Sunday, May 20 @ 3pm
MODERATORS: Jesse Krakow and Kathleen Supové
Jesse Krakow + Open Kids’ Salon
Monday, May 21 @ 7pm
MODERATOR: Patrick Grant
Tuesday, May 22 @ 7pm
MODERATOR: Ransom Wilson
Thursday, May 24 @ 7pm
MODERATOR: Daniel Felsenfeld
Friday, May 25 @ 7pm
MODERATOR: Randall Woolf
Saturday, May 26 @ 7pm
MODERATOR: Pamela Z
Joo Won Park
Sunday, May 27 @ 3pm
MODERATOR: James Moore
Open Salon for Adults
By The Exploding Note Ensemble
“Gossamer” is a 9-part musical suite inspired by the works of composer Van Dyke Parks, monologist Spalding Gray, musician/poet Lydia Lunch, our general fears of being perennially frustrated and abandoned, and the over-riding notion that everything is laughably precious.
“Hear, Here” (J. Krakow)
“Nix/Fix (Loam)” (J. Krakow/O. McCloskey)
“Sweet Animals Fear Silence” (J. Krakow/J. Moulton)
“Big Feelings” (J. Krakow/M/ Tunnicliffe/R. Johannes)
“is not. am not. be not.” (J. Krakow/J. Klinow)
“Grave-dancing” (J. Krakow)
“This Can’t Be True” (J. Krakow)
“Whenever It Is August” (The Exploding Note Ensemble)
“Here” (J. Krakow/The Exploding Note Ensemble)
The Exploding Note Ensemble is:
Leo Didkovsky – drums
Juliet Eldred – electric guitar, vocals
Ella Hester – electric bass, vocals
Rain Johannes – fretless bass
Julian Klinow – electric guitar
Jesse Krakow – electric & acoustic guitars, vocals, piano, conduction
Owen McCloskey – piano, vocals
Jack Moulton – electric guitar, effects
Lucy Moulton – drums, percussion, vocals
Milo Tunnicliffe – electric guitar, vocals
The Exploding Note Ensemble is an experimental music collective founded in 2011. Their debut performance was at the 2011 “Music With A View” concert series, where they premiered two original works – “Sweet Ecstasy” & “Unicorn With Rabies” They have worked with producer Colin Marston (Behold…The Arctopus, Gorguts, Krallice), and have performed at Tributes to Captain Beefheart, Spinal Tap, & The Shaggs.
Jesse Krakow (Conductor) has worked with Shudder To Think, The Shaggs, Ruins, Kate Pierson, Nona Hendryx, Nina Persson, Elliott Sharp, Julee Cruise, Gary Lucas, Doug Gillard, Mary Halvorson, Marilyn Crispell, Cynthia Sley, Pat Irwin, Mike Pride, Jeremiah Cymerman, Michael Showater & David Wain, The Loser’s Lounge, Kayo Dot, PAK, The Dirty Sock Funtime Band, and was a founding member of Time of Orchids. Currently he is a member of Fast ‘n Bulbous: The Captain Beefheart Project, Doctor Nerve, Habliche Luftmasken, The Tall Pines, Spray Paint Star, Sam Mickens’ Ecstatic Showband + Revue, & the co-leader of the lo-fi recording project We Are The Musk Brigade. He has releases out on the Tzadik, Cuneiform, Crucial Blast, Epicene Sound Systems, BadNews, MT6, Public Eyesore, Eh?, Magna Carta, Lazer Seizure, & RA Sounds record labels.
IMMOLARE for violin/cello/electronics (2012) *premiere, and ZENTRIPETAL
Immolare is the Latin word for “sacrifice.” This work was prompted in part by the story of Mohamed Bouazizi, the Tunisian vegetable vendor who set himself on fire, otherwise known as self-immolation, in frustration after corrupt government officials confiscated his vending cart and scales. His death was the catalyst for the Tunisian revolution in January 2011. For myself, as a vegetarian, the fact that this man was selling some of the most nutritious foods in the world, in a country where the average family of four lives on $7100 per year, seemed an admirable job in my opinion. Juxtaposing this with the current trend of buying locally grown, organic produce that is heirloom and natural, and hydroponic, etc, etc, I have recorded the sounds of vegetables being chopped/pureed/ground/grilled in some of the finest restaurant kitchens of NYC. These will then be manipulated to become the electronic track of the piece.
Lynn Bechtold (Composer, Violinist) has appeared in recital throughout North America and Europe, and has collaborated with composers including Derek Bermel, Gloria Coates, George Crumb, John Harbison, Alvin Lucier, and Morton Subotnick. A member of various groups, including the East Village Opera Company band, the SEM Ensemble, and the New York Symphonic Ensemble, Lynn has performed around the world, and has been heard on CBC Radio, CBS-TV, NHK-TV, and WNYC. Other programs have been with Absolute Ensemble, DJ Spooky, Escort, North/South Consonance, Parsons Dance, Paul Taylor Dance Company, VisionIntoArt, and Pablo Ziegler, among others. In addition, she’s performed with artists such as Boyz II Men, Sheryl Crow, Roberta Flack, Left Banke, Smokey Robinson, J-Pop band SMAP, and Donna Summer. Lynn holds degrees from New England Conservatory, Tufts University, and Mannes, where she was one of the last students of noted violinist Felix Galimir. She writes electroacoustic music, and is on the faculty of Greenwich House Music School in NYC.
Zentripetal debuted in 2006, when violinist Lynn Bechtold and cellist Jennifer DeVore decided to explore the violin/cello duo repertoire and to premiere new works for the combo. Longtime collaborators, they have been performing together since they were students at New England Conservatory. To date, the duo has performed at the Austrian Cultural Forum NYC, Galapagos, the Goethe Institut NYC, the JCC, Le Poisson Rouge, William Paterson University, Players’ Theatre, the Roerich Museum, Renee Weiler Concert Hall at Greenwich House, and Yeshiva University Museum, as well as on the North River and Vox Novus Series. Their first self-titled CD will be released on the Composers Concordance Records/Naxos label in 2012.
Jennifer DeVore (Cello) studied Art History at Harvard before earning her Masters degree from the New England Conservatory, where her teachers were Colin Carr and Laurence Lesser. Hailed as “superb” by the New York Times, she has appeared at Lincoln Center, Carnegie Hall, The Kennedy Center and London’s Barbican Center and at the Musicorda, Yellow Barn and Spoleto festivals. Groups she has played with include the Jose Limon Dance Company, FLUX Quartet, the Sirius Quartet, and Sweet Plaintain Quartet. A champion of contemporary music, Ms. DeVore has worked with John Cage, Ornette Coleman, and John Zorn, has played in the Bang-On-A-Can Marathon and on WNYC’s “New Sounds,” and has recorded pieces by Cage and Xenakis. She has also recorded and performed with Jay-Z, Alicia Keyes, Suzanne Vega, Pink Martini, The Left Banke, Il Divo, DJ Spooky, Josh Groban, Laura Branigan, and the Trans-Siberian Orchestra. Television appearances include spots on Good Morning America and Live with Regis and Kelly.
Smash Folio for electric guitar and electronics is a work which I have been assembling for many years. The premise of the piece is to eventually have many short movements which cover a variety of musical ideas. From this “Folio” of movements, the performer will pick and choose any combination and order of movements.
D. J. Sparr merges art-concert craft with influences from music which he grew up performing as a guitarist. He is currently the Young American Composer-in-Residence with the California Symphony. His music has been commissioned and performed by groups such as Albany Symphony, Berkshire Symphony, Chicago Youth Symphony Orchestra, Chinese People’s Liberation Army Band, Dayton Philharmonic, Eighth Blackbird, Los Angeles ‘Debut’ Orchestra, New Music Detroit, the Pittsburgh New Music Ensemble, Richmond Symphony, Verge Ensemble, Wet Ink, and Williamsburg Symphonia. The recipient of many accolades, Sparr was awarded the $10,000 grand prize in the orchestra category of the BMG/Williams College National Young Composers Competition and was an alternate for the 1998-99 Rome Prize. An accomplished guitarist, D. J. regularly performs solo recitals, concertos, and with ensembles.
FABRIC OF A WORLD UNFOLDING
Christopher Cresswell – Composer
Anna Brumbaugh – Clarinet
Anne Goldberg – Piano
Domenica Fossati – Flute
Benjamin Kreith – Violin
Loren Serfass: Cello
Fabric of a World Unfolding is my first attempt to combine two compositional interests of mine, live acoustic “classical” music and music created through the use of digital sampling. The electronic tape part of Fabric is built with samples of pre-existing recordings, a technique I became interested in after first encountering the work of pop artist Girl Talk. Through the use of digital manipulations, what began as familiar “pop” sounds are transformed and take on a new identity. Although I have completed several tape only works, this is my first time combining this technique with live acoustic instruments. Musically, Fabric of a World Unfolding consists of a single, slowly evolving texture. Beginning with solo electronics, the acoustic instruments struggle to find their place in this new, unfamiliar soundscape. As the work progresses, the acoustic gestures become stronger and more deliberate. However, as soon as this happens, the electronics overtake the acoustic material and pushes the soundscape to the point of distorted self destruction. After a series of successive climaxes, with the sounds pushed to their literal and figurative limits, the electronics collapse in on themselves. The remnants of the electronic soundscape become an ever evolving, reverbant drone. The acoustic instruments begin to play the gestures we’ve heard before until both the acoustic instruments and the electronics fade into the single cello line, which itself then gradually fades away. This work is dedicated with much love and gratitude to Zibuokle Martinaitytė, whose guidance has helped me, not only realize this work, but rekindle my passion for the act of music composition.
Christopher Cresswell (Composer) Originally from Cazenovia, NY, Chris Cresswell, is an award-winning composer and performer. He has written for a variety of genres, including large ensemble, chamber, and electro-acoustic music. A frequent collaborator, Cresswell has worked with video artist Jessica Schreindl, choreographer Becky Richardson, as well as with performers Melissa Widzinski, Sar-Shalom Strong, and Jon English. Previously commissioned by The Society for New Music, and the Erie Saxophone Quartet, upcoming projects include a song cycle for tenor and chamber orchestra, and a work for solo soprano and electronics. His most recent work, Nocturne No. 1 for Winds was premiered by the Syracuse University Wind Ensemble this past February. His honors and awards include a grant from the Renee Crown Honors Program for the premiere of New Horizons, the Setnor School of Music Faculty award from Syracuse University, and multiple features on WCNY-FM. Chris Cresswell currently lives in Brooklyn, NY. www.chriscresswellmusic.com
I came across this haiku while reading a journal article, and was immediately struck by it. I had long regarded haikus as the domain of fifth-graders learning to write poetry, or there to provide a pseudo-witty format for a friendly e-mail. But the imagery in this poem jolted me from this notion, and it stuck with me long enough to inspire a song.
After writing Silver Threads, I sought out other text in order to form a collection of companion songs. When this proved to be much more difficult than I had hoped, I conjured up the fantasy of having real live poets write “reaction” works to the Silver Threads text, and I am delighted that Dora Malech is my first collaborator. In Unspun, we were attracted to the idea of a work that begins tightly wound and gradually unravels—or spins out—before gathering itself up again.
Jacob Cooper (composer) His bold compositions and multimedia works have garnered recognition throughout North America and Europe, with performances by the JACK Quartet, the Calder Quartet, Ensemble ACJW, and the Minnesota Orchestra. His work has appeared at Carnegie Hall, at the Wordless Music concert series at the Miller Theater (New York), at the MATA Festival (New York), and at the Choregie Festival (Slovenia). Jacob won the 2011 Carlsbad Music Festival competition, and he has earned a Charles Ives Scholarship from the American Academy of Arts and Letters, a Morton Gould Award from ASCAP, and a CAP Grant from the American Music Center. His video work was shortlisted for the inaugural YouTube / Guggenheim Biennial. Timberbrit, Jacob’s opera about a fictional reunion between Britney Spears and Justin Timberlake, has been featured on NPR’s All Things Considered and in The Believer’s annual music issue.
Mellissa Hughes (vocalist) Hailed by The New York Times as “one of New York’s freshest, most compelling interpreters” soprano Mellissa Hughes enjoys a busy career in both contemporary and early music. She has collaborated with Julia Wolfe, Michael Gordon, David Lang, and Steve Reich and premiered works written expressly for her by Caleb Burhans, Missy Mazzoli, Ted Hearne, Corey Dargel, and Frederic Rzewski. This season she performed the world premieres of David T. Little’s Am I Born with Alan Pierson and the Brooklyn Philharmonic, and Alex Temple’s Liebeslied for the opening of the SONIC Festival; sang Jonathan Berger’s Theotokia at Stanford Lively Arts with the St. Lawrence String Quartet and Pedja Muzijevic; and Mohammed Fairouz’s Tahwida with clarinetist David Krakauer at Carnegie Hall’s Weill Hall. Upcoming dates include David Coll’s Position, Influence and Matt Marks’s The Little Death, Vol. II for the MATA Festival, and a tour to Amsterdam and Ireland with Alarm Will Sound.
Yoav Shemesh – Composer, Piano, Singing, Laptop and Electronics.
Chen Price – Guitars, Laptop and Electronics.
David Davis – Cello and Electronics.
Keith Elie Kohn – Actor/Narrator
Altered Air is a piece about the transition from existentialism to discovering faith in divine providence; the transition from experiencing life as a series of random events to an awakening realization that life is a journey and perhaps there is an ultimate destination.
I believe that our world is going through a spiritual evolution. In the piece Altered Air I’m trying to deal with the spiritual thirst through the emotions of a musical experience.
Yoav Shemesh (Composer) works extensively as a composer of concert composition, theater, dance, movies and songs. He also works as a music producer, and is accomplished performer as a vocalist and keyboardist.
He has written for solo instruments, chamber ensembles and full symphony orchestra, incorporating both acoustic and electronic elements. Over the last few years Yoav has been exploring Ashkenazi Niguns and Sephardic Piutim, the traditional Jewish tunes of the two worlds comprising the Jewish exile. Yoav has been awarded numerous prizes for his compositions for contemporary concert music, dance and multimedia installations. His music for film has been screened in over 30 festivals around the world including Aniwow – Beijing and the 25th International Short Film Festival interfilm, Berlin. He received his Bachelor of Arts degree in composition from the Jerusalem Academy of Music in 2009. Yoav has a Master’s Degree in Composition, Film Scoring and Multimedia at NYU. He studied composition with Ira Newborn, Ron Sadoff and Joan La Barbara, mastering engineering with Allen Silverman and mixing engineering with Paul Geluso.
David E. Davis (Cellist) has performed regularly with the Greenwich Village Orchestra since 2005 and recently recorded with salsa band, La Excelencia and the Ljuba Davis Ladino Ensemble.Originally from Berkeley, CA, David studied with Milly Rosner and attended the Crowden School. Early orchestra training included the Berkeley and Oakland Youth Orchestras. David performed with the University of Colorado at Boulder Orchestra and studied with Judith Glyde. He later was a key member of Friends of Your Mother, a 80s cover/folk band based in Aspen, CO. During this time he was principal cellist of symphony of the valley in Glenwood Springs, CO.
Khen Price (Guitarist) is an Israeli guitarist, composer and educator, currently active in NYC. He regularly performs and records with ensembles of various styles, ranging from jazz to contemporary classical, rock and pop. His performances have been heard in films and theater productions and well as other forms of media. Khen graduated from the Jerusalem Academy of Music in 2008, where he studied interdisciplinary performance and composition. Currently, he studies at NYU Steinhardt working towards an MM in music technology and scoring for multimedia. As a composer, Khen is interested in the intersection of contemporary classical, jazz, and electronically enhanced music. As a researcher, he explores fields such as sound synthesis, signal processing, music cognition and perception, and how these apply to contemporary music making and audio production.
Keith Elie Kohn (Actor/Narrator) Originally from Chicago, where he found his calling in theatre at the University of Illinois, Keith currently performs on the stage of life as a designer and dreamer. Attempting to reconcile “architecture” and “theatre”– staging a building in the world versus building a world on the stage – everyone is a character contributing to his performance sensibility. In past incarnations, he has been closely involved in the mental health community where he gained insight into the internal struggles one faces while trying to make sense of the myriad of stimuli in our modern environment. Having lived in Israel and Hassidic Williamsburg, the irony of secular Jews in the Holy Land and the ultra-orthodox living in exile heightens his sensitivity to questions of theological identity. It is a privilege to be making his New York debut for this production.
MUSIC FOR FOUR STRINGS
Composed by Nomi Esptein
Performed by MIVOS Quartet
Music for Four Strings , as do many of my other works, demonstrates a conception of sound as object, or sound-sculpture composition, where material is realized as tactile, space-occupying structure. Music lies between the static and dynamic forming a subtlety of surface activity and a shifting set of relational characteristics.
Nomi Epstein (composer) is active as a composer, curator/performer, and music educator. In addition to participating in several international composers festivals with performances at Ostrava Days, Huddersfield Contemporary Music Festival, Darmstadt, and Bang on a Can, she attended Stuttgart’s Akademie Schloss Solitude summer residency, and was twice invited as an Artist in Residence at the Atlantic Center for the Arts. Epstein is a 6-time ASCAPLUS winner, and a 2-time CAP Grant winner (American Composers Forum). Her compositions have been performed throughout the US and Europe by such ensembles as ICE, Ensemble SurPlus, Mivos Quartet, Wet Ink, and Dal Niente. Epstein is founder/ curator of the critically-acclaimed, Chicago-based experimental music concert series “a.pe.ri.od.ic.” She was an invited lecturer at the 2011 Black Mountain College John Cage Conference, and in 2012, she produced/curated a large John Cage centennial festival in Chicago. Epstein holds degrees from Barnard College, New England Conservatory and Northwestern University.
Rodney Lister has received commissions, grants, and fellowships from the Berkshire Music Center, the Fromm Foundation at Harvard, the Koussevitzky Music Foundation at the Library of Congress, the Fires of London, the Poets’ Theatre, the Virgil Thomson Foundation, Dinosaur Annex Music Ensemble, the MacDowell Colony, and the Virginia Center for the Creative Arts, among others. His works have been performed at Tanglewood, the Library of Congress, the Edinburgh Festival Fringe, and in New York and London, among other places. He is currently on the faculties of Boston University School of Music and the Preparatory School of the New England Conservatory, where he is director of the annual contemporary music festival. He is also a music tutor at Pforzheimer House, Harvard University, and is on the faculty of Greenwood Music Camp.
Trio Cleonice has quickly established itself as one of the most creative, communicative, and exciting young ensembles in the United States. Founded in 2008 by violinist Ari Isaacman-Beck, cellist Gwen Krosnick, and pianist Emely Phelps, the group is currently the Graduate Piano Trio-in-Residence at New England Conservatory. Trio Cleonice has enjoyed a diverse repertoire spanning the early trios of Haydn and Mozart, an ever-expanding selection of Beethoven trios, romantic masterworks, and exciting new works for the genre. Their innovative programming pairs newer works with relevant older counterparts, engaging the audience in an exploration of what it means to write for piano trio and the fascinating ways in which new and old works inform each other. Highlights of their 2011-2012 season include recitals at Jordan Hall, Terrace Theater, Blue Hill Congregational Church, NYU’s La Maison Française, and Oberlin Conservatory. The group takes its name from the local-centric Mediterranean bistro in Ellsworth, Maine.
Ari Isaacman-Beck (Violinist), originally from Minneapolis, was the recipient of the second prize at the Sion-Valais International Violin Competition and the Joseph and Elsie Scharff Prize at the Cleveland Institute of Music. He has performed frequent solo recitals in New York and throughout the midwest, and appeared with the New York City Ballet Orchestra during the ensemble’s 2010 season. Prior to three summers at Kneisel Hall, Isaacman-Beck participated in the ENCORE School for Strings. Isaacman-Beck received his Bachelor of Music degree from the Cleveland Institute as a student of David Updegraff, and his Master of Music degree from Juilliard, where he studied with Ronald Copes. Isaacman-Beck also completed a Professional Studies diploma at Mannes as a student of Mark Steinberg and Laurie Smukler. Isaacman-Beck is currently a student of Donald Weilerstein at New England Conservatory, participating in the Professional Piano Trio Training Program as a member of Trio Cleonice.
Gwen Krosnick (Cellist), from Hastings-on-Hudson, New York, received her Bachelor of Arts and Bachelor of Music degrees after completing the double-degree program at Oberlin College and Conservatory, where she majored in Russian Language and Literature and studied with Darrett Adkins. A founding member of Trio Cleonice, Krosnick currently studies with Natasha Brofsky at New England Conservatory, where the trio is in residence. Krosnick is an alumna of the Kronberg Cello Masterclasses and the International Musicians Seminar at Prussia Cove. A devoted performer of contemporary music, she has premiered works written for her by Ralph Shapey and Richard Wernick. Krosnick won the Cleveland Cello Society’s Agnew Prize for Bach and participated as baroque cellist in a residency with William Christie and Les Arts Florissants. She has given masterclasses at the Cleveland Institute of Music and the Peabody Institute of Music, and coaches for the New York Youth Symphony Chamber Music Program.
Emely Phelps (Pianist), a native of Frederick, Maryland, received her Bachelor of Music and Master of Music degrees from Juilliard, where she studied with Julian Martin and was awarded the John Erskine Prize for academic and artistic achievement. A dedicated chamber musician, Phelps is a member of Trio Cleonice, and currently studies with Vivian Weilerstein and Stephen Drury while the ensemble participates in the Professional Piano Trio Training Program at New England Conservatory. Phelps has appeared as a soloist with the National Symphony Orchestra, Las Colinas Symphony Orchestra and the Washington Metropolitan Philharmonic and has been a prizewinner in many competitions, including the Beethoven Society of America’s Maria Fisher Competition and the Second New York Piano Competition. She has spent three summers at Kneisel Hall Chamber Music Festival and has also attended the Banff International Keyboard Masterclass, Sergei Babayan International Piano Academy, and the Cliburn Institute at Texas Christian University.
“Helian”, by the Austrian poet Georg Trakl (1887-1914), is a single, continuous poem, that I, for the purposes of setting as a song cycle, divided into 15 parts. I didn’t re-order any of the stanzas, nor did I exclude any. The division into four seasons, though strongly suggested by the text, is entirely my own invention, and I do not know that Trakl intended this division or reading of the text.
“Helian” was written in December 1912 – January 1913 and follows here in the translation by Alexander Stillmark. — Jeremy Gill
Jonathan Hays teaches studio voice at Dickinson College, Susquehanna University, and Brooklyn College and Conservatory of Music; and specializes in performances of newly composed vocal music. Career highlights include performances of leading roles with the Los Angeles Opera, Washington Opera, the Lincoln Center Festival, Portland Opera, Central City Opera, Bel Canto at Caramoor, Opera de la Colombia, and Cape Town Opera; and concert engagements with the Orchestra of St. Luke’s, Mostly Mozart Festival, Toronto Symphony, Musica Viva, American Symphony Orchestra, and Colorado Symphony, among many others. His recording of Jeremy Gill’s Helian ranked fourth on Philadelphia City Paper’s list of Top 10 Classical Albums of 2011, and the Big Easy Foundation honored him with their 2011 award for Best Performance of New Classical Music.
“Jonathan Hays conveys the words, not just the music, with intelligence and careful diction, not to mention a splendidly lush baritone.”
-Peter Burwasser, Fanfare Magazine
“The nobility of his voice matched the nobility of his bearing, and his singing was consistently strong, lucid, direct, and bang on the note. His was a magnificent performance.”
-Paul Griffiths, The New York Times
“Jonathan Hays performed [Papageno] like a fumbling Hugh Grant – endearing and adorable – so that when he turned his spy glass on the audience in search of girlfriend material, women were actually primping”.
-Vivien McInerny, The Oregonian
Jeremy Gill Jeremy’s music has been commissioned by the American Guild of Organists, Kimmel Center for the Performing Arts, Dolce Suono Ensemble, and Network for New Music, among many others, and has been performed by Peter Orth, Stephen Gosling, Maria Bachmann, Mimi Stillman, Randall Scarlata, Casal String Quartet, Rochester Philharmonic, and Harrisburg Symphony, to name only a few. 2011 – 2012 saw the premieres of Fantasy Etudes for four oboes at the Eastman School of Music, commissioned by Richard Killmer, and 3 Songs About Words, commissioned by Lucy Miller Murray and Concert Artists Guild for Sarah Wolfson. He has released two CDs on the Albany Records label, both to critical acclaim, and is currently composing a major new work for the 2010 Grammy-winning Parker Quartet, commissioned by Chamber Music America, and a piano concerto/choral work for Ching-Yun Hu and the Mendelssohn Club of Philadelphia, both to be premiered in 2013.
“...a work of considerable intensity…beautifully sung by Hays…”
-American Record Guide, January 2012
“...Gill has a superb ear for the shape and rhythm of the language. Gill captures the narrative of the words with a dramatic intuition that honors Schubert. Jonathan Hays conveys the words, not just the music, with intelligence and careful diction, not to mention a splendidly lush baritone. Jeremy Gill is a comer in the world of new music. He is, like the best of his contemporaries, unconcerned with stylistic battles concerning things like tonality, historicism, or audience pandering. He uses whatever tools are available and useful, and has managed to find his own voice. It is one well worth listening to.”
-Fanfare Magazine, November/December 2011
Top Classical Albums of 2011: #4. Peter Orth/Jonathan Hays/Jeremy Gill -Helian/Book of Hours (Albany)
“...composer Jeremy Gill writes music that evokes the ancient power of the art, in the manner of his teacher, George Crumb…”
-Peter Burwasser, Philadelphia City Paper, December 8, 2011
Breathing Underwater (for harp, flute and viola)
Jet Lag (Can’t Stay Awake) (for rock band + string quartet)
Always In My Head (for rock band + string quartet)
Overloaded (for rock band + string quartet)
Part-Time Girlfriend (for rock band + string quartet)
Composed by Danielle Eva Schwob
Danielle Eva Schwob – vocals & guitar
Deen Anbar – guitar
Kristi Shade – harp
Maya Bennardo – violin
Patti Kilroy – violin
Mike Midlarsky – cello
Rick Ippolito – bass
Rick Martinez – drums
Frank Tyl – percussion
Erin Wight – viola
Nathalie Joachim – flute
Danielle Eva Schwob (Composer) is a London-born but New York-based composer, songwriter and performer whose creative work spans both concert and popular idioms. Her music has been described as “satisfyingly dark” (Sequenza21), “truly terrific” (WRIU 90.3FM) and an “emotional exorcism” (SonicScoop) and has been featured on NPR, earning her honors from the Aaron Copland Fund for Music, Con Edison/Exploring the Metropolis, MATA, the Margaret Sanders Foundation, NYU and MSU. Recent projects include the release of Danielle’s debut CD, Overloaded; a recording project for Philip Glass that is under consideration for release on his label, Orange Mountain Music; a Composer’s Residency sponsored by Con Edison; a performance by the Nouveau Classical Project at MATA’s Interval Series; a recording project with BAFTA-winning and Grammy-nominated composer, Joel Douek; and commissions for The Deviant Septet and NoiseBox. Danielle is also the Artistic Director of SYZYGY New Music, an ensemble that has been lauded as “astronomical” (The Tribeca Film Festival), “impressive [and] solid…one of 2009’s most promising new groups” (Sequenza21) and “imaginative, mind-blowing and progressive” (Unveiled Arts).
Part Time Girlfriend
In a Blue Room
Always In My Head
“The usually sweet sound of flute, harp, and vibraphone was somehow given a satisfyingly dark or even slightly ominous edge in Danielle Schwob‘s SHIVER.”
“The Schwob trio, written in 2009, was the newest piece on the program. Entitled “Music for Releasing Ghosts,” it without a doubt lives true to its name. The violin and cello, through shrieks and cries, take the lead role in what seems to be the release of one’s own inner demons, while the piano supports and reinforces this emotional exorcism.”
“Once you hear the sublime and moving Mehr Licht you’ll definitely want to know more about the music and its composer, Danielle Schwob”
–Classical Music is Dead
“One of 2009′s most promising new groups was the Syzygy New Music Collective, which gave their debut concert at St. Anthony of Padua…Founded by Jessica Salzinski and Danielle Schwob…the concert was very enjoyable [and] all of the performances were solid…they attracted an impressively large audience…this marketing savvy is in some ways the most promising thing about the group. It’s one thing to put together a good ensemble and program and deliver a strong concert, but to stand out requires a business savvy that evidence suggests Syzygy posesses.”
“If you’re wondering about what Syzygy New Music’s PLUGGED IN will be like, you should know that it’s probably going to blow your mind. Syzygy is a group of imaginative composers and instrumentalists dedicated to pushing the boundaries of concert music. This stuff is definitely progressive, and will put your conception of classical music to the test.”
“One thing is for sure—this is nothing like your grandparents’ favorite radio station. This “Sysygy” [sic] promises to be “astronomical.”
-Tribeca Film Festival
NO ARTIFICE AT THE FLEA
Composer, Michael Lytle
The thing that excites me about playing at the Flea is that it is an excellent acoustical space. I don’t need to amplify! I know very well that sometimes you have to amplify, but it chases the overtones away from the way they excite themselves in the air. It’s artificial actually. Let’s have no artifice between us. Let’s try anyway. We can call this concert “No Artifice at the Flea”. At least that’s the idea. It will be a solo improvisation. I personally think improvisation is more honest and generally less ego driven than composition. So, see, no artifice again!
Michael Lytle (Composer) has a Master’s in Composition (electronic music) from the U. of Iowa – 1968, playing clarinet for 50 years. Well known as an Improvisor and called the “most radical of his generation” by Joachim Berendt, he invented a set of clarinet sonic modulation and performance born of not having access to an electronic music studio for a long period. A short list of his best collaborations have been with Will Parsons, George Cartwright, David Moss, Hans Burgener, Mark Howell, Nick Didkovsky, Gerry Hemingway and have included over 30 recordings.
This City is a work for pianist Mabel Kwan and generative electronics. There is no printed score; rather, the pianist plays music based on material generated for her in real time, which appears on a computer screen. Each instance of generated material is unique, ensuring that no two performances of This City will be the exactly same, although the piece should always be recognizable as the same work. This City is also a partial setting of Robert Fitterman’s sprawling, multi-book poem, Metropolis XXX (The Decline and Fall of the Roman Empire), read by Nathan Wilson, a young man with a cochlear implant. Nathan’s voice is diffused among and mixed with both the material generated by the computer and atmospheric sounds drawn from field recordings.
John Supko (Composer) was born in 1980 on Long Island, New York. Currently Assistant Professor of Music at Duke University, he holds degrees from the Indiana University Jacobs School of Music (BM) and Princeton University (MFA & PhD). He is a recipient of the Fulbright (2002) and Georges Lurcy (2007) fellowships, both for Paris, France, where he studied at the Ecole Normale de Musique. He has won numerous prizes and grants, among them the BMI Student Composer Award, two ASCAP/Morton Gould Young Composers Awards (including the 2008 Leo Kaplan Award), the Grand Prize of the National Young Composers Competition, the Perkins Prize of the Princeton University Music Department and a Commissioning Music/USA Meet the Composer commission. His work has been published in collaborative editions with the poet Philippe Denis by Collection Mémoires (Paris) and, most recently, by Harpo & (Marseille). Current projects include an hour-long work for Canadian soprano Ashleigh Semkiw and chamber orchestra.
Mabel Kwan (Pianist) is a member of Ensemble Dal Niente, active in performances and education outreach throughout the concert season. She performed with Dal Niente at the 45th International Summer Courses for New Music in Darmstadt, Germany where they received a Kranichstein Stipend Prize, the first ever awarded to an ensemble. She and percussionist Andrew Bliss are founding members of the duo Nothing in Common. The duo has performed at the Intermedia Festival at IUPUI, SEAMUS, and universities and concert venues throughout the Midwest. Mabel has given solo recitals at the Sonic Fusion Festival in Edinburgh, Scotland and the Experimental Piano Series produced by the Chicago Composers Forum and Pianoforte Chicago. She champions the works of artists from her generation and has enjoyed collaborations with Liminal Performance Group and the Poetry Foundation. Born and raised in Austin, Texas, Mabel received performance degrees from Rice University and Northern Illinois University.
Work began on the Pisces Monodrama in the fall of 2009 while living in New Haven. The work came very naturally. No other work had been as satisfying to write as this piece.
Pisces Monodrama basically describes a series of events, experiences and remarkable people in my life when I was 19. It’s a seven-movement song cycle, which includes vocal parts and narrating parts. Inspired by various music genres and is a good example of my “hybrid” style. I wrote all lyrics, except for “Wave Hello to the Sun” which was written by a dear friend of mine.
The main themes of this work are Love, Farewell and Eternity. “The singer in Paradise” is dedicated to my mom who has passed away when I was 19. My mother was a singer. That was the first time I experienced death.
At that time, I made a composer friend who was also a great steel pans player. I decided to use the steel pan as a solo instrument, which is an unusual instrument in China and I had never experienced writing for it.
Portishead, Bjork, Tori Amos and other unordinary female vocalists influenced my singing style. I tried to put the spirit of classical music into the expressions of experimental pop music.
Pisces Monodrama was premiered at Yale School of Music in November of 2009, and Beijing Chamber Music Festival in October of 2010. The piece was received quite well. It was also broadcast on the China Central Television and the “Music for Internets” program in the United States.
Fay Wang (Composer) from Beijing, her works have been performed around the world. She holds degrees from the CCOM and the Yale School of Music. She’s now at YSM receiving her Artist Diploma. Fay has received honors and awards from ASCAP Young Composer Awards, China’s “Golden Bell” Award, “Governmental Award” etc. Her commissions include the Classic Euro Young Festival, Beijing Modern Music Festival etc. Her works have been performed by numerous ensembles including the RIAS Youth Orchestra (Gerd Albrecht), Yale Philharmonic, Ensemble “De Reihe”; and have been performed at concert halls including Arnold Schoenberg Center, Berlin Concert House, ZHdK, Yale Woolsey Hall, Beijing Concert Hall, Shanghai Concert Hall etc. As a composer and vocalist, she has created a new genre of her own – The “Monodrama Series”. Fay’s album has been released in China and her music has been published by Musikverlag Doblinger, Vienna.
Samuel Carl Adams (Conductor) is a dynamic creator of acoustic and electroacoustic music whose works equally embrace tradition and the non-vernacular. His music draws his experiences in a wide array of fields including experimental forms, micro-sound, noise, jazz, programming, and phonography. He has been commissioned by The Paul Dresher Electroacoustic Ensemble, ACJW (The Academy, a program of Carnegie Hall, Juilliard, and The Weill Institute of Music), MATA (Music at the Anthology), Lisa Moore, TwoSense, The New World Symphony, The San Francisco Symphony, The Living Earth Show, and Carnegie Hall. Sam also maintains active as a contrabassist and conductor of contemporary music. He currently lives in Crown Heights, Brooklyn. www.samuelcarladams.com
Graham Banfield (Performer) His commitment to music from the traditional to the eclectic has left critics praise ranging from “just wonderful – so gentle and beautiful” (Seattle Weekly) to “happily baffled” (New Haven Advocate). Recent highlights of Graham’s musical endeavors include a heralded performance of Rodrigo’s Concierto de Aranjuez with the New Haven Chamber Orchestra, a new-music performance at Carnegie Hall, and an appearance on the Emmy-winning documentary John Muir in the New World by Yale composer Garth Neustadter. Graham currently resides in New Haven, Connecticut where has recently completed graduate studies in music at the prestigious Yale School of Music gratis under the tutelage of world-renowned pedagogue and performer Benjamin Verdery. He received his undergraduate degree with honors from Cornish College of the Arts in Seattle, Washington where he studied with Steven Novacek and Michael LeFevre. Further, he has performed in masterclass for several of the world’s most celebrated players including David Russell, Paul Galbraith, Jason Vieaux, and Lorenzo Michelli. Graham is also a dedicated teacher. While in Seattle, he taught at his alma mater as well as at The Rosewood Guitar, Seattle’s preeminent classical guitar studio. He currently teaches gifted students at Cooperative Arts and Humanities High School and Yale College.
Ashley Bathgate (Performer)A native of Saratoga Springs, NY, cellist Ashley Bathgate has gained international renown as both a soloist and chamber musician. The New York Times writes, “Ms. Bathgate’s rich tone, fluid dynamics and imaginative phrasing captured the magic.” Equally at home in both the concert hall and the rock club, Ashley focuses on presenting concerts that draw from a wide range of musical genres. Her dedication to performing classical music is equally matched by her passion to promote new music by today’s composers. She is a member of the award winning, internationally acclaimed Bang on a Can All-Stars, the Metropolis Ensemble and two chamber groups of which she is a founding member: TwoSense and Typical Music. She has recorded for Nonesuch, Naxos, Cantaloupe Music, Albany Records and La-La Land Records. Ashley received her bachelor’s degree from Bard College and a master’s degree from Yale University where she studied with cellist and professor, Aldo Parisot. She currently resides in Manhattan, NY. For more information please visit www.ashleybathgate.com.
Ian Rosenbaum (Percussions) Still only 24 years of age, percussionist Ian Rosenbaum has developed a musical breadth far beyond his years. He made his Kennedy Center debut in 2009 and later that year garnered a special prize created for him at the Salzburg Marimba Competition. However, it is in the sphere of chamber music performance that Mr. Rosenbaum has achieved his greatest success. He frequently performs with the So Percussion group and has appeared at the Norfolk, Yellow Barn and Chamber Music Northwest Festivals. Mr. Rosenbaum is a member of Le Train Bleu, Novus NY and the Wanmu percussion trio. He recently joined the faculties of the Peabody Institute’s preparatory program and Yale College. Mr. Rosenbaum endorses Vic Firth sticks and mallets and is a member of Chamber Music Society Two.
Shannon Hayden (Cello) began her cello studies at the age of 6 and was able to study intensively with internationally known graduates of the Moscow Conservatory. She enrolled in Indiana University’s pre-college program at the age of 12 and won their concerto competition two years later at which point she began competing internationally. Miss Hayden was the American String Teachers Association/Indiana Chapter concerto competition winner the following year. Shannon enjoyed master classes with many of the world’s finest cellists while in this program in addition to having the opportunity to work with Janos Starker. At the age of 18 she enrolled in a graduate level course of study at Yale University where she is studying cello performance with Aldo Parisot. Shannon’s other interests include composing modern works for the various instruments she plays in addition to being involved with working on the farm where she grew up learning off the grid alternative energy solutions as well as raising organic vegetables for market.
Mindy Heinsohn (Flutist) is active both as an orchestral and chamber musician. She has appeared at the Norfolk, Moritzburg Academy, and Chesapeake Chamber Music Festivals, and worked with internationally acclaimed conductors, including Marin Alsop, Reinbert de Leeuw, Kryzstof Penderecki, and Peter Oundjian. Throughout her career, Mindy has been an advocate for New Music. She is a former member of After Now and Sonar. She premiered Timothy Andres’ “Crashing Through Fences,” written for her and Percussionist Ian Rosenbaum. Mindy has also premiered works by composers Andy Akiho, Christopher Cerrone, Christopher Theofanidis, and Fay Kueen Wang. Mindy holds a Master of Music from Yale School of Music and a Bachelor’s degree from Peabody Conservatory where she studied with Marina Piccinini. She is a member of the Mid-Atlantic Symphony Orchestra, Ensemble Elegante, and Opus Nine Ensemble. Mindy recently joined the faculties at Washington College and the International School of Music in Maryland.
Nicole Camacho (Flutist) has taken her classical upbringing and turned it upside down in performing new music with Cochlea Freedom Ensemble and Hotel Elephant. Pulling the sister art form of music into her work, she has collaborated with Hallo Hallo Dance company and has had her composition Tiki Tiki for percussive alto flute choreographed by Megan Shaw. Ms. Camacho has also embraced folk/ rock forms in joining The Kjersti Kveli Group. Ms. Camacho carries with her a passion for music education and has linked this with her love for performance through educational outreach primarily in New York. In addition to sharing her flute music with students of all ages in the burrows of New York, Ms. Camacho is founder of a concert series/ arts-in-education organization in Long Island called Music Unboxed which is dedicated to the development of a concert scene in Long Island as well as serving as a platform for the intermix of professional and novice performers. www.nicolecamacho.com
Daniel Schlosberg (piano) has had works played by the Buffalo Philharmonic, the Aspen Contemporary Ensemble, counter) induction, the Yale Symphony Orchestra, New Morse Code, Encompass New Opera Theater, and the Lorelei Ensemble. Current projects include a new opera for Center City Opera Theater in Philadelphia and a music-theater piece called Basement Hades: Songs of the Underworld that premiered recently at the Yale Cabaret. As a pianist, his scope ranges from recitals and concertos—most recently Barber’s Piano Concerto and Scriabin’s Prometheus with the Yale Symphony Orchestra—to musical theater—playing rehearsals for last year’s revival of Sondheim’s Follies. Daniel received a B.A. from Yale College and is now pursuing his Master’s in composition at the Yale School of Music, working with Aaron Jay Kernis and studying piano with Hung-Kuan Chen. He has won awards from ASCAP, ACO, and NFAA. www.danschlosbergmusic.com.
Florent Ghys (Composer)
Eleonore Oppenheim (Bass)
Ashley Bathgate (Cello)
James Moore (Guitar)
Florent Ghys (Composer) is a composer and upright bass player from Bordeaux, France. He studied ethno-musicology in Université de Bordeaux, and classical contrabass with Thierry Barbé in Paris. He is currently a graduate composition student with Julia Wolfe at New York University. As a bass player he played with Orchestre de l’Opéra de Paris and played his own music at Le Poisson Rouge, Winter Garden, WNYC (Soundcheck May 2010), Carlsbad Music Festival, and Exit Festival Serbia. His album Baroque Tardif was released on Cantaloupe music in 2011. His piece An Open Cage has been performed by the Bang On a Can All-Stars at Alice Tully Hall in April 2012. He creates highly contrapuntal, post-minimalist chamber music showcasing intelligent multi-tracking and inventive use of electronics and sampled speech.
On the surface, his music is lighthearted and engaging, with loops and repetitions dancing around each other, creating clever and pleasing rhythms. — WQXR
Joo Won Park (Composer) wants to make everyday sounds beautiful and strange so that everyday becomes beautiful and strange. He performs live with toys, kitchenware, vegetables, umbrellas, and other nonmusical objects by digitally processing their sounds. He also makes compositions using field recordings, sine waves, and any other sources that he can record or synthesize. Joo Won draws inspirations from listening to Florida swamps, Philadelphia skyscrapers, his 2-year-old son’s play, and other soundscapes surrounding him. After studying in Berklee College of Music (BM) and the University of Florida (MM and PhD), Joo Won is working as an assistant professor of music at the Community College of Philadelphia. His music and writings are also available on ICMC DVD, Spectrum Press, MIT Press, and PARMA Recording. www.joowonpark.net
- Introductory Remarks: At the ending paragraph of Listening Through the Noise, Joanna Demers writes that sounds in electronic music are “strange in the real world, but they also succeed in making the real world strange.” This concert is my attempt to make our everyday sound unusual with current audio processing techniques.
-Toccata: tactile live improvisational piece for contact mic and found objects.
-SoundMobile: a sonic palindrome that sounds that same when played forward or reversed
-Retrace: live electronic piece for mbira and computer
-Fireflies and Cicadas: a summer soundscape composed with field recordings of Maryland and Florida
-Introvert: live electronic piece for melodica, stop motion video, and algorithmically generated accompaniment.
Joo Won Park is a rising star among modern composers. He produces music by recording everyday sounds as well as some more unusual ones and designing his own instruments from these sounds, using specialized programs to process the sounds via computer. Some of the programs are so specialized, in fact, that he codes them himself, line by line. It is a painstaking process, but one that yields spectacular results. — Pathways Magazine, Oct 2010
Better find those little blue pills if you plan on giving her more than lip service; Halfway?; Too much fun up here
A couple years ago a friend of mine, Jeffrey K. Miller, received about 100 emails in error. They had been sent to another Jeffrey K. Miller and contained a meticulous record of every communication this other Jeffrey had sent or received within a popular online dating site. I found these emails to be both moving and bizarre. For these pieces I took the first lines of three emails and composed musical responses to each statement. The first email, Better find those little blue pills if you plan on giving her more than lip service, was a letter of advice sent to Jeffrey from an unknown friend. The second email, Halfway?, is from a mystery woman and is in fact the entire email. It refers to a meeting point halfway between Jeffrey and the woman’s home. The third email, Too much fun up here, is open to interpretation.
Robert Honstein (Composer) was born in Syracuse, educated in Texas and Connecticut and now lives in Brooklyn, NY. His music has been heard throughout North America, and received performances by the Albany Symphony Orchestra, the Cabrillo Festival Orchestra, the New York Youth Symphony, the Hunter Symphony, the Yale Philharmonia, Bard College Orchestra, Norfolk Summer Music Festival, the Tosca String Quartet and the UT Austin New Music Ensemble, among others. Robert is a co-founder of Fast Forward Austin, an annual contemporary music and arts festival in Texas, and a member of the Sleeping Giant composer collective, alongside several of his fellow Yale School of Music graduates. Upcoming projects include a commission from the Heavy Hands Bass Quartet and a new work for percussion commissioned by an international consortium of Percussion ensembles.
Concert Black formed in Brooklyn in 2011 after bonding over the music of George Crumb and Riskay at the ever unconventional Bang on a Can organization’s summer institute. While all the members boast acute classical over-training, Domenica Fossati (flute) is steeped in the NYC Afrobeat scene, Lisa Dowling (bass) is also DJ Lil Miss Dolemite, and Owen weaver (drums) fronts as an electro-acoustic percussion artist and former thrasher. Together, they draw upon their diverse musical backgrounds for their song writing, improvisation, and commissioning of today’s emerging composers.
composer’s website: www.roberthonstein.com
concert black: link to their Facebook page here
video of excerpts from the piece: http://vimeo.com/28620046
audio of first two movements: http://soundcloud.com/concertblack
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