PROPENSITY OF SOUND: Pauline Oliveros’ Primordial/Lift + Carol Robinson presents Billows
The second public performance and NYC premiere of Pauline Oliveros’ 1998 work Primordial/Lift, featuring all original performers from the studio recording: Pauline Oliveros – accordion & electronics, voice; Andrew Deutsch – electronics & toy piano; Tony Conrad – electric violin & ring modulator; Anne Bourne – cello & voice; David Grubbs – harmonium. The work is “based on information concerning the shift in the resonant frequency of the earth”.
Pauline Oliveros – A native Texan, Oliveros has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations.
During the mid-’60s she served as the first director of the Tape Music Center at Mills College, aka Center for Contemporary Music followed by 14-years as Professor of Music and 3 years as Director of the Center for Music Experiment at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music in the Arts department at Rensselaer Polytechnic Institute (RPI) where she is engaged in research on a National Science Foundation CreativeIT project. Her research interests include improvisation, special needs interfaces and telepresence teaching and performing. She also serves as Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and she is executive director of Deep Listening Institute, Ltd. where she leads projects in Deep Listening, Adaptive Use Interface. She is the recipient of the 2009 William Schuman Award from Columbia University for lifetime achievement. A retrospective from 1960 to 2010 was performed at Miller Theater, Columbia University in New York March 27, 2010 in conjunction with the Schuman award. She received a third honorary degree from DeMontort University, Leicester, UK July 23, 2010. Recent recordings include Pauline Oliveros & Miya Masoka and Pauine Oliveros & Chris Brown on Deep Listening, http://paulineoliveros.us, and http://www.deeplistening.org/
David Grubbs - Grubbs has released eleven solo albums, the most recent of which is Hybrid Song Box.4 (Blue Chopsticks). He is known for his cross-disciplinary collaborations with writers such as Susan Howe and Rick Moody, and with visual artists such as Anthony McCall, Angela Bulloch, Cosima von Bonin, and Stephen Prina. He is an assistant professor in the Conservatory of Music at Brooklyn College and director of the graduate programs in Performance and Interactive Media Arts (PIMA). Grubbs was a 2005-6 grant recipient from the Foundation for Contemporary Arts and has been called one of two “Best Teachers for an Indie-Rocker to Admire” in the Village Voice and “le plus Français des Américains” in Libération.
Anne Bourne – With improvised streams of extended cello and voice, Anne integrates the experience of listening and composing for dance, film, experimental context, digital image media, chamber music, and words. She has created with Andrea Nann, Michael Ondaatje, Susie Ibarra, Eve Egoyan, Alvin Lucier, Nicolas Collins, John Oswald, Tom Kuo, Peter Mettler, Fred Frith, and Pauline Oliveros. Anne is interested in each musical expression being an offering of sonic activism, in the sense of resolution between tones, peoples, landscapes, and individual paradoxes through listening.
Carol Robinson’s Billows:
Billows is a twelve-section piece for basset horn or birbyne and a reactive electronic environment. Drawn from a series of recent pieces for solo instruments with live electronics Billows explores the shifting components of timbre and time.
Franco-American composer and clarinetist Carol Robinson has a multifaceted musical life, equally at ease in the classical and experimental realms.
Robinson often works closely with composers, but she also pursues new and alternative contexts for her work through collaborations with video artists, photographers, and musicians from diverse backgrounds. The freely converging musical world of her group Sleeping in Vilna is typical of what interests her. Improvisation is her passion. She began composing by writing for her own music theater productions, subsequently receiving commissions for concert pieces, installations, radio, dance and film productions. Her works often combine acoustic sounds with electronics, and her musical aesthetic is strongly influenced by a fascination with aleatoric systems. Particularly interested in dance, she has collaborated with choreographers Susan Buirge, Nadège MacLeay, Thierry Niang, François Verret, and Young Ho Nam.
In 2008, she was awarded a composition fellowship from the Civitella Ranieri Foundation. Her works have been recorded by the Hessischer Rundfunk, Saarlandischer Rundfunk, Lithuanian National Radio, and Radio France. Billows, for clarinets and live electronics, was released by Plush in 2009. Other recent releases include solo monograph recordings of music by Giacinto Scelsi, Morton Feldman, Luigi Nono, and Luciano Berio for Mode Records, Phil Niblock for Touch, as well as classical music and jazz for Syrius, BTL and Nato.
Carol Robinson was born in the United States and graduated from the Oberlin Conservatory. After receiving a H.H. Wooley grant to study in Paris, she settled in France.
Cornelius Dufallo
“…Mr. Dufallo demonstrated the rich sound he produces on an unmodified fiddle. But his playing is no less alluring on the electric violin…he showed how much amplification can expand the instrument’s palette. Far from robbing the violin of its beauty, electronics add textural elements and gradations of timbre that the acoustic instrument cannot approximate.” – Allan Kozinn, NY Times
Heralded by The New York Times as one of the “new faces of new music” in 1999, Cornelius Dufallo has since established himself as a constant innovator at the forefront of the American contemporary music scene. Currently he is director of the creative music ensemble Ne(x)tworks, and a member of the world-renowned amplified string quartet known as ETHEL. His ongoing commitment to cutting edge musical ingenuity has produced fascinating collaborations with many of today’s most compelling performers and composers.
This season Dufallo has crafted a new trajectory with the release of Dream Streets, a solo CD of his own music for electric violin on the Innova label. Time Out New York hails Dream Streets as “a beautiful, evocative disc of electroacoustic soundscapes…all [of which] serve as apt reminders of this vital artist’s considerable gifts.” Upcoming projects featuring music from Dream Streets include: solo appearances in New York, Buffalo, and San Francisco; a collaboration with choreographer Stacy Spence at NYU’s Tisch School of the Arts; and Journaling, a new series of concerts in which Dufallo documents his own work with extraordinary living composers while tracking various paths in twenty-first century music. Journaling (part one), taking place at The Stone in New York, also presents world premieres by Anna Clyne and Corey Dargel, as well as recent works by Alexandra Gardner, Annie Gosfield, and Huang Ruo. Dufallo’s upcoming recordings include discs of new music by John King and Neil Rolnick.
For this concert, Dufallo will be performing music from Dream Streets.
Artist-In-Residence: Matana Roberts, post-concert talk with Nate Chinen
“Ms. Roberts isn’t just mildly curious to expand her medium: She seems driven to do it.” – NY Times
“Matana is definitely nondescriptive. She’s not a lady, she’s not a man; she’s just a being…” – Jazz Times
“Roberts is a deep traditionalist who looks beyond the rigid distinctions and definitions of musical style” – Chicago Defender
“…alto saxophonist and clarinetist Matana Roberts –add this name to the frustratingly short list of excellent, female reed players…” – All About Jazz
“…Roberts is a fluid, elegant player who rejects the star soloist approach of many a saxophonist….” – BBC Jazz
“The sound of Matana Roberts’ alto sax spans jazz her-story, from its roots in New Orleans, through the swinging ‘30s-40s, to the New Thing.” – All About Jazz
A CAN CAN FOR COIN COIN…
Rooted in her strong belief that sharing honest creativity is a catalyst for instant community, Matana Roberts and ISSUE Project Room will join together for A CAN CAN FOR COIN COIN, a concert and food drive for her last performance as Artist-in-Residence on December 9th. While developing her blood narrative COIN COIN, she has been trying to connect the work to the social activism inherent in sharing art, and the devotion to community activism prevalent throughout in her family tree. In honor of her ancestors, she is creating this community-focused food drive benefiting the Bread and Life Soup Kitchen, a healthy food initiative that brings both physical and mental nourishment to in-need areas around Brooklyn.
Matana Roberts (Reeds)
Amelia Hollander (Viola)
Jessica Pavone (Viola)
Daniel Levin (Cello)
Keith Witty (bass)
Tomas Fujiwara (drums)
Daniel Givens (projections)
The concert will be followed by a talk with Nate Chinen, a regular music contributor to the New York Times, JazzTimes and The Village Voice.
COIN COIN: In Essence, a Musical Monument to the Human Experience
Matana will premiere the last of three new COIN COIN pieces which focus on spacial and environmental interplay while excavating themes relating to her familial heritage and own personal history.
Matana cultivates an environment where every surface, from walls to floors, to furnishings to large instruments, serve as sonic reciprocators. Keeping visual aesthetics in mind just as much as the auditory experience, and having utilized raw space and various architectures before, Matana creates a comprehensive sensory experience for the audience, attempting to create an intimate “womb” feeling.
Her work during the Residency focuses on and attempts to deconstruct recent discoveries in her lineage and family histories. Researching back to the 1700’s, Matana explores themes of hardship and perseverance while trying to find and construct her own identity. Since beginning this project, she has found that her lineage includes Irish, Dutch, Danish, English, Scottish, African and others, imploring a critical look
at the title “African American”.
Since her youth, Matana was surrounded by musicians who showed by distinct example the importance of listening to one’s personal creative voice while at the same time using the profound and many layered traditions of jazz and improvised musics to act only as her creative guide, not as her creative definer. By using their mentorship, she has been able to craft a voice and creative focus that truly speaks to her own artistic individuality. She feels strongly that her music should not only reflect the many colors and moods of universal human emotions, but that it should also testify, critique, document, and respond to the many socio-economic, historical, and cultural inequalities that exist all over the world.
Matana, a 2006 Van Lier fellow, Brecht Forum fellow, and 2008 and 2009 Alpert Award in the Arts nominee, has appeared as a collaborator on recordings and performances in the U.S., Europe, and Canada with her own ensembles as well as with the collaborative jazz trio Sticks and Stones, Black Rock Coalition founder Greg Tate’s Burnt Sugar, Reg E Gaines and Savion Glover’s homage project to the late John Coltrane, the Oliver Lake Big Band, and the Julius Hemphill Sextet and Merce Cunningham dance. She recently released a homage project to her hometown entitled The Chicago Project, on Barry Adamson’s Central Control International, produced by pianist extraordinaire Vijay Iyer, featuring friends and supporters of her Chicago development. She has also recorded as a side person on recordings with such iconic bands as Godspeed You Black Emperor, TV on the Radio, Guillermo Scott Herren’s Savath and Savalas, Silver Mt Zion, and sound artist Daniel Given’s Day Clear/Day dark. Matana is a member of the AACM– Association for the Advancement of Creative Musicians and the BRC– Black Rock Coalition.
To learn more about Matana’s vision for her residency, read her interview “In conversation with Matana Roberts, ISSUE’s Current Artist-In-Residence” with David Martinson or visit www.matanaroberts.com
ISSUE’s AIR program made possible, in part, through the generous support of the Jerome Foundation.
Artist-In-Residence: Matana Roberts
“Ms. Roberts isn’t just mildly curious to expand her medium: She seems driven to do it.” – NY Times
“Matana is definitely nondescriptive. She’s not a lady, she’s not a man; she’s just a being…” – Jazz Times
“Roberts is a deep traditionalist who looks beyond the rigid distinctions and definitions of musical style” – Chicago Defender
“…alto saxophonist and clarinetist Matana Roberts –add this name to the frustratingly short list of excellent, female reed players…” – All About Jazz
“…Roberts is a fluid, elegant player who rejects the star soloist approach of many a saxophonist….” – BBC Jazz
On November 18, Matana will present COIN COIN Happening II: Fields of Memphis, featuring violinist Mazz Swift
Matana ( mah-tah-nah)Roberts, is a dynamic saxophonist, composer and improviser, who tries to expose in her music the mystical roots and spiritual traditions of American creative expression.
As a Chicago native she was fortunate enough to be surrounded by musicians who showed her by distinct example the importance of listening to one’s personal creative voice while at the same time using the profound and many layered traditions of jazz and improvised musics to act only as her creative guide, not as her creative definer. By using their mentorship, she has been able to craft a voice and creative focus that truly speaks to her own true artistic individuality. She feels strongly that her music should not only reflect the many colors and moods of universal human emotions, but that it should also testify, critique, document, and respond to the many socio-economic, historical, and cultural inequalities that exist not only in this country, but all over the world.
Matana, a 2006 Van Lier fellow, Brecht Forum fellow, and 2008 and 2009 Alpert Award in the Arts nominee, has appeared as a collaborator on recordings and performances in the U.S., Europe, and Canada with her own ensembles as well as with the collaborative jazz trio Sticks and Stones, Black Rock Coalition founder Greg Tate’s Burnt Sugar, Reg E Gaines and Savion Glover’s homage project to the late John Coltrane, the Oliver Lake Big Band, and the Julius Hemphill Sextet and Merce Cunningham dance. She recently released a homage project to her hometown entitled The Chicago Project, on Barry Adamson’s Central Control International, produced by pianist extraordinaire Vijay Iyer, featuring friends and supporters of her Chicago development. She has also recorded as a side person on recordings with such iconic bands as Godspeed You Black Emperor, TV on the Radio, Guillermo Scott Herren’s Savath and Savalas, Silver Mt Zion, and sound artist Daniel Given’s Day Clear/Day dark. Matana is a member of the AACM– Association for the Advancement of Creative Musicians and the BRC– Black Rock Coalition.
ABOUT COIN COIN : a blood narrative in blacks, browns, reds , and blues….
Since 2005 Saxophonist/composer Matana Roberts has been experimenting on a sound narrative about the intricacies, contradictions and questions that surround the human bloodline experience. How when broken down into the most minute details new meanings arise beyond the surface levels of one dimensional human acceptance; generally attached to shades of difference, and fear of the unknown. Transcending sometimes the unbearable in order to create new possibilities of understanding the human condition.
Using herself and research she has done on her own bloodline history and various ensembles she leads as the “guinea pig” in this sound endeavor, she has been able to cull a myriad of rich and awe inspiring stories that speaks many interesting truths about the flexibility and wonder of individual understanding. Transversing the American South of days past– traveling reflections of African, French, Irish, English, Scottish, Canadian, and Choctaw, Cherokee, Chickasaw Native America history, Matana is weaving together stories and lore that speak to a very distinct, historically experimental, yet common, American experience. For her, a very personal search in sound practice that opens a dialogue for possibilities going beyond the specific; regenerating a focus that she hopes in the end celebrates the inherent potential that resides in the overflowing capability of human love, sadness, kindredness, perseverance, and joy
To learn more about Matana’s vision for her residency, read her interview “In conversation with Matana Roberts, ISSUE’s Current Artist-In-Residence” with David Martinson.
ISSUE’s AIR program made possible, in part, through the generous support of the Jerome Foundation.
C. Spencer Yeh + John Wiese
C. Spencer Yeh was born in Taipei, Taiwan 1975, moved to the US in 1980; studied radio/television/film at Northwestern University, and is now based out of Cincinnati, Ohio. Yeh is active both as a solo and collaborative artist, as well as with his primary project, Burning Star Core. As an improviser, Yeh is focused on developing a personal vocabulary using violin, voice, and electronics. As a sound artist/composer, Yeh works with all aspects available surrounding a work, aurally and physically, as elements key to the cumulative experience. He is concerned not only with the sensual aspects of ’sound organization,’ but the gestural qualities as well. Yeh has collaborated with a deep and ever-growing list of artists and groups, including Tony Conrad, New Humans with Vito Acconci, Evan Parker, Thurston Moore, Amy Granat with Jutta Koether, Okkyung Lee, John Wiese, Don Dietrich and Ben Hall (as The New Monuments), Prurient, and Jandek. He has performed at festivals and venues such as Sonar, FIMAV at Victoriaville, Frieze Arts Fair, No Fun Fest, NADA Art Fair, High Zero, the 24 Hour Drone People at Fylkingen, The Kitchen, ZKM Karlsruhe, and has also exhibited visual art, sound, and video works internationally. http://www.myspace.com/cspenceryeh
John Wiese is an artist and composer from Los Angeles, California.
His ongoing projects include LHD and Sissy Spacek, with plenty of freelance work
with many artists as diverse as Sunn O))), Wolf Eyes, Merzbow, Evan Parker,
Smegma, Kevin Drumm, Cattle Decapitation, and C. Spencer Yeh (Burning Star Core).
He has toured extensively throughout the world, covering Europe, Scandinavia and
Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet
including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States
alongside Wolf Eyes, and recently performed in the 52nd Venice Biennale with artist
Nico Vascellari. More information can be found at www.john-wiese.com.
Mari Kimura with Liubo Borissov and Kevork Mourad
Organic Digits: Kimura-Borissov-Mourad Project
Mari Kimura teams up with visual artists Liubo Borissov and Kevork Mourad, presenting everything from her virtuosic solo works of her signature bowing technique Subharmonics, to realtime interactive audio visual works, using Issue Project Room’s 15 channel diffusion system. Kimura’s violin and Mourad’s paintings are processed in realtime using MaxMSP/Jitter, a bowing motion sensor “Augmented Violin” (IRCAM), and Borissov’s interactive graphics video processing. Kimura will present her current works using the Augmented Violin system in collaboration with the Realtime Interaction Team at IRCAM, which allows her to ‘clone’ her playing by recording her bowing gesture along with sound. The program also includes a virtual video duet of Japanese Shamisen and violin, written by a Shamisen Master Mojibe Tokiwazu IV, the head of the House of Tokiwazu, the traditional Kabuki orchestra since the 1700s. Kimura will also present an elegant processing work by Japanese MaxMSP guru Takayuki Rai, and a blisteringly fast masterpiece by Conlon Nancarrow.
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http://www.marikimura.com
Please visit my Blog: “Extended Violin Diary”
http://subharmonics.blogspot.com/
VERGE Ensemble
VERGE Ensemble
an evening of electronic/computer music
Another Face for solo violin & video David Felder
Lina Bahn, violin
come into – a cello & computer improvisation Steve Antosca & Ignacio Alcover
Ignacio Alcover, cello
Steve Antosca, computer
threnody for clarinet and audio Larry Austin
David Jones, clarinet
Video IX for piano, computer and video Frederick Weck
Jenny Lin, piano
reaLive2008 (Steve Antosca)
Ignacio Alcover, cello
Steve Antosca, computer
Lina Bahn, violin
David Jones, clarinet
Jenny Lin, piano
VERGE ensemble, formerly known as the The Contemporary Music Forum, has been presenting concerts of new music to Washington audiences for 35 years. Throughout its existence, the ensemble has pioneered the performance of works involving music and technology, and supported music by American women composers, Native American composers and the music of African-American composers.
The ensemble recently performed an all John Cage concert at the National Gallery of Art as part of the Gallery’s 62nd American Music Festival in conjunction with the Gallery’s exhibit Jasper Johns: An Allegory in Painting 1955 – 1965. In May 2007, the ensemble joined Ensemble Aleph at Theatre Dunois in Paris for the Festival de musique Americaine to present four concerts of American music.
For the 2007/2008 season, VERGE worked with the Embassy of France to create a unique, year-long collaboration between French and American musicians, promoting new American and French music. A consortium of venues in Washington participated in these events including The National Gallery of Art, La Maison Francaise, the Corcoran Gallery of Art and Loyola College in Baltimore.
In November 2007, this collaboration produced a world premiere of Sanctuary, a work for percussion and computer by Roger Reynolds at the National Gallery of Art East Building and a concert of French violin and piano music at La Maison Francaise. The festival included a series of three concerts in Washington with VERGE and Ensemble Aleph in April 2008.
During the 2008/2009 season, VERGE promoted the 3-gen festival in Washington. The festival included special concerts throughout the Fall celebrating the centennial birthdays of Elliott Carter and Oliver Messiaen at the Corcoran Gallery of Art, the National Gallery of Art, La Maison Francaise and the Library of Congress.
VERGE ensemble was in residence at Cleveland State University in October 2008 and will be in residence at June in Buffalo in 2009.
VERGE ensemble is the new music ensemble in residence at the Corcoran Gallery of Art in Washington, DC.
tony conrad + m.v. carbon
January 03, 2008
If Tony Conrad’s powerful sound has its roots in “minimalism”, M.V. Carbon’s music introduces a more contemporary but equally aggressive practice. Meeting as they do with violin and cello above a unifying drone, Conrad and Carbon explode the space we normally think of in connection with string quartets, waltz music, and country fiddlin’. Chaotic parameters are bent and rigorously sculpted using techniques that have been revealed through enduring experimentation. Their tangles of sounds incite a tumbling clash of traditions. The interplay of their approaches reflects the split personality of today’s listeners, who want to discover the thrill of music in a rich sonic imbroglio.
mv carbon
8 pm $10
