Review: Feast of Music, 5/22/2013

Cadillac Moon performed Eric Lemmon’s unfinished version of Canis Major, a celestial saga that combined a broad range of extended techniques and complex rhythms to create both a creepy and beautifully ethereal nebulousness of sound. Flutist Roberta Michel performed her atmospheric effects particularly well (such as circular breathing, whistletones, and slap-tonguing), greatly heightening the piece’s effectiveness.

Interview: Feast of Music, 5/07/2013

FoM: So, composers: what, then, are some of the things you’ve gained from working so closely with the performers?

Eric: If I don’t play an instrument, I can go and consult the performer and I don’t have to be sitting in front of the Samuel Adler textbook trying to figure it out based on these weird conceptualizations he’s written out. I mean, they’re not weird, but it doesn’t give you a whole picture of what’s possible and it doesn’t have a lot of extended techniques. You can really work closely with the performer and get exactly what you want in the best way that leaves everybody happy.

Interview: WRIU’s Music For Internets, 5/08/2013

This interview was conducted via skype with WRIU’s Justin Brierley, for his contemporary classical show, Music for Internets.  Discussion included overviews of the music played, collaboration between a composer collective and contemporary performance group, what compels the artists to engage in “New Music”, and pencils.

Part 1: 

Cadillac Moon Ensemble + Circles and Lines Interview with WRIU’s Justin Brierley

Part 2: 

Cadillac Moon Ensemble + Circles and Lines Interview with WRIU’s Justin Brierley Part 2

Interview: WVUM’s Classical Lunch, 4/04/2013

Live Concert Recording: WQXR’s Q2

Though the illustrious composers of Circles & Lines possess a range of experiences — from composing music for toys and unconventional instruments to founding the music criticism and review site OpenSourceMusic to being composer-in-residence at Tulsa’s Midtown School — they have all managed to find common ground right here in New York City. Featuring pieces which involve everything from electronics to prepared piano to banjo to chamber orchestra, this (L)PR concert exemplifies Circles & Lines’s colorful backgrounds and mission to program a performance that runs the gamut of today’s emerging composers.

Review: Allan Kozinn for the New York Times

Mr. Lemmon’s work nods at Philip Glass’s “Einstein on the Beach,” both musically (repeated, simple figures are its primary engine) and in its use of overlapping and simultaneous spoken texts. But Mr. Lemmon’s own voice comes through as well, and this setting left a listener curious to hear how he will develop it.