Posts tagged ‘NYC’
COMPOSERS CONCORDANCE FESTIVAL 2012
January 27 – February 6, 2012, New York City & NJ
The Most Eclectic Contemporary Music Festival of the Season
Transversing genres, locales and aesthetic modes throughout NYC and beyond
With a 28-year history of leading-edge concert production in NYC, Composers Concordance presents The Composers Concordance Festival 2012. This will be a whirlwind of five innovative contemporary music concerts in ten days, including over 40 of NYC’s most distinctive and accomplished composers. This festival spotlights the composer in different contexts, engaging the audience and performer in the creative process, and contending with the dizzying multiplicity of styles within today’s music scene. All the while, Composers Concordance puts a premium on distinguishability, that factor by which we remember and denote individual identity – and it’s that aspect, the distinction and breadth of the composer’s message, on which we’ll chiefly focus.
The first concert, ‘Songs‘, shows the various vocal styles the composer writes songs for. From the traditional western classical soprano and baritone, to the modern pop/r&b diva, to voices of other world cultures that stretch the boundaries of notation and pitch.
‘The Composers Play Composers Marathon‘ shows the composer as a performer of his or her own music. A common practice in baroque, classical and romantic periods but rarer in the mid 20th century. Toward the end of the century and into the new 21st century, the art of the composer-as-performer is re-emerging, and on this marathon we hear no fewer than 27 composers interpreting their own works.
‘New Blues‘ asks the composer to show his or her compositional skill and voice in this very particular genre that influenced so much of the music in the 20th century. With the 100-year anniversary of the first publication of a blues piece by W.C. Handy, we look at how the 21st century composer is influenced by this style.
The development of technology was quick in the 20th century, and it inspired composers to create brand new timbres and sonorities with the possibilities electronic manipulation of sound provided. We see what the 21st century composer has to offer to progress further the art of computers, amplifiers, and circuits in the ‘Electronics‘ concert of the festival.
With the final concert: ‘Ensemble‘, we witness the composer in an ensemble setting, performing each others’ music. The ensemble in question is the Composers Concordance Ensemble (which is the ensemble-in-residence at William Paterson University), made up of the directors of comp cord as well as regular performers and composers associated with the group.
NOTE: There will be a press conference before the first performance on January 27th, at 5:30pm at The Turtle Bay Music School. Members of the press are invited to attend and learn more about the festival. RSVP: firstname.lastname@example.org
Composers Celebrate the Diversity of Song
Part of the Turtle Bay Visiting Artist Series
January 27th at 6:30pm
Turtle Bay Music School
Em Lee Concert Hall
244 East 52nd St, NYC
Composers: Cody Brown, Dan Cooper, Charles Coleman, Luis Cobo, Duke Ellington/Pritsker, Milica Paranosic, Gene Pritsker, and Bob Rodriguez
Performers: Bobby Avey, Gernot Bernroider, Cody Brown, John Clark, Charles Coleman, Dan Cooper, Mat Fieldes, Laura Kay, Taka Kigawa, Milica Paranosic, Edmundo Ramirez, Chanda Rule, Sean Satin, and Keve Wilson
The 3rd Annual Composers Play Composers Marathon
Composers Performing Their Own Music
January 29th at 7pm
85 Ave A, NYC
Composer/Performers: Cristian Amigo, Loop B, Dan Barrett, Eve Beglarian, Svjetlana Bukvich-Nichols, Peter Breiner, David Chesky, Luis Cobo, Valerie Coleman, Dan Cooper, Jed Distler, Patrick Grant, Franz Hackl, Sara Holtzschue, Peter Jarvis, Andrew M. Lee, Peri Mauer, Daniel Palkowski, Milica Paranosic, Gene Pritsker, David Saperstein, Larry Simon, David Soldier, Rubens Salles, Eleonor Sandresky, Ezequiel Viñao, and Michael Wolff
III. NEW BLUES
Marking 100 Years of the Blues
Composers Bring the Genre into the 21st Century
Performed by The International Street Cannibals Ensemble
January 31st at 9pm
62 Ave C, NYC
Composers: Dan Barrett, John Clark, Dan Cooper, Glenn Cornett, Patrick Grant, Robert Johnson, Earl Maneein, Milica Paranosic, Gene Pritsker, and Joseph Pehrson
Performers: Dan Barrett, Lynn Bechtold, John Clark, Dan Cooper, Glenn Cornett, Glenn Cornett, Jennifer DeVore, Patrick Grant, Earl Maneein, Cesare Papetti, Milica Paranosic, Gene Pritsker, and Malik Work
Music for Electronics and Electro-Acoustic Ensemble
Composers Working with New Media
February 3rd at 8pm
549 West 52nd Street, 8th Floor
(bet. 10th & 11th Ave), NYC
Composers: Loop B, Lynn Bechtold, Glenn Cornett, Dan Cooper, Dinu Ghezzo, Patrick Grant, Lainie Fefferman, Franz Hackl, Mari Kimura, Daniel Palkowski, Milica Paranosic/Joel Chadabe, Gene Pritsker, and Eric Somers
Performers: Loop B, Glenn Cornett, Lynn Bechtold, Gene Pritsker, Daniel Palkowski, Lainie Fefferman, Peter Christian Hall, Mari Kimura, Milica Paranosic, and Franz Hackl
Visual projections: Carmen Kordas
Composers Performing within an Ensemble
The Composers Concordance Ensemble at William Paterson University
February 6th at 7pm
William Paterson University
300 Pompton Road Wayne, NJ
Composers: John Cage, Dan Cooper, Robert Dick, Patrick Hardish, Peter Jarvis, Otto Luening, Milica Paranosic, Joseph Pehrson, and Gene Pritsker
Performers: Dan Barrett, Lynn Bechtold, Robert Dick, Peter Jarvis, Milica Paranosic, Gene Pritsker, and Michiyo Suzuki
For press inquiries, contact Composers Concordance email@example.com
Complete iNFO at:
An audio-slideshow message from co-directors of Composers Concordance Records:
video editing: J. Gonzales – audio editing: P. Grant
Composers Concordance’s 2nd Annual
COMPOSERS PLAY COMPOSERS MARATHON
January 30th at Club Drom, NYC
music & performances by:
Gene Pritsker, Dan Cooper, Patrick Grant, David Morneau, Robert Voisey, Kevin James, Peter Jarvis, Dave Taylor, John Clark, Jay Rozen, Hayes Greenfield, Valerie Coleman, Lynn Bechtold, Robert Dick, Franz Hackl, Milica Paranosic, Arthur Kampela, David Claman
85 Avenue A
(b/w 5th & 6th)
New York, NY
$20 at door includes one drink
Read the PRESS RELEASE
For the last 12 years, Basement Bhangra, the monthly dance-party at S.O.B’s, has enjoyed a reputation as one of the most exciting, beloved, ethnically and musically diverse events in New York City nightlife. At the center of it all is the renowned DJ Rekha, who fuels the enthusiastic Basement crowd with a mixture of bhangra (Punjabi folk music originating from India and Pakistan), hip-hop, dance hall rhythms from Jamaica and the U.K., live MC’s and dhol players, plus video mixing. Long before mainstream rap started sampling Indian tunes, or reality show contestants bopped onstage to “Jai Ho”, DJ Rekha spearheaded South Asian music’s introduction to the NY club scene, establishing herself as a dance music innovator.
I first met Rekha around 7 years ago, after I went to Basement for the first time and wanted to profile the event for Studio 360. I remember being nervous about waking up a DJ before noon to do a radio interview, but she was gracious and laid-back about it all. She described how Basement Bhangra started, and talked about her desire to change the pre-conceptions about her community and its culture through the power of music. You can listen to that piece from the 360 archive RIGHT HERE. There’s also a great package about Rekha that CNN did a little while back:
After a whirlwind summer of festival touring (Tulsa, Lake Tahoe, Madison, Chicago, Cleveland, etc), Rekha was back in New York last week. Since her whole career started “the hard way”, with learning to DJ on turntables, we chatted with her about how lap-top technology has changed the art of rocking the decks. You can hear what she told us right here:
Over the years, DJ Rekha’s star has continued to rise and she stays busy. She launched a second monthly party called Bollywood Disco through her production company, Sangament; she produced a satellite radio show to broadcast her sets to a global audience; and she arranged the music for Bridge and Tunnel, the Obie-Award winning Off-Broadway show. She was an NYU Asian/Pacific/American Artist in Residence and she lectures at the Clive Davis School of Recorded Music. I’m also proud to mention that Rekha and I were co-associate producers for the radio documentary, Feet In Two Worlds: Immigrants in a Global City, back in 2005. Last year, she released her first record, DJ Rekha Presents Basement Bhangra, which featured collaborations with Wyclef Jean, Panjabi MC, and Bikram Singh among others. That’s available on iTunes and you should go download it now, if you don’t have it.
We’re honored that DJ Rekha will be joining us to close out the MMiX Festival on October 11th. So go ahead and bust out those Slumdog moves – we know you’ve been itching to try them out.
1. Where did you grow up and how did you end up where you are now?
I grew up in Detroit where I studied music composition and classical performance by day while playing in Punk/New Wave bands by night. I read about the loft and gallery concert scene in 1970s NYC and that sounded more preferable to me than LA. It was artsier and I wouldn’t need to have a car. When I moved here in the late 80s that scene had played and wasn’t to return in a new form for a while. I quit the band I moved out here with found work writing and performing music for downtown theater groups and assisting well-known composers like John Cage. It was experiences like that that taught me more about making a living as an artist than the Juilliard education I never completed and even so, as they say, only in New York.
2. What do you look for when you’re seeking out new work?
I fell into the role of curator-by-proxy through various self-produced concert series. Early on, I sought to fill the void that was left when the loft and gallery concerts that brought me to NYC had (temporarily) fallen out of vogue in the late 80s and early 90s. My association with theater music always meant that I at least had a space to work and to do concerts. The same was true when I expanded into Chelsea galleries in 2000. Being in spaces such as these creates circumstances which are “extra-musical” so care is given to selecting artists which are a compliment to and an augmentation of the hosting venue’s creative discipline. Ultimately, it is really about audience and community building. Being a composer and performer myself I would naturally pick artists whose work I admired and wished to collaborate with. That’s how I get to meet people. That’s my microcosm. The macrocosm is in introducing artists, performers, and audience members to each other who might not normally cross each other’s path. When I see further collaborations being made as a result of these events, I consider that a great success. That’s something we all benefit from well beyond the scope of the seeds that were planted.
3. What was your most remarkable moment as a curator/presenter/producer?
I may be speaking out of turn here but so far it’s been the upcoming MMiX Festival of Interactive Music Technology on Oct. 8-11 at Theaterlab. Truly, and I can back that up. At the beginning, I envisioned it taking place at the same time as the Audio Engineering Society’s annual convention in NYC. If you’re into audio and musical gear, that’s a big deal. Deciding to have the festival then quickly gained us the support of interactive software leaders Ableton and Cycling ’74 (makes of Live 8 and Max/MSP/Jitter respectively). This in turn brought us some of the best and most diverse performers in that field. The idea of having something bigger than the festival itself to tap into has been very powerful. It’s given me the power to call up complete strangers, some of them very well known, and get them to come onboard. I couldn’t see myself doing that a couple of years ago and that, for me, is remarkable.
4. Which performance, song, play, movie, painting or other work of art had the biggest influence on you and why?
Anyone who knows me knows that I always cite Stanley Kubrick’s 1971 film “A Clockwork Orange.” That may sound strange but let me explain. ACO was originally released as Rated-X by the incipient rating system (along with “Midnight Cowboy” and “Last Tango in Paris” due to their adult themes) and was re-released in 1974 reduced to an R-rating. The porn industry had made a joke of the X-rating by saying, “Well then, we’re XXX,” so it became meaningless. So, with an R-rating, ACO was able to air television commercials. I was eleven at that time. One day I heard it on the TV: The “Glorious 9th Symphony by Ludwig Van” but, as we know, being “performed” by Wendy (née Walter) Carlos on the Moog synthesizer. I didn’t know then what the music was or what was making those strange sounds. It was to be the very first LP that I ever bought for myself. Coming home from the store, I was reading the back of the album (who were these guys with the foreign names?) and couldn’t figure out which track I had heard on TV. I dropped that needle everywhere on the disc, but could not find it. What was up with all this classical stuff? I thought that was only used for goofing around in Warner Bros. cartoons! I noticed that one of the tracks looked a bit different in the middle, a darker color due to less activity in the grooves. I cued up that spot, and there it was: the march section of the 9th’s choral movement. It rocked my 11 year-old world, or as the Moog tagline ran at the time, I was instantly “switched-on.”
Why? It enabled me to listen to music stripped of fashion, the opposite of popular music (which I love too). It led to the original book by Anthony Burgess and got me literate beyond my years, leading to Vonnegut, Brautigan and others at an early age. Mostly, it’s a story about the choice between good and evil, and our free will to choose, motifs which stick with me to this day and inform just about everything I’m interested in, one way or another. Or at least I can explain it that way. Even with my guilty pleasures! ACO was my gateway drug.
5. What skill, talent or attribute do you most wish you had and why?
Absolutely it would be the ability to be a convincing and charismatic public orator. Presently, I feel that I could do a lot better in that department. The thought are there but something gets lost when I convert them into words let alone how those words get expressed. After being surrounded by actors, poets and other performers all these years you’d think I’d have learned something. It’s been slow going but I believe there’s still hope! Countless times I’ve let myself get bullied into situations just because somebody had a better gift of gab when, deep in my gut, I felt it wasn’t right. I had to defer to the power of the word only to regret it down the road. I’ve learned to trust my intuition more and more often these days, even if words still fail. Yet, if I had that skill, I may not have become the person I am. Maybe I’d be someone who’s better at talking about what they’re going to do than just doing it. I hope not.
MEATWARE: the human element in a technological system.
Here’s but a few links to some artists in NYC that have been embracing new technologies on the stage in the creation of their work. We’ll be adding more as time goes on. I’m sure that many of you reading this blog know of them, if not personally or as collaborators, but they are worth pointing out, especially if they are news to you.
3-LEGGED DOG is a non-profit theater and media group focusing on large-scale experimental artwork. Their work has been seen in New York City at such venues as the Kitchen, La Mama, The Ontological-Hysteric Theater, PS 122, and Signature Theatre Co. Since 1994, they have become a mainstay in the experimental arts community and have been performing downtown ever since.
Five years after the destruction of their headquarters at 30 West Broadway on September 11th, 2001, 3-Legged Dog Media and Theater Group announced the launch of a new home in Spring 2006. 3LD Art & Technology Center is located at 80 Greenwich Street in Lower Manhattan, just 3 blocks south of the WTC site.
3-Legged Dog is the first producing arts group to sign a lease in the Liberty Zone and the first to rebuild downtown. A cultural anchor for the Greenwich Street Arts Corridor, 3LD Art & Technology Center provides complete production and presentation facilities for emerging and established artists and organizations that create large-scale experimental works, many of which incorporate and create new tools and technologies.
3LD ART & TECHNOLOGY CENTER is a community-oriented and artist-run production development studio. They offer artists a unique experience with specialized equipment, flexible space and expert knowledge, as well as the desperately needed time to fully realize their visions. If New York City is to remain at the forefront of experimentation, then its artists must have the means to create cutting-edge work. Since opening in 2006, they have offered the latest materials and innovative tools to more than 900 artists from veterans like Laurie Anderson to the newest prodigies like J. Reid Farrington, recently of the Wooster Group. They have structured programs to ensure the aesthetic and financial success of their residents. They provide a critical resource and development home for these artists, who carry on the traditions of risk-taking and boundary-pushing aesthetics, a tradition that reaches back in New York City’s history to the late 1800s.
TROIKA RANCH is the collaborative vision of artists Mark Coniglio and Dawn Stoppiello. Established in 1994, and based in New York City and Berlin, Germany, Troika Ranch produces live performances, interactive installations, and digital films, all of which combine traditional aspects of these forms with advanced technologies. The artists’ mission in producing this wide range of art experiences is to create artwork that best reflects and engages contemporary society.
The name Troika Ranch refers to Coniglio and Stoppiello’s creative methodology, which involves a hybrid of three artistic disciplines, dance/theater/media (the Troika), in cooperative interaction (the Ranch). This method preceded the organization Troika Ranch, which was formed as a means to support the artists’ engagement in this process. During the 1990’s, Coniglio, Stoppiello and their company Troika Ranch were among the pioneers in the field that came to be known as Dance and Technology.
As the use of technology in the arts has developed and integrated over the last decade, the need for the separate moniker Dance and Technology has dissolved. Troika Ranch’s present concerns correspondingly reflect this broader scope, expanding across genres and pioneering new frontiers. As innovators and visionaries, Coniglio and Stoppiello produce art that values live interaction – between viewer and viewed, performer and image, movement and sound, people and technology. It is time-based but typically includes an element of spontaneity, in that the events and images that unfold lie within a certain range but are not exactly replicable. As authors, they establish images, direct performances, determine time frames, and devise technologies. The works may be presented as performances, installations, or in portable formats. In sum, Troika Ranch engages in creative endeavors using all that contemporary invention has to offer.
The arts world, well, the world in fact, recently suffered the loss of MERCE CUNNINGHAM. He extended the frontiers of choreography for more than half a century, most recently with his use of the computer program called DanceForms (formerly LifeForms).
Merce was on the development team for this dance software. Each work he choreographed since 1991 made use of this program, and each one was quite different from the others. Those of you interested in seeing firsthand how DanceForms works can download a demo of the program from their web site at http://www.charactermotion.com/danceforms/
Former Cunningham performer, choreographer & media artist JONAH BOKAER seems to be the heir apparent to Cunningham and his use of technology in the creation of dance.
Over the past several years, Jonah Bokaer has developed a body of work addressing the creative potential of digital technologies in movement production. He makes choreography by rendering a virtual body in the built domain, employing motion capture, digital animation, 3D modeling, and choreographic software to generate movement material. “Choreography” involves designing a body inscreen, embodying its movements in real time, and performing the choreography live.
While developing this new artistic practice, Bokaer frequently questions (and subverts) the spaces in which works are performed, creating site-specific installations that playfully critique the venue presenting a dance. This generally involves a visual or sonic intervention in the periphery of each individual venue.
As an arts activist, Bokaer is also deeply committed to fostering interdisciplinary dialogue with artists across media. With this in mind, he has established a cooperative studio space called “Chez Bushwick,” in which artists can congregate, develop ideas, and present their work in a catalytic environment. Bringing innovative new work into direct conversation with contemporary thought and culture is the main interest of this artist.
Bokaer’s unparalleled dancing in Merce Cunningham’s company, his co-founding of the Brooklyn performance space Chez Bushwick, and his well-crafted yet cutting edge choreography that moves dance into the new century, have made him a convincing advocate for the dance community.
CHEZ BUSHWICK, an artist-run organization based in Brooklyn, is dedicated to the advancement of interdisciplinary art and performance, with a strong focus on new choreography. Since its inception in 2002, the organization has been acknowledged as a new model for economic sustainability in the performing arts, offering New York City’s only $5 subsidy for rehearsal space, and thereby fostering the creation, development, and performance of new work. Chez Bushwick is also responsible for a number of monthly performance programs that encourage artistic freedom, collaboration, and creative risk-taking.
This is just the tip of the iceberg and, even then, this is just one city. I’m very interested in where all this development is leading us. Personally, I feel that much of it still has far to go. As advanced as it may seem to us now, I still get that feeling that we’re like those folks who first marveled at the Model T.
Whatever progress is to be made, one thing I am sure of, is that it is going to be based on the “meatware” which has a much longer tradition of moving the people’s hearts and minds. My hope is that a lot of what I like to call “The Gee Whiz Factor” will fade as this ubiquitous technology is increasingly greeted by a de-mystified public, one that will demand more and more meaningful creations that will continue to close the gap between the hardware/software and the “meatware.”
Still, at this point, a it’s mighty gap to fill.