj/share/event_info.php?eventID=823
http://compactor.bandcamp.com/
http://www.facebook.com/compactornoise
Compactor is the solo industrial/noise/electroglitch project of Derek Rush, who has been a participant at Share NYC off and on for a couple of years.
Derek is better known for his band Dream Into Dust and other projects with Bryin Dall including A Murder Of Angels.
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Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Littoral: Flowers & Cream (Readers TBA)
Flowers & Cream is a small press / independent POETRY publishing imprint founded by Sonic Youth songwriter Thurston Moore. The press aims to feature work of young, emerging poets steeped in contemporary poetic practice and investigation/illumination.
Living betwixt Northampton, Massachusetts and New York City, Thurston Moore has been involved with editing the Ecstatic Peace Poetry Journal since early 2000. His own verse has been published in various anthologies and by a number of imprints since Water Row Press first presented Alabama Wildman, a collection of scattered writings from the 1970s and 80s. He has been on faculty at the Summer Writing Program at Naropa University.
Moore will be joined by Elaine Kahn as the assistant poetry editor and business facilitator of Flowers & Cream Press. Elaine is a poet and songwriter with work published by Glass Eye Books, Big Baby Books, Ecstatic Peace Library, as well as being featured widely in various journals. She has worked as an intern for Small Press Distribution in Berkeley, CA and as the Poetry Buyer for City Lights Bookstore in San Francisco. She received her MFA from the Iowa Writers’ Workshop and currently resides in Northampton, MA.
Flowers & Cream recognizes the diversity of resonance in the contemporary poetry scene, a community charmed with reference to earlier schools, waves, gestures, pronouncements, and inks all with eyes both forward and askance.
The Littoral Series is made possible by support from The Casement Fund, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Species of Spaces
Food and eating are central to community. When we eat we are in companionship with our neighbors and all those who show up, both the invited guests and the unexpected company. Seated with us at the table are our fellow humans, plants, mushrooms, bacteria and other animals. While some of these visitors eat and some are eaten, all participate in a variety of exchanges.
Please join spurse (plus collaborators and special guests) in a mid-winter feast to explore and experiment with community. This multi-course meal will feature foraged and gleaned local plants and animals in unique preparations and one-of-a kind settings. The meal will be free and we ask in return a lively willingness to be in cahoots with the questions of eating, foraging, community and our multi-species commons. Collaborators include Jen Woodin, Chad Curtis, Cameron Andersen, En Sang Cho, Gale DellaRocco, Priscilla Dobler, Melissa Graff, Shoji Miyazawa, and Amy Williams.
Space is limited. RSVP required.
As ISSUE transitions from our current location in the Gowanus to our new home in Downtown Brooklyn, the nature of our programming, community and relationship to Brooklyn will change greatly. In an attempt to keep our decision-making transparent and create an open forum for community input, we have established an informal series called Species of Spaces. Meant to serve as a non-strategic plan for our move, a discussion running alongside and supplementing our normal work, Species of Spaces is an attempt to reinvigorate and extend our experimental origins. Species of Spaces will be the home for a plethora of shared concerns and interests with no defined structure or agenda. For each event, we will invite a number of guests and collaborators to help formulate the evening and lead the discussion. Each iteration will inform the next, the conversation gaining practicality and robustness throughout the year.
“To start with, then, there isn’t very much: nothingness, the impalpable, the virtually immaterial; extension, the external, what is external to us, what we move about in the midst of, out ambient milieu, the space around us.” – Georges Perec
This project received generous support from the State University of New York at New Paltz and the Tyler School of Art at Temple University.
Species of Spaces is made possible by support from The Casement Fund, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
SOLD OUT! Jozef Van Wissem & Jim Jarmusch: Concerning the Entrance into Eternity (Record Release Party)
Image by Sara Driver
Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker & guitarist Jim Jarmusch. Jarmusch’s previous collaborations with Van Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another’s space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth expemplifying an austere understanding and compatibility. Jarmusch’s guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, He Is Hanging By His Shiny Arms, His Heart An Open Wound With Love, finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg’s work, this record is extraordinary, new and arcane at the same time, modern but timeless.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Title tk + Architeuthis Walks on Land
Title TK (Howie Chen, Cory Arcangel and Alan Licht) is a banter-prone band that has been described as ‘a cross between David Antin and Spinal Tap.’
Sawing, sputtering, gurgling and wailing, Architeuthis Walks on Land is every bit the displaced and terrifying cephalopod that the name suggests. The viola and bassoon are two instruments rarely associated with free improvisation and noise; yet on Natura Naturans Amy Cimini and Katherine Young rip it up with particular aplomb, weaving disjunct lines, constructing chaotic sound masses and raising towering monoliths. Crafting their improvised materials into tight structures, the eight tracks on Natura capture the compositional, timbral and expressive breadth of this uncommon coupling: from divergently soloistic to profoundly intertwined playing, from a slowly unfolding intimacy to a jagged and kinetic style. Cimini and Young lunge and flutter through their materials with the intuition and energy of constant discovery.
Violist Amy Cimini and bassoonist Katherine Young have been performing together as Architeuthis Walks on Land since 2003, drawing on their mutual interests in free music, rock, and contemporary classical music. The duo developed their early style within Chicago’s experimental music community, relocating to New York in 2008. They have collaborated with artists such as Anthony Braxton, Peter Evans, Fred Lonberg-Holm, Adam Sonderberg, Jessica Pavone, Jason Ajemian and Hans Joachim Irmler from Faust. Known for a charismatic stage presence and aggressive playing styles, Cimini and Young are equally at home in rock clubs and concert halls, and they maintain busy performing schedules in New York, Chicagoand beyond.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Anthony Coleman
Anthony Coleman (Peter Gannushkin, DOWNTOWNMUSIC.NET)
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 (Tzadik) and has performed at the Sarajevo Jazz Festival, 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 (Tzadik).
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
On Silence: Hommage to John Cage
“On Silence,” marks the centennial of John Cage’s birth. The program will consist of 13 new compositions, each 4’33” long, referencing Cage’s infamous 1952 opus of the same name in which a pianist sits at the instrument for the assigned duration occasionally turning score pages and performing nothing. Through this composition, Cage invited the sounds of the environment to enter the repertoire of the staged music. The original version will be included in the program. Thirteen young and up-and-coming composers from the US, Europe, South America and Japan were asked to reflect on what Cage means in their creative life. They were commissioned to compose a work of the same duration drawing sources from the following instrumentation: grand piano, computer sound and video, hardware technologies of choice, everyday objects and musical toys.
This program was curated by Juraj Kojs, and will include commissioned compositions by Christopher Cerrone, Natacha Diels, Katarzyna Glowicka, Andrew Greenwald, Adrian Knight, Juraj Kojs, Jessie Marino, Paula Matthusen, Chikashi Miyama, Spencer Topel, Chester Udell, Jorge Variego and Henry Vega.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
S.E.M. Ensemble with Chris Nappi & String Noise (Conrad Harris & Pauline Kim Harris)
The S.E.M. Ensemble, including violin duo String Noise (Conrad Harris & Pauline Kim Harris) and percussionist Chris Nappi will premiere new works dealing with physical distance and the exploration of the acoustics of the performance space by a number of young composers. The performance will include premieres of new pieces by Cat Lamb, Andrew C. Smith, David Kant and Beau Sievers, as well as a set of pieces for solo percussionist played by Chris Nappi.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Mivos Quartet Benefit Concert
On the extra day this year Mivos Quartet will be hosting our first fundraising event. Join us for a night of great music, food, drinks, a silent auction, and an after party! We will have three sets of music featuring works by members of Mivos, Annie Gosfield, Patrick Higgins, Alex Mincek, Tristan Perich, Ned Rothenberg, Timucin Sahin, Elliott Sharp, Sasha Siem, and JG Thirwell. MIVOS will be joined by guest artists Ned Rothenberg, Clarinets; Timucin Sahin, Electric Guitar and Sasha Siem, Vocalist/Composer performing with us their own compositions.
The fundraiser is aimed at covering our travel and lodging at Darmstadt this July. We’ve been selected as one of five ensembles from around the world to participate in Darmstadt Ensemble 2012 Project. Additionally we will use the funds raised to help support our non profit incorporation.
The Mivos Quartet, praised by Time Out New York as an excellent ensemble, is devoted to performing the works of contemporary composers, presenting new music to diverse audiences. Since the quartet’s inception in 2008 they have performed and closely collaborated with an ever-expanding cadre of international composers who represent multiple aesthetics of contemporary classical composition. Commissioning and premiering new music for string quartet is essential to the quartet’s mission; Mivos has performed works by emerging and established composers including Anna Clyne, Wolfgang Rihm, Alex Mincek, Samson Young, Luke DuBois, Philip Glass, Huang Ruo, Tristan Perich and Kirsten Broberg. They have appeared at venues including The Stone, Issue Project Room, Monkeytown, Roulette and the Brecht forum, and have appeared on concert series including Concerti Aperitivo (Udine, Italy), HellHOT! New Music Festival (Hong Kong), and Edgefest (Ann Arbor, MI). Mivos was one of five groups selected for the Young Ensembles Fellowship at the 2012 Darmstadt Internationalen Ferienkurse für Neue Musik.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
The Experimental Music Yearbook
Now entering its 4th year, The Experimental Music Yearbook is a repository for composers, performers, and the public to glean the methods and styles of various artists working in the experimental music tradition. As the modes of experimentation in the arts change from year to year, the Experimental Music Yearbook’s annual issues will build into a comprehensive, and varied, database of experimentation in music/sound.
For this concert, the editors will select highlights from the first three years to spotlight the different methods composers use to create their music. Differing in concept and execution, the compositions display the full range given to performers in realizing works in the experimental tradition. Composers include Peter Ablinger, Casey Anderson, Olivia Block, John P. Hastings, Tom Johnson, Taku Sugimoto, Hans W. Koch, and Christian Wolff.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Stephen Drury plays John Cage’s Etudes australes + Collide-O-Scope Music plays Riley, Glass, Stockhausen
Stephen Drury performing John Zorn (Peter Gannushkin, DOWNTOWNMUSIC.NET)
Stephen Drury performs John Cage’s Etudes australes with Frederic Rzewski at the Festival d’Automne a Paris in Paris, France. Composed in 1974-1975, the piece (a total of 32 Etudes, organized into 4 books, each book having 8 Etudes) consists of single tones and combinations derived from star charts of the Atlas Australis. Though notated on conventional staves, there are no dynamic markings nor pedal instructions, and the player is free to interpret the notes given.
In a Landscape (1948), John Cage (1912-1992)
Etudes Australes , Book III (1974-75), John Cage
Etude No. 17
Etude No. 18
Etude No. 19
Etude No. 20
Etude No. 21
Etude No. 22
Etude No. 23
Etude No. 24
Pianist and conductor Stephen Drury has performed throughout the world with a repertoire that stretches from Bach to Liszt to the music of today. He has appeared at Carnegie Hall, the Kennedy Center, the Barbican Centre and Queen Elizabeth Hall in London, the Cité de la Musique in Paris, and the Leipzig Gewandhaus, and from Arkansas to Seoul. A champion of contemporary music, he has taken the sound of dissonance into remote corners of Pakistan, Greenland and Montana.
“Three From The Revolution Years: 1965-1969”
Collide-O-Scope Music presents music by Terry Riley, Karlheinz Stockhausen, and Phillip Glass in a program dedicated to one of the most volatile and exciting periods in our recent musical past, the late ‘60’s. Against the backdrop of cataclysmic transformations and conflicts of global impact in virtually every sphere of political, social, and cultural engagement, composers in musical centers around the world initiated an unprecedented period of experimentation, shattered boundaries, and a reinvention of the performative experience. This program presents a sampling of watershed works that epitomize the ferment and grounbreaking forays into the unknown which broadly characterize music of the period. Terry Riley’s Tread On The Trail(1965) is one of two modular ensemble works composed in the wake of his wildy successful In C. Tread On The Trail, for unspecified performers, further explores spontaneous formal configurations and reconfigurations of a static collection of materials, but in a more chromatic setting that borrows heavily from the jazz idiom. Karlheinz Stockhausen’s Spiral(1968), is a work for soloist on any instrument or combination of instruments in combination with a shortwave receiver. Abstract, concrete, and musical sounds picked up from the receiver are imitated by the soloist and subsequently transformed according to rigorously conceived parametric considerations. Perhaps no other work so overtly embodies the aesthetic viewpoint inherent in Marshall McLuhan’s famous phrase “the medium is the message,” as the particular content employed in a realization of the work is left open and in a non-deterministic role while the impact of the actual composition rests entirely in the relation and differentiation imposed by the compositional medium. Finally, Phillip Glass’s Music In Fifths(1969) is one of the culminative works composed by Glass during a particularly prolific period of activity between the years 1967-69, just after the composer had first heard music of Steve Reich. A sprawling diatonic work of repeating figures for any number of performers, Music In Fifths is an important early opus that represents the fully-formed aesthetic Glass would explore throughout his career.
About Collide-O-Scope Music
Now in its third season, Collide-O-Scope Music is a contemporary music collective with a focus on presenting a diverse spectrum of music and visual media, emphasizing the integral connection between emerging technologies and the formation of new aesthetic environments. Led by pianist Augustus Arnone and composers Chris Bailey and Louis Bunk the group has offered an eclectic mix of newly composed works and essential classics from the modern repertory. In keeping with the group’s mission of integrating a maximally diverse range of musical materials and approaches, programming has featured a blend of both acoustic and electronic compositions as well as juxtaposing fixed compositional forms with improvisational, indeterminate, and interactive music. A particular focus is given to musical works that explore innovative or extended media, pertaining to physical/practical innovations, including extended instrumental techniques, microtonal composition, electronic sound and signal processing, and non-traditional notation, as well as conceptual extensions including the application of innovative theoretical/mathematical models, indeterminacy and the use of chance operations, and analogues and models drawn from other fields. Composers represented include seminal pioneers John Cage, Milton Babbitt, Iannis Xenakis, Luigi Nono, Pierre Boulez, Phillip Glass, and Alvin Lucier as well as emerging Americans Jason Eckardt, Edmund Campion, Stephen Gorbos, Christopher Bailey, David Smooke, and Michael Gordon. Collide-O-Scope Music instrumentalists have included performers from a number of New York’s premiere contemporary music groups including Bang On A Can, ICE, Talea Ensemble, and the Da Capo Chamber Players.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Ensemble Pamplemousse
Composer-performer collective Ensemble Pamplemousse was founded in 2002 to provide a focal point for like-minded creators with a thirst for sonic exploration. Compositions aggregate each member’s unique virtuosic talents into extraordinary magical moments. Pamplemousse will perform, for the first time, a concert entirely of works by other composers, including Juraj Kojs, Matthew Shlomowitz, Ray Evanoff, James Weeks, Marek Poliks, and Mauricio Rodriguez.
Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
at 110 Livingston – Gaudeamus Muziekweek New York: Iktus Percussion + Ensemble MAE
Gyorgy Ligeti preparing “Poème Symphonique” (Tjerk van der Meulen, Rotterdam)Iktus Percussion performs works for amplified triangle and 100 metronomes, among other instruments, by Ron Ford, Michel Van der Aa, Hugo Morales Murguia, Yannis Kyriakides, and Gyorgy Ligeti. Ensemble MAE will return for a second night to perform work by other composers, including Robert Ashley’s “in memoriam … Esteban Gomez.”
Program:
- Iktus Percussion
- Ron Ford – “Shift”
- Hugo Morales Murguia – “\_/ For Amplified Triangle”
- Gyorgy Ligeti – “Poème Symphonique”
- Michel van der Aa – “Between”
- Ensemble MAE
Robert Ashley – in memorium…Esteban Gomez
Silvia Borzelli – Own Pace (Amnesia 3b) - Luiz Henrique Yudo – El Camino
- Claudio Baroni – Abstract Terror
at 110 Livingston — Gaudeamus Muziekweek New York: Composer portrait of Yannis Kyriakides by Ensemble MAE + International Contemporary Ensemble
Yannis Kyriakides, winner of the Gaudeamus prize in 2000 for his piece conSPIracy cantata, was born in Cyprus and is currently based in Amsterdam. The Dutch-based Ensemble MAE will join with the International Contemporary Ensemble (ICE) to perform a number of works by Kyriakides, as well as other Dutch composers Peter Adriaansz and Michel Van der Aa.
Since 1980 the Dutch Ensemble MAE, formerly known as the Maarten Altena Ensemble, has developed itself from an improvisation collective into an ensemble that explores new musical and multidisciplinary territories. Straddling a broad spectrum of experimental traditions, the ensemble has built up a repertoire of over 150 works written for its particular instrumentation by composers such as founder Maarten Altena, Robert Ashley, Richard Ayres, Allison Cameron, Jack Body, Alvin Curran, Guus Janssen, Yannis Kyriakides, Martijn Padding, Steve Martland, Solex, Paul Termos, and has collaborated on projects with guest musicians such as Derek Bailey, Anthony Braxton, Misha Mengelberg, Roscoe Mitchell, Butch Morris, and John Zorn.
20 LP’s and CD’s have been published on labels such as X-OR, hatHUT, Claxon, Philips, Donemus, Attacca, nato and Unknown Public and performed in Japan, USA, Canada, Russia, Mexico, Germany, France, Italy, Spain, Finland, Swiss, Austria, England, Sweden, Czech Republic, Belgium, Hungary and of course extensively in its country of residence, the Netherlands.
The idiosyncratic line-up of the ensemble reflects this eclecticism being made up of 9 musicians from many different backgrounds; early music, new music, pop, jazz, and improvisation and electronics; bringing their specialities together in a refreshing and original way.
Under the new artistic leadership of Yannis Kyriakides, the focus has shifted to a deeper exploration of the possibilities of expanding the sound world of an acoustic ensemble through live electronics and a desire to experiment with the way music is experienced through new performance contexts and the use of digital media. Future collaborations include an exploration of the psychoacoustic musical traditions of Alvin Lucier and Nic Collins, work with electronic composers fransisco lopez and John Wall, exploration of video narrative forms with John Oswald and Yannis Kyriakides and always the introduction of a new generation of composers, both established and lesser-known that share the ensemble’s goal of exploring new territories of musical practice.
With a flexible roster of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, the International Contemporary Ensemble (ICE) functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and pursuing groundbreaking strategies for audience engagement. In an era of radical change, ICE redefines concert music as it brings together new work and new listeners.
Since its founding in 2001, ICE has premiered over 500 compositions, the bulk of them by emerging composers, in venues ranging from New York’s Lincoln Center and Chicago’s Museum of Contemporary Art to galleries, bars, clubs, and schools around the world. The ensemble has released acclaimed albums on the Bridge, Naxos, Tzadik and New Focus labels, with forthcoming releases on Nonesuch, Kairos and Mode.
With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This new program places teams of ICE musicians in close collaboration with six emerging composers each year to develop works that push the boundaries of musical exploration. ICElab projects will be featured in more than twenty performances each season and documented online through DigitICE, a new online venue.
ICE’s commitment to build a diverse, engaged audience for the music of our time has inspired The Listening Room, a new educational initiative targeting public schools whose music programs have been cut in the recent recession. Using team-based composition and graphic notation, ICE musicians lead students in the creation of new musical works, nurturing collaborative creative skills and building an appreciation for musical experimentation.
Gaudeamus Muziekweek New York is supported, in part, by public funds from the Netherlands Cultural Services and has received funding through a grant from the Netherland-America Foundation. Support has also been provided by Buma Cultuur, Gaudeamus Muziekweek and Muziek Centrum Nederlands with special thanks to Erwin Maas and Henk Heuvelmans.
at 110 Livingston — Gaudeamus Muziekweek New York: Electronic Music – Wouter Snoei + Matthew Ostrowski + R WE WHO R WE
Gyorgy Ligeti preparing “Poème Symphonique” (Tjerk van der Meulen, Rotterdam)Gaudeamus Muziekweek encompasses a wide range of musical styles and media, and January 26 will feature Dutch electronic musician Wouter Snoei, an authority on 192-channel “wave-field” synthesis techniques. New York-based electronic artist Matthew Ostrowski will also perform, as well as the duo R WE WHO R WE, a collaboration between New York composer-performers Philip White & Ted Hearne.
R Who We R We is an ongoing collaboration by composer-performers Ted Hearne (voice) and Philip White (electronics). We deconstruct assertions of identity in pop music. We dissect songs by Michael Jackson, Ke$ha, Eminem and others, subjecting them to arbitrary processes applied to both lyrical and sonic elements. Measures are reordered, lyrics are alphabetized, the backup choir is given the solo mic; garbled lyrics become absurd poems couched in profundity, melodies from the processed text become vocal lines, those vocal lines become control voltages in a chaotic electronic feedback system; four-on-the-floor endures, autotune abounds.
Wouter Snoei studied at the Institute of Sonology (Royal Conservatoire of The Hague). He worked in various fields of music practice, all involving electronic music. Wouter was sound director in several performances of electro-acoustic pieces by Luigi Nono, John Cage and Gérard Grisey. He works regularly with Slagwerkgroep Den Haag, ASKO Kamerkoor and VocalLab. Wouter also performed with Jasper Blom and other jazz artists at the North Sea Jazz festival, and as a dance producer in many Dutch club venues.
In the past few years Wouters focus has shifted more and more towards composition and performance of solo live electronics and electro-acoustic music, adding live control as part of electronic composition. His recent piece Particles for reed instruments and live electronics was performed by Calefax Reedquintet in 2007. Furthermore Wouter is involved as composer and developer of Wave Field Synthesis, a spatial sound system involving 192 loudspeakers placed around an audience, and as a teacher at the Utrecht School of Arts and the Royal Conservatoire of The Hague. BVHaast released a CD entitled Tactile with a cross-section of his work in April 2009.
New York City native, Matthew Ostrowski is a pioneer in live electronic arts, having worked as a composer, performer and installation artist for over 20 years, exploring work with alternative controllers, multimedia, and theater. An unreconstructed formalist, he has had a continuing interest in density of microevents, rapid change, and using technology to stretch the bounds of perception and experience. He has worked with a broad range of artists, from a boatload of international improvisors, to choreographer Elizabeth Streb, to the Flying Karamazov Brothers juggling troupe. He has been a recipient of a NYFA Fellowship in Digital Arts, and has developed audio and video software for dozens of artists in interactive video, extended musical instruments, sound installations, show control systems, and interactive juggling pins.
His work has been seen or performed on six continents, including the Wien Modern Festival, the Kraków Audio Art Festival, Sonic Acts in Amsterdam, PS 1 and The Kitchen in New York , the Rencontres Internationales video festival in Madrid, Yokohama’s dis_locate Festival, and Unyazi, the first festival of electronic music on the African continent. He appears on over a dozen recordings.
From 1993 to 2000, he lived in the Netherlands, studying at the Institute of Sonology in the Hague from 1993-1995. There he developed new live techniques with digital electronics, as well as using computers for interactive sensor arrays, machine control, and interactive audio installations. He remained there several years thereafter, working as a freelance composer and performer, as well as developing a relationship with STEIM, writing the manual for the world’s first live sampling software, LiSa, and developing the electroinstrumental approach that continues to characterize his live work to this day.
Gaudeamus Muziekweek New York is supported, in part, by public funds from the Netherlands Cultural Services and has received funding through a grant from the Netherland-America Foundation. Support has also been provided by Buma Cultuur, Gaudeamus Muziekweek and Muziek Centrum Nederlands with special thanks to Erwin Maas and Henk Heuvelmans.
at 110 Livingston — Gaudeamus Muziekweek New York: Wet Ink Ensemble
The composer-performance collective Wet Ink Ensemble will kick off Gaudeamus Muziekweek New York with the U.S. premiere of 2011 Gaudeamus Prize-winner Yoshi Onishi’s “Départ dans…” Wet Ink will also play works by past Gaudeamus prize-winners Ted Hearne, Chris Trapani, Richard Barrett along with works by Wet Ink members Alex Mincek and Kate Soper.
Farewell Party for the Old American Can Factory, with Jonathan Kane’s February + Talibam! + MV Carbon & Tony Conrad with Live Visual Projections by Bradley Eros and Lary 7
Join us for a farewell to the Old American Can Factory! ISSUE Project Room is moving permanently to 110 Livingston in Downtown Brooklyn, and closing out the Can Factory with a celebration of the first ISSUE Project Room Editions release, Jonathan Kane’s February Live at ISSUE Project Room. Jonathan Kane’s February, Talibam! and MV Carbon & Tony Conrad with live visual projections by Bradley Eros and Lary 7 will close out four years of performances at the Can Factory.
We’ll give out free CDs to the first 10 people on Friday night, so get there early!
Floating Points: a canary torsi, Five Performers Demonstrate a Field
Doors open at 7:00pm, and the performance begins at 7:30 sharp. No late seating!
Five Performers Demonstrate a Field is an investigation of how movement in a particular room affects a simple sound environment: specifically through Hemisphere speakers in the sanctum of the Old American Can Factory in Brooklyn. a canary torsi was invited for a residency through ISSUE’s Floating Points Program. The residency is not meant to culminate in a production but rather to explore the blurring of the line between sound and movement and to bring those investigations to an audience. Moderators will facilitate a discussion immediately following each showing. Collaborators involved in this project include: composer Benjamin Bernstein, choreographer Yanira Castro, installation designer Charles Houghton, performers Anna Garcia (trumpet), Amity Jones (dancer), Peter Lanctot (violin), Marina Libel (dancer), and Sam Silver (keyboard). Current moderators are vocalist/composer Maria Stankova (Thursday, January 12th) and choreographer Melinda Ring (Friday, January 13th).
Floating Points: a canary torsi, Five Performers Demonstrate a Field
Doors open at 9:00pm, and the performance begins at 9:30 sharp. No late seating!
Five Performers Demonstrate a Field is an investigation of how movement in a particular room affects a simple sound environment: specifically through Hemisphere speakers in the sanctum of the Old American Can Factory in Brooklyn. a canary torsi was invited for a residency through ISSUE’s Floating Points Program. The residency is not meant to culminate in a production but rather to explore the blurring of the line between sound and movement and to bring those investigations to an audience. Moderators will facilitate a discussion immediately following each showing. Collaborators involved in this project include: composer Benjamin Bernstein, choreographer Yanira Castro, installation designer Charles Houghton, performers Anna Garcia (trumpet), Amity Jones (dancer), Peter Lanctot (violin), Marina Libel (dancer), and Sam Silver (keyboard). Current moderators are vocalist/composer Maria Stankova (Thursday, January 12th) and choreographer Melinda Ring (Friday, January 13th).
Floating Points: a canary torsi, Five Performers Demonstrate a Field
Doors open at 8:00pm, and the performance begins at 8:30 sharp. No late seating!
Five Performers Demonstrate a Field is an investigation of how movement in a particular room affects a simple sound environment: specifically through Hemisphere speakers in the sanctum of the Old American Can Factory in Brooklyn. a canary torsi was invited for a residency through ISSUE’s Floating Points Program. The residency is not meant to culminate in a production but rather to explore the blurring of the line between sound and movement and to bring those investigations to an audience. Moderators will facilitate a discussion immediately following each showing. Collaborators involved in this project include: composer Benjamin Bernstein, choreographer Yanira Castro, installation designer Charles Houghton, performers Anna Garcia (trumpet), Amity Jones (dancer), Peter Lanctot (violin), Marina Libel (dancer), and Sam Silver (keyboard). Current moderators are vocalist/composer Maria Stankova (Thursday, January 12th) and choreographer Melinda Ring (Friday, January 13th).
Floating Points: a canary torsi, Five Performers Demonstrate a Field
Five Performers Demonstrate a Field is an investigation of how movement in a particular room affects a simple sound environment: specifically through Hemisphere speakers in the sanctum of the Old American Can Factory in Brooklyn. a canary torsi was invited for a residency through ISSUE’s Floating Points Program. The residency is not meant to culminate in a production but rather to explore the blurring of the line between sound and movement and to bring those investigations to an audience. Moderators will facilitate a discussion immediately following each showing. Collaborators involved in this project include: composer Benjamin Bernstein, choreographer Yanira Castro, installation designer Charles Houghton, performers Anna Garcia (trumpet), Amity Jones (dancer), Peter Lanctot (violin), Marina Libel (dancer), and Sam Silver (keyboard). Current moderators are vocalist/composer Maria Stankova (Thursday, January 12th), choreographer Melinda Ring (Friday, January 13th), choreographer Jon Kinzel (Saturday, January 14th at 7PM) and writer, director and media artist John Jesurun (Saturday, January 14th at 9PM).
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,...