From I Care If You Listen:
Petr Kotik is the founder and artistic director of the biennial Ostrava Days which includes a three-week compositional institute (August 10-29, 2015) and a nine-day festival of avant-garde music (August 21-29). The works of emerging composers are performed as equals alongside established new music composers, transforming a small Czech Republic town known for its coal and steel into a hub for new music and avant-garde masterpieces.
From Chicago’s Elastic Arts:
Fred Lonberg-Holm July/August Residency celebrating 20 years in Chicago
July 7th: Lightbox Orchestra
July 14th: Amen (Lonberg-Holm/Mazzarella/Hatwich/Ra)
July 21st: Fred Lonberg-Holm’s Fast Citizens
July 28th: Vox Arcana Freestyle w/ Marvin Tate
Stirrup (Fred Lonberg-Holm – cello, Nick Macri – bass, Charles Rumback – drums
Aug 4th: Stirrup with special guest Avreeayl Amen Ra – drums
Aug 11th: Stirrup with special guest Russ Johnson – trumpet
Aug 18th: Stirrup with special guest Jen Clare Paulson – viola
Aug 25th: Stirrup with special guest Peter Maunu – guitar; Avreeayl Amen Ra – drums
Fred Lonberg-Holm is the Elastic Arts Musician-in-Residence this summer. He’s also the first subject of the Now Is Podcast, a new Chicago-focused music podcast, hosted by Now-Is.org, in which musicians are played music without knowing what they’re going to hear, and asked to react in whatever way they see fit.
On July 3rd, 2015, Ben Remsen sat down with Fred Lonberg-Holm in his house in the Ukranian Village neighborhood of Chicago, petted his dog, and played him eleven tracks by his friends, collaborators, teachers, and peers. This is what he had to say.
From The Rumpus.net:
Frederic Rzewski is one of the most original and brilliant American composer-performers on the scene during the last half-century. His The People United Will Never Be Defeated, a set of thirty-six variations on Sergio Ortega’s El pueblo unido jamás será vencido, is an iconic work of the piano repertoire, as are the Four North American Ballads. Frederic is a very prolific composer, having written a great deal for his own instrument, the piano, as well as works for orchestra, for the theater, and for various conventional as well as unique combinations of musicians, such as Les Moutons de Panurge, which is scored for “any number of musicians playing melodic instruments and any number of non-musicians playing anything”.
From the Noisy People Podcast:
Most artists, either through their own natural inclination or following commercial considerations, limit their work, and thereby also their Musical Brand Image to a particular identifiable style or genre. My guest John Schott has not done this. Instead he has followed his Hoover-esque appetite for music of all types and styles, and his own music has incorporated these diverse influences, from traditional musics from every continent to American jazz, folk and pop traditions to 20th century serial and post-serial composition. If I seem to imply that this makes him a dilettante, you misunderstand me: he’s a deep and serious student of musical tradition, and of the culture and way of life of musicians. The result has been an array of recorded compositions, large and small, for ensembles large and small, in an unprecedentedly wide array of styles. Our hours-long conversation was a blast and ranged over a wide array of subjects – it took me weeks to figure out how to cut it down to size for this podcast! But I concentrated in the editing on his more philosophical insights about the place of music in culture and the lives of musicians.
From the International Contemporary Ensemble:
Denovali releases Mario Diaz de Leon’s latest record, The Soul is the Arena, featuring ICE on July 17. ICE flutist Alice Teyssier talks with Diaz de Leon about his decade-long relationship with ICE, the role of metal, mythology, mysticism in his music, as well as upcoming projects.
From James Saunders:
Known for his fluid development of multiphonic aggregates to produce a constantly changing patterning, Evan Parker has evolved an instantly recognizable sound. Despite the flux of the music’s surface, he talks of his recent exploration of limited interval types to underpin his improvisations, emphasizing the reduced nature of his approach. Here practise and memorization are important, allowing the development of sequence-building methods which inform subsequent performances. The impact of group work is also of note: specific developments in his technique arose from the necessity of responding to the musicians around him, leading to the possibility of working as a soloist. Recently, his exploratory work with different groupings of musicians, taking on ‘the specifics of time and space’, has allowed the further development of the research ethos that lies at the heart of improvisation. Finding new things in new or old situations is central to experimentation. There are moments which leave an indelible mark on your memory, and hearing Parker perform live for the first time was, for me, one of these. At the beginning of a workshop in Huddersfield whilst I was a student, he talked a little about what he did, and then played for five minutes: I was completely unprepared for the complexity of the sound, and the shape of the resultant performance, and it has stayed with me since then.
From Free Jazz:
Bill Dixon‘s works are of supreme importance to me. Bill really created his own unique vocabulary. So personal and astonishing on many levels. Extension of what a trumpet could do, what an ensemble could do. Autechre has aways been a strong influence since they started. Again, a sound that is as personal as it is original. Morton Feldman‘s music is a constant. Such resonances, a unique vocabulary all his own.