Author Archives: soft

Soft Series Concert no.9 – EIOinD

l’Artiste ordinaire welcomes Ensemble of Irreproducible Outcomes
Friday, September 15, 2017
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

 


Program

Photon Ecstasy (Trappist–1)
music by l’Ao
performed by l’Ao & Ensemble of Irreproducible Outcomes

…city flexure…
music by Brian Padavic
performed by Ensemble of Irreproducible Outcomes


Photon Ecstasy is a growing catalog of compositions that engages music, sound, science fiction, and interactive light. It is an expansion of the mythology created by Dan Rose in his artist book, The DNA-Photon Project, which tells the story of a top-secret government project that converted the DNA of a young woman into photons and beamed them out to the stars in order to mate with intelligent life and expand humanity into the far future universe.

Photon Ecstasy allows l’Ao to collaborate and connect with musicians, artists, engineers, and designers. Tonight’s installment, Photon Ecstasy (Trappist–1), is composed for an upcoming performance with Tom Piercy at Barge Music.
•••

Brian Padavic’s …city flexure… is an extended work for EIO (with electronics realized by David D. McIntire). Composed in 2016 during a residency with the Charlotte Street Foundation, this piece is an exploration of melody. Here, a drone comprised of hundreds of sine waves and processed bass provides a shimmering backdrop over which the musicians search for the melody.


Ensemble of Irreproducible Outcomes is David McIntire, Ryan Oldham, and Brian Padavic

David D. McIntire (b. 1958) was born in upstate New York and has had some training on the clarinet. He has maintained his livelihood through playing, teaching, composing, and writing about music for over thirty years. Also played clarinet and saxophone with a number of groups, including the Colorblind James Experience and the Whitman/McIntire Duo. He holds music degrees from Nazareth College, Ithaca College and Missouri-Kansas City and currently teaches at Missouri Western State University. He also operates Irritable Hedgehog, a label specializing in minimal and electroacoustic repertoire, whose releases have been widely praised for their excellence and historical importance.

Composer Ryan Oldham (b. 1977) is an adjunct instructor for the University of Missouri – Kansas City Conservatory of Music and Dance. He holds a B.A. from the Indiana University of Pennsylvania (1999), a M.M. from the University of Louisville (2002) for music composition and theory, and a D.M.A. from the University of Missouri – Kansas City Conservatory of Music and Dance (2008). Oldham’s music ranges from piano miniatures to operas and everything in between. Currently, Oldham performs as trumpeter/composer in E.I.O. (the Ensemble of Irreproducible Outcomes) and in the choral group Te Deum.

Brian Padavic composes music covering a wide range of genres and ensemble configurations, from jazz to contemporary concert, American/European folk to avant garde, and rock to musical theater. In 2014, he received grants from the Lighton International Artist Exchange Program and ArtsKC to compose solo bass repertoire while studying with legendary double bassist François Rabbath in Paris, France. Padavic holds composition degrees from UMKC (’12) and Berkley College of Music (’07) and was recently a 2015/2016 Charlotte Street Studio Resident. He currently performs with Ensemble of Irreproducible Outcomes, Chestnut Fine Arts Theater, Anna Lee and the Lucky So and Sos, and KC Baroque Consortium.

Photon_Ecstasy_photo_by_Karjaka_Studios

Established in January 2016, l’Ao is a collaborative partnership between composer-performers Melissa Grey & David Morneau. [more]

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.8 – Folk Geometry

l’Artiste ordinaire welcomes Nicole Antebi
Friday, April 28, 2017
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

//\\//\\

Prelude

Nicole Antebi & Melissa Grey: Collaborations

  1. Gesture 1 on 2 Strings (2015)
    from Fifteen Minutes of Fame: Eva Ingolf, produced by Melissa Grey
    Nicole Antebi, animation
    Melissa Grey, music
     
  2. Magic Square (2016)
    Nicole Antebi, animation
    Melissa Grey, music
    featuring Vince Clarke, music
     
  3. CaCO3 (2015)
    from Fifteen Minutes of Fame: Eva Ingolf, produced by Melissa Grey
    Nicole Antebi, animation
    David Morneau, music
     
  4. The Telling of Bees Telling (2015)
    Nicole Antebi, animation
    Melissa Grey, music

 

 

Program

Procrustean Bed (2016)
Nicole Antebi, animation
Melissa Grey, music
featuring Lynn Bechtold, violin

Photon Ecstasy (Kepler–37) (2017)
Nicole Antebi, salt, sculptures, microscope, light
l’Ao, benjolin synthesizer, blindfolds

\\//\\//

Nicole Antebi works in non-fiction animation, motion graphics, installation while simultaneously connecting and creating opportunities for other artists through larger curatorial and editorial projects such as Water, CA (a six year collaboration with Enid Ryce) and Winter Shack (a three year collaboration with Alex Branch). She has also collaborated on numerous visual music projects with experimental composer, Melissa Grey and musicians Laura Ortman, David Eng and most recently with electronic music pioneer, Vince Clarke. Her work has been shown in several continents and in fiercely alternative spaces such as Anthology Film Archives, High Desert Test Sites, The Manhattan Bridge Anchorage, Teeny Cine’s converted trailer, Portable Forest, a Texas Grain Silo and in the cabin of a capsized ship at Machine Project in Los Angeles. And more traditional art spaces such as Cantor Center for the Arts at Stanford University, LACE Contemporary Exhibitions, Orange County Museum of Art, Torrance Art Museum, The Crocker Museum, Dallas Contemporary, and the Armory Center for the Arts.  She was the 2015 animator-in-residence at Circuit Bridges, New York and was recently awarded a Jerome Foundation Grant in Film/Video for a forthcoming animated film about El Paso and Ciudad Juàrez in the early 90’s.

nicoleantebi.com

[photo credit: John Michael Kilbane]

//\\//\\

Composer Melissa Grey’s projects include concert works, electroacoustic performances, installations, food and sound events, and frequent collaborations with artists, architectural designers, engineers, musicians and composers. Recent projects include hyperlocal for ETHEL, and kinetic scores based on combinatorial memory wheels: blur (after blue hour) for Payton MacDonald’s Sonic Divide project and Volvelle for the Bowers-Fader Duo. Her Environnement sonore, an electronic soundscape created with the modular synth benjolin, was broadcast in the gallery space for the exhibition curated by artist Angela Grauerholz, Michèle Lemieux | The Whole and Its Parts, From drawing to animated films, exhibited at the Centre de design, Université du Québec à Montréal September-November 2016.

Works have been published in Alphabet City: 2010 AIR and 2009 WATER (The MIT Press) and Circumference (a journal of poetry in translation). She teaches Sound Studies at the School of Media Studies at The New School in New York City. She is an Associate Director of Composers Concordance, and a Board Member of Miolina, the violin duo of Lynn Bechtold and Mioi Takeda.

melissagrey.net

[photo credit: Marc Fiaux]

//\\//\\

Violinist Lynn Bechtold has appeared in recital throughout the U.S., Canada, France, Holland, and Switzerland. An advocate of contemporary music, she has worked with composers such as Carter Burwell, Gloria Coates, George Crumb, John Harbison, and Morton Subotnick, and has premiered works on the NWEAMO Festival, Princeton Composers’ Series, and the TriBeCa New Music Festival. In 2001, she gave the premiere of “Violynn,” a work for violin and electronics written for her by Alvin Lucier. Called ‘up-and-coming’ by TimeOut and noted in All About Jazz for her ‘virtuosity and technical expertise,’ she performs with Miolina, Zentripetal, Bleecker StQ, CompCord Ensemble, North/South Consonance, SEM Ensemble, and the disco band Escort, and has been a member of groups that have included the Grammy-nominated East Village Opera Company (rock/opera band). San Diego Story recently called her “unapologetically dominating.”

She has been heard on CBC Radio, CBS-TV, NBC-TV, NHK-TV, and WNYC, and on TV shows such as 30 Rock & Unbreakable Kimmy Schmidt. Recent programs have been with Catalyst Dance, DJ Spooky, VisionIntoArt, and Pablo Ziegler. In addition, she’s performed with entertainers such as Boyz II Men, Willie Colon, Sheryl Crow, Dead Can Dance, Darcy James Argue’s Secret Society Band, Roberta Flack, Left Banke, Smokey Robinson, J-Pop band SMAP, Donna Summer, and Stevie Wonder. An active performer, she has performed at diverse venues from Carnegie Hall & Lincoln Center to Joe’s Pub & Madison Square Garden.

She received her M.M.from Mannes-The New School for Music, where she was a student of noted violinist Felix Galimir. Prior to that, she received a double-degree in Violin and English from the New England Conservatory and Tufts University in Boston. In addition, she likes to compose electroacoustic works, and to write articles about food/music/life. Her compositions have been performed on festivals such as Circuit Bridges, Composers Concordance, and Music With a View. She is on the faculty of The Dwight School and Greenwich House Music School in NYC, and the Norwalk Youth Symphony in CT.

//\\//\\

Photon_Ecstasy_photo_by_Karjaka_Studios

Established in January 2016, l’Artiste ordinaire (l’Ao) is a collaborative partnership between composer-performers Melissa Grey & David Morneau that has launched electronic performances and Soft Series, a concert series dedicated to presenting soft premieres. As a duo, l’Ao has performed at the North Country Electronic Music Festival (Vermont); Electroacoustic Barndance (Virginia); and twice at the University of Pennsylvania’s Kislak Center. Their first collaboration, Gadget Berry Dimple: A Glossary of False Translation (Benjolin, Merlin, Spoken Word), was performed for Hans Tammen’s Rakete bee bee? Rakete bee zee! 100th Anniversary of Dada at Spectrum NYC. The text for Gadget Berry Dimple: A Glossary of False Translation has been published by Circumference journal, which supports poetry in translation. Soft Series has featured thingNY/Varispeed, Miolina, Craig Hultgren, Elizabeth A. Baker, The Bowers-Fader Duo, and Nicole Antebi; future artists include Ensemble of Irreproducible Outcomes, Eve Beglarian, Monroe Golden, and Paula Matthusen. Soft Series is live-streamed and archived by Clocktower Radio.

Photon Ecstasy is a growing catalog of compositions that engages music, sound, science fiction, and interactive light. It is an expansion of the mythology created by Dan Rose in his artist book, The DNA-Photon Project, which tells the story of a top-secret government project that converted the DNA of a young woman into photons and beamed them out to the stars in order to mate with intelligent life and expand humanity into the far future universe. This project allows l’Ao to collaborate and connect with musicians, artists, engineers, and designers. The first installment, Photon Ecstasy (HD 7924), was commissioned by and premiered at the University of Pennsylvania’s Kislak Center in conjunction with the exhibition of Dan Rose’s artist books, Plaisirs Arbitraires | Arbitrary Pleasures (October 2016). New York Arts wrote that with repeated listenings “there’s more to be moved and impressed by, to learn from….” In 2017, l’Ao joined New Renaissance Artist Elizabeth A. Baker for a collaborative performance of Photon Ecstasy (DP Leonis b), which premiered at The Florida International Toy Piano Festival. Other recent collaborations include Photon Ecstasy (Kepler-19) with the Bowers-Fader Duo, Photon Ecstasy (Kepler-37) with artist Nicole Antebi, and Photon Ecstasy (HD 219134) with bass clarinetist Thomas Piercy.

artisteordinaire.org

[photo credit: Karjaka Studios]

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.7–Duo marié

l’Artiste ordinaire welcomes The Bowers–Fader Duo
[ Jessica Bowers, mezzo-soprano; Oren Fader, guitar ]
Friday, March 24, 2017
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

 


Program

Photon Ecstasy (Kepler-19) [preview]
music: l’Ao (after Vincenzo Bellini’s La Sonnambula)

The Maldive Shark
words: Herman Melville
music: David Claman

Ganga Yamuna
words: Ved Vatuk
music: David Claman

The Lone Tenement
words & music: Erin Rogers

My Love
words & music: Ana Milosavljevic

Volvelle
music: Melissa Grey

Light Arriving on the Infinite Ocean
music: Judith Sainte Croix

Places Among the Stars
words: Stephen Crane
music: Hilary Purrington

Three Little Birds
words: Stephen Crane
music: Hilary Purrington

Finding One Self
• A Charm
• A Young Woman
• Who is I?
• Roman Elegy
words: David Ferry
music: Paul Salerni

Beyond Words
words: Kevin Young
music: Paul Salerni

 


Created in 2009, The Bowers-Fader Voice and Guitar Duo (Jessica Bowers, mezzo-soprano, Oren Fader, guitar) performs in New York City and across the US. Recent concerts have taken them to Washington State, Virginia, and Pennsylvania, as hosted by the Classical Guitar Society of Northeastern Pennsylvania. The Duo performs classical works of Mozart, De Falla, Brahms, Weill, as well as contemporary works. Composers writing for the Duo this season include Judith Sainte Croix, Martin Rokeach, Frank Brickle, Melissa Grey, David Claman, and Paul Salerni.

Outreach activities for the Duo include free concerts each year for the Lighthouse Guild for the Blind, and Beginnings, a social program for seniors supported by Renewal Care. This year the Duo has performed in New York City, Honesdale, PA, and Manchester, VT as part of the Manchester Music Festival. This fall, the Duo presented a concert of new American art songs at Tenri Cultural Institute, featuring 5 world premieres, 3 of which were based on poetry by living authors. In the coming months, the Duo will be performing and recording works by Paul Salerni, performing works by l’Artiste ordinarie (Melissa Grey & David Morneau), performing with Composers Concordance, and working on a new song cycle by Frank Brickle. For more information please visit www.bowersfaderduo.com

//\\//\\

Established in January 2016, l’Ao is a collaborative partnership between composer-performers Melissa Grey & David Morneau that has launched electronic performances and Soft Series, a concert series dedicated to presenting soft premieres. l’Ao has performed at Strange Stage (Brooklyn); North Country Electronic Music Festival (Vermont); Electroacoustic Barndance (Virginia); and twice at the University of Pennsylvania’s Kislak Center. Their first collaboration, Gadget Berry Dimple: A Glossary of False Translation (Benjolin, Merlin, Spoken Word), was performed for Hans Tammen’s Rakete bee bee? Rakete bee zee! 100th Anniversary of Dada at Spectrum NYC. The text for Gadget Berry Dimple: A Glossary of False Translation has been published by Circumference journal, which supports poetry in translation. Soft Series has featured thingNY/Varispeed, Miolina, Craig Hultgren, Elizabeth A. Baker, and the Bowers-Fader Duo; future artists include Monroe Golden, Nicole Antebi, Paula Matthusen, and Eve Beglarian. Soft Series is live-streamed and archived by Clocktower Radio.

l’Ao’s Photon Ecstasy is a concert-length performance project that engages music, sound, science fiction, and interactive light. It premiered at the University of Pennsylvania’s Kislak Center in conjunction with the exhibition of artist Dan Rose’s DNA-Photon Project (October 2016). New York Arts wrote that with repeated listenings “there’s more to be moved and impressed by, to learn from….” In January 2017, l’Ao joined New Renaissance Artist Elizabeth A. Baker for a collaborative performance of Photon Ecstasy (DP Leonis b), which premiered at The Florida International Toy Piano Festival, St. Petersburg, Florida. In April 2017, l’Ao will perform Photon Ecstasy (HD 7924) at Rutgers University; in September, they will perform with bass clarinetist Tom Piercy at Barge Music (Brooklyn).

Kepler–19 is a G7V star in the vicinity of the NGC 6791 cluster of Red Giant type stars that are “singing stars”. The cluster is in the constellation Lyra. It is host to planets Kepler-19b and Kepler-19c.

//\\//\\

David Claman (b. 1958) hails from Denver, Colorado. He holds degrees from Wesleyan University, from the University of Colorado, and from Princeton where he completed his Ph.D. in music composition in 2002. He is an assistant professor at Lehman College-City University of New York in The Bronx.

The Maldive Shark sets a poem by Herman Melville and is about a shark and its pilot fish and was written specifically for Oren and Jessica.

Ganga-Yamuna sets to music a Hindi poem written by Ved Prakash Vatuk, who also happens to be my father-in-law. It tells of two people whose lives join together to form a greater whole, just as the Ganges and Yamuna rivers which meet to form a larger river.

//\\//\\

Erin Rogers is a Canadian saxophonist, composer and performance artist based in New York City. Her works have been performed by the Stony Brook Contemporary Chamber Players, Loadbang, Anubis Quartet, thingNY, Lost Dog Ensemble, IKTUS Percussion, Project Fusion, and Madrid’s Tribuna Sax-Ensemble. She has played with the International Contemporary Ensemble, Copland House, wild Up, and mise-en, and is co-artistic director of the experimental performance ensemble, thingNY, and founding member of the New Thread Saxophone Quartet and Hypercube. In 2014, Erin was awarded a Jerome Fund Commission from the American Composers Forum for Mother Earth, a work for flute, sax quartet and electronics, that premiered at Carnegie Hall. Her work Trajectories was featured at the 2015 Ecstatic Music Festival, and she was a showcased performance artist on the 2016 Prototype Festival “Out-of-Bounds.” www.erinmrogers.com

The Lone Tenement for Mezzo soprano and guitar, is the second in a series of my “Sounding Image” series, where visual works of art are brought to life through song and sound. A detailed description of The Lone Tenement, a 1909 painting by George Bellows comprises the text of the work, the guitar shading each phrase of the voice in near-unison, punctuating the work with moments of palpable expression.

Beneath an overhead bridge,
Red, with rooftop peaks,
Stands a lone brick building,
Six floors high.
Length double the width,
Height triple the length,
Mostly shaded.
The top of the building bathed in sunlight.
Two windows on each floor.
The building looks strange with no neighboring buildings pressed against it.

Writing and signage cover the facing side,
Where the brick is faded.
To the left,
But still connected,
A fence or gate of sorts.
Slightly passed the gate,
In the shade directly below the bridge,
Folks gather around a fire.
A dozen or so,
Dressed mostly in black,
Mostly in hats.
Some lean into the flame,
Others talk in pairs.
One is in motion.
Further to the left,
One demonstrates a baseball swing,
While another squats in a catcher’s position.
Two others look on.
The clothing and activities indicate that the gatherers are all men.

Amen.

On the right,
A large, horse-drawn wagon,
With a horse.
In the distance,
A steamboat sits on the river,
Its plume of smoke billowing straight vertical.
These tools of transport appear stationary at the moment

On the left,
Two leafless trees,
Tall and dark,
Covered in branches.
To their left,
A clump of shorter buildings.
Even further back,
Upon the water’s edge,
A bright orange building bathed in sunlight,
Smokestack in front,
Under a grey sky,
Next to a blue river.
Beneath the bridge lies a glassy puddle.

//\\//\\

Ana Milosavljevic is the Drama Desk Awards-nominated composer (“inventive,” “graceful,” ”showpiece” works – The New York Times), and multi-instrumentalist on violin, Viper electric violin, and piano. A MacDowell Colony Fellow, Ana has been featured as a composer and soloist at Carnegie Hall, the Kennedy Center, Lincoln Center, the TimesCenter, the Stone, Le Poisson Rouge, Off-Broadway, and major international festivals. Her music was commissioned and performed by the Sheboygan Symphony Orchestra, Throes Theater, Grammy Award winner Robert Mirabal, ETHEL, Ensemble Metamorphosis, percussionist Shane Shanahan, pianists Kathleen Supove and Vicky Chow; featured in performances by TAKE Dance and The Juilliard Dance; recorded on Innova; and broadcast on BBC, WNYC, WPRB, and WQXR / Q2 radio stations. Ana’s website is www.anamilo.com.

“In early February 2017, The Bowers-Fader Duo asked me to write a new work. I have decided to compose a song, for which I created both music and lyrics. This is a song about love. In this version, the words are in Serbian and English language.”

//\\//\\

Melissa Grey’s music – “elegantly diabolical…strikingly eerie and captivating” (furtherfield.org) – includes concert works, electronic performances, food and sound events, and collaborations with artists, designers, musicians and other composers. With composer David Morneau, she has established l’Artiste ordinaire (l’Ao), a collaboration that explores methods for creating and performing music.

Volvelle mines fragments from the solo repertoires of Jessica Bowers and Oren Fader to merge into a new piece for their duo. Recombined and reconsidered with ornamentation, these fragments are put into random motion via combinatorial wheels, which are based on an ancient technique designed to activate and fuel the imagination.

//\\//\\

Judith Sainte Croix won the International Theodore Front Award for her orchestral work, “Vision V,” in which she performed as a synthesizer soloist at Carnegie Hall. She has received support for her music from foundations, corporations, and public and private funding sources.

In the song Light Arriving on the Infinite Ocean the lyrics are an invented language – as it is a force of nature, Light, arriving in the music. Some recognizable words may appear to shine through and the message is in the imagination of the listener.

//\\//\\

Hilary Purrington is a New England-based composer of contemporary classical music. Her work has been recognized by the American Academy of Arts and Letters, the American Society of Composers, Authors, and Publishers (ASCAP), and the National Federation of Music Clubs (NFMC), among others. In the summer of 2012, Purrington received funding through a Wagoner Foreign Study Grant to study Music Composition and German Language at the Freie Universität Berlin, and in the summer of 2013, she participated as a Fellow at the Norfolk Chamber Music Festival’s New Music Workshop. Most recently, Purrington’s music was featured on the 2016 NY Phil Biennial’s New Music New Haven concert. Her music has been performed by many distinguished ensembles, including the Peabody Modern Orchestra, the Yale Philharmonia, ChoralArt, and the American Modern Ensemble. Recent commissions include new works for the Chicago Harp Quartet, the Musical Chairs Chamber Ensemble, and the Melodia Women’s Choir of NYC. Upcoming projects include new pieces for Washington Square Winds, inFLUX, and the New York Youth Symphony. Purrington holds degrees from The Juilliard School and the Shepherd School of Music at Rice University. She is currently pursuing a Master of Musical Arts at the Yale School of Music. www.hilarypurrington.com

“I composed Places among the stars and Three little birds in 2014. Originally for mezzo-soprano and string quartet, these two pieces are part of a larger song cycle featuring the poetry of Stephen Crane. “Places among the stars” captivated me with its expressive lyricism and imagery. “Three little birds,” on the other hand, stood out because of its whimsy and lightheartedness (rarely found in Crane’s poetry). I revisited the two pieces in 2017 and created new arrangements for the Bowers-Fader duo. Many thanks to Jessica and Oren for learning and performing these songs!”

//\\//\\

Composer Paul Salerni’s music “pulses with life, witty musical ideas and instrumental color” (The Philadelphia Inquirer), and has been described by the New York Times as “impressive” and “playful.” Henry Fogel has said “It is…music that sings and dances.” Salerni’s numerous commissioned orchestral and chamber music works have been performed throughout the US, Canada, Europe and China. Salerni’s one-act opera Tony Caruso’s Final Broadcast won the National Opera Association’s Chamber Opera competition in 2007, and a definitive recording of the opera was released on Naxos. His second one-act, The Life and Love of Joe Coogan, an adaptation of a Dick Van Dyke TV Show episode, had its premiere in September 2010. Both one-acts are published by Theodore Presser. Salerni’s most recent large-scale project was a ballet (FABLES) commissioned and premiered by Rioult New York. A CD of Salerni’s chamber music (“Touched) was released by Albany Records in 2015. A second CD of chamber music entitled “Speaking of Love” was released in 2017. Salerni is the NEH Distinguished Chair in the Humanities and Professor of Music at Lehigh University, where he teaches composition and theory. He served for seven years on the Board of Directors of the Suzuki Association of the Americas, including two years as its Chair.

“I first became aware of David Ferry late in 2015 while reading at article about him in my Amherst Alumni Magazine. There I learned that David, a 92 year-old Boston based poet, translator, and teacher, shared the same educational history as myself, but, moreover, that he was a wonderful poet. I started setting his poems, and when I asked for his permission to do so, he noticed that three of the poems I had chosen were “ekphrastic,” that is, they were poems that describe paintings. Once I separated those poems into a cycle, both he and I realized that the other poems I had chosen were about identity. David suggested a couple more of his poems that I hadn’t read that dealt with the same issue, and a second four song cycle was born. I first thought to call it “Songs of Identity,” then “Finding Oneself,” then “Finding One Self.” During a delightful lunch my wife Laura and I had with David, he made the final decision about the title. After all, he’s the expert wordsmith in this collaboration.”

Finding One Self
A song cycle on poems by David Ferry

A Charm
I have a twin who bears my name;
Bears it about with him in shame;
Who goes a way I would not go;
Has knowledge of things I would not know;
When I was brave, he was afraid;
He told the truth, I lied;
What’s sweet to me tastes bitter to him;
My friends, my friends, he doesn’t love them;
I walk the daylight of his dreams;
He breathes the air of my nightmare;

A Young Woman
That she, with such gifts given,
in the abundance and grace
of her youth and sweetness,
as if in a garden, walking
in a summer of freshness
and of the wind lifting
and falling in a lavishing
of light and penultimate
shadow, that she should falter
at all through this phase
pressing, with hand outstretched,
the surface of the future
as one who is blind presses
the surface of darkness
of corridor, or wall,
for any assurance at all
may she be blessed
in this faltering forward

Who is I
Here inside the fiction of myself,
Two voices I hear, both of them mine,
I guess, one of them telling the truth, I guess
I don’t know which one it is that’s telling the truth.
The voice that said what it was it had to say
And heard what it said when it said it, and didn’t know
Exactly what had become of the person who said
What it was he said just now, to tell the truth.
Always like this. Always it’s been like this.
The one that told my parents who I was
And told my wife who I was, and told my children,
And told whoever it was I was talking to
So help me god, telling the truth, so help me

Roman Elegy VIII (Goethe)
When you tell me that you were unpopular as a child,
and that your mother spoke of you in a rueful
tone of voice, and that all this seemed to go on
for a very long, the slow time that it took
for you to grow up, I believe you, and I enjoy
thinking about that odd, awkward child.
The grapevine flower, you know, is nothing much
but the ripened fruit gives pleasure to men and gods.

“In 2014, I set to music poems by Seamus Heaney that were performed at a memorial for Heaney at Emory University. As the curator of the Heaney Collection at Emory, Kevin Young had organized that event. During that memorial, I got to hear poems by Young and many of his colleagues in the Dark Room Collective, a group of African-American poets originally based in Cambridge, Massachusetts. In searching for poems by these authors, I found Young’s “Beyond Words,” a text I could set that might appeal to the edgier, more electric side of the eclectic Bowers/Fader duo.”

Beyond Words
by Kevin Young
Mudd Club 4th floor gallery
Manhattan, April 1981

If you bomb
the IND
Or tag the 2

downtown
–gallery-bound–
dousing it in tribal

shrapnel, you’re it
–the shit–
If you can lie

between the rails
–Please Stand
Clear the Closing–

or press yourselves
betw. train
& the wall

spray can rattling
like a tooth —The roof
the roof

the roof is on
fire–soon
the 6 will whistle

past, swinging
like a night stick–
Office Pup throwing

a brick
@ that Mouse
Ignatz, in love–

#$!?!!!!–then
you’ll have found
risk. A calling–

Crash, Daze, Pray
covering trains
like cave paintings,

avoiding the German
shepherds–ACHTUNG–
while the cars sit

in the yards
–what no one else in this
city owns. Making

their names
known–Dondi, Boy-
5, B-Sirius, Crazy

Legs, Coolie C–
The city clears
its throat

the subway shaking
the buildings above–
We don’t need

no water let
the motherfucker
burn
–Futura 2000,

Phase II, Quick
& Sex & Zephyr
& Lady Pink–

Fab 5 Freddy
(né Braithwaite)
saying everyone’s

a star, “Rapture”–

the whole planet’s in
on it–Chilly Most
Being the Host Coast

to Coast–Freddy’s painted
Campbell’s Soup Cans that read
DADA & POP instead

of beef barley–
the UFO has landed
& a brother’s

stepped out, alien, dressed
in white. Then when
there’s no more cars

he goes out at night
& eats up bars–
graffiti like 3 card monte–

running, avoiding the pigs
like a black muslim
bean pie. DJ spinning

says my my.
Pay attn.–
say, ain’t that

Basquiat spinning

disks behind Blondie–
SAMO AS AN END
TO MINDWASH RELIGION–

45s stacked high
as a Dag-
wood sammich?

Hungry, this B-
boy’s headed to the top–Yes

Yes, y’all
You don’t stop

blowing up.

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.6 – Piano jouet

l’Ao welcomes New Renaissance Artist Elizabeth A Baker and her toy pianos.
Friday, October 28, 2016
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

Listen online via Clocktower

Celebrated for her “terrifying dynamic range,” cleanliness of sound, as well as unique sensitivity and ability to sculpt her performance for the acoustics of a space, Elizabeth A. Baker is a dramatic performer with an honest, near psychic connection to music, which resounds with audiences of all ages and musical backgrounds. As a creator, her understanding of sonic space from organic intuition and studies in music production, pair with a unique eclectic voice, making for a spatial and auditory experience of music. Eschewing the collection of traditional titles that describe single elements of her body of work, Elizabeth refers to herself as a “New Renaissance Artist” that embraces a constant stream of change and rebirth in practice, which expands into a variety of media, chiefly an exploration of how the sonic world can be manipulated to personify a variety of philosophies and principles both tangible as well as intangible.

An active performer highly sought after for her unique concert presentation methods, which break the fourth wall and draw the audience further into the music by asking them to listen beyond the surface through interactive dialogue, reminding them that there is no such thing as an incorrect interpretation of a work. Elizabeth firmly believes that every person will encounter music in a unique manner because each person comes from a different set of cultural norms, life experiences, and even the way they physically hear can be a factor to consider when seeking to relate with a work. Her solo concert tours have featured engagements at Lamar University (Beaumont, TX), Flying Monkey Arts Collective (Huntsville, AL), Eyedrum (Atlanta, GA), Southern Methodist University (Dallas, TX), and the Good Shepherd Chapel (Seattle, WA).

Emmy-award winning composer Larry Groupé has referred to her works as “Perfect.” and compared one of her early works to Debussy’s Engulfed Cathedral. Elizabeth’s works have been featured by Composers Circle, FIVE by FIVE, TEDxYouthTampaBay, Tampa Mini Makers Faire, Orlando Mini Makers Faire, as well as at the 2014 Electronic Music Midwest Festival and the 19th International Festival of Women Composers. Her compositions have been studied in academic institutions throughout the United States including USC-Thornton and the University of Georgia – Athens.

In 2015 she received an Individual Artist Grant from the Saint Petersburg Arts Alliance and the City of Saint Petersburg, Florida to create and present an original sound installation In Our Own Words: A Sonic Memory Quilt, which told the stories of various African-Americans in a fresh avant-garde manner, framed by evolving drones and a four-hour live performance by Elizabeth.

In addition to her work on the concert stage and on the page writing for other performing artists, Elizabeth has extensive training in recording arts, live sound reinforcement, and consistently received praise as well as high marks for the artistic sensibility and technical excellence of her mixes at St. Petersburg College, where she studied closely under mastering engineer Dave Greenberg. Today, friends and colleagues across the globe, frequently look to her as a consultant on projects for her skills as both a recording and mix engineer.

Combining her love of electronics and keyboard instruments, Elizabeth embarked on a mission in 2015 to promote works for toy piano and electronics, using a setup that combines handmade microphones and hydrophones. Her original works have been hailed by the Orlando Weekly as “a sterling testimonial to her artistry that proves she’s not just an expert in the toy piano field but a pioneer.” In Fall 2015, Schoenhut Piano Company added Elizabeth A. Baker to their official artist roster.

In Summer 2016, Elizabeth embarked on creating the score for a film project headed by the brilliant dancer-choreographer Helen Hansen French, which explores the experience of being an artist-mother. The Motherhood Project workshop, presented in relation to the film featured a live dance performance with Elizabeth accompanying Helen’s choreography with toy piano, electronics, and Indian harmonium, a keyboard instrument that rarely appears on the Western musical concert stage. A sensitive improviser, with experience in a wide array of genres, Elizabeth is a frequent collaborator for Jim Ivy’s Tangled Bell Ensemble and other improvisational projects throughout Florida.

Elizabeth is author of Toyager: A Toy Piano Method, the first comprehensive instructional book for toy piano, featuring principles of technique, practice strategies, music notation, as well as improvisational tactics.

Elizabeth is Founder and Executive Director of The New Music Conflagration, Inc., a not-for-profit corporation founded in the State of Florida to promote the work of contemporary composers and musicians. She is also, Co-Founder and Festival Director of the Florida International Toy Piano Festival.

//\\//\\
You can find Elizabeth’s book, Toyager: A Toy Piano Method, on Amazon.
You can find Elizabeth’s music on her BandCamp page.

 

[photo credit: Jim Lennon]

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.5 – Photon Ecstasy

Friday, October 14, 2016
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only
l’Artiste ordinaire is performing the soft premiere of Photon Ecstasy.

 

Listen online via Clocktower Radio Livestreaming

 

//\\//\\

Photon Ecstasy is a performance project that engages music, sound, light, and science fiction to address the hubris of certainty. Created by l’Artiste ordinaire (Melissa Grey & David Morneau), it is a concert-length performance for spoken word, trombone, interactive light and electronics—including the beeps of subverted video game systems, samples from the NASA Audio Collection, and the randomness of the benjolin modular synthesizer. It is based on Dan Rose’s The DNA-Photon Project, an artist book and twenty-five machine-sculptures, which explores the certitude of industrialized capitalist countries, national security secrecy, and corporate overreach.

The performance is an adaptation of the original story about the quest to beam one woman’s DNA into the many worlds of the universe. Further inspiration is drawn from Message From Earth, the record created by NASA for Voyager, which transmits human culture deep into space. Grey & Morneau blur the lines between presentation and performance, fact and fiction, and art and commentary.

Photon Ecstasy was commissioned by the Kislak Center for Special Collections, Rare Books and Manuscripts at the University of Pennsylvania for “Arbitrary Pleasures: Plaisirs Arbitraires,” an exhibition of some never-before-seen artist books from Penn emeritus professor, Dan Rose. Drawing from the tradition of formal constraints Rose’s visual narratives of such topics as the underarm, anthropology, philosophy, sex, motherhood, large corporations, and gender identity take the viewer-reader on journeys into elegant absurdity.

l’Artiste ordinaire will premiere Photon Ecstasy at the Kislak Center for Special Collections, Rare Books and Manuscripts at the University of Pennsylvania on October 20, 2016.

\\//\\//

Melissa Grey & David Morneau
Composers – Performers

Robert Kirkbride
Trombone Mute Designer (“culoboccalogist”)

Ezgi Ucar
Creative Technologist

Gregory Beson
Trombone Mute Fabricator

Dan Rose
Artist. Author: The DNA-Photon Project

//\\//\\

Established in January 2016, l’Artiste ordinaire (l’Ao) is a collaborative partnership between composer-performers Melissa Grey and David Morneau that has launched electronic performances and Soft Series, a concert series dedicated to presenting soft premieres. Live electronic performances include 7^3 [M] (Benjolin synthesizer, Game Boy), Gadget Berry Dimple: A Glossary of False Translation (Benjolin, Merlin, Spoken Word) for Hans Tammen’s Rakete bee bee? Rakete bee zee! 100th Anniversary of Dada at Spectrum NYC, and Hyperlocal 2.0 for Thomas Piercy (Bass Clarinet, Sine Waves, Beats). l’Ao is developing Photon Ecstasy, a concert-length performance project that engages music, sound, and science fiction to address the hubris of certainty, which will premiere at the University of Pennsylvania Special Collections Library in conjunction with the exhibition of artist Dan Rose’s DNA-Photon Project (October 2016).

 

Composer Melissa Grey’s projects include concert works, electroacoustic performances, installations, food and sound events, and frequent collaborations with artists, architectural designers, musicians and composers. Her works have been described as “elegantly diabolical…strikingly eerie and captivating” (furtherfield.org). Recent projects include kinetic scores based on combinatorial memory wheels: blur (after blue hour) for Payton MacDonald’s Sonic Divide project and Volvelle for the Bowers-Fader Duo. She created an electronic soundscape with the modular synth Benjolin to broadcast in the gallery space for the exhibition curated by artist Angela Grauerholz, Michèle Lemieux | The Whole and Its Parts, From drawing to animated films, exhibited at the Centre de design, Université du Québec à Montréal September-November 2016.

With artist and animator Nicole Antebi, she has ongoing animation-sound projects that include live performance and processing with Grey performing a vintage Merlin music machine: Procrustean Bed, composed for violinist Lynn Bechtold, premiered at the New West Electronic Arts and Music Organization Festival in San Diego; and Magic Square, a triple collaborative effort, features new music by synthpop pioneer, Vince Clarke, and premiered at the Morbid Anatomy Museum in Brooklyn, New York.

Grey teaches Sound Studies at the School of Media Studies at The New School in New York City. She is an Associate Director of Composers Concordance, and a Board Member of Miolina, the violin duo of Lynn Bechtold and Mioi Takeda.

 

David Morneau is a composer of an entirely undecided genre. Described by Molly Sheridan as a “shining beacon” of inspiration, his diverse work illuminates ideas about our culture, issues concerning creativity, and even the very nature of music itself. His eclectic output has been described variously as “elegantly rendered”, “happily prissy”, “impressive”, “unusual, esoteric, and offbeat”. His chiptune album, Broken Memory, “absolutely wrecks shop.… For that, David Morneau wins.” His current projects include Not Less Than the Good, a secularized morning prayer service based on Henry Thoreau’s Walden, which is being composed for New Thread Quartet (a New York based saxophone ensemble) and will include field recordings made at Walden Pond and read excerpts from Thoreau’s book performed by J.D. McClatchy; and Vintage Machines, a series of pieces utilizing vintage video game systems to make music. Morneau is composer-in-residence with Immigrant Breast Nest, a New York City netlabel.

 

Robert Kirkbride is Dean of Parsons School of Constructed Environments and Associate Professor of Architecture and Product Design. Dr. Kirkbride has been director of studio ‘patafisico for 25 years, and is also Spokesperson and a founding Trustee for PreservationWorks, a non-profit organization for the adaptive reuse of Kirkbride Plan Hospitals. Robert designed the Morbid Anatomy Museum, in Brooklyn, NY, with collaborator Anthony Cohn, and authored the award-winning multimedia online book, Architecture and Memory, which focuses on two Renaissance memory chambers. Kirkbride has been a visiting scholar at the Canadian Centre for Architecture, and architect-in-residence at the Bogliasco Foundation in Genoa, Italy. At Parsons/The New School, where he recently received the University Distinguished Teaching Award, Dr. Kirkbride established the Giuseppe Zambonini Archive at the Kellen Design Archives, and is an ongoing contributor to Memory Studies. Robert received his Ph.D. in the History and Theory of Architecture from McGill University, and a Master of Architecture and Bachelor of Arts in Design of the Environment from the University of Pennsylvania.

 

Ezgi Ucar is a New York based sound artist, creative technologist and multimedia designer. She earned her MFA in Design and Technology at Parsons School of Design, soon after her undergraduate studies in Industrial Engineering at Middle East Technical University. Her works revolve around sound experiments, multisensory explorations, physical computing, wearable technology and material research. She exhibited and performed her work at Metropolitan Museum of Art, Circuit Bridges Concert Series, SXSW Interactive, Parsons School of Design, Eyebeam, NYC Media Lab, Numa Paris, and New York Hall of Science. She gave talks about her projects at SXSW Interactive 2016 , Immersive Worlds Conference at Baruch College and Dreamyard Project. She is currently working as a creative technologist at Loomia, where she is also a resident artist.

 

Gregory M Beson is a designer and craftsman living in New York City. He continues to practice professionally and hone his hand skill while also expanding his perception and knowledge through studies in art, design & philosophy.

Currently Gregory is enrolled in Parsons School of Design Industrial Design MFA Program for which he has received the Presidential Scholarship.

He earned a Bachelor of Sciences degree from The New School University as a member of the Cohort 21 experimental experiential self directed learning program, for which he was awarded an accompanying full scholarship & fellowship.

 

Dan Rose is a leading theoretical artist working back and forth across two dimensional images and the way they are transformed by various techniques into three dimensions. Trained as an anthropologist, Rose wrote Black American Street Life about living on the streets of Philadelphia the year after Martin Luther King was murdered. His artistic production began by making a hundred one-of-a-kind artist books and covers many of which have been distributed by the Serpentine Gallery and the London ICA in the UK and by Printed Matter and other venues in the U.S.

His artist book, The DNA-Photon Project included 25 actual machines and thus became a three dimensional novel. A collaborator, Melissa Grey, composed music based on the book and wrote and performed a radio play that aired in New York City and London. With Rachel Cheetham-Richard he formed the Steamroller Laboratories devoted to visual experimentation; and the results of their collaboration has been shown in Philadelphia galleries. They have also founded an artist circle called the OuDiPo, translated from the French as, the sewing circle of potential images.

Dan Rose is a Professor Emeritus of Landscape Architecture at the University of Pennsylvania from which he also received an honorary Master of Arts degree.

\\//\\//

[photo by Karjaka Studios]

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.4 – Miolina

Friday, June 17, 2016
8:45pm (doors open @ 7:45)
@ NOMADLOFT – by invitation only
Featuring Miolina with special guest Ken Butler

A special Miolina chocolate created by Kee’s Chocolates will be shared with our guests.

 

kees


Prelude

7^3 [M]
Melissa Grey (Benjolin synthesizer)
David Morneau (Nintendo Gameboy)

:::::

Program

Angélica Negrón
Tres insultos para dos violines
I) Burlesco
II) Secco
III) Insistente

Mari Kimura
Sarahal for Two Violins & Interactive Computer

Melissa Grey (music) & Nicole Antebi (animation)
Procrustean Bed
featuring performance by Melissa Grey (Merlin Music Machine & laptop)

Lynn Bechtold
Funshallbehad
featuring Ken Butler, multi instrumentalist & artist

Monroe Golden
Winona’s Lesson

Karen Tanaka
Shibuya Tokyo


Miolina was formed in 2012 when artistic director/violinist Mioi Takeda decided to form a violin duo with longtime collaborator, violinist/composer Lynn Bechtold. To date, the duo has had successful performances in NYC at The Church of the Transfiguration, City Lore, Gallery MC, Greenwich House Music School, (le) Poisson Rouge, The Morbid Anatomy Museum, Parsons School of Design, Queens Library, Spectrum, St. Mark’s Church, and Turtle Bay Music School, as well as at Experimental Sound Studio in Chicago, at Monk Space in Los Angeles, and at the Cité Internationale des Arts and l’Institut Finlandais in Paris, France. In addition, they have performed on series and festivals such as Circuit Bridges, Composers Concordance, and Electronic Music Midwest. Miolina specializes in violin duo music that employs the natural beauty and sound of the instruments, with or without electronics and video. They enjoy collaborating on new compositions with composers, as well as discovering hidden gems of the past. In the last three years, they’ve premiered eleven new works. Some of their recent collaborators include cellist Jennifer DeVore and percussionists Ian Ding and Eric Millstein. Miolina’s future productions include creating music for silent Japanese films of the 1920s, and an educational program about immigration and its influence on composers. Both violinists are longtime advocates of new music, and have performed with various new music groups, including the American Symphony Orchestra, Composers Concordance, Glass Farm Ensemble, North/South Consonance, SEM Ensemble, & VIA. They are recipients of a 2015 grant from the Lower Manhattan Cultural Council, and a 2014 grant from New York Women Composers, and were recently granted 501(c)3 non-profit status. They will be recording their first album in late summer 2016.

//\\//\\

Since she settled in NYC, Japanese violinist Mioi Takeda earned her reputation as a soloist, chamber musician, orchestral player, and as a seasoned new music specialist in town. As Miolina’s artistic director, her mission is clear: encourage composers to write music for violin duo employing the natural beauty and sound of the instruments, without limitations. She also hopes to expand the violin-duo repertory for future generations. Mioi wants to help rediscover neglected violin-duo compositions by old masters, and to share the joy of current violin-duo music with her audiences.

In addition, Ms. Takeda has performed with new music groups, including North/South Consonance as concertmaster, SEM Ensemble, and Composers Concordance, giving countless premieres. She has also performed with the Orchestra of St. Luke’s, American Symphony Orchestra, Washington Square Festival, Scandia Symphony, Stamford Symphony, Strathmere Orchestra, The Japan Philharmonic, and The New Japan Philharmonic. Ms. Takeda’s performances can be heard on North/South and Naxos Recordings.
Mioi was a scholarship student of Dorothy DeLay and Masao Kawasaki at The Juilliard School, and she earned a Doctorate of Musical Arts from The City University of New York under the guidance of Itzhak Perlman. She also enjoys doing yoga and watching The Big Bang Theory when she is not playing the violin.

//\\//\\

Violinist Lynn Bechtold has appeared in recital throughout the U.S., Canada, France, Holland, and Switzerland. An advocate of contemporary music, she has worked with composers such as Carter Burwell, Gloria Coates, George Crumb, John Harbison, and Morton Subotnick, and has premiered works on the NWEAMO Festival, Princeton Composers’ Series, and the TriBeCa New Music Festival. In 2001, she gave the premiere of “Violynn,” a work for violin and electronics written for her by Alvin Lucier. Called ‘up-and-coming’ by TimeOut and noted in All About Jazz for her ‘virtuosity and technical expertise,’ she performs with Miolina, Zentripetal, Bleecker StQ, CompCord Ensemble, North/South Consonance, SEM Ensemble, and the disco band Escort, and has been a member of groups that have included the Grammy-nominated East Village Opera Company (rock/opera band). San Diego Story recently called her “unapologetically dominating.”

She has been heard on CBC Radio, CBS-TV, NBC-TV, NHK-TV, and WNYC, and on TV shows such as 30 Rock & Unbreakable Kimmy Schmidt. Recent programs have been with Catalyst Dance, DJ Spooky, VisionIntoArt, and Pablo Ziegler. In addition, she’s performed with entertainers such as Boyz II Men, Willie Colon, Sheryl Crow, Dead Can Dance, Darcy James Argue’s Secret Society Band, Roberta Flack, Left Banke, Smokey Robinson, J-Pop band SMAP, Donna Summer, and Stevie Wonder. An active performer, she has performed at diverse venues from Carnegie Hall & Lincoln Center to Joe’s Pub & Madison Square Garden.

She received her M.M.from Mannes-The New School for Music, where she was a student of noted violinist Felix Galimir. Prior to that, she received a double-degree in Violin and English from the New England Conservatory and Tufts University in Boston. In addition, she likes to compose electroacoustic works, and to write articles about food/music/life. Her compositions have been performed on festivals such as Circuit Bridges, Composers Concordance, and Music With a View. She is on the faculty of The Dwight School and Greenwich House Music School in NYC, and the Norwalk Youth Symphony in CT.

//\\//\\

Ken Butler is an artist and musician whose Hybrid musical instruments, performances, installations, and other works explore the interaction and transformation of common and uncommon objects, altered images, sounds and silence.
He has been featured in exhibitions and performances worldwide including The Stedelijk Museum in Amsterdam, The Prada Foundation in Venice, The State Hermitage Museum in St. Petersburg, Mass MoCA, The Kitchen, The Brooklyn Museum, Lincoln Center, and The Metropolitan Museum of Art in New York City, as well as in South America, Thailand, and Japan.
Ken recently won first prize in the Guthman Musical Instrument Design Competition at Georgia Tech University in Atlanta, in addition to the People’s Choice awards for Best Performance and Most Unusual Instrument.
His works have been reviewed in The New York Times, The Village Voice, Artforum, Smithsonian, and Sculpture Magazine and have been featured on PBS, CNN, MTV, and NBC, including a live appearance on The Tonight Show. Awards include fellowships from the Oregon Arts Commission, the New York Foundation for the Arts, the National Endowment for the Arts, and the Pollack/Krasner Foundation.
Ken Butler studied viola as a child and maintained an interest in music while studying visual arts in France, at Colorado College, and Portland State University, where he completed his MFA in painting in 1977.
He has performed with John Zorn, Laurie Anderson, David Van Tieghem, Butch Morris, The Soldier String Quartet, Matt Darriau’s Paradox Trio, The Tonight Show Band, and The Master Gnawa musicians of Morocco. His CD, Voices of Anxious Objects, is on Tzadik records.
Works by Ken Butler are represented in public and private collections in Portland, Seattle, Vail, Los Angeles, Toronto, Montreal, Washington, Paris, Tel Aviv, and New York City, including the permanent collection of The Metropolitan Museum of Art.

//\\//\\

Puerto Rican-born composer and multi-instrumentalist Angélica Negrón writes music for accordions, toys and electronics as well as chamber ensembles and orchestras. Her music has been described as “wistfully idiosyncratic and contemplative” (WQXR/Q2) and “mesmerizing and affecting” (Feast of Music) while The New York Times noted her “capacity to surprise” and her “quirky approach to scoring”.  Her music has been performed at the Bang on a Can Marathon and the Ecstatic Music Festival and she has collaborated with artists like Sō Percussion, janus trio, American Composers Orchestra and Face the Music, among others.  Angélica is currently a doctoral candidate at The Graduate Center (CUNY), where she studies composition with Tania León. She’s a teaching artist for New York Philharmonic’s Very Young Composers Program and Lincoln Center Education working with learners of all ages on creative composition projects. Angélica was the 2014-2015 Van Lier Fellow at American Composers

Orchestra and is currently working on a commission for the NYC based quartet Loadbang and on the score for the documentary “Memories of a Penitent Heart” by director Cecilia Aldarondo.

//\\//\\

Mari Kimura is at the forefront of violinists who are extending the technical and expressive capabilities of the instrument. As a performer, composer, and researcher, she has opened up new sonic worlds for the violin. Notably, she has mastered the production of pitches that sound up to an octave below the violin’s lowest string without retuning. This technique, which she calls Subharmonics, has earned Mari considerable renown in the concert music world and beyond. She is also a pioneer in the field of interactive computer music. At the same time, she has earned international acclaim as a soloist and recitalist in both standard and contemporary repertoire.

As a composer, Mari’s commissions include the International Computer Music Association, Harvestworks, Music from Japan and others, supported by grants including New York Foundation for the Arts, Arts International, New Music USA/Meet The Composer, Japan Foundation, Argosy Foundation, and New York State Council on the Arts.  In 2010, Mari won the Guggenheim Fellowship in Composition, and invited as Composer-in-Residence at IRCAM in Paris. In May 2011, Mari was presented in a solo recital at the Bohemian National Hall in NYC by the Vilcek Foundation, in recognition of her groundbreaking work as a foreign-born artist; subsequently she was named one of 2011’s “Immigrants: Pride of America” by the Carnegie Corporation, published in the New York Times. Mari’s latest CD, The World Below G and Beyond, is devoted entirely to her own compositions and focuses on works using Subharmonics and interactive computer music. In 2011, Mari presented her “I-Quadrifoglo”, her first string quartet with interactive computer at New York’s Symphony Space, commissioned by the Cassatt String Quartet through 2010 Fromm Foundation Commission Award from Harvard.  Mari’s work has been featured in major publications including the New York Times written by Matthew Gurewitsch, and in Scientific American written by Larry Greenemeier. In October 2014, Mari received the Inaugural Award Of Composers Now Creative Residencies at The Pocantico Center of The Rockefeller Brothers Fund.

As a violinist, Mari has premiered many notable works, including John Adams’s Violin Concerto (Japanese premiere), Luciano Berio’s Sequenza VIII (US premiere), Tania Léon’s Axon for violin and computer (world premiere), and Salvatore Sciarrino’s 6 Capricci (US premiere), among others. In 2007, Mari introduced Jean-Claude Risset’s violin concerto, Schemes, at Suntory Hall with the Tokyo Symphony Orchestra. The cadenza she wrote for the concerto, incorporating advanced Subharmonics, was subsequently published in STRINGS magazine. In November 2010, Mari appeared as a soloist with the Hamburg Symphony performing John Adams’ Dharma at the Big Sur, under the direction of Jonathan Stockhammer, conductor.

In 2013, Mari inaugurated a new summer program as the Director of the Future Music Lab at the Atlantic Music Festival in collaboration with IRCAM. The program focuses on high-level performers using the latest technology. Since 1998, Mari has been teaching a graduate course in Interactive Computer Music Performance at Juilliard.

//\\//\\

Composer Melissa Grey’s works have been described as “elegantly diabolical…strikingly eerie and captivating” (furtherfield.org). Her recent projects include blur (after blue hour), a kinetic score based on Renaissance combinatorial memory wheels, created for Payton MacDonald’s Sonic Divide project. She is currently developing a soundscape that will broadcast in the gallery space for the exhibition curated by artist Angela Grauerholz, Michèle Lemieux | The Whole and Its Parts, From drawing to animated films, to be shown at the Centre de design, Université du Québec à Montréal in September 2016. With artist and animator Nicole Antebi, she has ongoing animation-sound projects that include live performance and processing with Grey performing a vintage Merlin music machine: Procrustean Bed, composed for violinist Lynn Bechtold, premiered at the New West Electronic Arts and Music Organization Festival in San Diego; and Magic Square, a triple collaborative effort with Antebi and synthpop pioneer, Vince Clarke, premiered at the Morbid Anatomy Museum in Brooklyn, New York. Grey is an Associate Director of Composers Concordance and a Member of the Board of Directors for Miolina, the violin duo of Lynn Bechtold and Mioi Takeda. She teaches Sound Studies at the School of Media Studies at The New School in New York City.

http://melissagrey.net/

Nicole Antebi works in non-fiction animation, motion graphics, installation while simultaneously connecting and creating opportunities for other artists through larger curatorial and editorial projects such as Water, CA and Winter Shack.  Her work has been shown in many unusual places including Hive House Los Angeles, High Desert Test Sites, The Manhattan Bridge Anchorage, Teeny Cine’s converted trailer, Portable Forest, a Texas Grain Silo and in the cabin of a capsized ship at Machine Project in Los Angeles. She was the 2015 animator-in-residence at Circuit Bridges, New York and was recently awarded a Jerome Foundation Grant in Film/Video for a forthcoming animated film about El Paso and Ciudad Juàrez set in the early 90’s. She teaches part time at CUNY Staten Island and Parsons The New School for Design.

Procrustean Bed, a performance for violin, Merlin, and live processing, with animation by the artist Nicole Antebi, is a collaborative work based on the myth of Procrustes, the subduer, the stretcher, the rogue metalworker who either cut or stretched his guests’ legs to fit the specific size of an iron bed. The phrase is used in several disciplines to convey an arbitrary standard to which exact conformity is forced. Merlin, performed by Melissa Grey, is a handheld computer game from the late 1970s that was one of the earliest digital sequencers. In Music Machine mode, there is a limit of 48 pitches. This constraint will be subdued or stretched to fit our procrustean bed. Procrustean Bed was composed for violinist Lynn Bechtold.

 

//\\//\\

Monroe Golden is a composer from rural Alabama, now living in New York City, whose overtone-informed music has been called “delightfully disorienting,” “lovely, sumptuous, yet arcane,” and “irresistible…, full of wit and beauty.”  He received the Alabama Music Teachers Association/MTNA Commissioning Award, an Individual Artist Fellowship from the Alabama State Council on the Arts, and commissions from solo performers and groups. His work “Incongruity” (piano/fixed media) was the first prize entry in the 2011 UnTwelve Competition. Beyond his own artistry, Golden has actively encouraged and promoted the innovative arts in his resident community. A founding member of the Birmingham Art Music Alliance, he served as President from 2003-2005 and 2014-2015, and also led the Birmingham Art Association, Birmingham Improv, Artburst performance series, and the New Arts Stage. He co-founded and implemented the Birmingham New Music Festival in 2014.  He graduated from the University of Montevallo and earned a doctorate in Music Composition from the University of Illinois. There are three complete audio releases of his music: A Still Subtler Spirit (Living Artist Recordings, 2003), Alabama Places (innova Recordings, 2007), and Incongruity (self-published, 2011).  His microtonal piano piece “I’m Worried Now” — written for Aron Kallay’s “Beyond 12” project — is scheduled for release on MicroFest Records in late 2016.

//\\//\\

Karen Tanaka is a versatile composer and pianist. Her works have been performed by distinguished orchestras and ensembles worldwide including the BBC Symphony Orchestra, Los Angeles Philharmonic, Netherlands Radio Symphony Orchestra, Orchestre Philharmonique de Radio France, among many others. Born in Tokyo, she started formal piano and composition lessons as a child. After studying composition at Toho Gakuen School of Music, she moved to Paris in 1986 with the aid of a French Government Scholarship to study with Tristan Murail and work at IRCAM as an intern. In 1987, she was awarded the Gaudeamus Prize at the International Music Week in Amsterdam. She studied with Luciano Berio in Florence in 1990-91 with funds from the Nadia Boulanger Foundation and a Japanese Government Scholarship. In 1998, she was appointed as Co-Artistic Director of the Yatsugatake Kogen Music Festival, previously directed by Toru Takemitsu. In 2012, she was selected as a fellow of the Sundance Institute’s Composers Lab for feature film and mentored by Hollywood’s leading composers. Her music is published by Chester Music in London, Schott Music in New York (PSNY), and Editions BIM in Switzerland. Karen Tanaka lives in Los Angeles and teaches composition at California Institute of the Arts.

http://directory.calarts.edu/node/3103

Shibuya Tokyo
Shibuya is one of the busiest railway stations in Tokyo. There are almost three million passengers that move through the station every day. The place is famous for its scramble crossing that stops vehicles in all directions to allow pedestrians to swarm the entire intersection. Shibuya Tokyo was inspired by this hectic, sleepless and chaotic place.

 

//\\//\\

David Morneau is a composer of an entirely undecided genre. Described by Molly Sheridan as a “shining beacon” of inspiration, his diverse work illuminates ideas about our culture, issues concerning creativity, and even the very nature of music itself. His eclectic output has been described variously as “elegantly rendered”, “happily prissy”, “impressive”, “unusual, esoteric, and offbeat”. His chiptune album, Broken Memory, “absolutely wrecks shop.… For that, David Morneau wins.” His current projects include Not Less Than the Good, a secularized morning prayer service based on Henry Thoreau’s Walden, which is being composed for New Thread Quartet (a New York based saxophone ensemble) and will include field recordings made at Walden Pond and read excerpts from Thoreau’s book; and Vintage Machines, a series of pieces utilizing vintage video game systems to make music. Morneau is composer-in-residence with Immigrant Breast Nest, a New York City netlabel.

http://5of4.com

Established in January 2016, l’Artiste ordinaire (l’Ao) is a collaborative partnership between composer-performers Melissa Grey and David Morneau that has launched electronic performances and Soft Series, a concert series dedicated to presenting soft premieres. Live electronic performances include 7^3 [M] (Benjolin synthesizer, Game Boy), Gadget Berry Dimple: A Glossary of False Translation (Benjolin, Merlin, Spoken Word) for Hans Tammen’s Rakete bee bee? Rakete bee zee! 100th Anniversary of Dada at Spectrum NYC, and Hyperlocal 2.0 for Thomas Piercy (Bass Clarinet, Sine Waves, Beats). l’Ao is developing Photon Ecstasy, a concert-length performance project that engages music, sound, and science fiction to address the hubris of certainty, which will premiere at the University of Pennsylvania Special Collections Library in conjunction with the exhibition of artist Dan Rose’s DNA-Photon Project (October 2016).

http://artisteordinaire.org

7^3 [M]

MIOLINA
MELISSA
MORNEAU

 

//\\//\\

\\//\\//

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.3 – MALEDETTO

Friday, April 1, 2016
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

Program

an arrangement of
Kenneth Gaburo’s MALEDETTO
by thingNY & Varispeed

NOTE ON THE ARRANGEMENT
As with Robert Ashley’s Perfect Lives and John Cage’s Empty Words, Varispeed likes to shake things up a bit with our arrangements by taking a single authoritative voice and splitting it up among a collective. Kenneth Gaburo’s Maledetto was written for Speaker A, indicated as male who at times may “appear to be a historian, a mere ‘reader,’ a pontiff, a circus barker, a teacher, an auctioneer”; Speaker B, indicated as male who is “always cursing”; Speaker D, indicated as female who is “transformational” and “comes to realizations and acts on them positively”; and an SATB chorus. The experiment that Varispeed is trying in this reading is to break-up each of these roles amongst the collective, so that who is reading which part shifts throughout the piece. Why would we do this? The quickest answer might be: to undo the drive toward mansplaining, to look beyond a mode where each gender is confined to particular kinds of vocalization, and, by extension, where certain sexual innuendos – which this piece is replete with – are primarily implied toward male-female couples. We wanted to do more than simply switch the genders of who did what. So this arrangement is infused with a Star-Trek-esque idealism about collective experience and power relations, in hopes that it furthers the spirit of the piece but updates it for a twenty-first-century world. – GB

featuring performances by:

Gelsey Bell is a singer, songwriter, and scholar. She is a core member of Varispeed and thingNY, and her work has been presented internationally. Upcoming performances include the final night of her Roulette residency on April 24th. She has a PhD in performance studies and a keen interest in compositional linguistics. www.gelseybell.com

Brian McCorkle is a composer and performer working with Panoply Performance Laboratory (as co-Director with Esther Neff) and Varispeed Collective. Upcoming projects include “Boleros” as part of this year’s Make Music NY festival and PPL’s new opera “Embarrassed of the Whole” panoplylab.org/brianmccorkle

Esther Neff is the founder of Panoply Performance Laboratory, an entity situating live acts of collective ideation and performing operas-of-operations. PPL is currently making a new opera entitled “Embarrassed of the Whole” panoplylab.org/estherneff

Paul Pinto is a composer, writer and performer. He’s a founder of experimental music ensembles thingNY and Varispeed. An album of his poetic compositions, minis/Trajectories is set to be released in September, and he’s writing a psychedelic new electronic opera called Thomas Paine in Violence for the HERE Art Center. pfpinto.com

Dave Ruder is a Brooklyn-based vocalist, clarinetist, guitarist, electronicist, composer, songwriter, writer/librettist, interdisciplinary collaborator, etc. Dave is a key member of the groups Varispeed, thingNY, and Reps. Since 2013, Dave has been the driving force behind Gold Bolus Recordings, which documents the work of NYC’s greatest musical weirdos. daveruder.com

Aliza Simons is a founding member of Varispeed. She has released several albums as Why Lie? with Dave Ruder and lives and works in Brooklyn, NY. Also, today is her birthday.

Jeffrey Young is a composer, violinist, and electronic musician from Brooklyn, NY specializing in experimental, rock, and classical music. Recent performance highlights include tours in the US and Europe as a solo artist and with The World/Inferno Friendship Society, Valerie Kuehne and the Wasps Nests, and Paul Pinto. jeffrey-young.com

Varispeed is a collective of composer-performers that creates site-specific, sometimes-participatory, oftentimes-durational, forevermore-experimental events. Founded by Aliza Simons, Dave Ruder, Paul Pinto, Brian McCorkle, and Gelsey Bell, Varispeed came together in June 2011 to perform Perfect Lives Brooklyn, a 12-hour celebration of Robert Ashley’s landmark opera. varispeedcollective.com

thingNY is a 501c3 not-for-profit collective of composer-performers who create and perform theatrically charged experimental music, champion the work of avant-garde and contemporary classical composers, and collaborate across disciplines, media and genres. thingNY.com

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.2 – Farmer Cellist

Friday, March 4, 2016
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

Program

Cello Club [excerpt, in progress] by David Morneau
[] Craig Hultgren [cello]

New Work for unaccompanied cello by James Romig
[] Craig Hultgren [cello]

Aurora Inscrutabile by Tim Johnson
[] Craig Hultgren [cello]

~improvisation~
[] Craig Hultgren [cello]

 

About the Artists

For several decades, cellist Craig Hultgren has been a fixture on the scenes for new music, the newly creative arts, and the avant-garde. Recently leaving Birmingham after more than 30 years as a member of the Alabama Symphony, he now resides outside of Decorah, Iowa as the farmer-cellist. A recipient of two Artist Fellowships from the Alabama State Council on the Arts, he was a member for many years of Thámyris, a contemporary chamber music ensemble in Atlanta. He is a founding member of Luna Nova, a new music ensemble with a large repertoire of performances available as podcast downloads on iTunes. Hultgren is featured in three solo CD recordings including The Electro-Acoustic Cello Book on Living Artist Recordings. For ten years, he produced the Hultgren Solo Cello Works Biennial, an international competition that highlighted the best new compositions for the instrument. He taught at the University of Alabama at Birmingham, the Alabama School of Fine Arts and Birmingham-Southern College where he directed the BSC New Music Ensemble. He is a founding member and former President of the Birmingham Art Music Alliance and was on the Board of Directors of the Metropolitan Youth Orchestras of Birmingham and their Scrollworks program. In 2013, Hultgren performed a 15 Minutes of Fame concert titled Occupy Cello in New York for the Composer’s Voice Concert Series. That program featured 15 one-minute solo compositions that challenge the traditional boundaries of the instrument. Last fall, he was the featured performer for the La Crosse New Music Festival in Wisconsin.

James Romig (b. 1971) endeavors to create music that reflects the intricate complexity of the natural world, where fundamental structures exert influence on both small-scale iteration and large-scale design, obscuring boundaries between form and content. His music has been performed in 49 states and 30 countries. Notable ensemble performers include the JACK Quartet, Talujon, Ensemble Chronophonie, Duo Contour, Helix, the Khasma Duo, New Muse Duo, the Zodiac Trio, Suono Mobile, and the Quad City Symphony Orchestra. Solo performances include recitals by pianists Ashlee Mack and Taka Kigawa, flutists John McMurtery and Harvey Sollberger, violinist Erik Carlson, and numerous others. Recordings of his music have been released on the Blue Griffin, First Step, and Navona record labels, and also by Perspectives of New Music/Open Space. His percussion works are especially well-known and have received hundreds of performances around the world. Guest-composer visits include Eastman, Buffalo, Cincinnati, Bowling Green, Northwestern, Illinois, and the American Academy in Rome. Residencies include Petrified Forest National Park, Grand Canyon National Park, and Copland House. He holds degrees from Rutgers University (PhD, studying with Charles Wuorinen and Milton Babbitt) and the University of Iowa (MM, BM). He has been on faculty at Western Illinois University since 2002.

Composer Timothy Ernest Johnson is known for music that integrates disparate materials into a multiplicity of expressive dimensions, most recently in a series of works partially based on historical chess games. His large ensemble work Kasparov vs Deep Blue was a finalist in the 2008 Alea III competition and Morphy vs Brunswick and Isouard won the 2004 University of Illinois Symphony Orchestra prize. His co-commissioned electronic work Tensile Strength received a prize in the 2008 International Electroacoustic Music Competition “Musica Nova” in the Czech Republic, and has been featured on two recordings. Johnson has had numerous other works performed in his native Chicago and abroad, and remains active as a classical guitarist, with recent recitals in South Korea and Chicago. As a theorist, Dr. Johnson’s most recent presentation was a 2013 guest lecture at the University of Illinois entitled “Ben Johnston’s Compositional World: 13-limit Extended Just Intonation.”

David Morneau is a composer of an entirely undecided genre. Described by Molly Sheridan as a “shining beacon” of inspiration, his diverse work illuminates ideas about our culture, issues concerning creativity, and even the very nature of music itself. His eclectic output has been described variously as “elegantly rendered”, “happily prissy”, “impressive”, “unusual, esoteric, and offbeat”. His recent album, Broken Memory, “absolutely wrecks shop.” For that, David Morneau wins.” Morneau is Composer-In-Residence at Immigrant Breast Nest and co-produces Soft Series with Melissa Grey.

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

Concert no.1 – Another Dimension

Friday, January 29, 2016
8:00pm (doors open @ 7:30)
@ NOMADLOFT – by invitation only

Program

Another Dimension
David Morneau [Nintendo Gameboy]

 

Another Dimension is a sonification of a simple idea: take something that exists and expand it in an unexpected direction to see what happens.
Another Dimension is a bustling meditation.
Another Dimension is a new book on a favorite subject.
Another Dimension is a new rendition of a classic song.
Another Dimension is a novel preparation of a familiar food.
Another Dimension is a new phase of life, an expanded friendship, a new responsibility, an evolution of thought, idea, belief.
Another Dimension is added director’s commentary.
Another Dimension is the first day of school, the first night away, the first morning home.
Another Dimension is growth, change, transformation, moving forward, reaching higher, exploring, expanding, discovering, learning.
Another Dimension is seeing through reality to find new possibilities.

Another Dimension expands behind the doorway of opportunities. It waits for us to find it. It rewards those who look for it, take risks for it. Another Dimension waits for us to grow into it. It moves away from us, showing us that it is not unique, it is not singular. Every time we step, or slip, or slide, or stumble, or stride, or saunter, or stroll, or struggle into Another Dimension we soon see that there is more—there is still yet Another Dimension.

Imagine that you are standing on a street corner, feeling the world surge around you. People are moving by, bumping and jostling, as they hurry home, or to work, or to the store, or to meet a friend, or to nowhere in particular. You can hear their footsteps and their conversations; you can feel their purpose and their exasperation. Beyond them the traffic flows—carriages of metal and plastic—moving toward many of the same places as the crowd walking by. They fill the air with the noise and odor of internal combustion and punctuate it with impatient horn blasts. Beneath you, beneath the vibrations of people and cars, the world itself—the very foundation of your existence—moves and turns as it races through the void, spinning away from the place of its birth.

Imagine turning your mind inward, feeling the world course around you. You do not push it away; you let it wash by you, over you, through you. It will not sweep you away. It will not uproot you from your foundation. Outside you is noise, inside is peace. Turning inward, you step confidently into Another Dimension.

more about David Morneau

 

photo by Robert Kirkbride
photo by Robert Kirkbride

 

Soft Series is a concert series dedicated to presenting soft premieres of new music in an intimate environment with lively pre- and post-concert conversation.

 


Update
Performance video: