February 2, 2018
Sarah Hennies premieres “Contralto,” a film and sound work that exists in between the spaces of experimental music and documentary. The piece features a cast of transgender women speaking, singing, and performing vocal exercises along with a live music score for string quartet and three percussionists, all of whom also perform various sound-making actions using “non-musical” instruments such as paper, bowls of grains, office equipment, etc. The cast of the film includes several former and current students of the Ithaca College Voice and Communication Modification Program for People in the Transgender Community course, offered to aid transgender people in finding a speaking voice that is more suited to their identity. It is not widely known that when a transgender man takes testosterone his vocal cords thicken, causing the pitch of his voice to drop into a so-called “masculine” range. The same, however, is not true for trans women whose voices are unaffected by higher levels of estrogen. Being a woman with a “male voice” creates a variety of difficult situations for trans women including prolonged and intensified dysphoria and higher risk of harassment and violence due to possibly exposing someone as trans unintentionally. This creates a situation where transgender women’s identities are betrayed by their bodies.
“Contralto” - defined in musical terms as “the lowest female singing voice” - uses the sound of trans women’s voices to explore trans identity from the inside and expose a profound and queer relationship between gender and experimental sound studies.
Conundrum Music Productions Presents:
Shane Parish, solo guitar // Greg Stuart & Tom Law
1223 Lincoln St.
Doors open at 8pm; music begins at 8:30.
"A long time resident of the Appalachian town of Asheville, North Carolina, Shane Parish is the mastermind behind the cutting edge rock band Ahleuchatistas. [On his latest Tzadik Records cd] he steps out with a remarkable and soulful acoustic solo project that digs deep into Appalachian roots. Taking classic old timey folk songs, Shane has abstracted them in utterly fascinating ways evoking the haunting and brooding world of the American South. At times reminiscent of John Fahey and Robbie Basho, at times of John Cage and Morton Feldman, Shane uses these beautiful songs as launching pads for his creative flights of fancy, at times boiling them down to their very essence. A spiritual project that will keep you riveted from first note to last." — John Zorn
"Shane Parish is one of the most interesting new guitar voices to come out of the country blues tradition of Mississippi John Hurt, Lightin' Hopkins… via John Fahey, and the folkie fingerpickers….this recording finds Parish standing at the cross-roads between playing the country blues and… deconstructing? Devolving? Destroying?…them. Some of the miniatures are stunning, haunted by an Anton Webern-like economy. Check it out!" — Marc Ribot
The show will begin with a short electroacoustic improv by Greg Stuart and Tom Law. Greg Stuart is a percussionist whose work draws upon a mixture of music from the experimental tradition, Wandelweiser, improvisation, and electronics.
Tom Law is a local composer/improviser who focuses primarily on laptop these days. http://www.bigsphinx.com/
Doors open at 8pm; music begins at 8:30.
Friday, November 3
Tapp's Art Center, 1644 Main Street
Doors @ 7:45pm, Concert @ 8:00pm
$8, $5 w/ student ID
Bonnie Jones (Baltimore, MD) joins the USC Experimental Music Workshop (Greg Stuart, director) for an evening of adventurous music-making at Tapp’s Art Center presented by Infinite Room and the USC Luise E. Peake Music & Culture Colloquim Series. Jones will lead the ensemble in a new piece for light-controlled synthesizers built by members of the ExMus Workshop. The concert will also include a solo set from Jones as well as the world premiere of David Kirkland Garner’s “passage Baptiste” for instruments and smartphone chorus.
Bonnie Jones is a Korean-American improvising musician, poet, and performer working with electronic sound and text. She performs solo and in numerous collaborative music, film, and visual art projects.
Bonnie’s work explores the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual). Her art seeks opportunities within different mediums to expose the fluid nature of individual identity, history, form, and meaning.
As an arts organizer, Bonnie was a founding member of the Transmodern Festival and CHELA Gallery and is currently a member of the High Zero Festival collective. In 2010, she co-founded TECHNE, an organization that introduces young female-identified women to technology-focused art making, improvisation, and community collaboration. TECHNE’s programs are delivered through partnerships with grassroots organizations that share an aligned commitment to racial and gender equity.
Bonnie received her MFA at Bard College where she studied with Laetitia Sonami and Marina Rosenfeld. She has received commissions from the London ICA and Walters Art Museum and has presented her work extensively at institutions in the US, Mexico, Europe and Asia, including the LA MOCA, Museo Universitario Arte Contemporáneo, and REDCAT. Her collaborative sound works have been shown at the Swiss Institute, Whitney Museum, and Hunter College.
Born in 1977 in South Korea she was raised on a dairy farm in New Jersey, and currently resides in Baltimore, Maryland. https://bonnie-jones.com/
Freeman Sundays @3 Concert Sun., Sep. 10, 2017, 3 – 4:30 p.m.
Location:School of Music 206
Admission Cost:$15 adults; $10 seniors, USC faculty and staff; $5 students.
"I burn, I freeze" from The Rake's Progress - Igor Stravinsky
"News, News" from Nixon in China - John Adams (b. 1947)
"A Great Lament" - Albert Hay Malotte
Donald Gray, baritone
Sharon Rattray, piano
Dirt Road (selections)- Linda Catlin Smith (b. 1957)
Ari Streisfeld, violin
Greg Stuart, percussion
Quintet in E-flat Major, K.452 - Wolfgang A. Mozart
Rebecca Nagel, oboe
Joseph Eller, clarinet
Michael Harley, bassoon
JD Shaw, horn
Phillip Bush, piano
Single concerts: $15 adults; $10 seniors, USC faculty and staff; $5 students.
A Night of Percussion and Loops with Meridian and more
Sewing Souls Studios
356 S Elmwood Ave, Buffalo, NY 14201
Justin Von Strasburg
Intersection Day 3 featuring:
A day of performance taking place in the heart of Toronto at Yonge-Dundas Square from 2-10pm. Robert Everett Green of the Globe and Mail describes the event as “a marathon of sound in the middle of traffic.”
Wolf Eyes + Mv Carbon
Meridian (Sarah Hennies, Tim Feeney, Greg Stuart)
Contact plays Elliott Sharp, Johan Seaton, Jerry Pergolesi
Invisible Out (Xuan Ye & Jason Doell)
Dialectica Sax Quartet
WOLF EYES + MV CARBON (http://www.wolfeyes.net/)
9:20 - 10:20pm / Stage 1
Detroit noise cum trip metal unit Wolf Eyes touch down in Toronto to drip some of their psycho-jazz slow burners with special guest NYC cellist & sound artist MV Carbon. Wasted guitar jams meander amoungst crippled electronics. Layers of distortion give blistered songs a new meaning, as maligned vocals crawl through the thick air. Foreboding sparsity creates spiritual unrest. Languid sax shreds like the sound track to some lost Twin Peaks episode. Gnarled psych riffage curls back on itself. A not to be missed mind destruction unit.
4:30 - 5:10pm / Stage 1
Drone duo Northumbria build celestial soundscapes with bowed guitar & bass tones. Capturing them as they ripple through crushing amplification the duo create an almost serene landscape of pedal twisted frequencies that roll over you like the rising fog. Desolate notes seem to stretch out forever over some barren landscape. Smooth waves of dissonance feel like the soundtrack to Dark City. Guitars emit a silky growl amidst the haunting almost synthesized whispers Northumbria has conjured up.
6:55 - 7:25pm / Stage 3
Electro acoustic percussion trio Meridian (Tim Feeney, Sarah Hennies, and Greg Stuart) re-imagines the way we approach rhythm. Using the drum as just another object is a collection of various pieces of metal, wood, and other resonant items they create a language is tenuous scrapes, vibrating whispers, and subtle trance like pitter pattering. Precise drones make way for more rambunctious textures, as drum heads shift & quake. Driving rhythms are born out of improvised noise-scapes. Sounding larger than life Meridian explores the infinite and minute sonic possibilities in their array of objects.
7:40 - 8:20pm / Stage 1
Toronto contemporary classical ensemble feels more like a rock band, or a group of avant jazz experimentalists. In a time of melting genres & lost classification Contact is a show in. This year at Intersection they will perform pieces by NYC composer Elliott Sharp, Toronto visual & sound artist Johan Seaton, and Intersection founder Jerry Pergolesi.
CARL DIDUR (http://carldidur.bandcamp.com/)
6:10 - 6:40pm / Stage 1
Part of the mastermind behind Zacht Automaat and Fake Humans, electronic manipulator & synthesizer Carl Didur creates equally as brilliant & encompassing solo compositions. Glowing organ tones hum over eerie tape loops & vibrating synth tones. An electronic wizard from a lost century. Toronto's best kept secret?
INVISIBLE OUT (https://invisibleout.tumblr.com/)
3:45 - 4:15pm / Stage 3
Toronto composer / guitarist Jason Doell, and interdisciplinary artist & performer Xuan Ye (APA) team up to unveil some song based material that sees them dabble in the louder end of the sonic spectrum. Expect the dissonance & abstract beauty present in both of their compositional work to make an appearance here. Balancing on the edge of chamber music & noise / electro-acoustic music both Jason & Xuan pull together these often disconnected, but not to dissimilar universes.
8:35 - 9:05pm / Stage 2
Toronto meets Buffalo duo of Colin Fisher (drums) and Tristan Trump (guitar) unite two nations with their free form psych fuel energy. True instrumental maverick Fisher brings his unique merger of chaotic & spiritual vibrations to the kit, while Tristan creates intricate guitar loops, melting together the past & present.
THE VISIT (https://thevisit1.bandcamp.com/)
3:00 - 3:30pm / Stage 2
The Visit, comprised of cellist Raphael Weinroth-Browne and vocalist Heather Sita Black, is a musical dialogue that transcends genres and idioms. Combining the structures and instrumentation of classical chamber music with the emotional and rhythmic weight of metal, their lengthy, through-composed pieces conjure sonic worlds in which listeners can immerse themselves. With a rare combination of virtuosity, emotional intensity, and genre-defying innovation, The Visit is making their mark on the international stage as they forge a musical path all their own.
KRISTINA GUISON (http://kristinaguison.net/)
5:25 - 5:55pm / Stage 2
Sound artist Kristina Guison presents a version of her sculptural sound piece "Landing" at Yonge-Dundas Square. Using pieces of sheet metal Guison builds a tenuous structure, where each piece informs the others sonic abilities. Bowing the structure extracts writhing tones, and hollow vibrations. As the pieces shift so do the sonic properties. Clusters of wayward frequencies escape from this temporary cell. The sculpture's twisted death cries waver until the final bow forces collapse.
DIALECTICA SAX QUARTET
2:15 - 2:45pm / Stage 1
Shannon Graham (tenor sax), Chelsea McBride (baritone sax), Olivia Shortt (alto sax), and Samantha Etchegary (soprano sax) blur the lines between jazz and classical traditions. Both Graham and McBride sit in the composer's chair along with Javier Vazquez, who all also write for Spectrum. Dialectica sees the group play with latin themes, minimalism, and not to mention dipping into new age territory at times. Leaving the idea of genre at the door they are able to traverse a varied musical landscape. Keeping a cohesive voice through a their playful voice & dialogue.
FREE - ALL AGES
DAY 1: co-presented with The Music Gallery featuring Mick Barr, Thin Edge New Music Collective, and Droid: https://www.facebook.com/events/1295078907281265/
DAY 2: Eyvind Kang / Jessika Kenney / Andrew Timar / Pedram Khavarzamini / Araz Salek, and Völur: https://www.facebook.com/events/212246185973450/
DAY 4: Plant Music featuring Castle If, Nick Storring, JFM, and Laura Swankey (music): https://www.facebook.com/events/109378843107460/
This event would not be possible without support from Psiphon, Canadian Heritage, Toronto Arts Council, Ontario Arts Council - Conseil des arts de l'Ontario, Canada Council for the Arts | Conseil des Arts du Canada, SOCAN Foundation - Fondation SOCAN, Canadian Music Centre, and The City of Toronto
Presented by Queer Sound Ithaca and Ithaca Underground:
Meridian (Tim Feeney, Sarah Hennies, Greg Stuart)
Sandy Ewen (Toronto/Houston)
Friday, September 1st, 2017 @ The Cherry (102 Cherry St.) - http://www.thecherry.org/
8:00 p.m. - donations request/pay what you can
Meridian - Improvised percussion/experimental sound trio
Drawing on experiences performing both improvised and composed works, Meridian approaches percussion in a way that places the exploration of sound in the foreground, in favor of a musical approach that is concerned with exploring acoustic phenomena, rather than rhythm, gesture, or technique.
In creating this music, Meridian reimagines its materials, so that an instrument like a snare drum becomes literally a cylindrical shell with an attached flexible membrane. When viewed from this perspective, traditional instruments become unique sound-making and sound-filtering objects, to be set into vibration coupled with resonant metals, dragged with scraping implements, or driven directly by fingers, bows, or feedback circuitry. In performance, each musician invents a new method for producing sound, a new aggregate instrument, in real-time.
Meridian is Tim Feeney, Sarah Hennies, and Greg Stuart.
Sandy Ewen - solo guitarist from Toronto/Houston http://www.sandyewen.com/
Born in Toronto, Canada in 1985, Sandy Ewen received a Bachelor of Architecture from the University of Texas at Austin in 2008. Since then she has resided in Houston, TX where she pursues musical and visual projects and her architecture license. Ewen has released several albums, including a duo with guitarist Tom Carter, a trio with bassist Damon Smith & drummer Weasel Walter, and a rock album with Austin’s Weird Weeds. Ewen’s visual work is closely tied to her work in sound; she uses both mediums to explore texture, composition and materials.
Ewen’s microcollages, enlarged through projection and digital printing, are an exploration of material and technique. Using a unique process pioneered by the artist, natural materials and polymers are torn, liquefied, scorched, melted, cut, and fused. When enlarged, the microscopic nuances of these manipulations are manifested in exquisite detail. Ewen has presented prints of her work at 14 Pews (2012), Spacetaker/Fresh Arts (2012), Khon’s (2013) & Galeria Regina (2014).
As an improviser in both art and music, Ewen sees herself as guiding materials and space rather than executing a preconceived composition. “I like to explore mediums and materials and tease out their essence,” says Ewen. “Working with slide projections has focused my eye on the subtitles of natural processes of decay and transformation. Through my work, I am asking questions of the materials rather than dictating answers.”
A wave and waves and A mist is collection of points as part of the Roots Rhizomes Percussion Residency at the Banff Centre.
The USC Experimental Music Workshop teams up with composer/percussionist Tim Feeney (University of Alabama) and flutist/soprano Alice Teyssier (International Contemporary Ensemble) for a concert of exciting sound making. Along with Feeney and Teyssier, the Workshop will present music by Pauline Oliveros as well as the the world premiere of Feeney’s “Another Pattern” for two duos and ensemble.
Regular Admission: $5
Doors Open: 8:15pm
Concert Begins: 8:30pm
Michael PISARO: When I Hear Light (2016) World Premiere
Guillame de MACHAUT: La Messe de Nostre Dame
Guillaume de MACHAUT: Quant j'ay l'espart
Michael PISARO: Asleep, Desert, Choir, Agnes (2016) West Coast Premiere
Michael Pisaro, electric guitar
Greg Stuart, percussion
Ever since its earliest days in the 1930s, Monday Evening Concerts has striven to find kindred musical spirits from diverse historical epochs. In the third concert of our season, we pair the works of two composers: Michael Pisaro and Guillame de Machaut. Pisaro, who lives in Los Angeles, is one of the foremost representatives of the Wandelweiser Group. Writing pieces that feature microtonal electric guitar, bowed percussion, field recordings, rustling pine cones and choir, Pisaro has garnered wide critical acclaim. His counterpart on this concert, Guillaume de Machaut, was one of the great poets and musicians of 14th Century France. While the surfaces of these respective composers' works differ greatly, by placing them side by side, we examine the deeper connections that exist between these sublime artists separated by seven centuries.
Buy tickets here
Short residency at CalArts for J-Term course on Jürg Frey'smusic organized by Andrew McIntosh and Michael Pisaro. Info here.
The first of two concerts dedicated to Jürg Frey's music as part of a week-long intensive class at CalArts co-taught by Andrew McIntosh and Michael Pisaro. Students and faculty from CalArts will be joined by special guests Erik Carlson (violin), Greg Stuart (percussion), and Stephanie Aston (soprano). The concert will also feature the world premiere of an earlier work of Jürg's that has been waiting for it's first performance for over 20 years.
Friday, January 13
The Wild Beast, Calarts
Program (all works by Jürg Frey):
Vielleicht bin ich wirklich verloren (1980, rev. 1993 - world premiere)
for soprano and ensemble
WEN 58 (2007)
In Memoriam Cornelius Cardew (1993)
Circular Music No. 7 (2015/16)
violin, percussion, and ensemble
Ephemeral Constructions (2015/16)
violin, percussion, and ensemble
Erik Carlson, violin
Greg Stuart, percussion
Stephanie Aston, soprano
Ethan Marks, trumpet
Nicole Ying, piano
Nicholas Deyoe, conductor/guitar
Andrew McIntosh, violin
Josh Westerman, viola
Erika Duke-Kirkpatrick, cello
Rafael Luna, flute
Kimberly Dunning, clarinet
Cody Putman, bassoon
Sam Friedland, percussion
Kevin Good, percussion
Katie Eikam, percussion
Erik Carlson with Greg Stuart, percussion
Friday, December 9th, 2016
Conrad Prebys Music Center Recital Hall
Assistant Professor of Music Erik Carlson will present new works by Jürg Frey, Marianne Schuppe and Tim Feeney with guest performers Greg Stuart (percussion) and graduate student Michiko Ogawa (clarinet). The trio will also perform pieces by Ryoko Akama.
OpenICE Chicago continues with free events, all over the city! Three evenings of concerts curated by ICE's star soloists show their unique perspectives on the repertoire. Open workshops with Polish composer Wojtek Blecharz are also open to the public--get some insight into ICE's collaborative working process as we design a new project!
Chopin Theater — 1543 W. Division St.
1 - 3 pm: Composer workshop #1: with Wojtek Blecharz
7:30 pm: FREE CONCERT — Ricefall (2)
Michael Pisaro: Ricefall (2) (Chicago Premiere)
ICE has recruited a performance force of 16 "rice players" — all non-professional musicians - with eight ICE musicians also participating as instrumentalists. After a successful premiere during OpenICE's New York season opening, it's time for Chicago to get a taste of rice!
Chopin Theater — 1543 W. Division St.
12 - 2 pm: Composer workshop #2: with Wojtek Blecharz
7:30 pm: FREE CONCERT — Duos
Steve Lehman: For McCoy Tyner, Tristan Murail, Anthony Braxton, and Alexander Scriabin for saxophone and piano (ICE commission)
Wojtek Blecharz: Small Talks for accordion reed box and baritone sax
Milton Babbitt: Solo e Duettini for flute and guitar
Vicente Hansen: Blur for bassoon and baritone saxophone (ICE commission)
Anton Webern: Drei Stucke for piano and cello
Lead Curators: Dan Lippel and Cory Smythe
Preston Bradley Hall at Chicago Cultural Center — 78 E. Washington St.
7:30 pm: FREE CONCERT
Anna Thorvaldsdottir: Sequences (2016) for flute, clarinet, bassoon, and saxophone (ICE commission)
Sabrina Schroeder: He Cuts Snow (2012) for bass flute, bass clarinet, piano, percussion, and cello
Chaya Czernowin: Sahaf (percussion, piano, electric guitar, and saxophone
Liza Lim: Inguz (1996) for clarinet and cello
Anthony Braxton: Composition No. 5 (1968) for solo piano
Sam Pluta: American Tokyo Daydream (2007) for saxophone, guitar, piano, and percussion
Lead Curator: Ryan Muncy
Rebekah Heller, bassoon
Katinka Kleijn, cello
Dan Lippel, guitar
Campbell MacDonald, clarinet
Ryan Muncy, saxophone
Cory Smythe, piano
Alice Teyssier, flute
701 Center for Contemporary Art Presents
The University of South Carolina Experimental Music Workshop
Epstein, Hennies and Wolf
Wednesday, November 16, 2016
701 Whaley St., second floor
Columbia, SC 29201
Just back from a September concert tour along the East Coast, the University of South Carolina Experimental Music Workshop student ensemble, directed by U.S.C. music school faculty member Greg Stuart, will perform three compositions at 701 Center for Contemporary Art in Columbia, S.C., on Wednesday, November 16, 8:00 p.m. Admission is free. 701 CCA was the venue for the ensemble’s final concert of the September tour – a concert that drew an enthusiastic audience of some 150.
The Experimental Music Workshop will perform Text Series #7: White Noise by Nomi Epstein; Everything Else by Sarah Hennies; and Burdocks by Christian Wolff.
Contact: Dr. Andrew Bliss
For Immediate Release
October 26, 2016
UT PERCUSSION ON CAMPUS AND IN THE COMMUNITY: A 2-CONCERT WEEK FEATURING GUEST ARTIST COLLABORATION AND AN EXCITING PREMIERE OF KNOXVILLE’S NEWEST CHAMBER ENSEMBLE
The University of Tennessee Percussion Studies area will showcase its two major ensembles in Fall concerts soon, both directed by Andrew Bliss: the UT Percussion Ensemble (November 2nd; Sandra G. Powell Recital Hall at 8PM) and the program’s newly-launched contemporary chamber group, Ensemble Knox (November 6th; Emporium Arts Center at 4PM, 100 S Gay St., Knoxville, TN 37902).
Wednesday, November 2nd’s concert will feature repertoire both timeless and new. Edgard Varèse’s Ionisation (1931), acclaimed as the first significant composition ever written for percussion ensemble, received its premiere in Carnegie Hall. Using a plethora of instruments such as snare drums, chimes, air raid sirens, and anvils, this masterwork changed the role of the percussionist as an artist and was critical to the development of repertoire that the UT Percussion Ensemble is privileged to share with the community each season. This concert will also present more recent works such as Robert Honstein’s Patter and Impulse by Anna Meadors.
On Sunday, November 6th at 4PM, the Knoxville area will be introduced to Ensemble Knox, the new resident graduate chamber group in the UT Percussion Studies area. The ensemble will begin its debut concert with b, by Simon Løffler, using an array of guitar pedals, an open jack cable, and fluorescent lights as their medium. Specific objects, aptly named, by Michael Maierhof, explores the use of electric toothbrushes as a sound inducer among various membranophones, placed around the listening audience. Sunday afternoon’s concert will be anchored by guest artist Greg Stuart (University of South Carolina) leading a performance of Michael Pisaro’s Hearing Metal 3, alongside UT students, Bliss, and European guest artists Henrik Knarborg Larsen (Royal Academy of Music Aarhus/Aalborg, Denmark), andBrian Archinal (Bern, Switzerland). Pisaro’s work features a 4 x 4 grid of percussionists seated at cymbals, who excite these metallic forces for nearly 45 minutes, using bowing and various “gravity excitation” via dropped grains of various texture. The result is a slowly shifting field of sound unlike any other.
For more information, please visit percussion.utk.edu or contact Dr. Andrew Bliss, UT’s Director of Percussion Studies at firstname.lastname@example.org. Both concerts are free and open to the public. Regular news surrounding UT Percussion can be found on Facebook at facebook.com/UTPercussion, Instagram @utperc, and on Twitter @UTPercussion.
Bent Frequency is opening their 2016-2017 season with the US premiere of A wave and waves for 100 percussion sounds created by composer Michael Pisaro for percussionist Greg Stuart; both of whom will be joining us for this performance!
For A wave and waves, the musicians are set up in a 10X10 grid with the audience interspersed among the performers. The percussionists then layer very soft individual sounds to create large-scale sonic waves for the evening-length (70 min) piece. Pisaro describes the work as "an idea about confounding the small and the large: Small sounds, many different kinds of them, very soft, on a large time scale." It's a unique piece of sonic art that examines the idea of individual soft sonic events overlapping and combining to make large-scale sonic structures in a manner that's akin to individual water molecules in the ocean combining to create wave patterns, “the collective action of granular sounds making shapes of great mathematical complexity."
More info here.
The USC Experimental Music Workshop performs at the 701 Center for Contemporary Art in Columbia, SC. Concert to include Michael Pisaro's ricefall (1) and asleep, desert, choir, agnes.
The USC Experimental Music Workshop performs at the University of North Carolina Wilmington, Beckwith Recital Hall. Concert to include Michael Pisaro's ricefall (1) and asleep, desert, choir, agnes.
The USC Experimental Music Workshop performs at the Evolution Contemporary Music Series in Baltimore, MD at First Unitarian Church. Concert to include Michael Pisaro's ricefall (1) and asleep, desert, choir, agnes.
The USC Experimental Music Workshop performs at the University of Delaware, Gore Recital Hall. Concert to include Michael Pisaro's ricefall (1) and asleep, desert, choir, agnes.
OpenICE at Abrons: Ricefall(2) by Michael Pisaro
September 16, 2016 | 8:00pm
Abrons Arts Center - Playhouse
466 Grand Street (at Pitt Street)
New York, NY 10002
OpenICE aims to share the most essential elements of ICE’s creative process–creation, collaboration and performance–with a wider audience, through free concert and activity programming. On the heels of a blockbuster season of OpenICE programming, the musicians of ICE catalyze a flurry of activity as they take up residency at the Abrons Arts Center for the 2016-2017 season. OpenICE also invites the audience to be a part of the creative process through open rehearsals and discussions, where questions about the works and the collaborations will be welcome and encouraged. High quality documentation of OpenICE activities feed a growing online archive of HD content, which is free for all to explore on digitice.org. ICE is thrilled to team up with the Abrons Arts Center engagement staff to turn the building into an “open space” for sonic experimentation!
The 2016-17 OpenICE season launches September 16-18 with a celebration of new and different ways of performing and experiencing music. Percussionist Greg Stuart and his students from the University of South Carolina join ICE to present the World Premiere full performance of sound sculptor Michael Pisaro’s epic Ricefall(2), for grains of rice falling on objects. Pisaro’s music will continue to activate gallery spaces through performances by ICE violinist Erik Carlson. The weekend will culminate in a concert featuring new music by Icelandic composer Anna Thorvaldsdottir alongside master vocalist and improviser, Sofia Jernberg.
The USC Experimental Music Workshop performs at Gettysburg College, Kline Theater. Concert to include Michael Pisaro's ricefall (1) and asleep, desert, choir, agnes.
Greg Stuart with the University of Alabama Percussion Ensemble
Sunday April 17 7:30pm
University of Alabama School of Music - Moody Recital Hall
Sonic Frontiers welcomes percussionist and improviser, Greg Stuart, who performs music of his frequent collaborator, Michael Pisaro. Stuart performs Pisaro’s solo Closed Categories in Cartesian Worlds, for crotales and sine tones. He also collaborates with members of the University of Alabama Percussion Ensemble in staging Hearing Metal 3, for sixteen suspended cymbals and sine tones.
"The ensemble for this piece was suggested by Greg Stuart, and I immediately went for it. The image of 16 suspended cymbals was really striking (even before one heard anything).
After writing fields have ears (4) I wanted to work again with the idea of change. In this case the basic change that takes place over the 45 minutes is from the vibration of a solid (i.e., the cymbal bowed) to a kind of physical “evaporation” as the mode of excitation changes to gravity (beans, rice and then finally, millet falling on the cymbals).
Like ricefall and some of the pieces from the fields have ears series, the ground is laid out as a grid prepared with other surfaces (including tile, metal, wood, paper, ceramic, dry leaves and even four drums in the center), which can be heard as the various grains fall from the cymbals. The ground comes to the fore in the center of the piece (when “the beans begin to fall”) and gradually disappears as the grain changes (in several stages and combinations) to the very light millet. The sine tones accompany, and at times instigate the change."
Visiting composer Jürg Frey (Switzerland) and violinist Erik Carlson (International Contemporary Ensemble) join forces with Columbia percussionist and USC professor Greg Stuart and the Experimental Music Workshop for an evening of new work by Frey. A member of the Wandelweiser Group, Frey’s music is noted for its creation of wide, quiet sound spaces and revels in the "corporeal splendour of undiluted sound" (The Guardian). Commissioned by the South Carolina Honors College for Carlson, Stuart, and the Experimental Music Workshop, Frey’s new Ephemeral Constructions places a duo for violin and percussion in the context of a constantly shifting fabric from the ensemble. Also included on the program are Frey’s expansive Circular Music No. 6 and the compact Circular Music No. 7.