Daniel Barbiero Interviewed About Latest Album

daniel-barbiero-by-h-paul-moon-900x506Source: Bandwidth, interviewing AMN reviewer Dan Barbiero.

Anybody who talks to bassist/composer Daniel Barbiero about his favorite intellectual pursuits is likely to come out of the conversation feeling like it provided an IQ boost. Take the Silver Spring resident’s musical approach, for instance: It’s based on the teachings of Ancient Greek philosopher Heraclitus. “He expressed himself obliquely, often through paradoxes or riddles,” explains Barbiero. “As with music, expression hinges on connotation and suggestion rather than denotation or declaration.” His new album, An Eclipse of Images, draws from a similarly lofty place: philosopher Jean-Paul Sartre’s French language analysis of the symbolist poet, Stéphane Mallarmé, titled La lucidité et sa face d’ombre.

Read our review of Eclipse of Images.

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AMN Reviews: Morton Subotnick – Music for the Double Life of Amphibians [Wergo 73122]

wer73122_648pixelThe literal meaning of “amphibian” is “double life” and applies to animals living part of their lives in water and part of their lives on land. In the program note to his electroacoustic classic Music for the Double Life of Amphibians, Morton Subotnick states that “amphibian” is to be taken as a metaphor for the work’s structure and programmatic content, which follow a metamorphosis of being through the stages of amphibian to beast to angel. But it also applies to the musical material, the double life of which plays itself out in its inhabiting the two environments of electronic and acoustic sound.

The electronic element, which Subotnick terms “ghost electronics,” consists of interactive live sound processing triggered by data programmed onto tape or into a computer. The programming, which Subotnick developed in collaboration with the late Don Buchla, is accomplished through gestures performed on the touch plate of a Buchla machine; these recorded gestures then serve as scores to guide a setup of live electronics—the performances here use Buchla synthesizers–which modifies the sounds of acoustic instruments or voices fed in through microphones. The “ghost” in the process is the recorded gesture—an action completed in the past and memorialized in the material trace of the tape (later, Max/MSP)—which projects itself into the present of a real-time performance, altering the sounds of the latter as it does.

Taken in sequence, the work’s three parts purport to trace an evolutionary path upward from life in water to life in air. Part I, Amphibians (1980-1981), is made up of two sections. The first, Axolotl, is named for a lake-dwelling amphibian that, though it possesses elementary lungs, never actually undergoes metamorphosis to reach an earth-dwelling, air-breathing stage. Scored for cello (Joel Krosnick) and electronic ghost score, Axolotl calls for a virtuoso performance of conventional and extended techniques: Extreme and rapid leaps of register, sometimes violent percussive gestures, tremolo bowing, energetic glissandi, and more. The electronic processing pitch-shifts the instrument’s sound to get a mildly choric effect and also serves to flatten the cello’s native resonance into a slightly brittle, unnatural timbre. The second section is Ascent into Air, for mixed chamber ensemble and electronics. Ascent begins with brooding, dense and often tense blocks of sound dominated by the cellos and the pianos’ lower registers; gradually the texture rarefies as individual instrumental voices separate out and the pitch color lightens to include higher registers for strings, piano, clarinet, percussion and electronics. Part II consists of The Last Dream of the Beast (1979, revised 1982/84), which appears here scored for soprano, two cellos, Buchla synthesizer and ghost electronics. Originally conceived as a theatrical piece, the version here is an aria-like vehicle for a bravura performance by Joan La Barbara, whose wordless, urgent voice is electronically distorted into a dreamlike, disorienting sound as it skitters over a dark ground of somnolent, low drones. Completing the work’s progression of metamorphoses is A Fluttering of Wings (1981) for string quartet and ghost electronics, energetically played by the Juilliard String Quartet. The four-section piece eschews conventional contrapuntal writing for string quartet; instead, it deals in a thickening and thinning of rapid and less rapid sequences of sounds. The ghost electronics produce a strobe-like effect on the strings that creates the audio image of beating wings or of bodies swooping and hovering in air.

Music for the Double Life of Amphibians was originally released on three LPs on the Nonesuch label in the early 1980s. This CD reissues those recordings—a most welcome development that collects this fine, once-scattered work in one place.

http://www.wergo.de

Daniel Barbiero

This Week in New York 

Estonian composer Arvo Pärt in Christchurch Ca...

Source: I CARE IF YOU LISTEN.

O R B I T | CONTEMPORANEOUS
O R B I T is an immersive musical experience that traces the seasonal cycle through sound and light and explores the idiosyncratic and alluring spaces of Saint Peter’s Church. Three different works are performed simultaneously, with the audience, divided into three groups, moving from one to the other, until finally all come together for a final piece. The program includes works by Angélica Negrón, Fjóla Evans, Eve Beglarian, Nicole Lizée, and Janice Giteck.
Tuesday, September 20 at 7:30 PM
$15 suggested donation
Saint Peter’s Church, 619 Lexington Avenue, New York, NY

REQUIEM | KATHERINE HOOVER
Each year the International Day of Peace is observed around the world on September 21st.. The General Assembly has declared this as a day devoted to strengthening the ideals of peace, both within and among all nations and peoples. This concert features choral music by Ellen Taafe Zwilich, Mark Kilstofte, Randall Thompson, and ends with Katherine Hoover’s Requiem.
Wednesday, September 21 at 7:00 PM
Free
Trinity Church Wall Street, 75 Wall Street, New York, NY

A RECITAL OF PREMIERES: THE COMPLETE WORKS BY HÈCTOR PARRA | JOSÉ MENOR
Pianist José Menor premieres the complete solo piano works by Catalan composer based in Paris, Hèctor Parra.
Saturday, September 24 at 7:00 PM
Tickets $15, $10 students/seniors
Spectrum, 121 Ludlow Street, 2nd Floor, New York, NY

NEW YORK POLYPHONY | 5 BOROUGHS MUSIC FESTIVAL
New York Polyphony returns to 5BMF this season in two special performances featuring works by Loyset Compere, Francisco de Peñalosa, Cyrillus Kreek, and Andrew Smith.
Saturday, September 24 at 7:30 PM
Tickets $25, $15 members/students/seniors
Christ Church Riverdale, 5030 Henry Hudson Parkway, Bronx, NY

REINTERPRETATIONS | RAMIN ARJOMAND
Ramin ArjomandRamin Arjomand
This month at Reinterpretations, Ramin Arjomand presents a long form all-improvisation solo piano program.
Sunday, September 25 at 3:00 PM
Tickets $15, $10 students/seniors
Spectrum, 121 Ludlow Street, 2nd Floor, New York, NY

NEW YORK POLYPHONY | 5 BOROUGHS MUSIC FESTIVAL
New York Polyphony returns to 5BMF this season in two special performances featuring works by Loyset Compere, Francisco de Peñalosa, Cyrillus Kreek, and Andrew Smith.
Sunday, September 25 at 5:00 PM
Tickets $25, $15 students/seniors
Trinity Lutheran Church, 309 St. Paul’s Avenue, Staten Island, NY

COLLA VOCE
Arvo Pärt – Photo by Peeter LangovitsArvo Pärt – Photo by Peeter Langovits
The concert includes John Tavener’s Akhmatova Songs featuring soprano Shabnam Abedi, Arvo Pärt’s Wallfahrtslied featuring bass-baritone Joseph Beutel, Samuel Barber’s Dover Beach, Op. 3 featuring bass-baritone Michael Maliakel, Ralph Vaughan Williams’s On Wenlock Edge featuring tenor Shawn Bartels, and Ernest Chausson’s Chanson Perpétuelle, Op. 37 featuring soprano Devony Smith.
Sunday, September 25 at 5:00 PM
Tickets $30
All Souls Church, 1157 Lexington Avenue, New York, NY

TITLE PENDING
Title Pending opens its fall season wit brand-new works for winds. On the program is Brad Balliett’s new woodwind quintet inspired by Henry IV, Part II; Laura Weiner ‘s songs inspired by biologist Rachel Carson; Eric Nathan’s 2014 trio for oboe, horn, and piano inspired by ancient Roman architecture; and Isang Yun’s woodwind quintet inspired by awkward but soulful dancing.
Sunday, September 25 at 7:00 PM
Tickets $15, $10 students/seniors
Spectrum, 121 Ludlow Street, 2nd Floor, New York, NY

All About Jazz Reviews

English: Nels Cline @ All tomorrow's parties f...

Source: All About Jazz.

Joe McPhee
Flowers (Cipsela Records)

Fail Better!
OWT (NoBusiness Records)

Joey Alexander
Countdown (Motema Music)

Barry Guy
The Blue Shroud (Intakt Records)

Abbey Rader Quartet With Kidd Jordan
Reunion (Abray Productions)

Eri Yamamoto Trio
Life (AUM Fidelity)

Giovanni Guidi/Gianluca Petrella/Louis Sclavis/Gerald Cleaver
Ida Lupino (ECM Records)

Bent Knee
Say So (Cuneiform Records)

Nels Cline
Lovers (Blue Note Records)

Tigran Hamasyan/Arve Henriksen/Eivind Aarset/Jan Bang
Atmosphères (ECM Records)