Kathleen Supové, Melvyn Poore & Cort Lippe Coming to New York’s Interpretations

English: Melvyn Poore, moers festival 2010
English: Melvyn Poore, moers festival 2010 (Photo credit: Wikipedia)

From Interpretations:

Thursday March 21, 2013
8PM at Roulette, in Downtown Brooklyn
509 Atlantic Ave (corner of Atlantic and 3rd Ave)

Expressive re-imaginings of solo instruments and electronics: Pianist Kathleen Supové takes off with compositions for piano and soundtrack by Lainie Fefferman, Matt Marks, and Randall Woolf, inspired by Claude Debussy, and featuring the premiere of “Flaming Pairs” by Eric Lyon, part of an evening length work entitled “Earth To Kathy“. PLUS: New concepts for solo tuba technique and sound design from English tubist Melvyn Poore and sound artist Cort Lippe.

Kathleen Supové is one of America’s most acclaimed and versatile contemporary music pianists. She regularly presents a series of solo concerts entitled “The Exploding Piano”, in which she has performed and premiered works by the world’s leading composers as well as countless emerging ones. “The Exploding Piano” is a multimedia experience that employs theatrical elements, vocal rants, performance art, staging, electronics, and collaboration with artists from other disciplines. Kathleen has appeared with The Lincoln Center Festival, The Philip Glass Ensemble, Bang On a Can Marathon, Music at the Anthology, The Bill T. Jones/Arnie Zane Dance Company, and other venues, ranging from concert halls to theatrical spaces to clubs. Her most recent recordings can be found on the Tzadik, CRI, Innova, New World, Neuma, Bridge, Centaur, OO, and XI labels.

Born in England and based in Köln, Germany, Melvyn Poore employs a diverse array of reconfigured tuba performance practice in both concert music and improvised music. He has given numerous local and world premieres of works for tuba, including works by Harrison Birtwhistle and Jonathan Harvey (in a piece for tuba and orchestra written specifically for Poore). Since 1994, Melvyn has been a member of the musikFabrik, a leading ensemble for new music based in Germany. As Research Assistant at Salford College of Technology, England he explored the use of the Composers Desktop Project (CDP) in live performance practice. He has worked as Guest Artist at the Centre for Art and Media Technology (ZKM), Institute for Music and Acoustics on aspects of real-time sound processing and as Visiting Professor for Electro-acoustic Music at the Royal College of Music, London.

AMN Reviews: Frances White – In the Library of Dreams

[Pogus 21064-2]

The suite of works that make up “In the library of dreams” is Frances White’s aural portrait of the dream world and its intersections with and interventions into the waking world. Frequently the mixture of electronic and acoustic elements in these pieces is reminiscent of those incongruous states where fragments of the previous night’s dreams spontaneously erupt into daily activities.

The CD opens with the shakuhachi piece Choshi, played by Ralph Samuelson. This sparely haunting work, which traditionally functions as a prelude, sets the tone for the recording to follow. Echoes of Choshi’s melody appear in “The ocean inside,” performed by a mixed quartet of winds, strings and percussion. Here an atmosphere of suspense alternates with the release afforded by a finely etched counterpoint, culminating in the kind of uncanny sensation that might follow on the sudden eruption of a recollection hovering at the edge of awareness. The title track features David Cerrutti’s pensive viola d’amore solo, which is evocative of the slightly askew logic that pervades the dream world. (In fact according to the liner notes the piece is based on a real dream White had of searching unsuccessfully for a troubadour melody in a library that dissolves as she moves through it.) Bookending Cerrutti’s solo are two “Walks through Resonant Landscapes,” electronically modified field recordings White created of the part of New Jersey where she resides. The final track features baritone Thomas Buckner’s narrative of a text written by James Pritchett, which is framed by the sounds of live viola with recorded violin.