Fresh Sound: Two concerts in October 2012
Oct. 2nd and Oct. 18th
Space 4 Art
325 15th (between J and K)
San Diego, CA 92101
These are both very different concerts, as is our wont to do, especially during this Season with the Crossover theme. Oct. 2: I have heard Ken Filiano many times but during my last trip to NY I heard Anders Nilsson live for the first time and was completely dazzled. Together — well . . . dazzling! Oct. 18: We presented en echo back in 2004 and were thrilled to learn that we would be able to present it again. What with Manoury’s composition, Puckette’s execution of the electronics, and Snapper’s stellar soprano voice, this is a major work here in our own hometown.
Tuesday, October 2
Ken Filiano, bassist and Anders Nilsson, guitar
Bassist Ken Filiano and guitarist Anders Nilsson first met in 2000 at a jam session in New York City. Ever since a musical and personal friendship has been forged based upon trust and intuition. This intuitive bond comes in handy when they embark into the magic of in-the-moment improvisation or dissecting composed structures. They treat music as a rollercoaster of dynamic expression over-riding stylistic constraints, weaving in and out of free improvisations, original compositions, and perhaps a standard or two with a sense of drama, seamlessness and humor. Over the years they have performed numerous concerts, both in the US and Europe, as joint members of several groups – with Fulminate Trio (together with percussionist Michael Evans), Fay Victor Ensemble, Anders Nilsson’s AORTA Ensemble, with California poet Bonnie Barnett, and occasionally as a duo. This San Diego performance marks their first appearance together on the West Coast.
En echo is a succulent extravaganza of computer-generated sounds interacting with the purity of a solo soprano.”-Keith Potter, The Independent (London)
These settings of seven short poems by Emmanuel Hocquart, for soprano and live electronics, share a central concern but present seven highly individual excursions, both textually and musically. This diversity is balanced by a rich network of cross-references, both on the surface and underneath. The sonic world of the piece reflects Manoury’s longtime interest in using live electronics as an extension of live instruments. En écho marks the culmination of Manoury’s eight-year period of research at IRCAM in collaboration with Puckette, during which they worked out techniques for synchronizing electronic music with live performers, and for using the sonic quality of the instrument (in this case Snapper’s voice) to control selected aspects of the overall sonority of the