New Music Circle 2015-2016 Season

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English: Susan Alcorn

From St. Louis’s New Music Circle.

Saturday, April 16, 2016, 8:00 PM concert, 7:00 PM doors
at The Stage at KDHX, 3524 Washington Ave. 63103
Tyshawn Sorey — drums, Corey Smythe — piano, Chris Tordini — bass

March 25 or 26, 2016 (exact date TBA), 8:00 PM concert, 7:00 PM doors
at The Stage at KDHX, 3524 Washington Ave. 63103
http://thenecks.com

Saturday, March 5, 2016, 8:00 PM concert, 7:00 pm doors
at The 560 Music Center, 560 Trinity Ave, 63130
http://spektralquartet.com
Spektral QuartetSpektral Quartet

January 22nd or 23, 2016, Concert 8:00 PM, doors 7:00 PM
at Joe’s Cafe, 6014 Kingsbury Ave., 63122 (map)
Susan Alcorn — pedal steel guitar, Frank Rosaly — drums
Alcorn-Rosaly

Saturday, November 7, 2015, Concert 8:00 PM, Doors 7:00 PM
at The Pulitzer Arts Foundation, 3716 Washington Blvd, 63108
Charlemagne Palestine — piano

Friday, October 2, 2015, concert 8:00 PM, doors 7:00 PM
Joe’s Cafe, 6014 Kingsbury Ave., 63122 (map)
Evan Parker — saxophones, Peter Evans — trumpet

Seattle Scene: August 7-15, 2015

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From Seattle’s Wayward Music Series:

WAYWARD MUSIC SERIES
Chapel Performance Space at Good Shepherd Center
4th Floor, 4649 Sunnyside Ave. N, Seattle 98103 (corner N 50th St. in Wallingford)
Every month, Nonsequitur and a community of like-minded presenters and artists offer ten concerts of adventurous music in an informal yet respectful all-ages setting: contemporary classical, free improvisation, the outer limits of jazz, electronic music, microtonal/new instruments, sound art, and other extraordinary sonic experiences.

No UFO’s + Karl Fousek + Visible Cloaks
Fri. August 7, 8 PM; $5 – $15 at the door

An evening of varied electronic music. No UFO’s (Vancouver) has produced a series of acclaimed works that borrow from Godard films, Pop Art, concrète and dub; Karl Fousek (Montreal) is an electronic composer whose recent work has focused exclusively on analog voltage controlled modular synths; Visible Cloaks (Portland) is a duo that investigates both inverted pop structures and long-form sound collage in a fluid mix.

Odd Partials & Marcin Paczkowski
Sat. August 8; 8 PM; $5 – $15 at the door

Odd Partials is the recently arrived Texas duo of clarinetist Rachel Yoder and composer/computer musician Greg Dixon. They perform interactive compositions by a variety of composers, as well as live improvisations. Marcin Pączkowski is a composer, conductor, and performer, working with traditional and electronic media, currently a doctoral student at UW’s DXARTS.

THU. 8/13 – Douglas DeVries (flute/electronics) & Yvonne Chen (piano) play music by Alexandra Bryant, Daniel Knaggs, Evan Fein, and more

FRI. 8/14 – Parnassus Project plays music by John Adams, George Crumb, Osvoldo Golijav, and Cole Bratcher

SAT. 8/15 – Due to cancellation, THIS DATE IS AVAILABLE! Contact Steve if interested. If you’ve never played a Wayward gig, read this first.

DOWNTOWNMUSIC.NET Photos

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From DOWNTOWNMUSIC.NET:

July 9, 2015
Raymond Strid & Ståle Liavik Solberg, 5e, Copenhagen
Ståle Liavik Solberg Raymond Strid

July 9, 2015
Stefan Pasborg, Liudas Mockūnas, Peter Friis-Nielsen, 5e, Copenhagen
Peter Friis-Nielsen Liudas Mockūnas Stefan Pasborg

July 9, 2015
Shitney Spears, Jazzhouse, Copenhagen
Katrine Amsler Maria Faust Qarin Wikström

July 9, 2015
Dødens Garderobe with Laura Toxværd, 5e, Copenhagen
Nicolai Kaas Claesson Rune Lohse Laura Toxværd Jeppe Zeeberg

July 9, 2015
Stingray!, 5e, Copenhagen
Sture Ericson Ingebrigt Håker Flaten Raymond Strid

July 9, 2015
Lotte Anker Double Trio, 5e, Copenhagen
Lotte Anker Sture Ericson Ingebrigt Håker Flaten Ståle Liavik Solberg Raymond Strid

July 9, 2015
Sture Ericson, Adam Pultz Melbye, Ståle Liavik Solberg, 5e, Copenhagen
Sture Ericson Adam Pultz Melbye Ståle Liavik Solberg

July 8, 2015
Caribisk, Jazzhouse, Copenhagen
Nis Bysted Oliver Hoiness Rune Kielsgaard Jesper Zeuthen

Musique Machine Reviews

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From Musique Machine:

D.S.W.A.C.V – Venus In Furs
Architects Office – Soundtracks
Shroud Of Vapour – Suicide Forest Sessions
Rapoon – Seeds in the Tide Volume 03
Hiroshi Hasegawa & Vitaly Maklakov – Untitled

Adam Rudolph’s Go: Organic Orchestra August Performances in NY

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Adam Rudolph and Moving Pictures in 2006.

From Adam Rudolph:

Summer Concert Residency
Go: Organic Orchestra
woodwinds, brass, strings, percussion

Sundays August 9, 16, 23, 30
7:30 pm $15
Brooklyn Conservatory of Music
58 Seventh Ave, Brooklyn, NY 11217

Music composed and improvisationally conducted by ADAM RUDOLPH

Performing artists

Kaoru Watanabe – noh kan, fue, c flute
Michel Gentile – c and alto flute, bamboo flutes
Ze Luis – c and alto flute, bamboo flutes
Sylvain Leroux – tambin, flute
Mariano Gil – bass flute, alto flute

Ned Rothenberg – b flat & bass clarinet, shakuhachi
Avram Fefer – b flat clarinet, tenor saxophone
Ivan Barenboim – b flat clarinet
J.D. Parran – e flat clarinet, contra bass clarinet, bamboo flutes
Sean Sonderegger – b flat clarinet, contra bass clarinet, ney

Sara Schoenbeck – bassoon, sona
Batya Sobel – oboe

Graham Haynes – cornet, flugelhorn, bamboo horn
Stephen Haynes – trumpet, conch, bamboo horn
Peter Zummo – trombor, didjiridoo
Libby Schwatrz – french horn
Benjamin Stapp – tuba, bamboo horn

Jason Kao Hwang – viola
Stephanie Griffen – viola
Gwen Laster – viola
Melanie Dyer – viola
Alva Anderson – viola, voice
Julianne Carney – violin
Trina Basu – violin
Sarah Bernstein – violin
Rosemarie Hertlien – violin
Elektra Kurtis – violin
Mark Chung – violin
Sanaco Nagano – violin
Yamamoto Midori – violin
Leco Reis – contrabass
Emma Alabaster – contrabass

Jame Hurt – sogo and kidi drums, percussion
Matt Kilmer – djembe, frame drums, percussion
Tripp Dudley – djembe, frame drums, percussion
Shakoor Sanders – bata, congas, percussion
Joe Hertenstien – percussion

Kenny Wessel – el. guitars, banjo
Marco Cappelli – acoustic guitar
Alexis Marcelo – piano, fender rhodes
Damon Banks – bass guitar

AMN Reviews: Stefano Scodanibbio – Incontri & Reuniones [Angelica IDA033]

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ida033-stefano-scodanibbio-incontri-reuniones-mediumDouble bassist Stefano Scodanibbio was a superlatively inspirational figure not only in the world of the double bass, but in the larger world of new music as well. Even three years after his premature death of ALS this sense of inspiration hasn’t dissipated but rather continues to come through whether in the work being done by those directly influenced by his example—the fine Norwegian bassist Hakon Thelin comes immediately to mind—or in the underlying warmth that seems to pervade the recordings of his encounters with other musicians. The present set of duets and trios spanning 1996-2008, put together by Massimo Simonini in accordance with Scodanibbio’s wishes, provides unmistakable evidence of the musical charisma the bassist could summon in intimate settings.

Although Scodanibbio was known above nearly all else as a masterful interpreter of new, often very difficult works by contemporary composers—think of his adaptation for the double bass of Luciano Berio’s Sequenza XIV for cello; his realization of works written for him by Iannis Xenakis, Luigi Nono, Brian Ferneyhough and others; and his transcription and performance of Cage’s notorious Freeman Etudes. (Speaking of Cage, the composer was on record as maintaining that Scodanibbio was the definitive interpreter of Ryoanji on double bass—no small praise, as Cage could express dissatisfaction with what he considered performers’ taking undue license in the handling of that piece.) “Nearly all else,” because he was perhaps foremost as an improviser, albeit an improviser with a strongly innate compositional sense who was adept at creating coherent structures in the moment, with whomever happened to share that moment with him. This essential aspect of his playing stands at the core of these exhilarating performances.

On all seventeen of these tracks, Scodanibbio’s ear for composition reveals itself in his choices of timbres and in the instinctively contrapuntal phrasing he layered under or over another player’s line. Both of these qualities were two sides of the same coin; his timbral choices served to create complements to or contrasts with their surroundings, depending on the desired effect, while his sense of phrasing was one that encompassed a unity made up of equal parts pitch and timbre. His trademark integration of harmonics at all points on the instrument with conventional notes allowed him to create highly organic, often lyrical phrases of sharply contrasting timbres.

The majority of the duets in this collection are for strings: Ten for double bass and cello, and one for double bass and viola. This latter, a 2006 encounter with Garth Knox, allows Scodanibbio to elaborate on the methods of real-time composition he developed to a fine degree—the construction of solid textures and cohesive melodies out of the shimmering, ghostly sounds of harmonics and sul ponticello bowing. The contrast of these sounds, at once keen-edged and robust, with Knox’s pointed pizzicato playing is particularly memorable. The eight brief duets recorded in 2008 with cellist Rohan de Saram—who played on Scodanibbio’s Six Duos CD of 2001—explore a quite different realm of sounds. Here the emphasis is on pure color, with both instruments seeming to decompose into their constituent raw materials. Scodanibbio’s duet with cellist Tristan Honsiger, recorded in Honsiger’s home in 2002, starts out in a similar manner—a woody, rattling flourish of pizzicato and strikes with the wood of the bow—but its stabs and arco swoops mutate into the CD’s closest approach to conventional counterpoint for strings, with Scodanibbio undergirding Honsiger’s hyperkinetic melodies.

Scodanibbio’s playing could at times take on the character of the sarangi, the cello-like North Indian instrument often used to accompany vocal performances. Terry Riley, represented here playing Korg Triton synthesizer on a duet recorded in Granada, Spain in 2000, found this dimension of the bassist’s sound attractive. The two recorded a CD together of modally-inflected music in just intonation; the Granada improvisation continues in a similar vein. Scodanibbio provides a percussion-like propulsion to the music, bouncing the bow off the strings to produce a skipping tango-ish or vaguely Middle Eastern rhythm. A 2005 duet with cellist Frances-Marie Uitti, whose unique style of play involves the use of two bows at once, extends the North Indian flavor by starting with a tamboura-like drone, which forms the basis for a gradual move into changing chords supporting a somber lyricism.

The disc is rounded out with three trios for double bass, trombone and percussion, and two pairings with soprano saxophonist Bruce Ackley. The duets with Ackely, recorded in 1996 in Oakland, make good use of dynamic variations and draw on Scodanibbio’s ability to use bow articulations to mimic the sound of the wind instrument, which Ackley puts through a program of trills, whistles, multiphonics and runs. On the three trio improvisations recorded in concert in Parma with trombonist Mike Svoboda and percussionist Michael Kiedaisch in 2004, Scodanibbio’s contrapuntal playing takes on a rhythmic character. Instead of weaving countermelodies around Svoboda’s shouts and whispers, he plucks, strikes and taps in the spaces Kiedaisch opens up along the way.

http://www.aaa-angelica.com/aaa/

Daniel Barbiero

 

License and Restriction in a Work by La Monte Young at Dia Chelsea

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From The New York Times:

Some kind of tension, real or metaphorical, is primary for the life force of any music. La Monte Young’s music can have lots of tension with very few notes, and the performance of one of his early pieces at Dia: Chelsea’s “Dream House” on Friday had it in every aspect of its experience.