The Resonant Bodies Festival—“in equal measures intelligent, playful, ambitious and moving” (New York Times)—is an annual festival of contemporary vocal music that presents nine dynamic vocalists across three nights. The Festival showcases “today’s most talented singers… seamlessly blend[ing] classical, avant-garde and indie-folk” (Feast of Music). Vocalists are invited to curate and perform in their own 45-minute set, with no restrictions on repertoire, format, or style. This freedom gives each show a “happy zealouness, where the singers’ enthusiasm for their repertoire [is] contagious” (Sequenza 21).
Founded in 2013, the Resonant Bodies Festival is a one-of-a-kind opportunity to hear virtuosic contemporary music vocalists perform cutting-edge repertoire. Having “already made a valuable contribution to the city’s music scene” (New York Times), the festival’s third year proves to be its most ambitious and exciting, featuring: Dawn Upshaw, Lucy Shelton, Tony Arnold, Du Yun, Amanda DeBoer Bartlett, Jessica Aszodi, Jeffrey Gavett, Kate Soper, and Rachel Calloway.
Jeffrey Gavett’s set will include five world premieres for solo voice by composers Chaya Czernowin (b. 1957), Martin Iddon (b. 1975), Claus-Steffen Mahnkopf (b. 1962), Timothy McCormack (b. 1984), and Joan Arnau Pamies (b. 1988).
Kate Soper brings her “lithe voice and riveting presence” (New York Times) to the 2015 Resonant Bodies Festival, joined by members of the Wet Ink Ensemble to present premiere performances of selected pieces from IPSA DIXIT, her theatrical, multi-movement work-in-progress for flute, voice, violin, and percussion.
Rachel Calloway, joined by Ari Streisfeld, violinist with the JACK Quartet, will present the US premiere of music by Forrest Pierce, as well as a world premiere by Amadeus Regucera, and works by Kamala Sankaram.
These two performances are part of SONiC, a festival of 21st century music by more than 60 composers age 40 and under. SONiC will be held in venues around NYC from October 15 through October 23, 2015. www.sonicfestival.org
One ticket will provide admission to both the 7 PM and the 10 PM shows
Wild (7:00 pm) a study of west coast: experimentalism, pulse music, noise, punk rock, Los Angeles, and tumbleweeds
wild Up (ensemble) with Archie Carey, electric bassoon Brian Walsh, baritone saxophone Richard Valitutto, piano
FEAR: NY’s alright if you like saxophones CHRIS KALLMYER: this nest, swift passerine ANDREW THOLL: Three Meditations on California Girls ANDREW THOLL: corpus callosum JULIA HOLTER: Endless Song for the End of Summer JEN HILL: In Memoriam My Liver… MISFITS: Where Eagles Dare ANDREW McINTOSH: Yelling Into the Wind NICK DEYOE: A New Anxiety
wild Up is the Los Angeles contemporary music ensemble heralded as “Searing. Penetrating. And thrilling…” by Fred Child of Performance Today and “Magnificent” by Mark Swed of the Los Angeles Times.
Led by Artistic Director Christopher Rountree, the 24-piece group blurs the borders between classical music, rock and performance art, believing music is a catalyst for shared experience, and that a concert venue is a place to excite, challenge and provoke a community of listeners.
Since forming in 2010, wild Up has collaborated with orchestras, rock bands and cultural institutions around the world. wild Up has been Orchestra in Residence at the Hammer Museum, and Public Engagement Ensemble in Residence with the Los Angeles Chamber Orchestra. In the 2013-14 season, wild Up made their Los Angeles Philharmonic debut as part of the Philharmonic’s Brooklyn Festival, premiered on Walt Disney Concert Hall’s mainstage at the Minimalist Jukebox Festival. www.wildup.org
New Sounds – New Moves: Composers & Choreographers (All World Premieres) Music by Peter Evans with Sam Pluta; Choreography by Jacob Slominski Music by Dana Jessen with Paula Matthusen; Choreography by Biba Bell Music by Tyshawn Sorey; Choreography by Abigail Levine
SONiC (Sounds of a New Century) is a festival of 21st century music by more than 60 composers age 40 and under.
SONiC returns to New York from Thursday, October 15 through Friday, October 23, 2015. Produced by American Composers Orchestra, SONiC events range from a daylong marathon to late-night AfterHours concerts, from a free symphony concert at the Winter Garden at Brookfield Place to collaborations between emerging choreographers and composers. SONiC concerts take place at venues throughout New York City, and include performances by 13 extraordinary ensembles featuring at least 19 world premieres, three U.S. premieres, and 14 New York premieres.
SONiC is curated by ACO Artistic Director Derek Bermel (main stage concerts) with Associate Curator Anna Clyne (AfterHours concerts), and is presented in collaboration with Carnegie Hall, Arts Brookfield, National Sawdust, Kaufman Music Center, Le Poisson Rouge, Roulette, 92Y, and Americas Society, with lead support from The Fromm Music Foundation and additional support from the Howard Gilman Foundation. Q2 Music, the new music online stream of WQXR, is the digital media partner for SONiC.
Mivos Quartet: Olivia De Prato, violin Josh Modney, violin Victor Lowrie, viola Mariel Roberts, cello
Bryan Jacobs, electronics Eric Wubbels, composer
Mivos Quartet is thrilled to present the New York premiere of being time by Eric Wubbels, a new large-scale composition for string quartet and quadraphonic electronic sound by one of the NYC Avant-garde’s leading lights, commissioned by the Mivos Quartet with funds from Chamber Music America’s Classical Commissioning Program. Eric Wubbels is quickly gaining recognition for his deeply innovative compositional voice, marked by extreme ensemble virtuosity and wild sonic experimentation that strives toward an ecstatic experience shared by the performers and audience members. being time builds on this body of work, pushing the string quartet across a new frontier of timbral-fusion, extended Just Intonation, psychoacoustic phenomena, and emotional resonance.
being time represents an attempt to make some aspects of the structure and presence of Time audible, palpable, and experientially immediate.
The piece unfolds over the course of 1 hour, partitioning itself into five large “Panels,” each of which emphasizes a single aspect of musical time. The quartet is retuned in an elaborate scordatura, allowing direct access to harmonic fields of extreme resonance, as well as stable and precise beating patterns. Tempi and durations in the piece are determined at various times by the audible beating speed of closely tuned intervals, by the rate of the players’ speech, by the players’ individual heart rates and breath cycles, and by the physical, mechanical limits of loudspeakers, instruments, and bodies. The use of electronic sound is blunt and visceral: frequencies on the border of infra- and ultra- sound drive the body as a resonator. The piece builds on Maryanne Amacher’s pioneering work with otoacoustic sound, deploying high sine waves to create vivid psychoacoustic illusions as well as sounds that seem to originate in the listener’s ear itself, presented both in isolation and knotted with the acoustic sound of the string quartet. Ambitious and searching, direct and arcane, being time is both a large-scale artistic statement and a “ritual of collective attention” that the players and audience perform together.
The Mivos Quartet, “one of America’s most daring and ferocious new-music ensembles” (The Chicago Reader), is devoted to performing the works of contemporary composers, presenting new music to diverse audiences. Since the quartet’s beginnings in 2008 they have performed the works of emerging and established international composers who represent varied aesthetics of contemporary classical composition. Mivos is invested in commissioning and premiering new music for string quartet, and cultivating a performance practice for new works over the course of many repeat performances. Recent collaborations have included projects with Sam Pluta (Lucerne Festival Commission), Dan Blake (Jerome Commission), Mark Barden (Wien Modern Festival Commission), Scott Wollschleger, Patrick Higgins (ZS), Richard Carrick (Fromm Commission), Eric Wubbels (CMA commission), Clemens Gadenstätter (Darmstadt Festival Commission), Kate Soper, and poet/musician Saul Williams. Mivos is also committed to working with guest artists, exploring multi-media projects involving live video and electronics, creating original compositions and arrangements for the quartet, and performing improvised music. Mivos has appeared on concert series including Wien Modern (Vienna, Austria), Asphalt Festival (Düsseldorf, Germany), Concerti Aperitivo (Udine, Italy), HellHOT! New Music Festival (Hong Kong), Edgefest (Ann Arbor, MI), and Aldeburgh Music (UK), where Mivos was invited to work with the Arditti Quartet and Helmut Lachenmann. Mivos was one of five groups selected for the Young Ensembles Fellowship at the 2012 Darmstadt Internationalen Ferienkurse für Neue Musik, where they were awarded a Fellowship Prize for Interpretation. Their critically acclaimed debut album Reappearances, “a sonic dynamo of unrelenting musical power” (Sequenza 21), is available on Carrier Records. www.mivosquartet.com
Eric Wubbels is a composer, pianist, and co-director of the Wet Ink Ensemble. Wubbels’s music has been presented at concerts and festivals in Europe, Asia and the U.S., including the MATA Festival (NYC), Contempuls Festival (Prague), Tage fur Neue Musik (Zurich), and the June in Buffalo Performance Institute. Ensembles that have performed and commissioned his work include Kammerensemble Neue Musik Berlin, I.C.E., Yarn/Wire, Left Coast Chamber Ensemble (San Francisco), mmm… (Japan), Talea Ensemble, and JACK Quartet, and he has been awarded residencies at the MacDowell Colony and Civitella Ranieri Center (Italy). As a performer, he has given U.S. and world premieres of works by major figures such as Peter Ablinger, Richard Barrett, George Lewis, Michael Finnissy, Beat Furrer, Bernhard Lang, and Mathias Spahlinger. www.wubbelsmusic.com
Chris Graham Justin Wolf Josh Perry Piero Guimaraes Sean Statser
with Paul Pinto
They’ve danced around each other long enough. Roulette hosts a night of percussion music by Paul Pinto including a new theatrical work for boxers and percussionists. The program features a wide array of Pinto’s percussion works, from the wildly theatrical to the meditative, including a newly commissioned theatrical work based on the training regimen and routines of amateur boxers.
3 rounds from Long before I dance under those lights: (world premiere) for two boxers and four percussionists
Cataract (2013) for six drumkits
mini_007 (2008/2015) for four percussionists
Hack It! (2014) for four virtuoso speakers
Long before I dance under those lights is a working title of a new musical theater work being developed for Iktus. Far from the more obvious drama of the ring, this operatic scene for boxers and percussionists takes its title from Muhammed Ali’s quote in which he explains that match outcomes are decided during the grueling hours of a fighter’s training. The scene focuses on the parallels between the rigor of the training of both musicians and boxers, with extremely complex music and text based on the sounds and stories overheard in gyms during Pinto’s time in Glasgow and Jersey City. This performance will feature an introduction and three 3-minute rounds separated by 30-second instrumental interludes.
Contrasting the verbose and virtuosic dramatic scene will be Cataract, a meditative work for multiple drum kits positioned around the hall, surrounding the audience. The result is a stunning continuous cascade of rolls, highlighting the overtones and distinct timbres of the kit.
Also on the program, a miniature for vocalizing percussionist (mini_007) and a virtuosic scene for four very quick speakers Hack It! from Paul’s upcoming opera-in-development Thomas Paine in Violence which is being developed at the HERE Arts Center in New York and is slated to premiere in 2017.
Paul Pinto creates and produces experimental music and theatrical works in traditional and non-traditional spaces, and is the founder and co-director of ensembles thingNY and Varispeed. His own compositions blend chamber music with theatre with a focus on total performativity. Specifically, his work centers on the human voice and the endurance of the human body. Paul has chosen to work equally with traditional instruments, lo-fi electronics, unconventional sound-makers and amateur musicians, creating one-minute opera, concert length chamber music, and durational performance art. Paul is currently a member of the HERE Artists Residency Program (HARP), where he is developing a new opera for 2017 called Thomas Paine in Violence. www.pfpinto.com
Based in New York City, Iktus Percussion is an ambitious, dynamic young ensemble committed to expanding the boundaries of the percussion genre. Iktus is a collective-based operation, featuring an array of industrious and multi-talented percussionists with Chris Graham, Justin Wolf, Josh Perry, Sean Statser, and Piero Guimaraes at the core. As a group with strong ties to the local artistic community, Iktus is dedicated to collaboration with emerging artists, having commissioned over fifty new works for percussion from such composers as Angélica Negrón, Aaron Siegel, Lisa R. Coons, Jenny Olivia Johnson, Stefan Weisman, and Billy Martin (of Medeski, Martin and Wood), among others.
Since its formation 30 years ago, Gamelan Kusuma Laras has entranced American and Indonesian audiences with its mesmerizing renditions of traditional Javanese performances on instruments created for the Indonesian Pavilion at the 1964-5 World’s Fair. This NYC-based classical Javanese gamelan orchestra, comprised of American and Indonesians, is under the direction of I. M. Harjito, one of the finest Javanese musicians of his generation. In this program, they will be joined by Anang Totok Dwiantoro, a graduate of Indonesia’s STSI conservatory in Surakarta, who is known for his mastery of the strong male style of Central Javanese court dance.
“The gamelan, or orchestra, composed largely of pitched percussion, provided a variety of textures, from the gently meditative to the clangorous, and the listener is quickly drawn into its rhythms. The ensemble’s performance is also a treat to watch.” – The New York Times
Made possible in part with public funding provided by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State legislature.