Tagged: ICELab Toggle Comment Threads | Keyboard Shortcuts

  • richardmitnick 10:18 PM on May 11, 2018 Permalink | Reply
    Tags: 400-Foot Journey-magical music box strip, Architeuthis Walks on Land the amazing duo of Chicago bassoonist Katherine Young and San Diego violist Amy Cimini, Constellation Chicago, Ensemble C Barré, ExclusiveOr, , ICE at GMEM in Marseille and Cassis France, ICEcommons, ICELab, , OpenICE, OpenICE in New York-Zosha di Castri, Rebekah Heller and Jacob Greenberg play Aida Shirazi and Jessie Cox   

    From International Contemporary Ensemble: Events 


    From International Contemporary Ensemble

    ICEcommons at New Music Gathering in Boston

    1
    2

    Friday, May 18, 5:00pm
    132 Ipswich Street, room 106
    Boston Conservatory at Berklee
    Boston, MA 02215
    FREE EVENT

    New Music Gathering is an annual three-day conference dedicated to the performance, production, promotion, support, and creation of new concert music.

    New Music Gathering is an annual three-day conference dedicated to the performance, production, promotion, support and creation of new concert music.

    4

    Hailed as “more than just another new music festival” (Wall Street Journal) and “a joyous celebration of the art and craft, and yes, even the business, of making contemporary music,” (I Care If You Listen), conference New Music Gathering heads to Boston Conservatory at Berklee on May 17-19, 2018.

    New Music Gathering brings contemporary musicians, artists, administrators, and musicologists together to meet, talk, and foster relationships in the new music community.

    Our 2018 conference proudly features vocalist, performance artist, and NewSounds Music host Helga Davis as keynote speaker; her keynote address will focus on the conference’s theme of “Accessibility.” Headlining performers include the boundary-breaking string quartet JACK Quartet on May 17, composer/performer and media artist Pamela Z on May 18, and the Boston-based Dinosaur Annex Music Ensemble on May 19.


    The Jack Quartet


    “We are thrilled to be hosting the New Music Gathering in May of 2018,” says Jonathan Bailey Holland, Chair of Contemporary Music and Core Studies at Boston Conservatory at Berklee. “The new music community in Boston is, and has been for many years, a thriving and significant component of the rich Boston musical landscape. Students at Boston Conservatory at Berklee premiere hundreds of new works every year, making us an ideal institution to host the gathering. This year’s theme of accessibility, with it’s numerous interpretations, is both timely and needed, and promises a stimulating and broad conversation.”

    With concerts, lecture recitals, roundtable discussions, talks, and everything from composer-performer “speed dating,” to one-on-one consultations with industry professionals. #NMG2018 aims to be both a conference in the traditional sense but also quite literally a collective place for things to grow, improve, solidify and above all get personal.

    Hailed as “more than just another new music festival” (Wall Street Journal) and “a joyous celebration of the art and craft, and yes, even the business, of making contemporary music” (I Care If You Listen), New Music Gathering heads to Boston Conservatory at Berklee on May 17-19, 2018. New Music Gathering brings contemporary musicians, artists, administrators, and musicologists together to meet, talk, and foster relationships in the new music community.

    On the second day of the festival, ICE presents on recent developments in ICEcommons, the ensemble’s crowdsourced index of newly composed music. Bassoonist and ICE Co-Artistic Director Rebekah Heller and pianist Jacob Greenberg present two ICEcommons discoveries: Jessie Cox’s solo bassoon work Form Content Negotiation and Aida Shirazi’s solo piano piece Albumblatt. Both composers will attend the event and will guide a discussion of their creative process and their experience submitting to ICEcommons.

    OpenICE at Constellation Chicago, Featuring ICEcommons

    4

    Sunday, May 20, 8:30pm
    Constellation Chicago
    3111 N. Western Ave.
    Chicago, IL 60617
    PASS THE HAT

    Our free OpenICE performances continue in Chicago! ICE presents two great Chicago-based composers and two brilliant contributors to ICEcommons.

    Sam Pluta and Jeff Snyder’s experimental electronic duo ExclusiveOr first contributed to ICElab in 2014 with their evolving ensemble work Modules, presented here in its latest version. And fresh from the New Music Gathering, Rebekah Heller and Jacob Greenberg play the local premieres of the pieces they presented in Boston by Aida Shirazi and Jessie Cox. Constellation Chicago hosts us once again for this exciting lineup.

    ICE shares the program with Architeuthis Walks on Land, the amazing duo of Chicago bassoonist Katherine Young and San Diego violist Amy Cimini.

    From ICE:
    Peter Evans, trumpet
    Nate Wooley, trumpet
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Jacob Greenberg, piano
    Ryan Muncy, saxophone

    OpenICE in New York: Collecting Zosha di Castri at the New York Public Library

    5

    Thursday, May 24, 6:00pm
    New York Public Library for the Performing Arts
    Bruno Walter Auditorium
    40 Lincoln Center Plaza (at 65th St.)
    New York, NY, 10023
    FREE TICKET RESERVATION LINK

    Frequent ICE composer collaborator Zosha di Castri, who ICE first met as an ICElab participant, is the subject of this month’s “Collecting” event at NYPL. Now a professor at Columbia University and fellow faculty at ICE’s Ensemble Evolution program at Banff, Zosha speaks about her work alongside performances by ICE. Join ICE for this free event!

    ICE at GMEM in Marseille and Cassis, France

    6

    Wednesday, May 16, 12:30pm
    Temple Grignan
    15 Rue Grignan Marseille
    Provence-Alpes-Côte d’Azur
    13006 France

    Wednesday, May 16, 12:30pm
    Temple Grignan
    15 Rue Grignan Marseille
    Provence-Alpes-Côte d’Azur
    13006 France

    And in its first collaboration with Ensemble C Barré, the two ensembles present a concert called ÉCLAT. Boulez’s 1965 Éclat, a hybrid of compositional methodology and spontaneous performance practice, sets the stage for a fascinating musical dialogue with the children of the postwar avant garde. Rigor with an openness to influence is manifested in the diverse composers, from the Americans Nathan Davis and Christopher Trapani to Francesca Verunelli from Italy.

    Pierre Boulez: Éclat
    Francesca Verunelli: Five Songs (Kafka’s Sirens)
    Christopher Trapani: Creux (world premiere)
    Nathan Davis: Inner Voice (world premiere)

    Join Us on our 400-Foot Journey!

    6

    This June, composer Phyllis Chen and ICE artists will collaborate with young musicians in communities around the country to create a new piece of music, brought to life by a record breaking 400-ft music box strip. This community-centered, artist-driven work represents our deep, ongoing commitment to community building and radical experimentation.

    To build this magical music box strip, we need your help! Join us today on our journey to highlight the voices of our communities, one foot at a time!

    Donate Today

    [I already did, by cheque. to ICE, 4th Floor, 4306 3rd Ave, Brooklyn, NY 11232, and got a nice thank-you note. So, if you are averse to payments by credit card, as am I, this works just as well.
    Also, 4045 North Rockwell St, ChicAGO, il 60618. So, you have choices. Just pick one

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
  • richardmitnick 12:21 PM on March 15, 2018 Permalink | Reply
    Tags: , , , ICELab, , , , , ,   

    From ICE: “Never Say That’s Not Possible” 

    International Contemporary Ensemble

    1
    Rebekah Heller at the Salonathon. (Photo by Ryan Muncy)

    In 2009, as the newest member of the International Contemporary Ensemble, I was invited to perform my first solo show in New York City. I was excited, yet terrified of the daunting task in front of me: programming a solo bassoon concert. In a raw space. With no piano. AHHHHHHHH!

    ICE had commissioned a new bassoon and electronics piece (by rising Mexican star Edgar Guzman) in my honor; but, beyond that, how could a person even begin to find such repertoire? Yes, there was the Luciano Berio Sequenza XII, the seemingly endless 18-minute solo marathon (for both bassoonist and audience) commissioned by the bassoon wizard Pascal Gallois. And yes, there were the Brazilian composer Francisco Mignone’s Waltzes(cute, overplayed solo ditties) and, of course, the intoxicating and sinewy lines of Olga Neuwirth’s Torsion. But beyond these, what new, interesting, exciting solo bassoon pieces existed?!

    Very few, I discovered. Instead of stomping my feet in frustration or shrugging my shoulders in weary acceptance, I asked, “What can I do to change this?” Thus began a lifelong quest, in step (both artistically and practically) with my new position at ICE, to forge new relationships with composers in order to develop a new body of repertoire for the instrument, and in so doing, empower other musicians to do the same.

    This spirit of adventure has always been at the heart of ICE’s mission to commission new music. Since our founding in 2001, we’ve premiered more than 800 new works. The beauty of our collective is that all 36 of us have incredibly unique and creative points of view, and each new project becomes imbued with those varied and diverse ideas. Deep collaborations, both among ourselves and with composers, ensure that these stories are told using a shared language we build and evolve together.

    In an attempt to codify these methods of collaboration, we began ICELab in 2010.

    Through an online submission process, we chose six emerging composers each year from wildly diverse backgrounds—geographically, educationally, artistically—and gave them the space, time, and resources to experiment with performers before a piece was fully baked. We were inspired by theater and dance companies run by our peer groups (like The Troupe) and mentors (like The Wooster Group), and their spirit of radical collaboration in all parts of the process, from conception through performance. This kind of project, in ICE-land, had previously been impossible, as there was no method in place to fund this sort of musical experimentation. So, with crucial support from the Andrew W. Mellon Foundation, we embarked on this adventure.

    The results were overwhelmingly, outrageously exciting! Through the application process, we were introduced to composers outside our network and with whom we began long-term collaborative relationships. To name just a few ICELab “graduates” who have continued their trajectories into major, industry-shaking careers: Tyshawn Sorey, Carla Kihlstedt, Anna Thorvaldsdottir, Suzanne Farrin, Zosha Di Castri, Marcos Balter, Du Yun (whose Pulitzer Prize-winning Angel’s Bone had its earliest premiere in the “lab”).

    __________________________________

    We turned ICElab from a noun into a verb
    __________________________________

    In 2014, we turned ICElab from a noun into a verb, sun-setting the initiative as a standalone program and making it the DNA of how ICE works on every new piece. Every new work we make is now “labbed,” supported (through myriad, intentional fundraising efforts) from conception to performance. This allows us to have a period of time for each project in which composers and performers can experiment, play, record, and have the freedom to learn from one another. Because of this deeply collaborative process, pieces aren’t just written for the instruments involved; they’re written for the very specific, creative, and virtuosic members in our ranks.

    My own ideas about how to create new work were developing alongside ICE’s commissioning process. By working with composers so closely within ICELab, I was able to see and understand how I was directly responsible for certain impulses and directions in projects—not only within the sonic world of the bassoon, but in the overall shaping of a work. It was thrilling!

    The thrill and the risks both felt amplified when working alone. Commissioning solo pieces means lots of intense one-on-one collaboration, and true collaboration, I found, is hard and SCARY; it requires all parties to be extremely vulnerable and open. After the agony of programming my solo show in 2008, I began in earnest to commission the works that would make up my first album, 100 names, released in 2013. On speaking a hundred names (for bassoon and live electronics)—the piece by Nathan Davis after which I named my album—was my first such journey. Nathan works in a fascinating way. He gets his hands on an instrument and starts learning it; he’s deeply interested in the sounds that will come out in the hands of a beginner. On the bassoon, that happens to be multiphonics. ANY multiphonic. Fun fact: on a bassoon, it’s way easier to produce a multiphonic than it is to produce a single beautiful tone. So easy, in fact, that Nathan composed an entire section devoted to a gorgeous, deafening cacophony of many-layered bassoon multiphonics, serving as the climax of the piece that we jokingly refer to as DEVASTATION.

    When working with a composer, it’s so easy to claim authority on your instrument and dictate the limitations and technical boundaries that the composer has to work within. Nathan asked me to try some things that I was convinced I could not do, those that I said were IMPOSSIBLE on the bassoon. It’s easy to respond this way—immediately saying NO—out of the fear of looking stupid or untalented, because everyone else has told you it’s impossible, or because you’ve never been able to do it. But if there’s one thing I’ve learned over the years, it’s to never say “that’s not possible” or even “no,” without really, really being open to trying (and failing) myriad times. Because of Nathan, his patient insistence, and our trust in one another as collaborators, I often wail out in performance on an “impossible” high A-flat; teeth on the reed, hips thrust out, goddess above treble clef.

    The exhilarating feeling of performing new works, created collaboratively, is magnified a thousand-fold when a piece develops a life of its own. I’m especially thrilled to welcome into the world Metafagote (the title track of my second album), an epic, 18-minute work (eat your heart out, Mr. Berio!) by Felipe Lara for solo bassoon and six pre-recorded bassoons and contrabassoons, or for a live choir of seven bassoons.

    Not only have I performed both versions of the piece, but several other players have already taken it on. One particularly ambitious and talented young bassoonist, Clifton Guidry at Peabody, is performing it on his senior recital next weekend, and allowing me the immense pleasure of playing in his back-up band. This is SO brave! It is a risk to interpret someone else’s work, and I applaud Clifton and his willingness to be so open and so vulnerable and jump off this musical cliff with me and Felipe and his other collaborators.

    Exploration and collaboration are inherently risky, but the rewards are so clear. Not only can a deeply personal piece turn into a powerful universal experience, one that can be interpreted by any willing explorer, the process itself becomes a mighty teacher. I’ve become a much better musician thanks to my musical deep dives, within the ICE collective and beyond.

    My great hope is that we continue to inspire one another, performing and commissioning new works together, so the next generation’s young artists, faced with programming their first big show, will be overwhelmed by a beautiful, varied, unique, and multi-faceted new repertoire, overflowing with the diverse voices of a movement fed up with waiting for someone else to do it for them.

    See the full article here .

    The International Contemporary Ensemble (ICE) is an artist collective that is transforming the way music is created and experienced. As performer, curator, and educator, ICE explores how new music intersects with communities across the world. The ensemble’s 35 members are featured as soloists, chamber musicians, commissioners, and collaborators with the foremost musical artists of our time. Works by emerging composers have anchored ICE’s programming since its founding in 2001, and the group’s recordings and digital platforms highlight the many voices that weave music’s present.

    A recipient of the American Music Center’s Trailblazer Award and the Chamber Music America/ASCAP Award for Adventurous Programming, ICE was also named the 2014 Musical America Ensemble of the Year. The group currently serves as artists-in-residence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a five-year residency at the Museum of Contemporary Art Chicago. ICE was featured at the Ojai Music Festival from 2015 to 2017, and at recent festivals abroad such as gmem-CNCM-marseille and Vértice at Cultura UNAM, Mexico City. Other performance stages have included the Park Avenue Armory, The Stone, ice floes at Greenland’s Diskotek Sessions, and boats on the Amazon River.

    New initiatives include OpenICE, made possible with lead funding from The Andrew W. Mellon Foundation, which offers free concerts and related programming wherever ICE performs, and enables a working process with composers to unfold in public settings. DigitICE, a free online library of over 350 streaming videos, catalogues the ensemble’s performances. ICE’s First Page program is a commissioning consortium that fosters close collaborations between performers, composers, and listeners as new music is developed. EntICE, a side-by-side education program, places ICE musicians within youth orchestras as they premiere new commissioned works together; inaugural EntICE partners include Youth Orchestra Los Angeles and The People’s Music School in Chicago. Summer activities include Ensemble Evolution at the Banff Centre for Arts and Creativity, in which young professionals perform with ICE and attend workshops on topics from interpretation to concert production. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
    Staff

    Claire Chase, Founder*

    William McDaniel, Executive Director
    Rebekah Heller, co-Artistic Director*
    Ross Karre, co-Artistic Director and Director of digitICE.org*
    Jacob Greenberg, Director of Recordings and Digital Outreach*
    Levy Lorenzo, Engineer and Technical Director*
    Ryan Muncy, Director of Institutional Giving and co-Director, OpenICE*
    Joshua Rubin, Artistic Director Emeritus*
    Karla Brom, General Manager
    Maciej Lewandowski, Director of Production
    Bridgid Bergin, Development Associate

    • ICE musician

    Artists

    Alice Teyssier, flute
    Bridget Kibbey, harp
    Campbell MacDonald, clarinet
    Claire Chase, flute
    Cory Smythe, piano
    Dan Peck, tuba
    Daniel Lippel, guitar
    David Bowlin, violin
    David Byrd-Marrow, horn
    Erik Carlson, violin
    Gareth Flowers, trumpet
    Jacob Greenberg, piano
    James Austin Smith, oboe
    Jennifer Curtis, violin
    Josh Modney, violin and viola
    Joshua Rubin, clarinet
    Katinka Kleijn, cello
    Kivie Cahn-Lipman, cello
    Kyle Armbrust, viola
    Levy Lorenzo, percussion
    Maiya Papach, viola
    Michael Nicolas, cello
    Mike Lormand, trombone
    Nathan Davis, percussion
    Nicholas Houfek, lighting designer
    Nicholas Masterson, oboe
    Nuiko Wadden, harp
    Peter Evans, trumpet
    Peter Tantsits, tenor
    Phyllis Chen, piano
    Randall Zigler, bass
    Rebekah Heller, bassoon
    Ross Karre, percussion
    Ryan Muncy, saxophone
    Steven Schick, Artist-in-Residence
    Tony Arnold, soprano
    Wendy Richman, viola

    For new music by living composers


    newsounds.org from New York Public Radio

    For great Jazz
    WPRB

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm

    Please help promote STEM in your local schools.

    STEM Icon

    Stem Education Coalition

     
  • richardmitnick 1:04 PM on December 10, 2011 Permalink | Reply
    Tags: , , , , ICELab, , , , , , , , ,   

    From ALLAN KOZINN in The New York Times: “Club Kids Are Storming Music Museums” 

    As New Composers Flourish, Where Will They Be Heard?

    This article is copyright protected, so just a couple of notes.

    “…the world of young, inventive and often populist composers is exploding…These young composers may hold the key to classical music’s future, and the future they create might not be what you expect. Increasingly they have come to consider the machinations of the big-ticket musical organizations — and debates about how to get them to accommodate new music — as beside the point….”

    This article is an in depth look at the new serious music universe. This universe includes the new composers themselves, their record labels (or the lack of them) and the venues which they find amenable to their musical pursuits. Among the labels mentioned are “…New Amsterdam, Cantaloupe and Tzadik, all composer run and stylistically freewheeling….” To this list, I might add Innova, from American Composers Forum, St Paul, MN.

    Among the venues we find Le Poisson Rouge, Cornelia Street Café, Galapagos, The Stone, Issue Project Room, Roulette, all in New York City. Composers noted in the article include Nico Muhly, Missy Mazzoli, Du Yun, Judd Greenstein, Caleb Burhans, and Bryce Dessner. The only groups I saw noted were ETHEL and Victoire. But others which might have been included are ACME, ICE, yMusic, eighth blackbird, and itsnotyouitsme.

    Not at all mentioned in the article (if I missed it, I hope that someone will correct me), is New York Public Radio’s 24/7 New Music web stream Q2. This stream takes these and other composers and musicians out to a wide world, with an international listenership. A stand-out at Q2 is the work of Nadia Sirota. She hosts a four hour program which includes several themes, e.g, Hope Springs Atonal. Her program streams at noon and midnight. Two other standout focused programs are Hammered! which is concerned with keyboard music, and The New Canon.Also important to the success of what has been called “New Music” are two programs on WNYC, New York Public Radio’s original outlet service. For thirty years, John Schaefer has been bringing new composer to the public on the nightly program New Sounds. For a somewhat shorter time, we have been able to hear them on John’s other program, Soundcheck.

    Something that I personally would like to see added into the mix for New Music would be the advent of long form music videocast. The best examples I can cite for this are three videos produced by and for ICE, which were made available at Q2. Just to give one example, the music of Steve Lehman in a 46 minute video can be found here. I just actually searched this up also at Google Video here. Both of these examples are free to the public.But, I would personally like to see these videos made available at the music groups’ web sites, based upon a membership fee for a user id and password, and then some sort of fee, maybe $5 or $10 as a “ticket” price. This would greatly universalize the availability of musical experience to populations living no where near to actual concert events. To whit: ICE just did a heavily promoted concert in Chicago. But, I am in New Jersey. I might be very interested in that musical experience. So, if it were made available from a videocast archive, and if I was registered with ICE, I could pay a small “ticket” price and have that experience.

    This is a huge and important article. The items I note as missing from the article do not in any way diminish its thesis or importance. See the full article here.

     
  • richardmitnick 12:30 PM on July 6, 2011 Permalink | Reply
    Tags: , , ICELab, , , ,   

    From Q2 Live Concerts “ICELab: Nathan Davis” 

    Live from (Le) Poisson Rouge on May 31, 2011

    [Streaming video and streaming audio currently at this web page.]

    “In the third and final ICELab of the 010-2011 season, the International Contemporary Ensemble (ICE) presents Hollow Skies, featuring the music of percussionist and composer, Nathan Davis. May 31 marked not only this final ICELab event but also the release of ICE’s Bright and Hollow Sky record on the New Focus label, the result of a three-year long collaboration with Davis who is also an ICE musician.

    i2
    Nathan Davis

    Described by executive director Claire Chase as a “poet in sound”, Davis is known for his intricate exploration into sound possibilities; in typical percussionist style, he takes everyday, ordinary sounds and illustrates their vast possibilities in a beautifully organic way.

    Hollow Skies opens with ICE bassoonist, Rebekah Heller performing On Speaking a Hundred Names, written for Rebekah herself and electronics. The piece is a beautiful and virtuosic exploration into the possibilities available to the bassoon, including microtones and multiphonics. The Bright and Hollow Sky is a quintet for flute, clarinet, trumpet, guitar, and percussion with electronics, which Davis wrote in 2008 for ICE. Concluding the evening is the world premiere of On the Nature of Thingness, featuring soprano, Toni Arnold and ten instrumentalists. A three-movement work, the movement titles are:

    I. Study of the Object
    II. DADA
    III. An Outside with an Inside in it”

    Q2 is the 24/7 New Music Stream from New York Public Radio

     
c
Compose new post
j
Next post/Next comment
k
Previous post/Previous comment
r
Reply
e
Edit
o
Show/Hide comments
t
Go to top
l
Go to login
h
Show/Hide help
shift + esc
Cancel
%d bloggers like this: