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Baritone Thomas Buckner welcomes Hamburg-based ensemble L’Art pour L’Art, (celebrating 35 years as an ongoing ensemble). Works Include Matthias Kaul’s “Thinking About Air… A Song” and “Games for 5″, Michael Meierhof’s “Rostfrei”, Christian Wolff’s “Edges”, and John Cage’s “Four6”.

http://www.thomasbuckner.com/
http://www.lartpourlart.de/index.htm 

For more than 40 years, baritone Thomas Buckner has dedicated himself to the world of new and improvised music. Buckner has collaborated with a host of new music composers including Robert Ashley, Noah Creshevsky, Tom Hamilton, Earl Howard, Matthias Kaul, Leroy Jenkins, Bun Ching Lam, Annea Lockwood, Roscoe Mitchell, Phill Niblock, Wadada Leo Smith, Chinary Ung, Christian Wolff and many others. He has made appearances at Carnegie Hall, Lincoln Center, the Herbst Theatre, the Art Institute of Chicago, the Ostrava Days Festival, the Prague Spring Festival, and the Sibelius Academy in Helsinki. Buckner is featured on over 40 recordings, including 6 of his own solo albums. His most recent solo recording “New Music for Baritone & Chamber Ensemble” includes works by Annea Lockwood, Tania Leon, and Petr Kotik. He also appears in the newly released CD/DVD “Kirili et le Nymphéas (Hommage à Monet)”. This recording documents the latest in his ongoing series of collaborations between the sculptor Alain Kirili and improvising musicians and dancers. For the past twenty years, Buckner has co-produced the Interpretations series in New York City. He also created the Mutable Music record label to produce new recordings and reissue some important historic recordings, previously unavailable in CD format.

L'ART POUR L'ART is at the forefront of one of the most innovative ensembles for contemporary music. L'ART POUR L'ART was formed in 1983 by the exceptional musicians Matthias Kaul (percussion), Astrid Schmeling (flute) and Michael Schröder (guitar). The core of the ensemble can be enlarged, depending on the occasion. As a "think tank" L'ART POUR L'ART widens the range of contemporary arts through projects with significant consequences, thus often preempting artistic demands: the ensemble represents the original meaning of the art concept "l'art pour l'art". This cultural dialog leeds to exciting conceptions.

 

 

 

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Thomas Buckner’s 24th annual concert of commissioned works for baritone voice! Composers featured on this evening include his long-time collaborators, esteemed composers Robert Ashley, Annea Lockwood, and Alvin Lucier, along with New York premieres by Anne Guthrie, Narong Prangcharoen, and Kit Young. Featuring, Thomas Buckner (voice) Theodore Mook (cello), Chris Nappi (percussion), Jill Van Nostrand (french horn), Sun Ying (guqin), and Kit Young (piano).

From voice and piano to 4-channel sound, from Kit Young’s work incorporating poetry from Burmese performance artist U San Oo to Lockwood’s texts from Guantanamo detainees to Ashley’s work World War III (Just The Highlights), the evening’s subject matter, imagery, and soundscapes are diverse and transformative. The wide variety of styles and sounds ensures that no piece on this program is remotely like any of the others.

 

 

 

 

 

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Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

Full Description:

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening's performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they'll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

 

 

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$15 General Admission
$10 Members/Students/Seniors

Two innovative projects integrating traditional instruments of Japan and Korea with contemporary western musical forms and concepts. Ralph Samuelson (shakuhachi) and Yoko Hiraoka (shamisen and koto) present new works by composers Ned Rothenberg and Elizabeth Brown, and Jin Hi Kim (komungo, barrel drums) presents Digital Buddha II, featuring digital projections from Joel Cadman and Benton C-Bainbridge, and a four-part suite including three world premieres, with Thomas Buckner (voice) and Samir Chatterjee (tabla).

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Baritone Thomas Buckner performs works by Peter Garland and Petr Kotik for voice and percussion, featuring percussionist William Winant and members of the Orchestra of the SEM Ensemble conducted by Kotik, works for voice and piano by Michael Byron and Roscoe Mitchell, featuring pianist Joseph Kubera, and a work by Fred Ho for baritone voice and baritone saxophone featuring Ho on baritone saxophone.

www.thomasbuckner.com
www.lovely.com/bios/mitchell.html
www.davidgarland.com
www.bigredmediainc.com
www.michaelbyron.com
www.pkotik.com

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Borisov & Nosova

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Two electrifying improvisational duo collaborations from Moscow and New York City. The 22nd season of the Interpretations series begins with two new collaborative endeavors. Innovative virtuosos, flutist Robert Dick and baritone Thomas Buckner celebrate the release of their new CD "Flutes and Voices". Moscow-based improvisers Alexei Borisov and Olga Nosova will bring their highly idiosyncratic music to the US, touching on elements of noise, sound art, and spoken word, using electronics, guitar, and percussion.

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Noa Guy - composer, piano, voice, movement
Thomas Buckner - voice
Antonio Pio Fini - movement
Saul Macwillians - sound environment design

Drops of Consciousness is a series of concerts that are documenting my recovery from a severe brain injury, which happened 17 years ago when I had a brutal scuffle with a tree. The car I was in did not survive.

In part I and II I explored the long journey back from a world of darkness and pain, and the birth into a new reality.

Part III is not a linear continuation of the last two chapters. This performance is a celebration of acceptance, love of life and the realization that I am not my injury. With the support of my friends I explore the hidden possibilities that are embedded in the impossibilities imposed on me by my injury. I can not walk without crutches, but I can move without them. The piano revealed to me a whole new and mysterious sound world.

I composed the music, the poems, and the concept of the whole piece. But the piece grew and became a world of beauty through a close collaboration between all of us that perform tonight.

I thank Tom, Daniel and Saul for their bright ideas, insights, respect and love.

Born in Israel in 1949, Noa Guy studied in the theory department of the Jerusalem Academy of Music and continued to evolve privately and compose original pieces along with composer Abel Ehrlich. In the early 70's Noa studied composition and electronic music with Boris Blacher in the Hochscule fur Musik in West Berlin. She moved to Norway where she made two fantastic kids and continued her explorations. After returning to Israel in 1975 Noa worked with Karlheinz Stockhousen for three years, and took master classes with Luciano Berio and Milton Babbitt. After collaborating with Heinz Holiger, Noa received a scholarship from the Scola Cantorum in Basel to compose the electronic score that was later played with live performance by renowned English tenor John Potter in the Nettlefols Festival of Contemporary Music. She later became sound artist for Ward Swingle on his visit to Israel. From 1985 until 1993 Noa was the musical director at the Jerusalem Music Centre (JMC), where she headed the master class program, and acted as sound engineer and assistant director to all the television productions of JMC. Throughout all these years Noa continued to compose and perform with international accolades. In the early nineties Noa was invited to NY to work under the tutelage of Isaac Stern. In October of 1993, while driving her and a colleague to New York, Mr. Stern crashed their vehicle inflicting on Noa a severe head injury that changed her life. The resulting brain injury prevented Noa from traveling back to Israel and seeing her family. Worse yet for her, she was unable to play, listen to, or compose any new music. In the 13 years since the accident, Noa was consumed in her own rehabilitation process finding innovative ways to overcome her many physical and mental obstacles. The November 30th, 2006 show at Roulette has marked the first time this unusual musician broke her long imposed silence.

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Buckner presents an evening of new works, including Earl Howard's Frond, for baritone, violin, bass saxophone, and live electrtonics, Bun Ching Lam's Trois Cadeaux, for baritone, harp, and piano, and Matthias Kaul's Zappa-esque The Mellow Quark. With French harpist Isabelle Courret, the German ensemble L'Art Pour L'Art, Mari Kimura (violin), JD Parran (bass saxophone), and Earl Howard (saxophone, live electronics and processing).

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DROPS OF CONSCIOUSNESS : PART III

"This is a musical exploration of the unknown world of my recovery of a severe brain injury. Part I was breathing and darkness that became sound and light. Part two was the process of transformation of sounds into words, and words into language.

Part three is a journey into the mysterious world of rhythm. The motion of time, the space of sound and the expanse of silence are the essence of this piece.

The changes that occurred in my biological rhythm and the perception of time, made it possible for me to create a sound world from inner sources that were inaccessible for me before."

Born in Israel in 1949, Noa Guy studied in the theory department of the Jerusalem Academy of Music and continued to evolve privately and compose original pieces along with composer Abel Ehrlich. In the early 70's Noa studied composition and electronic music with Boris Blacher in the Hochscule fur Musik in West Berlin. She moved to Norway where she made two fantastic kids and continued her explorations. After returning to Israel in 1975 Noa worked with Karlheinz Stockhousen for three years, and took master classes with Luciano Berio and Milton Babbitt. After collaborating with Heinz Holiger, Noa received a scholarship from the Scola Cantorum in Basel to compose the electronic score that was later played with live performance by renowned English tenor John Potter in the Nettlefols Festival of Contemporary Music. She later became sound artist for Ward Swingle on his visit to Israel. From 1985 until 1993 Noa was the musical director at the Jerusalem Music Centre (JMC), where she headed the master class program, and acted as sound engineer and assistant director to all the television productions of JMC. Throughout all these years Noa continued to compose and perform with international accolades. In the early nineties Noa was invited to NY to work under the tutelage of Isaac Stern. In October of 1993, while driving her and a colleague to New York, Mr. Stern crashed their vehicle inflicting on Noa a severe head injury that changed her life. The resulting brain injury prevented Noa from traveling back to Israel and seeing her family. Worse yet for her, she was unable to play, listen to, or compose any new music. In the 13 years since the accident, Noa was consumed in her own rehabilitation process finding innovative ways to overcome her many physical and mental obstacles. The November 30th, 2006 show at Roulette has marked the first time this unusual musician broke her long imposed silence.

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Baritone THOMAS BUCKNER presents a recital of new works including pieces by Stuart Saunders Smith, Tom Hamilton, Fred Ho and others.
http://www.thomasbuckner.com

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JB Floyd is a masterful pianist in his own right, but this concert features his works for the Yamaha Disklavier, a MIDI-powered player-piano, which enables Floyd to take his pianistic virtuosity to new compositional and improvisational heights. This program will feature a piece with the setting of a new poem by Daniel Abdul-Hayy Moore. Working exclusively with acoustic and deliberately spare means.

Raphael Mostel has been described as "one of New York's original composers". Mostel will present a rare solo performance of intimate works for piano and spoken word, featuring previews of his "Letter to Benoit Mandelbrot" and "Thirteen Ways of Looking at a Black Bela."

Thomas Buckner, baritone

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Interpretations Thomas Buckner, Baritone Joseph Kubera, piano Ted Mook, cello Dan Joseph, hammer dulcimer Jon Gibson, wooden flute Stefani Starin, flute Stephanie Griffin, viola Chris Nappi, percussion For his annual recital, baritone Thomas Buckner has put together a program featuring multi-generations of contemporary music composers and performers. On this program, he will present the world premieres of commissioned works by Stuart Saunders Smith, Somei Satoh, Dan Joseph, and Mel Graves, as well as works by Jon Gibson and Leroy Jenkins. www.interpretations.info

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Ensemble L'art Pour L'art with Thomas Buckner (8pm)

L'art Pour L'art is internationally known as one of the most innovative ensembles for contemporary music. Based in Germany, L'art Pour L'art was formed in 1983 by Matthias Kaul (percussion), Astrid Schmeling (flute) and Michael Schröder (guitar) as a musical "think tank," seeking to widen the range of contemporary arts through projects with significant consequences. The ensemble represents the original meaning of the concept of "l'art pour l'art" ("art for art's sake.") Following this cultural dialogue, the ensemble focuses on performing works that focus on conceptual innovation and experimentation. The ensemble performs concerts worldwide, many of which featured premiers. They focus on collaborating with composers and nurturing new ideas.

The baritone Thomas Buckner has been recognized as one of the most active vocal performers of new music. Along with his demanding schedule of performances worldwide, Buckner produces the acclaimed annual Interpretations series. He has commissioned new compositions for baritone by such composers as Robert Ashley, Christian Wolff, Roscoe Mitchell, Alvin Lucier, Pauline Oliveros, David Behrman, Annea Lockwood, David Wessel, Leroy Jenkins, Elodie Lauten and many others. More than 70 composers have written works exclusively for him over the last 20 years. Buckner has been featured on over 40 recordings, including 5 of his own solo albums.

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Jump the Circle, Jump the Line employs the distinctively graceful shapes and gestures of analog electronic music in an interactive performance environment shaped by spontaneous vocal performance. The result is a wildly unpredictable yet skillfully and strangely balanced music; enchanted, other-worldly, sub-merged and subterranean ... from evil-hearted birds or ghastly shadowy creepy-crawlies out of our murkiest sub-conscious.

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"Composer Dickman presents Unimagined Space, his setting of a haunting short story by H. P. Lovecraft for baritone solo; a passionate setting of Rumi for baritone and cello; and other works including his highly contrapuntal piece for piano solo, Indian Wells. Dickman's music is a fusion of minimalist aesthetic with his exploration of Eastern scales. Performers include Thomas Buckner, baritone and Joseph Kubera, piano."

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Borah Bergman, piano; Thomas Buckner, voice; and Roscoe Mitchell, sax; plus a special first time appearance with drummer/percussionist, Thurman Barker. Gentle, centered, transcendent and riveting.