From New York’s ISSUE PROJECT ROOM:
10/05 @ 8:00pm
Emerging Artists Commission
For his Emerging Artists Commission, Doron Sadja will premiere Breath, Heart, Skin. — a new work for solo electronics utilizing ISSUE’s unique multichannel sound system. Delicate, slow, and synthetic, Breath, Heart, Skin. combines pristine electronics with lush romantic synthesizers, extreme frequencies, and computer-enhanced cello/clarinet/percussion to create a post-human, hyper-emotive landscape. Doron Sadja is a Brooklyn-based sound and visual artist investigating how sound, light, movement, and the body can react to and augment the architectural, atmospheric, and psychological space of the performance environment.
10/06 @ 7:00pm
at 110 Livingston
Ergodos + Ekmeles
+ Ascoli Ensemble
ISSUE Project Room presents three ensembles exploring and pushing the boundary of contemporary vocal music: Ergodos, a production company and ensemble based in Dublin, Ireland; The Ascoli Ensemble, a vocal sextet performing medieval and contemporary work based in The Netherlands; and New York’s own Ekmeles, led by baritone Jeffery Gavett. They take inspiration from Greek theory, medieval manuscripts, and the 12th-century music of the French organum master Léonin. The performance will take place at ISSUE’s future home at 110 Livingston in Downtown Brooklyn, one of a handful of authentic European style chamber halls in the United States.
10/07 @ 8:00pm
at 110 Livingston
Telebossa, made up of Brazilian Chico Mello and Berlin-based cellist and producer Nicholas Bussmann explore the intersections of bossa nova and European chamber music. Repetitive cello figures, spacious, pounding bass and gently bubbling electronics, with the occasional tenderly strummed guitar and hushed vocals, are reminiscent of the transparent sambas of the Argentinean Juana Molina or the minimalist disco cellist Arthur Russell.
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From BBC News, a review of a new Zappa memoir:
But by and large her new memoir of the Zappa years will disappoint anyone who thinks it must have been non-stop hedonism and exotic substances. She says Zappa’s true character was not as outsiders expected. “Frank Zappa was so serious about his work: it was his whole life. He did nothing but get up in the morning, compose all day at the piano and then go to bed. Between times he was chain-smoking and drinking endless cups of coffee. The melee went on around him but he ignored it.
From Red Light New Music:
New York City-based composer collective and new music ensemble
RED LIGHT NEW MUSIC
presents its FIRST MAINSTAGE CONCERT of the 2011/2012 SEASON
IN A LANDSCAPE: MUSIC AS A MAP
8pm MONDAY OCTOBER 3, 2011
at PETER NORTON SYMPHONY SPACE’s LEONARD NIMOY THALIA
8pm Monday, October 3, 2011, the enterprising composer collective and new music ensemble RED LIGHT NEW MUSIC, presents IN A LANDSCAPE: MUSIC AS A MAP, the first of three mainstage performances at New York City’s pre-eminent multi-disciplinary performing arts center, PETER NORTON SYMPHONY SPACE’s LEONARD NIMOY THALIA.
IN A LANDSCAPE: MUSIC AS A MAP
JOHN LUTHER ADAMS: The Light Within
VINCENT RAIKHEL: Cirques and Moraines (world premiere)
CHRISTOPHER CERRONE: The Night Mare (world premiere)
CHAYA CZERNOWIN: Lovesong (NYC Premiere)
Curated by the directors of Red Light New Music, Scott Wollschleger, Liam Robinson, Vincent Raikhel and Christopher Cerrone, and led by conductor Ted Hearne, IN A LANDSCAPE: MUSIC AS A MAP brings the audience on a musical journey into natural and imagined landscapes, and relationships of influence and time.
Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.
Vinny Golia Quartet – Take Your Time (2011)
Led Bib – Arboretum (2005)
Led Bib – Sensible Shoes (2009)
Tyshawn Sorey – Oblique – I (2011)
Amir ElSaffar / Hafez Modirzadeh – Randif Suite (2010)
This recent download release by New Haven, Connecticut based composer and multi-instrumentalist Carl Testa provides a good introduction to his work in the solo and small group formats. Testa, who organizes New Haven’s Uncertainty Music Series, performs in a variety of projects on electronics, double bass and bass clarinet; Solos/Trios finds him creating sounds on the former two platforms.
The album begins with Testa embarking on four brief and varied excursions into electronic improvisation, recorded live at Brown Rice in Chicago on 16 February, 2010. “Electronics 1” uses synthesizer and processed sounds of appliances, creating a surging and burbling foundation supporting sounds reminiscent of mallet percussion. The emulated game system sounds of “Electronics 2” make for bursts of distortion sounding like a gaming arcade gone mad. “Electronics 3,” described as an improvisation for “wavering electronics,” throws out wobbling tones in upper and lower registers, while “Electronics 4” exploits low frequency sounds to set up a throbbing drone that occasionally mimics a bass drum.
The electronic pieces are followed by two group improvisations for a trio consisting of Testa on double bass, Nick Broste on trombone and Jeff Kimmel on bass clarinet. Without a harmony instrument to provide a chordal background, the clarity of the three intertwining lines can assert itself, as ad hoc harmonies emerge and disperse spontaneously as artifacts of free counterpoint; the instrumentalists find and create their own rhythms as the flow of their interlocking melodies allow. Each trio improvisation allows individual space for Testa, Broste and Kimmel, creating a low-density sound that evokes the openness of modernist chamber music, albeit with a strong jazz flavor. The two trio performances are thoughtful and evocative, with the combination of the three lower-registered instruments—the winds contrasting with Testa’s pizzicato bass–creating an introspective, chiaroscuro atmosphere.
The closing piece is an improvisation for solo double bass that, like the trio improvisations, was recorded live at Elastic Arts in Chicago in February 2010. Testa begins with sul ponticello bowing on open strings to pull a bright set of overtones from the bass, creating pulsing drones marked by variable shadings of color; tension builds with an irregular vibrato leading to slashes of discordant and consonant stacked tones, culminating in washes of harmonics.