Series v.2 HERE
Series v.3 HERE
|Past Events from the 2001-2002 Season...|
All events produced by sTRANGEmUSIC & Egizio Panetti
unless noted otherwise
"Mother Mallard turns out some of the best synthesizer music around" --- The New York Times
David Borden founded Mother Mallard's Portable Masterpiece Co. in 1969, with the generous support of Robert Moog. It turned out to be the world's first synthesizer ensemble. Recently, their first two albums that were originally released in 1973 and 1976 have been re-released on two CDs along with some tracks that had not been released until now. The reaction from around the world has been very positive mixed in with genuine surprise at how current and relevant the music still sounds. The original band consisted of three keyboardists playing an impressive array of three modular Moog Synthesizers, two MiniMoogs and one (eventually two) electric pianos.
Since that time, the ensemble had a period of expansion, concert tours and several recordings. Mother Mallard has been compared to Kraftwerk, Tangerine Dream and other synthesizer bands which is ultimately misleading. Although they were influenced by pop culture, they were always an art music band with close ties to composers like Gordon Mumma, David Behrman, Robert Ashley, Philip Glass and Steve Reich.
current Mother Mallard now consists of the same number of keyboardists as in the
original ensemble with occasional guest performers as needed. In this case, composer/performer
Daniel Goode will be the musician for a performance of Christ! Mozart Land,
which is dedicated to clarinetist Richard Stoltzman and is the newest addition
to Borden's Anagram Portraits series. David Borden's multipart The Continuing
Story of Counterpoint, which has been called "the Goldberg Variations of
minimalism", will have its Parts No. 5, 7, 8 & 9 performed on the program.
Patrick Grant represents the younger generation of composer/performer keyboard-based ensembles made most apparent through his use of sampler technology and live electronic percussion. On this concert he will be performing pieces off of his latest CDs and will offer up a premier to complete the program. He most recently received a commission from the musée du Quai Branly to write a score for an installation at Paris' Louvre Museum set to open in May 2002.
March 3, 2002 at 4:30 PM
PATRICK GRANT GROUP
Patrick Grant Group returns to the One-Two-Three-Go! Concert Series, this time with the re-addition of percussionist John Ferrari.
Grant writes: This season we've been concentrating on a repertoire that is playable by three keyboards and an electronic trap set. I always use the term "keyboard" because they are neither exclusively synthesizers (analog or digital) nor samplers but are really a hybrid of all of these. Plus, they are fully weighted 88-key controllers so that we can use our classical piano technique to the fullest, thus in the end, the term "keyboard" probably most accurately describes the instruments upon which we perform.
One of the things I've been doing to make the pieces really come alive is to have each of us constantly change our programs making the music incredibly rich in timbre. For instance, in a 10 minute piece, each of the keyboards may go through as many as 35 changes of program which adds up to over 100 different timbres within a given work. The same is true for the percussion which can also change programs within a piece creating the effect of having a multitude of percussion ensembles on hand (Western, Rock, or World timbres, or something entirely new created from the pots and pans of my kitchen), which is something unimaginable on most stages with just a single performer.
We've been lucky to perform a lot this season so another one of our strategies has been concerning how we handle our repertoire. Basically I've been following the model of a jazz group or a rock band. That means that we refine and keep in the pieces which are working well but always make sure that we have something new or different added to every performance. That being said, on this concert we will be performing FIELDS AMAZE and tHE wEIGHTS oF nUMBERS, we will be bringing the highly cinematic IMAGINARY HORROR FILM back from the grave, and we will be offering TWO NEW WORKS to complete the program. Keep an eye on this website for more details. Thanks - PG
February 17, 2002 at 4:30 PM
(I only have eyes for you) - video/film by Tom Jarmusch and Fabienne Gautier
with boombox surround-sound
Phil Kline's music stretches between avant-garde "classical" music and ambient electronica, often employing dozens or even hundreds of boombox tape players, mixed with acoustic and electronic instruments to create multi-dimensional sound environments in non-traditional venues such as the Brooklyn Anchorage, Washington Square or Central Park's South Meadow, as well as the Whitney Museum, Alice Tully Hall, the Kitchen, the Knitting Factory, Tonic and London's Barbican Centre.
His Christmas piece Unsilent Night has been heard in the streets of New York annually since 1992, and was presented this past year in Berlin, Germany, Vancouver, B.C. and Tallahassee, Florida. Other recent works include a String Quartet, the song cycle When I Had A Voice and an opera, Into the Fire, based on texts of Luc Sante. CDs include Glow in the Dark on CRI and the newly-released Unsilent Night on Cantaloupe.
Todd Reynolds is an improvising composer and a solo interpreter of new music. He is the assistant conductor and violinist for Steve Reich and Musicians and a founding member of the extraordinary string quartet Ethel. He also works extensively with the Bang On A Can organization as well as countless other composers and artists, and is the creator of the multi-media performance work-in-progress, Still Life with Mic.
of new music's truly free spirits" (The Village Voice), Eve
Beglarian is a composer, performer, and audio producer whose work has
been performed in the most mainstream concert halls and theaters as well as in
clubs and lofts. Her chamber music has been commissioned and performed by the
California EAR Unit, Relâche, the Paul Dresher Ensemble, the Crosstown Ensemble,
Dinosaur Annex, and the New York New Music Ensemble, among others.
more info at:
February 3, 2002 at 4:30 PM
LIGETI & MAÏ LINGANI DUO
Lukas Ligeti's solo electronic percussion music combines elements of traditional and experimental music in original and innovative ways. Multiple meters and polyrhythms coexist with lush timbral landscapes and melodies that you will find yourself whistling long after the concert. During his incessant traveling over the past years and his numerous experiences working with traditional musicians, especially in Africa, Lukas has assembled a large library of sonic snapshots which he uses to take the drumming paradigm to heretofore-unimagined areas.
Among the most talented collaborators he found in Africa is the singer Maï Lingani, one of the most popular artists in her native Burkina Faso, the West African country formerly known as Upper Volta. She is also a member of Beta Foly, the group Lukas Ligeti founded with traditional musicians in Côte d'Ivoire which has become known as one of the most radically innovative cultural exchange projects of recent years. In 2000, Lukas produced Maï's debut recording, "Entrons dans la Danse" in Burkina Faso, and has taken popular music in that country to new levels of sophistication.
this concert Lukas and Maï will perform new music centered around the combination
of voice and electronics, integrating African traditions, electronica, improvisation,
and contemporary composition. Lukas will also perform solo pieces and they will
be joined by Dafna Naphtali, one of New York's foremost improvisers, vocalists,
and live electronics performers, and Abdoulaye "Buru Djoss" Diabaté,
the outstanding Malian griot singer and guitarist who has become a mainstay of
the local African Music scene through his work with his group Super Manding as
well as Source, Mamadou Diabaté, and many others.
more info at:
January 20, 2002 at 4:30 PM
Martha Mooke is a pioneer in the field of the electric five-string viola. She has developed a unique musical voice by synthesizing her classical music training with extended techniques, digital effects processing and improvisation, while retaining the depth and soul of the instrument. She has received awards from ASCAP, Meet the Composer and Arts International. Besides her catalog of works for solo and ensemble electric strings, she has composed music for theater and ballet and served as music director for national and international events. Ms. Mooke's diverse schedule includes touring, clinics and lecture demonstrations on electric strings and the use of electronics, extended techniques and improvisation. Enharmonic Vision, her solo debut CD, continues to receive wide critical acclaim. Bowing, her duo with electric ebow guitarist Randolph A. Hudson III, will release its long awaited CD early this year.
Ms. Mooke will be heard on David Bowie's upcoming recording and has performed with Bowie, Moby, Philip Glass and Tony Visconti at the sold out benefit for Tibet House at Carnegie Hall. Ms. Mooke has also played on Glass' film scores of Kundun and Koyaanisqatsi. Other artists she has performed and recorded with are Enya, Lauryn Hill, Al DiMeola, John Cale, Anthony Braxton, The Orchestra of St. Luke's, Soldier String Quartet, Musicians Accord, Turtle Island String Quartet and Steve Reich. She has performed on The View, Regis Live!, Late Night with Conan O'Brien and the David Letterman and Rosie O'Donnell shows. Ms. Mooke created and is producer of ASCAP's new music showcase THRU THE WALLS featuring composer/performers whose work defies categorization.
"With her white hair and blue five-stringed viola, Mooke is a striking figure, with a Terry Riley-ish array of electronic enhancements and a wider range of styles (from Cagean to minimalist to free jazz and beyond) than many improvisers can boast."
--- The Village Voice
January 6, 2002 at 4:30 PM
MONTANO, MATT MORAN &
These three extraordinary composer/musicians combine forces as a trio and present an afternoon concert of new works for voice, vibraphone, and acoustic bass. The program will take the listener through a journey of composed and improvised styles, Brazilian and new jazz influences, as well as musical territory that will surely defy any kind of classification.
Alexandra Montano, "whose voice one could listen to for hours" (New York Times), has written music for film and various vocal and instrumental ensembles. As a singer she has premiered works by composers Philip Glass, Tan Dun, David Lang and Meredith Monk. Also active in the Baroque music scene, she has performed as soloist in Bach's B minor Mass at Avery Fischer Hall.
Vibraphonist and composer Matt Moran "plays the vibraphone like a speed-chess master, always darting off into flurries of ingenious, unexpected activity" (Village Voice). He has performed and recorded with artists as diverse as Lionel Hampton, Paul Bley, Combustible Edison, Ellery Eskelin, and Merita Halili. Moran's sound is integral to an innovative group of New York musicians who blur the boundaries of composition, improvisation, and folk traditions.
Dresser is a virtuoso contrabass player and composer whose uncompromising
voice and singular style has impressed international audiences. He has recorded
over eighty recordings with many of the luminaries of new jazz composition and
improvisation including Tim Berne, Jane Ira Bloom, Dave Douglas, Gerry Hemingway,
Joe Lovano, John Zorn and others. For nine years he has performed and recorded
with the Anthony Braxton Quartet. As a leader he has ten recordings of his own.
He has received commissions from the McKim Fund, Meet the Composer, and WDR-Radio,
December 16, 2001 at 4:30 PM
"Songs from A Book of Days"
"A Book of Days is a long-term project of 365 text/music/visuals, one for each day of the year. This afternoons Songs from A Book of Days is the first time I have devoted a concert to this project."
"I think of these pieces as "mulling over" pieces, made in the spirit of commonplace books, collections of found thought that please me, and of medieval books of days."
"One of new music's truly free spirits" (The Village Voice), Eve Beglarian is a composer, performer, and audio producer whose work has been performed in the most mainstream concert halls and theaters as well as in clubs and lofts. Her chamber music has been commissioned and performed by the California EAR Unit, Relâche, the Paul Dresher Ensemble, the Crosstown Ensemble, Dinosaur Annex, and the New York New Music Ensemble, among others.
Her experience in music theater includes music for Mabou Mines' Animal Magnetism, directed by Lee Breuer; the collaboration Hildegurls' Ordo Virtutum, directed by Grethe Barrett Holby, which premiered at the Lincoln Center Festival; Forgiveness, a collaboration with Chen Shi-Zheng and Noh master Akira Matsui; and the China National Beijing Opera Theater's production of The Bacchae, also directed by Chen Shi-Zheng. Her duo, twisted tutu, with keyboard player Kathleen Supové, blends high technology with theater; twisted tutu's CD Play Nice was recently released on OO Discs.
Current projects include an opera based on Stephen King's The Man in the Black Suit; a Meet the Composer co-commission for The Bilitis Project, a song cycle/concept CD with boombox virtuoso and composer Phil Kline; and A Book of Days, a long-term project of 365 multimedia pieces for live performance as well as internet delivery.
Recordings of Eve's music are available on CRI Emergency Music, OO Discs, Accurate Distortion, Atavistic, and Kill Rock Stars. In addition to her composing and performing work, Eve directs and produces audiobooks of authors including Stephen King and Anne Rice for Random House and Simon & Schuster.
For more information about Eve Beglarian visit
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December 2, 2001 at 4:30 PM
clarinet & bass clarinet
Composer/clarinetist Evan Ziporyn presents an evening of new solos for clarinet and bass clarinet. The concert will feature special guest Todd Reynolds, violinist with the Steve Reich Ensemble and the Ethel String Quartet, who will perform new duo works with Ziporyn. The concert will feature music from Ziporyn's new, critically-acclaimed CD, "This is Not a Clarinet" (Cantaloupe), as well as other works by Ziporyn and Todd Reynolds.
From Lincoln Center to Balinese temples, from loft spaces to international festivals, composer/performer Evan Ziporyn has traveled the globe in search of new musical possibilities. His work is informed by his twenty-year involvement with Balinese gamelan, which has ranged from intensive study of traditional music to the creation of a series of groundbreaking works for gamelan and western instruments. His compositions for conventional forces have been performed by the Kronos Quartet, Bang On A Can, Nederlands Blazer Ensemble, master p'ipa-ist Wu Man, Maya Beiser and Steven Schick, Arden Trio, California EAR Unit, pianist Sarah Cahill, and Orkest de Volharding.
As a bass clarinetist, he has developed a distinctive set of extended techniques which he has used in his own solo works, as well as new works by Martin Bresnick, Michael Gordon, and David Lang. He has been associated with the Bang On A Can Festival since its founding in 1987, appearing as composer, soloist, and ensemble leader. As a member of the Bang On A Can All-stars, he has toured over a dozen countries and worked with composers such as Glenn Branca, Don Byron, Brett Dean, Nick Didkovsky, Arnold Dreyblatt, Steve Martland, Ralph Shapey, Tan Dun, Henry Threadgill, and Julia Wolfe. In addition to writing for the group and co-producing their most recent recordings, he has arranged works by Brian Eno, Hermeto Pascoal, and Kurt Cobain. He also regularly performs and records as a featured soloist with Steve Reich and Musicians. As a conductor, he has toured Europe with Germany's acclaimed Ensemble Modern and has recorded Michael Gordon's "Weather" with Ensemble Resonanz.
As a performer and recording artist, Ziporyn has worked with a range of master musicians from numerous musical cultures, including Paul Simon, Tan Dun, Wu Man, Maya Beiser and Steven Schick, Darius Brubeck, Todd Reynolds and Ethel, Sandhile Shange and Allen Kwela, Bob Moses, and Tony Scott. Venues have included New York's Lincoln Center, Amsterdam's Concertgebouw, London's Southbank Centre, and the Bali Arts Festival. His works are recorded on Cantaloupe, Sony Classical, Koch International, and New Tone. As a player, he has recorded for Nonesuch, Gramavision, New Albion, and Point Music. He is Professor of Music at the Massachusetts Institute of Technology.
PATRICK GRANT GROUP
Grant, Kathleen Supové & Marija Ilic
Weights of Numbers
Everything Distinct: Everything the Same
Composer, performer, and series curator Patrick Grant and members of his group perform pieces from their repertoire arranged espressly for trio as inspired directly by the gallery environment.
The performance will be graced with the talent of keyboardists Kathleen Supové of Exploding Piano fame ("What Ms. Supové is really exploding is the piano recital as we have known it, a mission more radical and arguably more needed." - NY Times) and Marija Ilic ("... a clear and decisive musician ... poetic ... compelling" - NY Times), two fiery performers who have given a lot to the interpretation of Grant's music since the inception of the group.
On the series as a whole, Grant says, "When Egizio and I conceived of it last summer, we were hoping to create events that would be something that we ourselves would personally like to go to. We liked the idea of Sunday afternoon concerts, of bringing new music back to SoHo, in an intimate gallery setting where, as the season progressed and the days got shorter and colder, that people could come together in a space dedicated to art and to the building of a larger like-minded community. The size of the space virtually dictated that we had to keep within a repertoire of music for no larger than a trio. Lack of a piano meant that we had to be especially creative in terms of what was being programmed and, with the spirit of many wonderful artists and performers behind us, now we have it. What started out initially as an intuitive desire to bring together artists and audience from the visual and performing arts fields into a smaller, more reflective setting has become, due to recent events, perhaps something which we need now more than ever."
on 6-, 10-, & 13-string
Dominic Frasca began playing electric guitar at the age of 13. By the age of 17 he began studying classical guitar. Between the years 1986-1993 he attended and was thrown out of some of the finest academic institutions in the United States including Univ. of Akron, Univ. of Arizona and Yale Univ.
During this time he studied guitar with Steve Aron, Tom Patterson and Philip Rosheger and composition with Daniel Asia, Jack Vees, Anthony Davis & Marc Mellits. Over the years, Frasca has become known for his unorthodox and original guitar technique as well as his technically and musically demanding transcription of minimalist works by Philip Glass, Steve Reich and Anthony Davis.
It is in his original composition where Frasca's exploitation of the guitar is most apparent. His concept of the instrument as a complex percussion source, which has endless possibilities, prompted G.F.A. Soundboard Magazine to write, "A guitarist of original and rare genius, Frasca's compositional style exhibits a seamless integration of multi-colored percussive technique and metric modulation with traditional guitar vocabulary."
Not limiting himself to the restrictions of the conventional classical guitar, Frasca plays on multiple string guitars, which he designed, that employ both steel and nylon string with the use of amplification. Often times these guitars will be designed and built to play just one piece.
Recently Dominic has come full circle and began playing electric guitar again most notably on the premiere recording of the Steve Reich piece Electric Guitar Phase (which Frasca arranged) for Nonesuch Records.
Equally as concerned with the visual aspects of performance as with the audible, Frasca's concerts often contain multi-media works, which employ the use of such things as video, power tools, erotic dancers and even lawn care equipment. The Oberlin Press wrote of one performance "a guitar was destroyed by means of a wood chipper while a sucession of horrifying graphic images were flashed on TV screens ... his performance amounted to an assault on the audience ... Frasca should not be invited back."
All of which goes with Frasca's philosophy "You can excite an audience, you can anger an audience, you can even scare an audience, just don't bore an audience."
FIRST'S UNIVERSARY ORCH