Author Archives: David

The Candidate Journal Issue Release Party, Issue 8: Screens

l’Artiste ordinaire will perform Kepler-37 with Julie Fotheringham.

The Candidate Journal invites you to join us for an evening of art and surprises in celebration of our long-anticipated release of Issue 8: Screens!

Video Art by Kyle Corea and Patrick Scanlon, Joanna Fuhrman, Lauren Comito, and Carl Jacobs
Poetry and Prose by Mirene Arsanios, Bethany Ides, Thomas Fink, and Joanna Fuhrman
Visual Art by Erica Roe, Sophie Morandi, Lauren Comito, Zach Seeger, Evan Reehl Ryer, Davian Flores, and Robert Buck
Dance by Julie Fotheringham, Jennifer Sydor, and Vanessa Walters
A Magical Roaming Clown
Live Music
More artists to be announced

All proceeds go to cover the expenses of The Candidate Journal.

Bring your pocket-screen (smartphone) fully charged. Invite your friends and we’ll see you there!

 

Saturday, April 27, 2019
7:00 PM
Taaffe Gallery
50 Taaffe Pl
Brooklyn, NY 11205

Logo

Our logo began as a pair of multilayered rotational rhythms, each assigned to one of us (Melissa on the left, David on the right):

 

For Photon Ecstasy, these were rendered as interactive lights in our costumes by Ezgi Ucar:

photo by Rachel Cheetham-Richard

 

As our collaboration deepened, our individual composition practices merged into a single, shared practice. l’Artiste ordinaire is the merging of two musical minds. The individual circles have merged to reflect this inevitable reality:

I offer you: Dance Party [2019.03.09]

We offer you this late-winter gift: a sparkling dose of sound and light, finely crafted for your kinetic pleasure. Join us for an escape from the lingering cold of winter as we look forward to longer days and warmer temperatures. We’ll be serving hypnotic beats, shimmering clouds, and long sliding tones from our forthcoming infinitely-long I offer you REMIX. (Live visuals by Marc Fiaux)

Saturday, March 9, 2019, 10:30pm
Pine Box Rock Shop
12 Grattan St.
Brooklyn, NY 11206
www.pineboxrockshop.com

Free. 21+ (no drink minimum)

Emergency Index Vol. 7

We are thrilled to be included in Emergency Index Vol. 7. “The pages of Emergency INDEX are open to all who work with performance. In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today. Each volume features a comprehensive index of key terms used by contributors in describing and discussing their own work. Begun in 2011, INDEX is a lens for seeing the field of contemporary performance from the ground up.”

Order your copy here.

//\\//\\

photo by Dennis Bathory-Kitsz

[photo by Dennis Bathory-Kitsz]

 

{{An assistant blindfolds two performers. She then releases a suspended microphone to swing over a loudspeaker like a pendulum. Controlled feedback is created with each pass. The feedback pulses, gradually evolving into a steady drone as the microphone slows. The blindfolded performers share a single benjolin synthesizer that sits on their laps. Benjolin is programmed to fade in automatically after a period of time. Being unable to see either the settings of the knobs or each other, the performers must rely on active listening and a practiced musical telepathy to confront the inherently chaotic nature of benjolin’s circuitry and to shape its sounds into a coherent performance.}}

Transcript of a post-performance conversation:

[Performer A]: “It was such an intense listening experience. I could hear everything in the room: the ice in the glasses, people moving around…”
[Performer B]: “…and the air conditioning, which I thought was benjolin fading in.”
[A]: “Why didn’t it fade in? Where was it?”
[B]: “I don’t know. It was on during sound check.”
[A]: “Regardless, the feedback pulses sounded sublime through those speakers.”
[B]: “Their constant shifting made it seem like benjolin was emerging. A subtle aural illusion.”
[A]: “XXXXXXXX told me that she hallucinated it, too, which is not surprising since she lives with a drone situation.”
[B]: “Many heard the performance as complete.”
[A]: “How long were we sitting there?”
[B]: “It felt infinite.”
[A]: “Even under normal conditions, Kepler-37 hypnotizes us…”
[B]: “…and challenges our perception of time. Our combined anxiety was intense.”
[A]: “XXX did a great job making sure we couldn’t see out of our blindfolds. I wanted to melt into the sounds and disappear. I signaled you.”
[B]: “I sensed you.”
[A]: “I sensed you, too. I knew that we were both listening…”
[B]: “…both present.”
[A]: “I didn’t know when to take my blindfold off. Were you already uncovered and waiting for me?”
[B]: “I had just taken mine off.”

{{ArtsRiot, Burlington, Vermont, US. Saturday, 9 September 2017.}}

Kepler–37 with Nicole Antebi [2019.02.17]

LiVEART.US 
Performance & Documentation
February 17, 2019, 
2:00pm–5:00pm
Queens Museum, Corona, NY

LiVEART.US, Performance Art initiative created and organized by artist, and independent curator, Hector Canonge, welcomes the presentation of the special program “Performance & Documentation” in collaboration with Emergency INDEX featuring the work of local artists, and the release of INDEX Vol. 7, a publication that brings together 260 performance works from 51 countries, documented and discussed by their creators.

This month’s program, a jointly effort by the makers and editors of Emergency INDEX and LiVEART.US, brings together, performance-makers and editors to address the performance-maker’s struggle for their voice in the framing and discussion of their own work, and to think about self-documentation, introspective practices, and how artists see themselves in Performance Art. Guest artists featured in the new publication, INDEX Vol. 7, will perform and join in the panel discussion with curators, editors, and art administrators.

Guest Artists:
NICOLE ANTEBI in collaboration with l’Artiste ordinaire (Melissa Grey and David Morneau), RORY GOLDEN, NINA ISABELLE, KYOUNG EUN KANG, and BRIAN McCORKLE with EDWARD SHARP

Panelists:
 Anya Liftig, Zoe Guttenplan, Hector Canonge, and guest artists.

Emergency INDEX is part of Ugly Duckling Presse’s Emergency series of performance-related publications, which also includes Emergency Playscripts, eclectic performance notations which highlight tensions between text and performance, as well as the forthcoming Emergency Analysis series, annual monographs on performance from theorists outside the field.  Emergency INDEX is inspired by the early issues of the performance art magazine High Performance (1978-1997), in which artists were openly invited to send in reports of their performance artworks. Performance art, at that time a new form, had yet to define itself; therefore, the editors of High Performance deemed that any artist who called their work performance art was legitimately defining the field. Consequently, High Performance became an amazing survey of real practice, a definition of performance art created internally by its varied creators, not post-rationalized or interpreted by critics and institutions. Since then, performance art has become one of the best documented forms of performance practices, while undocumented acts of performance have proliferated in fields outside of visual art.

LiVEART.US is platform established to support and feature works by local, national, and international artists working in Performance Art and its diverse manifestations. Created and organized by interdisciplinary artist, Hector Canonge, LiVEART.US features works where the body, as main instrument for artistic creation and expression, is the catalyst for sensorial experiences, cultural interpretation, and critical reflection. The program’s main objective is to further support the creation and presentation of new works in Live Action Art in an environment suitable for reflection and dialogue. LiVEART.US follows and complements the monthly program TALKaCTIVE initiated by Canonge in September 2015. Since its inception in 2016, LiVEART.US has presented the work of artists from diverse cultural backgrounds, ages, gender, and national origin creating a dynamic structure and an international network for the exploration, experimentation and execution of Live Art practices.

I offer you [video]

 

I offer you
by Nicole Antebi with l’Artiste ordinaire

Animation: Nicole Antebi
Music and Performance; Text Arrangement: l’Artiste ordinaire

Media: 2 voices, Merlin, Nintendo Game Boy,  projected animation
Year: 2018
Duration: 10 minutes

With text from:
Jorge Luis Borges: What can I hold you with?
Marina Tsvetaeva: xxx
Paul Celan: Corona
Vasko Popa: Far Away Within Us, Poeme no. 22
Charles Pierre Baudelaire: The Death of Lovers / La Mort des Amants

About:
Nicole Antebi and l’Artiste ordinaire created I offer you for a 2018 performance at Multilingual Poetry Reading, curated by Tansy Xiao (Raincoat Society) at the Brooklyn Art Library. To create unexpected alignments, they borrowed procedural constraints from the literary movement, Oulipo. Antebi’s animation of patterns from an antique book of french textiles merges with l’Artiste ordinaire’s vocal duet of recombined poetry and ultraminimal electronic dance music.

Nicole Antebi makes things that move, loop, and sometimes hold. nicoleantebi.com

l’Artiste ordinaire is a collaboration between Melissa Grey & David Morneau. We create sound in performance.

PETITE ecstasy Release [2018.11.16]

Join l’Artiste ordinaire and mezzo-soprano Jessica Bowers for a performance of selections from PETITE ecstasy, a new 9-track album of sounds from the universe of Photon Ecstasy. Live visuals by Marc Fiaux.

Friday, November 16, 2018, 9:00pm
Pine Box Rock Shop
12 Grattan St.
Brooklyn, NY, 11206
www.pineboxrockshop.com

 

History repeats: l’Artiste ordinaire returns to the expansive universe of Photon Ecstasy to survey for slippery drones, sparkling beats, and hallucinatory, shifting textures. Like the light from distant stars, these sounds arrive from the past, focused by the lens of the duo’s inscrutable and immersive creative process.

This process is the sound of PETITE ecstasy. The gravitational force generated by the combination of Grey’s benjolin synthesizer and Morneau’s trombone pull together programmed beats, Game Boy recordings, a recitation by Dan Rose, and the palatial voice of mezzo-soprano Jessica Bowers.

PETITE ecstasy is born from the nebula left behind by Photon Ecstasy.

 

Reimagine Death: A Night of Art, Songs, and Spoken Word [2018.10.30]

Icons in Ash, Reimagine Death: A Night of Art, Songs, and Spoken Word about dying, death, grieving, consoling and remembering. Inspired by Heide Hatry’s Icons in Ash memorial portraits made of cremated remains.

Hatry wants to reintegrate life and death: to touch death, work with death, to let it speak in its mundanity, its grandeur, its familiarity and its mystery, its uniqueness and its universality, to redeem it from oblivion, to give it its own life again.

l’Artiste ordinaire will perform I should, a new work that reimagines text by Emily Dickinson.

The Red Room at KGB
85 East 4th Street
New York, NY 10003

9:00pm

No cover, two drink minimum.

[image by Heide Hatry]

Soft Series Concert no.11 – Waku Waku [2018.10.26]

l’Artiste ordinaire welcomes Tom Piercy
Friday, October 26, 2018
8:00pm (doors open @ 7:30)
@ Flower Cat HQ – by invitation only


Program

Trappist-1
music by l’Artiste ordinaire
performed by l’Artiste ordinaire & Thomas Piercy

Voices, for hichiriki and electronics
music by Bin Li
performed by Thomas Piercy

 


 

Voices
(Constantine P. Cavafy, translated by Daniel Mendelsohn)

Imagined voices, and beloved, too,
of those who died, or of those who are
lost unto us like the dead.

Sometimes in our dreams they speak to us;
sometimes in its thought the mind will hear them.
And with their sound for a moment there return
sounds from the first poetry of our life–
like music, in the night, far off, that fades away.

This piece, in Fuzhounese (the language of my childhood in Fuzhou, China), is dedicated to Thomas Piercy and to all those who fly on planes. – Bin Li

 


 

Thomas Piercy
Passionate.
The New York Times

Thomas Piercy is a critically acclaimed musician with orchestral, concerto, solo recital and chamber music appearances throughout the Americas, Europe and Asia. Described by The New York Times as “Brilliant…playing with refinement and flair…evoking a panache in the contemporary works…,” Mr. Piercy presents audiences to varied and exciting concerts of standard classical music, jazz-inspired programs, contemporary works, pieces written specifically for him and his own original arrangements, compositions and collaborations.

A versatile artist defying categorization – performing on the Emmy Award-winning Juno Baby CDs and DVDs; playing the hichiriki and other traditional Japanese instruments in Japan and the U.S.; playing Rhapsody in Blue with pianist Earl Wild; performing concert improvisations with pianist Donal Fox; performing Mozart with mezzo-soprano Frederica von Stade; playing Broadway songs with Raoul Julia; conducting Cabaret or Rodgers & Hammerstein; working with the composer Leonard Bernstein; appearing in a KRS-ONE music video; recording with members of Maroon 5 – as an instrumentalist, singer, director and music director/conductor and actor, he has performed for Broadway and Off-Broadway, television, radio, video and commercial recordings.

Mr. Piercy has performed at many of the worlds acclaimed concerts halls including Carnegie Hall (NY, NY), Lincoln Center (NY, NY), the Kennedy Center (Washington, DC.), the Dame Myra Hess Memorial Concert Series (Chicago, Illinois), Centre Pompidou (Paris, France), Wigmore Hall (London, England), Accademia di Santa Cecilia (Rome, Italy), and Tokyo Opera City (Tokyo, Japan).

Piercy is the artistic director, and clarinetist/hichiriki player of the “Tokyo to New York.” “Tokyo to New York” celebrates the connections between Tokyo and New York City with concerts in Japan, the United States, and Canada. The concerts feature new works composed for Western classical instruments as well as traditional Japanese instruments. They include a wide variety of styles of music, from Japanese avant-garde to contemporary classical, abstract to minimalism, J-pop to jazz-influenced pieces. The composers have ranged from 19 to 94 years of age. They come from all walks of life and experience: from university students to university professors; from self-taught composers to composers with Ph.Ds; from emerging composers to composers that have won such prominent awards as the Takemitsu Prize, Grammy Award, Latin Grammy Award, and the Pulitzer Prize. The musicians of “Tokyo to New York” have had the opportunity to work with many of the Japanese and American composers programmed in these concerts, and since 2012, “Tokyo to New York” has performed over 100 world premiers and numerous Japan and United States Premiers.

As a hichiriki player, Mr. Piercy has become one of the few musicians to perform contemporary music on this ancient, traditional Japanese instrument which is most commonly used in gagaku music. He has had numerous composers write works for him that have been performed throughout Japan and the United States. The works have included solo hichiriki pieces as well as pieces for hichiriki and kugo, hichiriki and guitar, hichiriki and piano, hichiriki and shamisen, hichiriki and koto, and hichiriki and electronics. He has performed with some of the leading musicians performing contemporary music on traditional Japanese instruments, including Hitomi Nakamura (hichiriki), Yohmei Blasdel (shakuhachi), Hidetaro Honjoh (shamisen), and Takeshi Sasamoto (ryuteki).

The New York Times selected “Tokyo to New York” concerts as a critics’ choice concert of the week; NYClassical Review wrote of a “Tokyo to New York” concert as a season highlight; and a review from Lucid Culture Magazine described a “Tokyo to New York” concert as “…a fascinatingly eclectic, virtuosic program of new chamber works.”

Piercy’s many festival appearances have included a featured performance in memory of Leon Russianoff at the 1991 International ClarinetFest, a concert of contemporary American music at the 2005 ClarinetFest in Tokyo, Japan, and an all-Piazzolla concert at the 2007 International Clarinet Festival in Vancouver, Canada. He has performed in concerts and festivals in England, France, Germany, the Netherlands, Italy, Belgium, Switzerland, the Czech Republic, Sweden, Denmark, The United States, Canada, Mexico and Japan.

Mr. Piercy has received grants for recordings, commissions, and performances from the Cary Trust (1999-2010), the Scandinavian Foundation, the International Clarinet Association, New York State Council on the Arts (1999-2018), and the New York City Department of Cultural Affairs (1999-2018). A recipient of numerous scholarships, prizes and awards, he studied clarinet, voice and conducting at the Juilliard School, Mannes College of Music, Virginia Commonwealth University and Shenandoah Conservatory. Piercy’s earliest studies were in both voice and clarinet. He began his college education studying clarinet under Dr. Stephen Johnston at Shenandoah Conservatory. He later moved to New York City to study with Gervase De Peyer under scholarship at Mannes College of Music; he continued to study extensively with De Peyer after leaving Mannes. Piercy later studied with and soon became an assistant to the renowned clarinet pedagogue Leon Russianoff; additional clarinet studies were undertaken with Kalmen Opperman. He has had arrangements and transcriptions published by Boosey & Hawkes, and as an assistant to Kalmen Opperman, he has contributed to clarinet study books and clarinet compositions published by Carl Fischer, Inc., and Baron Publishing. In demand as a clarinet, sax and voice teacher, many of Piercy’s students have gone on to schools and careers in music. Piercy has studied with the hichiriki in Japan with the renowned hichiriki perform Hitomi Nakamura.

A frequent performer of new music, Mr. Piercy has premiered over 200 works composed for him. Ned Rorem, a Pulitzer Prize winner and Grammy Award-winning composer, wrote his only clarinet and piano piece, “Four Colors,” for Mr. Piercy. The work had its premier at an 80th birthday concert celebration for Mr. Rorem at Carnegie Hall in the fall of 2003. A short list of the composers he has worked with and premiered their works (many of them written for him) include Milton Babbit, Allan Blank, Ed Bland, Wendy Mae Chambers, Elisenda Fabrégas, Donal Fox, Daron Hagen, Nicolas Gilbert, Masatora Goya, Jennifer Higdon , Benjamin Lees, Yuichi Matsumoto, Jun Nagao, Takeshi Ogawa, Sergey Oskolkov, Robert Xavier Rodriguez, Erin Rogers, Ned Rorem, Marjorie Rusche, Hifumi Shimoyama, Olav Anton Thommessen, Shoichi Yabuta, and many others.

Piercy’s discography includes “Gotham Ensemble Plays Ned Rorem”, a CD of chamber music featuring the clarinet (released by Albany Records), “CAFE”, a CD of music for clarinet and guitar (released by Tonada Records), the world-premier recording of Sir Richard Rodney Bennett’s “Ballad in Memory of Shirley Horn” and the Emmy Award winning CDs and DVDs “Juno Baby.” He can also be heard on commercials, film and theater recordings. He has recorded for the Albany, Capstone, DGI, Changing Tones, NJST, and Tonada Records labels. More Information at www.thomaspiercy.com

 

//\\//\\

Bin Li (b. Fuzhou, China) is a composer and artist based in New York City. As a member of Wandelweiser, his recent work explores the immateriality of sound and its derivatives. His open scores have been realized in Klangraum (Düsseldorf), Inner Field (Brooklyn), Gänsemarkt (Hamburg), A Place to Listen (Canada), Score Follower and The Unseen Festival (Denver).

Bin’s conventionally notated music has been performed in the Aspen Music Festival, the Avantin Suvisoitto (Finland), the Bargemusic, the Tenri Cultural Institute, the Palais Montcalm (Quebec), the New York City Electroacoustic Music Festival, the Yogyakarta Contemporary Music Festival (Indonesia) and the Chinese National Contemporary Music Symposium. Leading performers including Avanti! Chamber Orchestra, Indianapolis Chamber Orchestra, Ensemble Multilaterale, Ensemble Mise-en, Thomas Piercy and members of Jack Quartet have featured his music.

Bin’s mentors included Antoine Beuger, Stefano Gervasoni, Mark Andre and Pierluigi Billone. He has participated in IRCAM Manifeste (2018) and holds degrees from both the Jacobs School of Music and the Kelley School of Business at Indiana University (2012). More information: www.bindavidli.com

//\\//\\

 

photo by Yuri Pires Tavares

l’Artiste ordinaire is a collaboration between Melissa Grey & David Morneau. We create sound in performance.

Hans Tammen’s 50th Anniversary of the musical HAIR [2018.10.19]

“At the 50th anniversary of Ragni’s, Rado’s and MacDermot’s anti-war musical HAIR, SPECTRUM, New York’s premier performance venue commemorates this event with a 3hr evening of performances, sound poetry, music, and visuals. Curated by Hans Tammen, the evening will feature works by l’Artiste ordinaire, Shelley Hirsch, Steve Bull, Gisburg & Louie Terrier, Katya Naphtali, Damien Olsen, Glenn Cornett, Dafna Naphtali, Ken Butler, Matthew Aidekman, Shoko Nagai & Stephen Gauci, Kurt Ralske, François Grillot, among others! The evening will also feature a lecture by Prof. David Hyman from Lehman College, and concludes with a performance of the Gaddadelics, ingeniously fusing various themes from MacDermot’s masterpiece that pushes the audience into overdrive!”

l’Artiste ordinaire is joined by Yanbin Song (interactive gestures) to perform Good Morning.

 

Friday, October 19, 2018, 7pm
Spectrum NYC
70 Flushing Avenue
Brooklyn, NY, 11205
www.spectrumnyc.com/

Jessica Bowers

Mezzo soprano Jessica Bowers has performed with Utah Opera, Anchorage Opera, Opera Boston, Caramoor International Festival, Central City Opera, and Ohio Light Opera. Roles include Mother Abbess in The Sound of Music, Hansel in Hansel and Gretel, The Third Lady in Die Zauberflöte, Rosina in Il Barbiere di Siviglia, The Queen in John Harbison’s A Full Moon in March, Ruth in Pirates of Penzance, Nicklausse in The Tales of Hoffmann, Mrs. Peachum in Three-Penny Opera, Hippolyta in A Midsummer Night’s Dream, and The Old Lady in Candide. She has performed recitals with Poetica Musica, Sonora Trio, and she plays regularly with guitarist Oren Fader as The Bowers Fader Duo. Recently she has performed with The Theater for the New City, The Sonora Trio, Litha Symphony Orchestra, Soft Series, and Composers Concordance. In the winter of 2018, she will sing the world premiere of Emily Brontë – Through life and death, a chainless soul, a monodrama written for her by Akemi Naito, at Tenri Cultural Institute. She will also sing with The Satori Ensemble in Bethlehem, PA.

For more information, please visit www.jessicabowers.net

 

[photo credit: Yuri Pires Tavares]

Marc Fiaux

Video Artist

Marc Fiaux works in photography, video and sound design to create a heightened perception of space; Mixing together physical and virtual architectures, rendering real what was thought a figment of one’s imagination. Coming from a visual background, his practice maintains a good eye for design while expanding a multimedia approach that focuses on the acoustics of imaginary interiors through multi-sensorial installations.

marcfiaux.com

Tom Piercy

Thomas Piercy is a critically acclaimed musician with orchestral, concerto, recital and chamber music appearances throughout the Americas, Europe and Asia. He has been described by The New York Times as “Brilliant…playing with refinement and flair…evoking a panache in the contemporary works.” A versatile artist defying categorization – performing on the Emmy Award-winning Juno Baby CDs and DVDs; performing with pianist Earl Wild and Frederica von Stade; working with Leonard Bernstein; appearing in a KRS-ONE music video; playing hichiriki in Japan; recording with members of Maroon 5; premiering over 200 works composed for him; performing on Broadway and Off-Broadway, television, radio, and commercial recordings. Recordings for Albany, Capstone, DGI, Changing Tones, NJST, Tonada Records and more. More information: www.thomaspiercy.com

Yanbin Song

Yanbin Song is an artist, interaction designer, and experience designer with a focus on exploring social issues and making impacts. Her interests in lives and societies has been built from her previous living experience in different cities and her academic studies in urban planning and design in London. With a goal to design for more accessible projects that make impacts, she is focusing on using interactive medium that include but not limited to videos, sound designs, physical installations and digital experience. Her practice tends to be playful, interactive, and provoking interesting and multi-aspect empathetic thoughts and feelings.

yanbinsong.com

Gahlord Dewald

Bass & Modular Electronics

My work starts with the bass: the deep sounds near to the earth. The sounds that surround you while standing or walking or running or resting. The sounds that shake along your body.
From this root there are other sounds: spectral sounds that are hidden from you or then again revealed, signals traveling along strings and wires and then rippling in the air, stippling shadows of the fundamental bass.

The sounds I make co-exist. They co-exist with and envelop you. They co-exist with other sound makers – dancing feet, musicians, recordings of some other place, construction machines, the traffic outside, the sounds of a bird or a dog or a small creature nearby. They focus your experience of where you are now and of place and of existing at this moment in this body among other bodies. All of us make music together in this way.

gahlorddewald.com

Multilingual Poetry Reading – Chapter I, Love Poems [2018.06.29]

We have been invited to perform at this brand new reading series curated and produced by the Raincoat Society. Our dear friend Nicole Antebi will be accompanying us with her beautiful animations.

Multilingual Poetry Reading is a series of poetry reading and performance events that encourage varying interpretations of the same poems in different languages and disciplines.

 

Friday, June 29, 2018, 7 PM – 9 PM
Brooklyn Art Library
28 Frost St
Brooklyn, New York 11211
free

 

“The language with which I make my poems has nothing to do with one spoken here, or anywhere.”
— Paul Celan

Multilingual Poetry Reading is a series of poetry reading and performance events that encourage varying interpretations of the same poems in different languages and disciplines.

The event is free and open to the public.
Special thanks to our host Brooklyn Art Library, a crowd-sourced library that features 40,609 artists’ books contributed by creative people from 135+ countries.

Event Organizer: Raincoat Society, a non-profit organization dedicated to presenting artists with fluid identities and multiple cultural backgrounds.

Poems to be read by Jorge Luis Borges, Marina Tsvetaeva, Paul Celan, Vasko Popa, Charles Pierre Baudelaire.

 

Performers:
l’Artiste ordinaire
A collaborative partnership between Melissa Grey & David Morneau. Specializing in sound-based performances, they create expansive projects that allow them to collaborate and connect with musicians, artists, engineers, scientists, creative technologists, and designers.

Sean Ali
A double bassist, improviser, and composer working in a variety of projects and contexts. Sean co-founded Prom Night Records and co-curated the monthly concert series Ze Couch. His project in collaboration with visual artist Cheng Ran had been shown at the New Museum.

Ju-eh (Juecheng Chen) is a conceptual virtuosic countertenor. With 10 years of classical singing training in Europe, he specializes in presenting what classical music can be today. Ju-eh is known for his Improvised Opera Salon series in New York and his performance with Sylva Dean and Me at Venice Biennale; his future engagement includes Meredith Monk’s opera Atlas with LA Phil in 2019.

Lu Wang (dk) is a composer, performer and audio-visual artist, born in Inner Mongolia, China and currently resides in New York. Lu’s musical versatility and sensibility are embodied in her work in over 30 film, installation, and live performance projects both locally and across Europe.

Curated by Tansy Xiao

“Tokyo to New York” with Tom Piercy at Spectrum Female Composers Festival [2018.06.10]

THOMAS PIERCY, Clarinet & Hichiriki.
TAKA KIGAWA, Piano.

SPECTRUM “Female Composers’ Festival”
“Tokyo to New York” – a one-hour concert featuring new music by NYC- and Tokyo-based composers.

Tom and Taka team up again to bring you another “Tokyo to New York” concert.

Program:
Miyuki ITO – “Decalage” for solo clarinet (United States Premiere).
Miho SASAKIi – “The Soul of Lights Freeze” for clarinet and piano.
Kumiko TAKAHASHI – “Hyousou” for solo clarinet (World Premiere, clarinet version).
Karen TANAKA – “Techno Etudes” for solo piano
Tomoko UZAWA – “Original Sin of Fallen Angel” for hichiriki and piano.

l’Artiste ordinaire [ Melissa Grey & David Morneau ] – “Biophonic Beats” for hichiriki, gated benjolin, trombone, and live processing (World Premiere)
Katherine HOOVER – “Ayres” for clarinet and piano.
Qi LI – “An Autumn Dusk in the Mountains” (NY Premiere) for clarinet and piano
Nina SINIAKOVA – “Sensu” for clarinet and piano.

________________________________________

SPECTRUM
June 10th at 7pm.
Tickets: $15.

Spectrum is located at:
70 Flushing Ave, Garage A
Brooklyn, NY 11205
(entrance between Cumberland and Carlton)

Transit:
F Train: York Street
B/Q/R Train: Dekalb Avenue
G Train: Clinton-Washington Avenues
————————————————–

“Tokyo to New York” celebrates the connections between Tokyo and New York City with a series of concerts in Tokyo and New York. The concerts feature new works composed for Western classical instruments as well as traditional Japanese instruments by Tokyo- and NYC-based composers. The musicians of “Tokyo to New York” have had the opportunity to work with the Japanese and American composers programmed in these concerts, and since 2012, “Tokyo to New York” has performed over 100 world premieres and numerous Japan and United States Premiers. The New York Times selected “Tokyo to New York” concerts as a critics’ concert of the week; NYClassical Review wrote of a “Tokyo to New York” concert as a season highlight; and a review from Lucid Culture Magazine described a “Tokyo to New York” concert as “…a fascinatingly eclectic, virtuosic program of new chamber works.”