Sunday, November 4, 2012
Breathe vid
Here is a video of my performance last month with Jane Gotch for Carrie Scanga's Breathe installation at PLUG Projects. I'm hidden in the corner playing the violin/electronics. Amazing night!
Wednesday, October 31, 2012
Quartet SMACKDOWN
Hey Austin folks:
I've got a couple o' free tix to this if any of ya'll want to check it out (and vote for MEEEEEEE!). Should be a blast.
(Alternate hook: Do you love the NCAA basketball tournament? Do you love contemporary chamber music? If you answered "yes" to either, then, please, read on...)
The Green Hornet Project is hosting the Tosca Quartet for an event like none I've ever hear of before. 16 composers have entered, one will "win" based on audience voting. They've formed a single-elimination bracket and will play a minute of each piece in the first round, 2 minutes in the second, and so on, until there is a single champion. Crazy! My piece, "Thunderstorm over I-80 in the plains" is a dark horse candidate...
Saturday, Nov. 3rd, 8pm at the Scottish Rite Theater,
207 W. 18th, 512/472-7247
(Let me know if you want the free tix.)
Thursday, August 23, 2012
Sunday, August 19, 2012
buZZZZZZZZZZZZZZ!!!
I'm currently working on music for an upcoming installation by Carrie Scanga (check out some amazing images of her past work on her site). The work is inspired in part by Bee colonies. In that spirit, Carrie has invited me and a few other artist to work collectively on the piece, hive-style. The opening will be September 21 at Plug Projects (a fantastic gallery in the West Bottoms) and will include music, dance, and food.
MIC CHECK
The fabulous Assembly Quartet premiered MIC CHECK last month in St. Andrews Scotland. Here's the video and my program notes are below. I think you can tell from the video that the quartet really took hold of the piece and made the music feel very much alive. The most magical part of a premier for
me is if/when the piece begins to take on expressive or sensory qualities that go are beyond the score and beyond my imagination of it. The Assembly Quartet definitely did that here with beautiful phrase-shaping and ensemble playing.
When I saw news coverage of the Occupy Wall Street demonstrations that began in the fall of 2011, I was immediately intrigued by the impromptu “human microphone” technique adopted by the protesters. Because of the prohibition on bullhorns and electronic amplification, an orator’s words—delivered in short, discrete phrases—were repeated in unison by members of the crowd gathered immediately around him or her. Additional repetitions were required for larger audiences, emanating outward in concentric circles from the original speaker. A leader would begin by saying, “Mic check,” and would then wait for the audience to respond with a, “Mic check!” to make sure the process was in place. In this piece — inspired in part by the musical potentials of the human microphone — the members of the quartet constantly echo each other in different ways, building resonance through repetition and imitation, sometimes joining collectively in song, and sometimes splitting off in opposite directions. MIC CHECK is dedicated to the Assembly Quartet who commissioned the work to premier at World Saxophone Congress XVI in St. Andrews, Scotland.
me is if/when the piece begins to take on expressive or sensory qualities that go are beyond the score and beyond my imagination of it. The Assembly Quartet definitely did that here with beautiful phrase-shaping and ensemble playing.
When I saw news coverage of the Occupy Wall Street demonstrations that began in the fall of 2011, I was immediately intrigued by the impromptu “human microphone” technique adopted by the protesters. Because of the prohibition on bullhorns and electronic amplification, an orator’s words—delivered in short, discrete phrases—were repeated in unison by members of the crowd gathered immediately around him or her. Additional repetitions were required for larger audiences, emanating outward in concentric circles from the original speaker. A leader would begin by saying, “Mic check,” and would then wait for the audience to respond with a, “Mic check!” to make sure the process was in place. In this piece — inspired in part by the musical potentials of the human microphone — the members of the quartet constantly echo each other in different ways, building resonance through repetition and imitation, sometimes joining collectively in song, and sometimes splitting off in opposite directions. MIC CHECK is dedicated to the Assembly Quartet who commissioned the work to premier at World Saxophone Congress XVI in St. Andrews, Scotland.
Saturday, August 11, 2012
The St. Joe News-Press is featuring a new live Still Lost Bird Music video every week of August. Check it out HERE.
Friday, July 13, 2012
World Saxophone Congress 2012, St Andrews
Excited about the upcoming premier of MIC CHECK, a piece I wrote for the Assembly Quartet:
World Saxophone Congress 2012, St Andrews
World Saxophone Congress 2012, St Andrews
KcEMA @ KC Fringe Fest
Article on KcEMA at KC Fringe Fest later this month. Will feature my improv sax and electronics collaboration with Eric Honour.
http://kcmetropolis.org/issue/early-july-2012/article/new-music-festival-debuts-at-the-kc-fringe-festival
http://kcmetropolis.org/issue/early-july-2012/article/new-music-festival-debuts-at-the-kc-fringe-festival
Tuesday, February 28, 2012
Dock and Load video up!
Great video excerpt from the project that Gideon Fink Shapiro and I did this fall. Thanks to UT-A, musicians and crew. So excited this is finally up!
MIA-AIM: "Dock and Load" from CAAD on Vimeo.
MIA-AIM: "Dock and Load" from CAAD on Vimeo.
Friday, February 10, 2012
Article on Classical Music in Tunisia
Here's an article I was interviewed for about classical music in Tunisia. It mentions the work of my friend, pianist Kimball Gallagher and my skype composition student Souhayl Guesmi.
http://www.csmonitor.com/The-Culture/Music/2012/0209/After-the-revolution-arts-bloom-in-Tunisia
Monday, January 9, 2012
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