Events: Search Results

Bowerbird presents:

Song Books Miniatures 1: Joan La Barbara and Ne(x)tworks
Saturday, December 1, 2012 from 12:00 to 4:00pm
Philadelphia Museum of Art 
26th Street Benjamin Franklin Parkway
Philadelphia, PA 19130  

Second of two events featuring Ne(x)tworks. Dec. 1 presents the ensemble in various configurations around the museum playing all Cage repertoire, primarily from Song Books.

Ne(x)tworks
Joan La Barbara - voice;
Shelley Burgon - harp & laptop;
Yves Dharamraj - cello;
Miguel Frasconi - glass & laptop;
Stephen Gosling - piano;
Ariana Kim - violin;
Christopher McIntyre - trombone, electronics

Event page on cagebeyondsilence.com 

Dither's Invisible Dog Extravaganza 2012

Saturday, November 17, 5 - 10 pm
The Invisible Dog Art Center
51 Bergen Street
Brooklyn, NY, 11201
$8 admission

TILT Brass is part of a fantastic line-up (see below) of New Yorkers gathered for Dither's annual bash at Invisibile Dog in Cobble Hill, Brooklyn. TILT's performance is solely focused on Lois V. Vierk's epic 1990 work for brass sextet Jagged Mesa. ID's vast industrial interior is perfectly suited to present Vierk's work antiphonally as intended. Not an event to be missed!

PROGRAM
Lois V. Vierk - Jagged Mesa (1990) for brass sextet

PERSONNEL
Tim Leopold, Tom Bergeron - trumpet
Jen Baker, Chris McIntyre - trombone
Will Lang, James Rogers - bass trombone

Performances by:
Dither
Anthony Coleman & Ashley Paul
Mary Halvorson & Jessica Pavone
Victoire
Peter Evans
Preshish Moments
TILT Brass
Object Collection

Details at  theinvisibledog.org/dither-extravaganza and ditherquartet.com/news.html

Saturday, Nov. 3, 2012, 20:15
Theater Dakota
Zuidlarenstraat 57 
2545 VP Den Haag
Tel kassa: 070 326 55 09

‘Handmade Homegrown’ Theater Dakota Studio Concert Series

3 November: Decade
"New Yorker trombonist Chris McIntyre double bill with Kate Moore and RPM Electro. The evening’s event will feature the launch of Kate’s brand new band RPM Electro featuring a grand set-up of e.harp, e.cello, e.guitar, voice/ organs and percussion with some of the hottest performers from the city. The concert will feature 10 pieces by Kate to celebrate 10 years in NL. Trombonist/ composer Chris McIntyre from New York will make a debut appearance in The Hague performing a set of semi improvised and composed works for solo trombone."

About ‘Handmade Homegrown’
‘Handmade Homegrown’ Theater Dakota Studio Concert Series is a monthly concert series featuring a quirky collection of individuals and groups who are unique in their field, genuine and continue to defy expectation who make 100% homegrown original stuff that’s like nothing anywhere else on the planet.

Concentrating on composers and creators who work with sound who make and perform their own work, this concert series is a platform for a generation of independent artists who are out there doing it for themselves in a scene that is raw, earthy, energetic and filled with life and colour.

The series aims to bring international, national and local groups together once a month to perform their latest creations to an audience curious about the voices of today. The series is about personality, originality, honesty and passion.

Handmade Homegrown Concert Series is curated by composer Kate Moore who will be artist in residence at Theater Dakota 2012/13. Being Kate’s tenth season in The Netherlands she wishes to celebrate this by programming a collection of ten portrait concerts featuring people and groups that have been prominent and inspiring characters passing through The Hague during this time. Her band RPM Electro will be resident ensemble: www.rpmelectro.com

The Orchestra of the S.E.M. Ensemble:
John Cage’s Atlas Eclipticalis with Winter Music

Stern Auditorium / Perelman Stage at Carnegie Hall
E. 57th Street and Seventh Avenue, NYC


The Orchestra of the S.E.M. Ensemble
Joseph Kubera, Piano • Ursula Oppens, Piano • Petr Kotik, Conductor

John Cage Atlas Eclipticalis (1961-62) & Winter Music (1957) performed simultaneously
Christian Marclay Shuffle (2007)

Admission: $25 / $15 Students & Seniors | Buy Tickets
Buy a Festival Pass (includes Morton Feldman: Major Orchestral Works at Alice Tully Hall, Lincoln Center) starting at $50.

Patron Tickets & Preferred Seating available through S.E.M. Ensemble office: 718-488-7650 or pksemsemensemble [dot] org

"Listen to experimental 1950s music by composers such as Earle Brown, John Cage, Giacinto Scelsi, and Karlheinz Stockhausen in the museum’s rotunda while viewing works by Louise Bourgeois, Alexander Calder, Jackson Pollock, Antoni Tàpies, and more in Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960. Christopher McIntyre directs an all-star ensemble featuring musicians from the International Contemporary Ensemble, Ne(x)tworks, and Either/Or, among others. A talk by composer R. Luke DuBois precedes the performance."

Event page on guggenheim.org/patterns

PERSONNEL:
conductor - Ted Hearne
violin - Cornelius Dufallo
violin - Miranda Cuckson
viola - Anne Lanzilotti
cello - John Popham
clarinet - Josh Rubin
bass clarinet - Christa Van Alstine
English horn - Emily DiAngelo
trumpet - Gareth Flowers
horn - Rachel Drehmann
trombone - Chris McIntyre
percussion - David Shively
electronics (Cage) - R. Luke Dubois

PROGRAM:
Pierre Schaeffer - Cinq études de bruits (5 studies of noise) (1948)
Pre-concert sound work

Edgard Varése - untitled graphic score (ca. 1957)
Hearne, Rubin, Flowers, McIntyre, Cuckson, Dufallo, Lanzilotti, Popham, Shively

Toru Takemitsu - Landscape (1960)
Cuckson, Dufallo, Lanzilotti, Popham

Earle Brown - November '52 ("Synergy") from Folio and Four Systems (1953)
McIntyre, Shively

Karlheinz Stockhausen - Klavierstüke XI (1956)
Gosling

Morton Feldman - Projection 4 (1951)
Dufallo, Gosling

Giacinto Scelsi - Kya (movements 2 & 3) (1958)
Hearne, Rubin (solo), Van Alstine, Farah, Flowers, Drehmann, McIntyre, Lanzilotti, Popham

John Cage - Concert for piano, violins 1 & 2, clarinet, trumpet, and sliding trombone (1958)
& Fontana Mix [realized by R.L. Dubois] (1958/2012)
Gosling, Cuckson, Dufallo, Rubin, Flowers, Drehmann, McIntyre, Dubois

On Thursday, June 14th, at Incubator Arts Project, composer and multi-instrumentalist Chris McIntyre presents the debut performance of his new band project, UllU. This "preview" of the group is a collaborative duo iteration with the extraordinary percussionist David Shively (Either/Or). Also featured for part of the performance is special guests James Fei on sopranino saxophone, Taylor Levine, guitar, and Eli Keszler on percussion.

The music of UllU is a percussive, "harmonic", and textural mix of ideas; a dialectical investigation of pure and damaged symmetry, unified and polyvalent sonic images. Strategic and notated compositional material is used to create audible yet illusive formal structures. Rhythmic and linear content moves in and out of entrainment kaleidoscopically. The use controlled feedback and on-stage multi-channel amplification (outputting instrumental sound and electronics) modulates the shifting dimensionality of UllU's ensemble sound.

More info: www.incubatorarts.org/music.html

David Shively - www.resonantobjects.com

Special Guests:

James Fei - www.jamesfei.com
 



 

Eli Keszler - www.elikeszler.com

Taylor Levine

Redmond Entwistle Walk-Through
[original score by Chris McIntyre]
Fri 11 May to Sun 17 June, 2012
Open: Wednesday-Sunday 12-6pm

CUBITT
Gallery and Studios
8 Angel Mews
London N1 9HH

Cubitt Gallery presents Walk-Through, a new film by British artist Redmond Entwistle set in the California Institute of the Arts, Los Angeles. The film explores the site, design and philosophy of CalArts as a starting point for posing wider questions about contemporary pedagogical models and their symbiotic relationship to new forms of social, political and economic exchange that have emerged since the 1970s.

Walk-Through is devised as a tour of the CalArts campus, which moves back and forth through the institution’s history, analysing the location, design and function of the building, as well as its life in media reproductions and art history. The studied voiceover articulates the rhetoric of CalArt’s founding mission which, when read through the current moment, pinpoints an early form of cultural capital embedded within the pedagogical institution.

Slowly the tour starts to shift as we see students gather in a classroom to attend a fictional recreation of influential artist and teacher Michael Asher’s ‘Post-Studio’ class. Taking the form of critical group discussions around students’ work, the Post-Studio class pushed CalArt’s mission to ‘haul the teacher from the podium’ and activate the student in the learning process, an approach, which has subsequently become one of the primary models of teaching in art schools today, and emphasises ‘speech’ as an artistic skill.

The forensic-like atmosphere of the staged classroom discussion, which mirrors the intensity of Asher's classes that often extended late into the night, shifts the film into a space of science fiction and allegory. Some students can speak while others can’t, as whispered lines are fed to the principal actors from those at the back of the class. These first person recollections, taken from former students, are increasingly interrupted by the reading out of bureaucratic information, detailing the literal financial and infrastructural underpinning of the institution as if the students have become the mouthpiece for the institution’s memory, also hinting at the institutional critique in Asher’s own work. As the discussion progresses we begin to understand that what is being staged is an exercise in assessing the parameters of the institution’s legitimacy and the legitimacy of the class as a space within which to speak, as well as individual speech itself as a principal tool of democracy.

Borrowing formal and atmospheric motifs from 1970s giallo films by directors such as Mario Bava and Dario Argento, Walk-Through re-imagines CalArts as a site of potential intrigue, subtly calling into the question the artistic and democratic tenets embedded in the school's founding ideology, which were regularly challenged by the critical practices of faculty members such as Asher. Through a style and form that shifts from didacticism to fiction the film expresses some of the complexity of the changing status of the body, memory and language in current educational and political formations, especially at a time when government cuts threaten the viability of arts education, and the marketisation of higher education is taking place worldwide. 

Walk-Through is co-commissioned by Tramway for Glasgow International Festival 2012, International Project Space, Birmingham and Cubitt Gallery, London

More information on Walk-Through at CUBITT

A free and open-to-the-public workshop led by composer/performer and former MATA Artistic Director Christopher McIntyre. This inclusive and open discussion will revolve around individual experiences as composing performers within concert music and beyond, isolating and addressing basic nuts and bolts concerns for this expanding field of artists.

With composer/performers from the 2012 MATA Festival and special guest violinist and composer Todd Reynolds.

You must RSVP at infomatafestival [dot] org if you wish to attend.

BMI
7 World Trade Center
250 Greenwich Street
New York, NY 10007-0030

More info on matafestival.org

Ne(x)tworks performs John Cage's SongBooks for opening night of the prestigious MaerzMusik festival in Berlin, Germany.

On February 25 & 26, 2012, Greenwich House Music School (GHMS) and North River Music present Ne(x)tworks in Music Without Dance, a festival focusing on recent and historical musical works originally created for performance with choreographed movement. Programed and performed by Ne(x)tworks (GHMS’s Ensemble-In-Residence), Music Without Dance’s two concert programs include music by several ensemble member composers as well as guests such as John King, Jon Gibson, Annea Lockwood, and David Behrman. On the afternoon of the 26th, Ne(x)tworks and North River Music host a panel event with several featured composers and a number of local choreographers including Yoshiko Chuma, among others. Topics for discussion include the evolving dialectic between contemporary dance and music communities, working processes and collaborative models, and how music functions in the context of dance or theater versus the effect of music in concert format.

Personnel
Ne(x)tworks: Joan La Barbara (voice), Shelley Burgon (harp, electronics), Miguel Frasconi (glass, electronics), Stephen Gosling (piano), Chris McIntyre (trombone)

JACK Quartet: Chris Otto, Ari Streisfeld (violin), John Pickford Richards (viola), Kevin McFarland (cello)

Zeena Parkins - composer, live electronics
Preshish Moments (Michael Carter) - creative technical director, live electronics
Cynthia Madansky - visual artist

Members of the "new music all-stars" (Time Out NY) ensemble Ne(x)tworks join forces with the "thrillingly vital" (Wash. Post) JACK Quartet to present the world premiere of composer and "renowned player and stretcher of boundaries" (Dusted) Zeena Parkins' Spellbeamed. Commissioned by Ne(x)tworks, Spellbeamed takes inspiration from literary critic Walter Benjamin’s vast Archive. Each musician collects their own archive of quotidian materials then utilized in an animated score developed in collaboration with visual artist collaborator Cynthia Madansky. The resultant sound is further enhanced with live-processing by Preshish Moments and the composer, creating an ecology of inter-relationships developed between improvisers and readers, sound and score, objects and instruments.

Both evenings begin with the premiere of three additional works by Ne(x)tworks composers Joan La Barbara, Miguel Frasconi, and Chris McIntyre. La Barbara's Persistence of Memory explodes with "hammering rhythms, angular jolts, and jagged slashes of percussive attacks", all within an expansive, haunted electronic "atmosphere." Frasconi's Sitting & Standing: A Memoir employs "a physical activity we do without much thought… as the compositional DNA that allows each performer to construct a soundscape unique to their instrument and their own body." Smithson Project: Sites & Nonsites by McIntyre is a set of works ranging in style from ambient/concreté states to brutal, irregular structures. Each segment is a meditation on artist Robert Smithson's "nonsite" concept and the dialectical relationship to the origin "site."

CJM plays Solo for Sliding Trombone from John Cage's Concert for Piano and Orchestra with MCDC Music Committee members John King, David Behrman, and others. Concert is performed simultaneously with the dance work Antic Meet (decór and costumes by Robert Rauschenberg). These performances take place during MCDC's Legacy Tour.

John F. Kennedy Center for the Performing Arts
Washington, DC

Repertoire: Squaregame (1976) Antic Meet (1958) Sounddance (1975)

More Info

THE 22 MAGAZINE PRESENTS: FEARFUL SYMMETRY
OCTOBER 27th 8pm-12 @THE COUNTING ROOM
44 BERRY ST, BROOKLYN

The 22 Magazine is pleased to announce, "Fearful Symmetry" on October 27th at The Counting Room in Brooklyn. Join us for a night of readings and song in the forests of the night Bring your experience, bring your innocence, bring your immortal hand or eye to hear the deadly terrors of legendary poets Steve Dalachinksy and Yuko Otomo, along with the distant depths of Samantha and Firas Sulaiman, Rami Shamir, Sarah Berstein and Stephanie Valente. These golden words will be followed by a furnace to your brain from Amerigo Mackeral & The Octave Doktors and the twisted sinews of Charlie Waters, Andrew Barker and a surprise special guest. Your most esteemed mixologist, Ian M. Colletti with be on hand with concocted liquid debauchery.

MUSIC BY:
ANDREW BARKER/ CHARLES WATERS DUO + Chris McIntyre (trombone), Tim Dahl (bass)!
(http://www.myspace.com/goldsparkleband)
AMERIGO MACKERAL & THE OCTAVE DOKTORS (http://soundcloud.com/oilcan-press)

WORDS BY:
STEVE DALACHINSKY(http://www.unlikelystories.org/old/archives/dalachinsky.html)
YUKO OTOMO(http://www.newmystics.com/lit/YukoOtomo.html)
SAMANTHA KOSTMAYER SULAIMAN (http://www.the22magazine.com/Pages/samanthakostmayersulaiman.html)
FIRAS SULAIMAN
RAMI SHAMIR
RITA GROLLMAN
SARAH BERNSTEIN (http://sarahbernstein.com/)
STEPHANIE VALENTE(http://poetry365.tumblr.com/post/1118462334/they-lived-next-door-to-merm...)

Tri-Centric Festival Finale
Anthony Braxton - Trillium J (Acts I & III)
@
Roulette (Brooklyn)
Corner of 3rd Ave & Atlantic Ave, Downtown Brooklyn

General tickets $35
($25 students, seniors, Roulette members and Tri-Centric Foundation subscribers)



Trillium J (Acts I and III)
Amy Crawford, Kyoko Kitamura, Kamala Sankaram, Elizabeth Saunders, Anne Rhodes, Fay Victor, Wesley Chinn, Chris DiMeglio, Nick Hallett, Michael Douglas Jones, Jeremiah Lockwood, Vince Vincent (voices) Erica Dicker, Jason Hwang, Sarah Bernstein, Olivia DePrato, Renee Baker, Scott Tixier (violins), Jessica Pavone, Amy Cimini, Lilian Belknap (violas), Tomas Ulrich, Nathan Bontrager, Daniel Levin (cellos), Ken Filiano, Carl Testa (bass), Cory Smythe (piano), Chris Dingman (percussion), Michel Gentile, Yukari (flutes), Christa Robinson (oboe), Katie Scheele (english horn), Sara Schoenbeck, Brad Balliett (bassoons), Mike McGinnis, Oscar Noriega, Jason Mears, Josh Sinton (clarinets), Nate Wooley, Gareth Flowers (trumpets) Mark Taylor (French horn), Chris McIntyre, Sam Kulick (trombones), Jay Rozen (tuba), Anthony Braxton (conductor)

....The final evening will present a world premiere concert reading of two acts of Braxton’s opera Trillium J, with a cast of twelve singers and 35-piece orchestra. Braxton will be performing or conducting every night, accompanied by a cast of over 60 of NYC’s leading creative musicians.

The Tri-Centric Festival, presented in partnership by the Tri-Centric Foundation and Roulette, is by far the most comprehensive portrait of composer Anthony Braxton yet presented in the United States. While Braxton has had several long engagements in NYC throughout his five-decade career, they have usually been focused on a single ensemble. Outside of Europe, the composer has never had the opportunity to present the full spectrum of his music, from solo piano music to small ensembles to orchestras to full operas, on a single stage over a single week. The festival will also coincide with the commercial release of the four-act opera Trillium E, the first studio recording of any of Braxton’s operas, on the Tri-Centric Foundation’s New Braxton House label.