Zürich Landing

The past few weeks have been quite a rush, running from here to there, getting registered with the cantonal authorities, getting registered with the Swiss authorities, attending mandatory orientation events, attending non-mandatory orientation events, meeting people, hustling, avoiding writing a paper that is due to a journal next week. All this is to say that I sadly haven’t been able to do much music making. That said, I have had the opportunity to hear and see some amazing music making.

Theodor and Joel in one of the Telematic nodes during the final performance.

First, I got to sit in and view several days of a Telematic music course hosted by the Transdisciplinary Program, which is my ‘home-base’ here at Zürcher Hochschule der Künste during my Fulbright. Led by Patrick Müller and Matthias Ziegler alongside a few assistants who were also drawn from the Transdisciplinary program, a small group of students explored the medium in a somewhat ‘local’ setting. I say local, because the latency that so defines Telematic music (and more generally much Networked Musics), was still present even as they were only transferring data between different rooms within ZHdK.

Matthias Ziegler, Germán Toro-Pérez and Peter Färber preparing Luigi Nono’s Das Atmende Klarsein

After meeting Matthias for the first time during the course, he told me that he was working on Nono’s Das Atmende Klarsein (for Bass Flute, Children’s Choir and Electronics) and had a rehearsal that evening. I kindly invited myself along because it seemed like it would be amazing to hear that work (at least the portions for flute and electronics) live. The rehearsal did not disappoint, and the bonus was that I learned of another event—this one in Basel—that seemed quite fascinating.

Klangturm from Rohrwerk: Fabrique sonore

While chatting after the rehearsal, Germán Toro-Pérez told me and another Ph.D. student (Marcio) about his recently completed collaboration—essentially the building of a new instrument—and a concert work for that very instrument that were being premiered soon. I decided to take the train out to Basel to see the open rehearsal that was offered. Germán had designed feedback-tubes that were inserted into this upside-down, conical ‘klangturm’, or in English; ‘sound tower’. These feedback tubes could be put into use as electronic tracks for pieces, or as what I assume is a 33′ looped installation piece composed by one of the other artists. The whole visual design of the tower was very cool, and reminded me of a mix between the obelisk from 2001 and Jean Tinguely’s goofy kinetic sculptures (very fitting for Basel).

More Klangturm

The obelisk explanation, I think, is self-evident: An imposing black structure that has descended from above (to put it in the courtyard of the Kunstmuseum Basel, they lifted it in via crane), while the Tinguely reference has to do with all the old wind instruments, bells, organ pipes, etc. that are sticking out from the structure of the ‘tower’.

One thing I found notable about all the music that was presented, was that almost all of the works featured hollow, tubular, resonating bodies. It was a nice programmatic touch, and all the works were fantastic to listen to, even though the artists were still polishing them up (open-rehearsals are like that).

Oh, also. Swimming in the Limmat after a hot day is the bomb.

Fulbright Award

This information has been out of the bag for some time–that being said, what’s the point of having a website if you don’t post cool stuff that happens?

This upcoming fall I’ll be spending a year studying at the Zürcher Hochschule der Künste working on my dissertation project. This is all being made possible through the generous U.S. tax payers, the staff at the IIE, the generous Swiss tax payers, and the SFBI under the auspices of a Fulbright Open Study/Research Award and the Swiss Government Excellence Grant.

Check in here over the coming year, where I’ll be posting about my time in Switzerland and the progress of my crazy participatory computer music system!

Sonic Spring! April 5th, 2019

This week my work Toy3 for Laptop Ensemble will be performed on Sonic Spring out at Stony Brook University! Come check it out!

All This Talk of Saving Souls at Washington State University’s Festival of Contemporary Art Music

Oboist and current Washington State University faculty member, Keri McCarthy will be performing my oboe and electronics work All This Talk of Saving Souls at Washington State University’s Festival of Contemporary Art Music. There are many great composers from all over the US on this concert and festival, most of which will be presented in the Kimbrough Concert Hall at Washington State University in Pullman, WA. Find details below, and I am so looking forward to meeting all the composers and performers there!

https://events.wsu.edu/event/focam-music-by-guest-composers-wsu-students-and-faculty/

This event will be held in Kimbrough Concert Hall in Pullman Washington

About the event

Concert 2 of the WSU Festival of Contemporary Art Music features works by WSU student composers, visiting composers from around the United States, and a performance by contemporary chamber music ensemble TORCH.

All Festival of Contemporary Art Music events are open to the pubic and without charge.

Support for the festival is provided by the College of Arts and Sciences.

The Impossible Will Take a Little While Awarded LMCC & UMEZ’s Arts Engagement Grant

This June, The Impossible Will Take a Little While was awarded a 2018 UMEZ Arts Engagement Grant from LMCC and the Upper Manhattan Empowerment Zone. The program is described here at LMCC’s website! More details to come on a performance of this upcoming work!

UMEZ Arts Engagement is a new grant program launched in December 2017 to enhance the diversity and frequency of arts and cultural presentations in Upper Manhattan. The program provides direct support for these activities to Upper Manhattan’s artists and nonprofit arts organizations under the guiding principle that support for artists of diverse disciplines, practices, cultural backgrounds, and career stages contributes to the vibrancy and sustainability of the communities in which they live and work.

 

Chelsea Symphony — New Work Announced!

I am excited to announce an upcoming premiere of a new orchestral work for Chelsea Symphony,

Friday | 1.26.18 | 8:30 PM
Saturday | 1.27.18 | 7:30 PM

St. Paul’s Church, 315 West 22nd Street

Check out the program here:

http://chelseasymphony.org/concert/january-26-27

The January TCS concert series features Sibelius’ Symphony No. 5, a piece commissioned by the composer’s native country, Finland, in honor of his own fiftieth birthday. Of this piece, Sibelius wrote, “it is as if God Almighty had thrown down pieces of a mosaic for heaven’s floor and asked me to find out what was the original pattern.”

Deborah Nixon returns to the stage to perform the Saint-Saëns’ Violin Concerto No. 3 on Friday and flutist Michelle Stockman performs Michael Colina’s Isles of Shoals on Saturday. Both concerts open with a world premiere by TCS member, composer, and violist Eric Lemmon.

Concerts will be held at St. Paul’s German Lutheran Church, 315 West 22nd Street

Tickets on sale at Eventbrite

Photo by Patryk Sobczak