S.E.M. Ensemble | 5 Feb 20:34 2010

SEM Workshop Concert: Somei Satoh and Emerging Composers

S.E.M. ENSEMBLE
WORKSHOP - READINGS OF NEW WORKS
BY EMERGING COMPOSERS
&
MAJOR NEW WORK BY SOMEI SATOH
 
PUBLIC PERFROMANCE
THURSDAY, FEBRUARY 11 at 8pm


The workshop-readings will take place at the Willow Place Auditorium in Brooklyn, NY, from Monday, February 8 through Thursday, February 11, culminating in a public performance on February 11 at 8pm.
 
New works by following emerging composers will be read/performed: Jason Brogan*, Chicago, IL (b. 1983); Paul Fraser*, Los Angeles, CA (b. 1982); Taylan Susam*, Amsterdam, The Netherlands (b. 1986); Ji Sun Yang, Seoul, Korea (b. 1979); David Kant*, Brooklyn, NY (b. 1986); Sam Sfirri*, Charleston, SC (b. 1987).
 
Also
 
The Passion, a new work, composed in 2009, by the Tokyo based Japanese composer Somei Satoh* will be part of the workshop-reading.
 
* Will be present at the workshop and performance

Program for
Thursday, February 11, 8 pm
Willow Place Auditorium
26 Willow Place, Brooklyn Heights
Free Admission (Contributions greatly appreciated)

                                   

S.E.M. ENSEMBLE
Petr Kotik, Conductor

                                    
Jason Brogan        some breaths   (2010)
Paul Fraser            zzzzz   (2009)
Taylan Susam        mille regretz   (2010)
Ji Sun Yang            Melody, notes, five   (2007)
David Kant            Variations for Functions and Partitions of Time   (2010)
Samuel Sfirri         the undulating land   (2009)
Somei Satoh         The Passion   (2009)
 

Jason Brogan is an independent composer and guitarist residing in Chicago, Illinois. An active member of the New Music Collective (Charleston, SC) since 2006, Brogan curates the concert series Silent Music: 4’33” and Beyond as well as calculations, an online audio gallery of experimental music. For more information, please visit http://www.maltedmilk.org/brogan/

Paul Fraser is based out of the Los Angeles area.  He has been influenced by modern pop genres and the rhythmic complexity of post-minimalism, including computer generated programming and timbre experimentation. Fraser studied at Gustavus Adolphus College and the University of Minnesota. Currently, he is a student at California Institute of the Arts. For more information, please visit
http://paulfrasermusic.com/

Taylan Susam was born in 1986 in Amsterdam, the Netherlands, to Turkish parents.  He has been affiliated with the Wandelweiser group and worked with various ensembles, such as the Folds Ensemble, the Dog Star Orchestra, Ensemble Chronophonie, Asko Ensemble, Orkest de Ereprijs, Nieuw Ensemble, the Barton Workshop and the Charleston New Music Collective. Recent notable projects include a collaboration with Antoine Beuger and the Austrian poet Oswald Egger as well as a 24-hour performance in Zurich including Manfred Werder and Stefan Thut. For more information, please visit
http://taylansusam.byethost4.com/

Ji Sun Yang studied composition at Sook-Myung Women’s University in Seoul until 2002 and in 2003 she moved to the Netherlands to study at the Hague Royal Conservatoire. She has worked with groups such as the ASKO Ensemble, Ensemble Klang, Orkest Erepijs and Slagwerkgroep. She has participated in Ostrava Days 2007, Apeldoorn young composers meeting and Gaudeamus music festivals. For more information, please visit
http://www.jisunyang.com/

David Kant works at the intersection of science, music and mathematics. With Cameron Hu, he recently he curated MATA Interval 3.1: Architectures of Sound at ISSUE Project Room, a program attending to the relation of sound to built space. He studied music composition at Yale with Michael Klingbeil and has worked in residence with Christian Wolff, Alvin Lucier, David Dunn, Elliott Sharp, Bernhard Lang and more at Atlantic Center for the Arts (Florida) and at Ostrava Days 2009 (Czech Republic). For more information, please visit http://uploaddownloadperform.net/DavidKant/Index

Sam Sfirri composes and performs in and around Charleston, SC. In a recent work, he used the transient characteristics of Charleston as material for his ideas and concepts. He also attended Ostrava Days 2009 where his piece, for Callum Innes, was performed by the Berlin-based ensemble, Phosphor. This year Sfirri will present a series of concerts featuring the music of composers including Antoine Beuger, Manfred Werder and Michael Pisaro. For more information, please visit http://uploaddownloadperform.net/SamSfirri/Index

Somei Satoh (b. 1947 in Sendai (northern Honshu), Japan) began his work as composer in 1969 with "Tone Field," an experimental, mixed media group based in Tokyo. In 1972 he produced "Global Vision," a multimedia arts festival, that encompassed musical events, works by visual artists and improvisational performance groups. In one of his most interesting projects held at a hot springs resort in Tochigi Prefecture in 1981, Satoh places eight speakers approximately one kilometer apart on mountain tops overlooking a huge valley. As a man-made fog rose from below, the music from the speakers combined with laser beams and moved the clouds into various formations. Satoh has collaborated twice since 1985 with theater designer, Manuel Luetgenhorst in dramatic stagings of his music at The Arts at St. Ann's in Brooklyn, New York. Satoh was awarded the Japan Arts Festival prize in 1980 and received a visiting artist grant from the Asian Cultural Council in 1983, enabling him to spend one year in the United States. He has written more than thirty compositions, including works for piano, orchestra, chamber music, choral and electronic music, theater pieces and music for traditional Japanese instruments. For more information, please visit http://www.newalbion.com/artists/satohs/


The S.E.M. Ensemble’s Reading of New Compositions was initiated in 1997 by a grant from the Greenwall Foundation. SEM has continued to produce these workshops every season, focusing on new pieces, or works-in-progress.  In the past, readings have included works by Udo Kasemets, Philip Mantione, Alvin Singleton, Rain Worthington, Frances White, Alex Mincek, Henry Threadgill, Virgil Moorefield, Akemi Naito, James Fei, Leroy Jenkins, Roscoe Mitchell, Sinan Savaskan, Robin Haller, and Phill Niblock. During the workshop, each composer is given a chance to work with the musicians and possibly modify his/her work. The workshop culminates in a public performance, recorded for the benefit of each composer. Works initiated in these workshops have been often performed at later S.E.M. concerts in New York and Europe. For more information, please visit http://www.semensemble.org/

###################################
 

This concert is possible thanks to support from New York State Council on the Arts, NYC Department of Cultural Affairs, Phaedrus Foundation, The Aaron Copland Fund for Music, Inc. and individual contributions. Thanks to Noni Pratt, Milos Forman, R.H. Rackstraw Downes and Robert Amory for their donations and support. Special thanks to the Brooklyn Borough President, Marty Markowitz, for his support.
 


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Elizabeth D. Lyman | 6 Feb 20:11 2010
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Seeking Woodstock 4/33" witnesses

For a section in a book of performance, I would like to interview anyone who was present at the Woodstock premiere of 4'33".  I am a faculty member in English at Harvard U, and would be most grateful to anyone who could help deepen my understanding of the event, and/or direct me to other individuals who were in attendance that night.  I am also interested in speaking with anyone who talked with Tudor about the piece or its performance, or who knew Tudor well enough in his performing days to help shed light on his performance aesthetic.  I can be most easily reached at elyman <at> fas.harvard.edu.  Thank you very much for your help, Beth Lyman  

--
Elizabeth Dyrud Lyman
Fellow, The Radcliffe Institute for Advanced Study
Byerly Hall, 8 Garden Street, Cambridge, MA 02138, 617-495-8601

Assistant Professor, Department of English, Harvard University
Barker Center, 12 Quincy Street Cambridge, MA 02138 617-495-2533

“The creator of the new composition in the arts is an outlaw until he is a classic, there is hardly a moment in between ... There is almost not an interval ... For a very long time everybody refuses and then almost without a pause almost everybody accepts.”  -- Gertrude Stein


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Ralph Lichtensteiger | 9 Feb 10:03 2010
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Music review: John Cage amid the Rauschenbergs | Culture Monster | Los Angeles Times

Music review: John Cage amid the Rauschenbergs | Culture Monster | Los Angeles Times
http://latimesblogs.latimes.com/culturemonster/2010/02/john-cage-amid-the-rauchenbergs.html



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Randy Gibson | 10 Feb 18:54 2010

Cage performances part of the Avant Music Festival

Hi Silencers - I wanted to let you all know about an upcoming performance of Cage's work in NYC -

As part of the Avant Music Festival February 19-27th at Wild Project in New York City, Avant Media will be presenting an evening of work by John Cage.

Saturday February 20th, at 8PM - 

One4 for Solo Drummer will be performed by percussionist and experimental composer Jude Traxler to open the concert and will be followed with the beautiful String Quartet in Four Parts, performed by MIVOS quartet, shows Cage’s stunning sense of melody and structure that were so vital to his early work.

In a slight break with tradition, Randy Gibson has developed a version of One9 for specially tuned Toy Organ that mimics the sound of the original Shō – he will be joined by Jude Traxler on conch shells to perform Two3

Closing the concert will be a monumental performance of Songbooks with solos from the Concert for Piano and Orchestra performed by members of loadbang with Megan Schubert and presented with videos of Solo for Voice 19 by Randy Gibson and Ana Baer-Carrillo originally created for John Cage at 95 as well as i-Ching based video lighting created by Oscar Henriquez.


Also a part of the festival is a major new drone work by Randy Gibson called Apparitions of The Four Pillars featuring special guest violinist Tom Chiu - and an evening of vocal works by Karlheinz Stockhausen

Tickets to individual concerts for $15, $5 for students, and Festival Passes, as well as multi-night subscriptions, are available now exclusively from http://www.avantmedia.org. All performances will start at 8pm at Wild Project - 195 East 3rd Street.




Randy Gibson

Artistic Director
Avant Media


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Caleb Deupree | 24 Feb 15:30 2010
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zeitkratzer does cage

Here's some fun news.  The maverick new music ensemble Zeitkratzer is starting an "old school" CD series,
and the first release will be three works by Cage: Four6, Five and Hymnkus.  Other old school composers are
Tenney (released simultaneously with the Cage), Lucier and Feldman.  More info at http://www.zeitkratzer.de/news.html.

---
Caleb Deupree
ctdeupree <at> sbcglobal.net
http://classicaldrone.blogspot.com

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Rob | 24 Feb 18:37 2010
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John Cage on show

 
 

Sent to you by Rob via Google Reader:

 
 


A different side to one of the giants of 20th-century music will go on show this November, thanks to hcmf// and Huddersfield Art Gallery. Every Day Is A Good Day: An Exhibition of John Cage’s Artworks is the first major retrospective in this country of visual art by Cage, who died in 1992. The touring exhibition from London’s Hayward Gallery opens at the BALTIC centre in June and will run at Huddersfield Art Gallery from 20 November until 9 January 2011.

Conceived by artist Jeremy Millar, Every Day Is A Good Day features around 200 works by Cage, who took up painting whilst staying in Europe after dropping out of college, but abandoned it in favour of dedicating himself to composition. He returned to art later in life, producing drawings, watercolours and prints, many of which were inspired by the same chance-based techniques for which his music became renowned.

In keeping with this philosophy, the display positions and groupings of the pictures in the exhibition will be determined using a computer programme based upon the Chinese I-Ching system of chance-based divination which Cage used as a composition aid from the 1950s onwards. John Cage was a guest at hcmf// in 1989 and the festival has long recognised his contribution to contemporary music, most recently at hcmf// 2008 with John Cage Reclaimed, a retrospective of his controversial 1958 New York Town Hall concert.

Named after the translation of a Japanese Zen Buddhist proverb favoured by Cage, Every Day Is A Good Day runs alongside hcmf// 2010 (Friday 19 November to Sunday 28 November) and will be complemented by several performances of Cage works, details of which will be announced soon.


 
 

Things you can do from here:

 
 

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Maverickmuse | 24 Feb 22:10 2010
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4'33" to be performed in the original Woodstock Hall on July 24, 2010

 
Hello Friends around the world:
 
This summer, Maverick Concerts in Woodstock, New York is celebrating its 95th continuous season of music and this year we are planning to have 4'33" in its' original site (now we have a Yamaha and not the original Steinway).
 
Please look at that special concert and then go on line a visit our site to see the unique place that was the artistic home to so many great musical artists of the 20th Century.
 
We look forward to welcoming you!
 
Sat. | July 24 | 6 pm • Pedja Muzijevic, piano • Sonatas and Other Interludes
Scarlatti: Three Piano Sonatas
Morton Feldman: Intermission (1950)
Henry Cowell: Fabric; “Floating” from Nine Ings
Conlon Nancarrow: Tango
Strauss/ Godowsky: Ständchen
Schumann: Novelette, Op. 21, No. 8
John Cage: 4’33”
Wagner/Liszt: Isolde’s Love Death
Schumann: Carnaval, Op. 9
 
 
 

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simon reynell | 25 Feb 13:20 2010
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new recording of Cage's 'Electronic Music for Piano'

There is a new recording of a 40-minute version of John Cage's 'Electronic Music for Piano' available on cd,
performed by John Tilbury (piano) and Sebastian Lexer (electronics).
The cd on the Another Timbre label also contains the complete works for solo piano by Terry Jennings.
Details from http://www.anothertimbre.com

------
Simon Reynell
simonreynell <at> yahoo.co.uk

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saddiss | 25 Feb 19:36 2010

4'33"

I was asked this recently and wasn't sure of the answer: what  
movements of the hands (or body) does the pianist make during 4'33"?

Steve Addiss

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John McDonough | 25 Feb 20:07 2010
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Re: 4'33"

He/she just opens and closes the piano lid. I don't know if this is  
wrtitten in the score, though.

David Tudor performing it:

http://www.youtube.com/watch?v=HypmW4Yd7SY

On Feb 25, 2010, at 1:36 PM, saddiss wrote:

> I was asked this recently and wasn't sure of the answer: what
> movements of the hands (or body) does the pianist make during 4'33"?
>
> Steve Addiss
>
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> To join or leave the Silence mailing list, please go to https:// 
> list.mail.virginia.edu/mailman/listinfo/silence.
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Gmane