Composers Concordance Festival 2012

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

Festival Website: http://composersconcordance.com/festival.php

Click here for a PDF version of the press release:

http://tinyurl.com/78nsqaz

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: composersconcordancerecords@gmail.com

Festival Schedule:

I. SONGS
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
(212) 753-8811
http://www.tbms.org/
Admission: Free

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

II. MARATHON
The 3rd Annual Composers Play Composers Marathon
Composers Performing Their Own Music
January 29th at 7pm

DROM
85 Ave A, NYC
(212) 777-1157
http://www.dromnyc.com/
Admission: $20

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

Nublu
62 Ave C, NYC
(646) 546-5206
http://www.nublu.net/
Admission: $10

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

IV. ELECTRONICS
Music for Electronics and Electro-Acoustic Ensemble
Composers Working with New Media
February 3rd at 8pm

Gallery MC
549 West 52nd Street, 8th Floor
(bet. 10th & 11th Ave), NYC
(212) 581-1966
http://www.gallerymc.org/h/
Admission: $10

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

V. ENSEMBLE
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
(973) 720-2315
http://www.wpunj.edu/
Admission: $5

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 composersconcordancerecords@gmail.com

Complete iNFO at:
http://www.composersconcordance.com/festival.php

I, Culturebot

CULTUREBOT.COM INTERVIEW

Name: Patrick Grant
Title: Composer/Performer/Producer
Affiliation: Curator & Co-Producer of “The MMiX Festival of Interactive Music Technology

patrickgrant

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.

Patrick Grant (reposted frm Culturebot)

MMiX FESTIVAL – Schedule of Events

The MMiX FESTIVAL of Interactive Music Technology
October 8-11, 2009 at Theaterlab
137 W 14th Street, New York City
(212) 929-2545
http://www.theaterlabnyc.com

Tickets: $20 / $15 students & seniors
Available online at: https://www.ovationtix.com/trs/cal/28175

SCHEDULE OF EVENTS & PERFORMANCES:

6:00-7:45 PM Thursday through Saturday
Free and open to the public in Studio C

Interactive sound installations by
Chronotronic Wonder Transducer
led by sound inventor Steven Litt

THU OCT 08
8:00 PM – Performance
Bora Yoon +
Luke DuBois +
Todd Reynolds +

FRI OCT 09
6:30 PM – Free Event
Ableton LIVE 8
Demo/workshop by DubSpot NYC
led by Chris Petti
8:00 PM – Performance
Dan Trueman and his Mini Laptop Orchestra
Jon Margulies / Hobotech
Joshua Fried / Radio Wonderland

SAT OCT 10
6:30 PM – Free Event
– Ableton & Cycling ‘74 present: MAX for LIVE
with Todd Reynolds & Luke DuBois
8:00 PM – Performance
Patrick Grant Group
Kathleen Supove / Exploding Piano
Elliott Sharp / Janene Higgins

SUN OCT 11
6:30 PM – Performance
Chronotronic Wonder Transducer
Ben Neill & Bill Jones
DJ Rekha / Basement Bangra

PLUS product giveaways of Ableton LIVE 8 and Cycling ’74’s MAX 5

* * * * * * *

The MMiX Festival of Interactive Music Technology is produced by Theaterlab, radio producer Jocelyn Gonzales, and curated by composer/performer Patrick Grant.

All events take place in the studios of Theaterlab which is located at 137 West 14th St., between 6th and 7th Ave., New York City. For more information (ticket info, directions, etc.) visit Theaterlab’s web site at http://www.theaterlabnyc.com.

Software and laptop improvements present new possibilities for composer/performers to create complex soundscapes in real-time during live performance. The focus of the festival is to demonstrate that these emerging audio technologies are instrumental in new artistic creations, and to inform the public regarding the current state of this art form. The artists presented in MMiX have set a new bar in that discourse and will provide live performances, media installations and workshops.

Ableton, creators of LIVE 8 and Cycling ’74, creators of Max/MSP/Jitter are primary sponsors of the festival with additional support by DubSpot NYC and Eventide.

Media sponsorship for the festival is generously provided by WNYC 93.9 FM and 820 AM, New York City listener supported radio.

WNYC

Pre-MMiX Pix

Thanks to everyone who joined us for the Pre-MMiX Party at Theaterlab last night! Brilliant vibes, wonderful people, cool new music…and mojitos!

premmix16

More photos after the tag…but we’ll have video from this event soon!

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