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.

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

—
& also.. (a little later…)
—–

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.
——-

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

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

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 (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).

Hollis ’69 / Good Morning / Feb. 11, 1999/ Hollis ’69 II / A Day

Anthony Coleman – piano, Sean Conly – bass, Satoshi Takeishi – drums

Jaki (John) Byard (June 15, 1922 in Worcester, Massachusetts – February 11, 1999 in New York City) was an American jazz pianist and composer who also played trumpet and saxophone, among several other instruments. He was noteworthy for his eclectic style, incorporating everything from ragtime and stride to free jazz. In describing his contribution to the Phil Woods album Musique du Bois, National Public Radio described him as “one of the most compelling and versatile pianists in jazz”.

Byard began playing professionally at the age of 15. After serving in World War II he toured with Earl Bostic in the late 1940s, and, by now based in Boston, made his recording debut with Charlie Mariano in 1951. Later, he was a member of the bands of Herb Pomeroy (1952-55, recording in 1957) and Maynard Ferguson (1959-62).

Moving to New York, Byard recorded extensively with Charles Mingus in the periods 1962 to 1964 and 1970, touring Europe with him in 1964. He also made important recordings as a sideman with Eric Dolphy, Booker Ervin and Sam Rivers. As a leader, he recorded a string of albums for the Prestige label during the 1960s. He fronted an occasional big band, the Apollo Stompers. He taught at the New England Conservatory, Manhattan School of Music, Hartt School of Music and the New School for Jazz and Contemporary Music.[2]

Byard was shot dead in 1999. The circumstances surrounding his death have not been determined.

Jaki Byard was my most important mentor. I met him when I was 12 years old.He was my principal piano teacher. And it was due to his influence that I came to study at NEC.

I went to him because I was already interested in Ragtime Piano, and was beginning to become interested in Early Jazz piano (East Coast Stride, as well as the music of Jelly Roll Morton). I was also aware enough, however, to realize that I wouldn’t always want to express myself solely through archaic genres. When I heard Jaki play, I was amazed by his ability to leap from the oldest to the newest styles of Jazz in a brilliantly kaleidoscopic way. But I was also struck by how he made all of these genre references his own. His playing is instantly recognizable.

Once at NEC, I had gradually less and less contact with Jaki. We would meet occasionally, and I also wrote for his school Big Band. He was always friendly, and never expressed anything negative about my “defection” to the Composition Department (a whole epic story in itselfŠ). But I wonder if something about this secretly hurt him. He had been incredibly generous with me, taking me to sessions and introducing me to Earl Hines and Charles Mingus. In many ways, he treated me like a peer.

His violent death came as a terrible shock.

Hollis, Queens was where Jaki lived and worked and taught. 1969 was my first year of High School, when I really was able to start taking this Musical Life seriously. Feb. 11, 1999 was the day Jaki was killed.

Flaubert/Sofa/Sentence

Anthony Coleman – piano, electric organ, Ashley Paul – alto saxophone, objects, voice, Eli Keszler – percussion

Quelquefois, quand je me trouve vide, quand l’expression se refuse, quand, après avoir griffonné de longues pages, je découvre n’avoir pas fait une phrase, je tombe sur mon divan et j’y reste hébété dans un marais intérieur d’ennui. Je me hais et je m’accuse de cette démence d’orgueil qui me fait haleter après la chimère.

Flaubert, letter to Louise Colet – Croisset, Saturday, April 24, 1852

(Sometimes, when I am empty, when words don’t come, when I find I haven’t written a single sentence after scribbling whole pages, I collapse on my couch and lie there dazed, bogged in a swamp of despair, hating myself and blaming myself for this demented pride which makes me pant after a chimera)

Eli Keszler and Ashley Paul are (I’m very proud to say) my former students. Since leaving school, they have embarked upon the creation of a body of work (together and separately) that has already had wide, even global impact. Even though we do a lot of projects together, I’ve wanted to write something specifically for the three of us for some time.

Aioli

Anthony Coleman – piano

Matter of Operation

Survivors Breakfast: Fausto Sierakowski – alto sax, Zoe Christiansen – clarinet, accordion, Joelle Wagner -bassoon, Nigel Taylor – trumpet, Cale Israel – trombone, Jason Belcher – baritone horn, Leah Hennessy – voice, piano, Andrew Hock, Arian Shafiee – guitars, Eden MacAdam – Somer, Mia Friedman, Diamanda Dramm, Abigale Reisman – violins, Simon Hanes, Simon Willson – basses, Andria Nicodemou – vibraphone, Andy Fordyce – drums, percussion. Anthony Coleman – conductor

Survivors Breakfast! I remember once, long ago (Google isn’t helping) reading an article about the Mark Morris Dance Company where Morris spoke glowingly about how wonderfully, absurdly mismatched his company was. I love that image. I’ve always been fascinated by the idea of an ensemble’s functioning as a kind of paradigmatic society where, as Terry Eagleton says, writing about Shakespeare’s The Tempest, individuals are “not wholly active, shapers of their individual lives, nor wholly passive, parts of a larger design in which they are merely manipulated objects; human life is in some way an interpenetration of the twoŠa fusion of spontaneity and aware responsibility”.

I’ve aimed at this for a long time. All my fascination with Ellington and his band, with the films of John Ford and Preston Sturges and their stock companiesŠtrying to find that balance. Well, now I have my weekly work with Survivors Breakfast, and I feel like some Bizarro World version of Haydn at Eszterhazy!

As a passionate misreader (in every way you can imagine) of John Cage and his work, I have taken his pet phrase (originally from Ananda Coomaraswamy) “art should imitate nature in her manner of operation” and messed it up a bit.

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.

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.

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 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.

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 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.