tag:blogger.com,1999:blog-91057747765720981942024-03-13T15:07:02.346-07:00New Music at the Green MillNew Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.comBlogger38125tag:blogger.com,1999:blog-9105774776572098194.post-41687140753050616652011-01-17T19:18:00.000-08:002011-01-17T19:24:37.662-08:0010 Questions with Kurt WestbergJK: Were you trained traditionally in music?<br /><br />KW: I was the type that began piano lessons at age five and I then continued piano studies through undergrad years. I loved sight-reading. I studied composition by reading books, etc and had a few lessons in high school before majoring in composition in undergrad and grad school.<br /><br />JK: When did you first compose a piece of music? What is your earliest opus?<br /><br />KW: Pianists are always improvising – and there were many improvised pieces that (fortunately) did not get written down. There was a really bad Beethovenesque piano sonata which I kept trying to notate, but I couldn’t get past the second theme section – I got hung up on the transition/modulation. My first claim to fame was a woodwind quintet that I wrote in junior year of high school at the request of an English teacher. It was five movements, each one related to one of the five elements (air, water, etc.) and was performed as part of the school’s “Literary Showcase”.<br /><br />JK: When did you first use computers for composing music (notation software, etc.)?<br /><br />KW: I first started notating (with Finale) in the early ‘90s. Until then, many evenings were spend with ink and liquid paper.<br /><br />JK: Who are the living composers (in Chicago and/or abroad) that you feel deserve more attention?<br /><br />All living composers deserve more attention! Except for John Williams.<br /><br />JK: What is good and bad about the new music scene here in Chicago?<br /><br />KW: It’s actually grown a lot within the last 20 years — more performances of quality by more quality performers. There are many more possibilities now than “when I was young”. Any scene can be too inbred and too parochial, and Chicago can be that way, of course. Everyone has to promote their own stuff — it would be great to have more interaction between different performing groups and different universities: The University of Chicago could have concerts of music by DePaul and Northwestern composers and vice-versa. <br /><br />JK: What is your opinion about the intersection of political ideas and new music?<br /><br />KW: I think it is a very important part of any art form — the final product should not be a political diatribe, of course, but political ideas can be a meaningful part of a new work.<br /><br />JK: Do you think it is futile for composers to be socially engaged?<br /><br />KW: It may be futile for anyone to be socially engaged (“you can’t stop the wars”, etc.) But I think it can be a very meaningful part of being alive - I think it is important for the composer to be socially engaged outside of the music, not just as part of the aesthetic.<br /><br />JK: Do you consider your work to be political in any way?<br /><br />KW: Actually, most of my early works (from 1968 – 1978) were overtly political — concerned with the war in Vietnam, the Kent State and Jackson State tragedies, nuclear testing on Amchitka island, etc. It was almost impossible to avoid these issues at that time, and they could provide an emotional program for works. Most of my works now are concerned with more individual and personal issues and political ideas are way in the background. However, I think the sounds of the 60s are always with me. <br /><br />JK: Describe your compositional process at the current time.<br /><br />KW: I usually still begin at the piano — it’s where I imagine best -- - I usually start with isolated fragments which produce sonorities I want to concentrate on and then sketch out those ideas (in an almost unreadable fashion) with pencil and paper — all of this is revised and developed numerous times at the computer. Part of this process is helped greatly by getting away and doing something different such as reading (usually novels), biking, etc. I don’t listen to midi versions much — they don’t help me. But looking at the score as notated by computer does help me. My formal concerns are usually variation oriented, and also make use of symmetrical structures.<br /><br />JK: What is your prediction for the use of computers in the future of music?<br /><br />KW: Not hard to say that they will only become more necessary/significant in the production of musical works and the production of sound itself.<br />I’m also sure there will be backlashes and people will try to go “unplugged”. <br /><br />JK: If you had to pick one work, or collection of works by a single composer to bring with you to a desert island, what would it be?<br /><br />KW: This is always so difficult - I often pack for vacation with too many scores, recordings, etc. , and many remain in the suitcase. My pick for this question changes every time I am asked. For today, it’s Berio’s Sinfonia.<br /><br />JK: What is your advice to young composers studying today, what do they absolutely need to know?<br /><br />KW: Maintain the balance between getting to know yourself (personal growth) and external musical influence — both are of extreme importance. And the process never stops. Keep going.New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-62825859930723925102011-01-08T19:39:00.000-08:002011-01-08T19:48:50.143-08:00Sunday January 23, 2011!!! TRIPLE CD RELEASE!Our next "New Music at the Green Mill" concert<br />organized by George Flynn<br />Celebrate NEW CD's by Chicago Composers!!!<br /><br /><span style="font-weight:bold;">Tom Stevens<br />Janice Misurell-Mitchell<br />Kurt Westerberg</span> <br /><br />The above three composers will also perform, and.......<br /><br />Additional Musical contributions are written or realized by: <span style="font-size:85%;">Andrew Gallovich (prerecorded), .<span style="border-bottom: 2px dotted rgb(54, 99, 136); cursor: pointer;" class="yshortcuts" id="lw_1294544294_0">Joanie Pallatto</span> (voice) and Bradley Parker-Sparrow (piano); </span><span class="yiv1422102174Apple-style-span" style="font-size: 10pt;"></span><span class="yiv1422102174Apple-style-span" style="font-family:Tahoma;"><span class="yiv1422102174Apple-style-span" style="font-size: 10pt;"> Athanasios Zervas (saxophone); George Flynn ("American Howl Quartet" parts I and II, for mixed <span style="border-bottom: 2px dotted rgb(54, 99, 136); cursor: pointer; background: none repeat scroll 0% 0% transparent;" class="yshortcuts" id="lw_1294544294_1">piano quartet</span>, "Chicago Moods" for sax/piano, and "Forms of Friction" for viola solo); Don Malone (prerecorded); <span style="border-bottom: 2px dotted rgb(54, 99, 136); cursor: pointer;" class="yshortcuts" id="lw_1294544294_2">Elliott Carter</span> (flute solo); Brian Baxter (flute); Other performers include Doyle Armbrust, viola; Aurelien Pederzoli, violin; Cory Tiffin, clarinet; Russel Rolin, cello, Alicia Poot, flute.<br /><br /></span></span><p style="margin: 0px; font: 12px Times; min-height: 14px;"><span class="yiv1422102174Apple-style-span" style="font-family:Tahoma;"><span class="yiv1422102174Apple-style-span" style="font-size: 10pt;"><br /></span></span></p>New Music at the Green 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mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal"><b style="">December 18, 2010<span style=""> </span>Chicago Scratch Orchestra <u>Meeting Minutes</u></b></p> <p class="MsoNormal"><i style="">Special thanks to Dan and Clifton for opening up Brown Rice for us!</i></p> <p class="MsoNormal"><i style="">In attendance</i>: Eric Leonardsen, Julia Miller, Joe Fosco, Clifton Ingram, Andrew Royal, Samuel Bradshaw, Chris Priessing, Dan Godston, Jeff Kowalkowski</p> <p class="MsoNormal"><u>Next Meeting: Friday, January 7, 2011, Heaven Gallery, with guest conductor Eric Rieman</u></p> <p class="MsoNormal">Performing his score “Nursery/Machine Houses”<span style=""> </span>7 PM Rehearsal, 9 PM Concert</p> <p class="MsoNormal">We rehearsed “Nursery/Machine Houses” and feel very comfortable with the instructions.<span style=""> </span>We specially appreciate #11: <i style="">Using your acute (or less than acute) powers of memory, attempt to repeat a <u>lengthy-something-you-did-previously</u>.<span style=""> </span>Try to be precise, but fail.</i></p> <p class="MsoNormal"><i style="">A ScratchOrchestra: draft constitution</i> by Cornelius Cardew, <i style="">The Musical Times, </i>June 1969, was distributed.<span style=""> </span>Everyone should read this.</p> <p class="MsoNormal">Chris Priessing presented “<i style="">Ekphesis</i>”<span style=""> </span>*<u>score added to CSO appendix</u></p> <p class="MsoNormal">Sam Bradshaw presented an Improvisation Rite: “<i style="">Canon a2 <span style=""> </span>from the Musical Offering</i>” by JS Bach.<span style=""> </span>Joe Fosco recommended a “klangfarbenmelodie” solution that sounded very good.<span style=""> </span>*<u>score added to CSO appendix</u></p> <p class="MsoNormal">Dan Godston directed our emotional motivation: “<i style="">You Are”</i>: Mount Fuji in 19<sup>th</sup> century, Josephine Baker’s shoes, Merce Cunningham quitting Martha Graham, Francis Bacon’s Head,<span style=""> </span>Jane Adams meeting Tolstoy, Bosch Ear meets Van Gogh Ear, in duos, trios, and tutti. *<u>score added to CSO appendix</u></p> <p class="MsoNormal">Eric Leonardsen discussed the intersection of <i style="">Midwest Society for Acoustic Ecology</i> and CSO, <span style=""> </span>potential sound walks conducted by orchestra members and/or planted musicians in a playing environment.</p> <p class="MsoNormal">Jeff Kowalkowski mentioned the possibility of collaborating with Links Hall for the <i style="">Summer-dance</i>(?) event downtown (grant park?), where-in CSO would be the “band.”<span style=""> </span>This was mentioned by Dan Mohr as a maybe….might be a chance to do a Fluxus-type event with many artists participating with us…from all disciplines?</p> <p class="MsoNormal">Clifton Ingram discussed his <i style="">Scratchbook </i>experiences, writing on the train, trying to write everyday, noticing patterns, repetitions of ideas done unconsciously over time.<span style=""> </span>It is suggested that everyone follow the instructions for <i style="">Scratchbooks</i> in the <i style="">draft constitution</i> and prepare a SOLO score for yourself to be ready to play.<span style=""> </span>After you have played it, it becomes an accompaniment, etc.<span style=""> </span></p> <p class="MsoNormal"><u>Please try to keep all handouts from all meetings<span style=""> </span>and concerts in a chronological folder, and add your own pages</u>.<span style=""> </span></p> <p class="MsoNormal"><b style=""> </b></p> <p class="MsoNormal"><b style=""> </b></p> <p class="MsoNormal"><b style="">CSO current repertoire appendix 2010</b></p> <p class="MsoNormal"><i style="">May Pole</i> <span style=""> </span><span style=""> </span>Howard Skempton, chord by Jeff Kowalkowski </p> <p class="MsoNormal"><i style="">I, Norton</i><span style=""> </span><b style=""><i style="">Gino Robair*</i></b></p> <p class="MsoNormal"><i style="">Penjara<span style=""> </span></i> <span style=""> </span>Clifton Ingram</p> <p class="MsoNormal"><i style="">UDTQ</i> <span style=""> </span><span style=""> </span>Andrew T. Royal</p> <p class="MsoNormal"><i style="">Nursery/Machine Houses</i> <span style=""> </span><b style=""><i style="">Eric Rieman*</i></b></p> <p class="MsoNormal"><span style="font-style: italic;">Scatter</span><span style=""> </span>Paul Hartsaw</p><p class="MsoNormal"><span style="font-style: italic;">fractures </span>Alex Feldman<br /></p> <p class="MsoNormal"><i style="">Ektphesis</i><span style=""> </span>Chris Priessing</p> <p class="MsoNormal">Canon a2 from <i style="">A Musical Offering</i> <span style=""> </span>JS Bach, Improvisation Rite by Sam Bradshaw</p> <p class="MsoNormal"><i style="">You Are<span style=""> </span>:</i><span style=""> </span>Dan Godston<span style=""> </span></p> <p class="MsoNormal"><b style=""><i style="">*guest conductors<span style=""> </span></i></b></p>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-43857738068712690272010-11-18T18:08:00.000-08:002010-11-18T18:11:16.244-08:00Scratchbook Meeting Saturday, 12/18 1 PM!Dear Core-Members,<br /><br />The <span style="border-bottom: 2px dotted rgb(54, 99, 136); cursor: pointer; background: none repeat scroll 0% 0% transparent;" class="yshortcuts" id="lw_1290132318_0">Chicago Scratch Orchestra</span> (CSO) will meet on Saturday 12/18, 1-3PM<br />at Brown Rice--4432 N. <span class="yshortcuts" id="lw_1290132318_1">Kedzie</span><br /><br />--AGENDA--<br />1. Discuss the formation of individual Scratchbooks. What is the purpose and objective of making these score/journals? Develop rules for this activity. In addition to your instrument(s) please bring your own notebook and writing utensil for this purpose.<br /><br />2. Discuss our goals for 2011 and several future performance opportunities. (January 7 at Heaven gallery with guest conductor Eric Glick Rieman?)<br /><br />3. Play new scores and scores from the open Repertoire.<br /><br />4. Distribute small tasks for everyone to do.<br /><br />Please RSVP with a response to jeffkowalkowski@sbcglobal.net. Bring new members to the meeting or have them contact me. I would like to have 30-40 musicians by next year. <br /><br />Thanks! JeffNew Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-74015238242320562402010-10-29T14:18:00.000-07:002010-10-29T14:25:47.499-07:00Welcome our CSO! (Chicago Scratch Orchestra)Hey Scratchers, <div><br /></div><div>I am very pleased with how everything went this weekend. It was a special event, beginning what I hope will be a long and powerful collaboration. I want to especially thank Gino for helping us get started.</div><div><br /></div><div>Here are the live recordings from the mill and also WLUW <a href="https://www.dropbox.com/home/NMGM%20101024#:::21725179">https://www.dropbox.com/home/NMGM%20101024#:::21725179</a> </div><div><br /></div><div>My hope is to increase the enrollment to 30 or 40 musicians by next summer. We are going to begin monthly rehearsals. Brown Rice and Enemy are potential gathering points, we need free space that we can all fit in!</div><div><br /></div><div>What does everyone think about SATURDAY afternoons, once a month, to start?</div><div><br /></div><div>Also, everyone should begin their personal Scratchbook if they have not already, and please read the <a href="http://eveessex.com/scratch/index.php?/project/the-constitution/">Draft Constitution</a> by Cornelius Cardew. I would like to structure our CSO in much the same way. </div><div><br /></div><div>Feel free to send any ideas along, or visions of how to proceed with the SCRATCH!</div>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-16411327992044638272010-10-19T09:58:00.000-07:002010-10-19T10:01:51.043-07:00Gino Robair and Andrew Royal on Airplay, WNUR 89.3<img alt="http://airplay.wnur.org/images/promo/1529.jpg" src="http://airplay.wnur.org/images/promo/1529.jpg" /><br />Gino and Andrew will improvise on Airplay this Friday at 2pm. Here is a link:<br /><br /><a href="http://airplay.wnur.org/?p=1529">http://airplay.wnur.org/?p=1529</a>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-14780117097643280622010-10-19T09:30:00.000-07:002010-10-21T13:33:45.574-07:00ROSTER as of TODAY and Call Times for this WeekendThree Scratch Events, attend one or ALL<br /><br />Saturday 10/23--ESS Scratch Orch arrive at 3:30 PM, recording 4-6 PM<br /><br />Sunday 10/24--Green Mill 2-5PM<br /><br />Sunday 10/24--WLUW Something Else, arrive at radio station 9:30 PM<br /><br />Clifton Ingram<br />Jeff Kowalkowski<br />Julia Miller<br />Andrew Royal<br />Alex Feldman<br />Noe Cuellar<br />Sid Samberg<br />Sam Bradshaw<br />Joseph Kramer<br />Bobby McMahon<br />Sid Yiddish<br />Rita Eye Rita<br />Paul Hartshaw<br />Dan MohrNew Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-32966737699996120752010-10-14T07:10:00.001-07:002010-10-14T07:13:47.945-07:00Phone Conversations this Week<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhG03q4uNgnuGs3Q3P2ckLqwKJpUb_R59zF6ufWFXusRh-2tkDiOU6sR0mTSUDwiwRlVL9ahRmkRQwRf-QRCq2AjFoAIEdaU52GH7C0anT9T296amnpkIKunl-zUGjqmNqBF3ntLPhsic8/s1600/page0001.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 207px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhG03q4uNgnuGs3Q3P2ckLqwKJpUb_R59zF6ufWFXusRh-2tkDiOU6sR0mTSUDwiwRlVL9ahRmkRQwRf-QRCq2AjFoAIEdaU52GH7C0anT9T296amnpkIKunl-zUGjqmNqBF3ntLPhsic8/s320/page0001.jpg" alt="" id="BLOGGER_PHOTO_ID_5527904265230810434" border="0" /></a><br />Scratch Orchestra players--I am calling everyone this week with instructions. If you have not heard from me by Monday, please e-mail kowalkowskijeff@mac.com The Roster is now up to 14 players, not including Gino. So far, Alex Feldman and Andrew Royal have proposed their scores for part of the program, the floor is open......New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-28597660301092455432010-08-24T18:30:00.000-07:002010-09-16T07:54:14.838-07:00October 24 Concert Plans and Live Radio DatesHere is the concert schedule for Sunday, October 24, with approximate durations. The Roster for the Scratch Orchestra is growing rapidly, please contact <a href="mailto:kowalkowskijeff@mac.com">kowalkowskijeff@mac.com</a> if you want to join. Musicians and sympathetic non-musician noise people are encouraged to work with us....or, complete beginners too.....<br /><br />2:00 Tom Stevens: "Movement for Piano"<br /><br />2:10 Kyong Mee Choi<br /><br />2:40 Abbinanti/Gregorio/Priessing/Hatwich<br /><br />3:05 AURIS<br /><br />3:30 Ginor Robair with Jeff Kowalkowski's "scratch orchestra" project<br /><br />Also, here are local radio dates:<br />10/17--AURIS on WLUW<br />10/22--Gino Robair on WNUR<br />10/24--Scratch Orchestra Project on WLUW<br /><br />If you or someone you know (especially musicians who are performing on this day) would be interested in playing with the "Scratch Orchestra Project" and Gino Robair, please contact<br />Jeff Kowalkowski for instructions (kowalkowskijeff@mac.com)<br /><br />Much Love! :)New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-10749395766761880962010-07-27T15:30:00.000-07:002010-07-27T15:34:15.564-07:00July 31--Scratch Two 3:45 PM--5:45 PM NEIUReahersal Schedule for this Saturday:<br /><br />Location: FA-144 (Fine Arts Building at Northeastern Ill. U) <br /><br />3:45--set up/soundcheck<br /><br />4:00--4:45 recorded free improvisations/re-recordings<br /><br />4:45--5:30 Open reading of participant graphic scores or directive concepts.<br /><br />Rehearsal will end at 5:45 PM<br /><br />questions/etc.: 312 848 7410 (jeff)New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-76925811433215074152010-06-30T11:54:00.000-07:002010-06-30T11:59:58.320-07:00REHEARSALS for Scratch Orchestra ProjectHello Friends of New Music at the Green Mill,<br /><br />In preparation for the upcoming fall concert,<br />There will be two OPEN rehearsals occuring on Saturday July 17 and July 31 at Northeastern Illinois University, 4-7 PM, in Fine Arts ROOM-144 (FA-144).<br /><br />Feel free to arrive late if necessary. I recommend parking on Bryn Mawr and walking to the Fine Arts Building, or you can pay $5 to park in the lot.<br /><br />We have an overload of pianists, so if you can play electronic keyboard, electronics, accordion, percussion, or other instruments besides piano, please consider some creative options. Or, we can develop piano 4 or 6-hand!<br /><br />If you have any questions please call Jeff at 312 848 7410, or e-mail: newmusicgm@gmail.comNew Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-14843512736603779512010-05-22T19:52:00.000-07:002010-05-22T19:54:36.502-07:00George Flynn<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZqDYToSDPwQtC71AGY08uL6ah2ZHIEH6NqPX48pspCrjJPkpx20Hr1QupMdM2J3C-Kd0-ZTiIpZiSRL3DtXBtFc2wA36wkRt351SEk3Np6fFQL-RwGrgSDuyOKHVu14MWOmMuTXb9nNk/s1600/IMG_6170.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 240px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ZqDYToSDPwQtC71AGY08uL6ah2ZHIEH6NqPX48pspCrjJPkpx20Hr1QupMdM2J3C-Kd0-ZTiIpZiSRL3DtXBtFc2wA36wkRt351SEk3Np6fFQL-RwGrgSDuyOKHVu14MWOmMuTXb9nNk/s320/IMG_6170.jpg" alt="" id="BLOGGER_PHOTO_ID_5474293382437429394" border="0" /></a>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-48321301623340522262010-05-17T20:58:00.000-07:002010-05-22T19:52:01.958-07:00Pieces of Night (George Flynn)Sid Samberg performs the piano solo<br /><a href="http://www.youtube.com/jseqa#p/f/0/BlIcxn9PgDE">http://www.youtube.com/jseqa#p/f/0/BlIcxn9PgDE</a>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-15869001505315899222010-05-17T20:38:00.000-07:002010-05-17T20:58:08.873-07:00GhostrunnerOne of the pieces by Julian Berke and Nick Alvarez<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxoKJQRp3RcV4XG80eFEOa7k5etkYBWfUwQ0IbP-BaKeWYp2WBXLjpHvNseGM7mFopp2qIrLCP_0QeCCwB7hw' class='b-hbp-video b-uploaded' frameborder='0'></iframe>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-45471820411863098242010-05-17T20:03:00.001-07:002010-05-17T20:37:48.893-07:00The Entrance (Robert Ashley)An excerpt of the performance by Jeff Kowalkowski and Julian Berke<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzhHKZeBp7JCXgt68MaIYxElrqe6yBLc_H1IlDMfX4SxedAsQjLzyM1aHQ8_HDZzES0oB2LV4PtNwT51hh_jg' class='b-hbp-video b-uploaded' frameborder='0'></iframe>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-22221488764529737092010-05-17T19:59:00.000-07:002010-05-17T20:02:38.589-07:00A photo set of the last concert<a href="http://www.flickr.com/photos/45219164@N00/sets/72157624083840940/">http://www.flickr.com/photos/45219164@N00/sets/72157624083840940/</a>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-38483404623139451352010-04-29T07:55:00.000-07:002010-05-17T19:21:26.020-07:00Program for the NMGM Concert May 2A Celebration of Composed, Improvised, and Graphic/Visual Music and Sound<br /><br />The Entrance (1965) Robert Ashley (b. 1930)<br />Julian Berke and Jeff Kowalkowski, Nord synthesizers<br />(originally for two electronic organs)<br /><br />Coppice<br />(something) into the Stream/(something) in the Stream (2010) for bellows and electronics<br />Noe Cuéllar/Joseph Kramer<br /><br />Songs (2010) <br />Carol Genetti, voice<br />Frank Abbinanti, trombone<br /><br />Pieces of Night, Introduction (1986) George Flynn (b. 1937)<br />11th Piece (2009) Sidney Samberg<br />Sidney Samberg, piano<br /><br />Ghostrunner <br />Julian Berke, keyboard<br />Nick Alvarez, percussion<br /><br /><br />INTERMISSION<br /><br />Volo Solo (1965) Cornelius Cardew (1936-81)<br />Julia Miller, electric guitar<br />Frank Abbinanti, piano<br /><br />Synchronization/Pixilation for Electronic Didgeridoo <br />and Real-Time Video(2010) <br />Kyle Evans<br /><br />Hypatia (for Bb clarinet, piano, percussion, and electronics) Marita Bolles<br />Christie Miller, Bb clarinet<br />Jeff Kowalkowski, piano<br />Mike Charbonneau, percussion<br />Blake Taylor, percussion<br /><br /><br />Hedge Fund Junkies(2010) Frank Abbinanti<br />written for/performed by Gimlet Eye<br />Julia Miller, guitar<br />Julian Berke, keyboard<br />Nick Alvarez, percussion<br />with Frank Abbinanti, pianoNew Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-33957975790605442292010-03-07T18:30:00.000-08:002010-03-15T13:32:20.959-07:00Jeff Kowalkowski's Review of Concert #68The following are some impressions I had while listening.<br /> <br />Alan Tormey's "Delaytude" created a relaxed environment at the Green Mill to start the concert. Minor suspension-chords, Frisell, Metheny, Fripp, 80s sound, portrait palindrome, a mesmerizing performance, an infinite feel to the gentle ostinati, beautiful chords and arpeggios.<br /><br />"From here on out sweetness is banned."<br /><br />hans w. koch:<br />Modest level feedback. "We are not at Woodstock here." Random generator Max selects frequencies and applies pitch shifts, "if the alchemy works it can be very beautiful." Huge texture from a very simple, small patch-up, huge frequency range, difference tones, sounds that probably sounded similar in 1960. I had a memory of leaving my room after casually placing my guitar on top of my amp, returning to a gentle bell-like tone welling up like a ghost. You might call it an "ah-ha" moment for a composer. Koch's conception, with it's unexpected triggers, random clusters of complex frequencies; in this environment a slight shift of position results in a completely new and unexpected section of the piece.<br /><br />The Huge variety of thick robotic textures created by a guitar face-up on a practice amp impressed me. Crispy-crunch fuzz toneMax-patch as score. If--then. No duration specified. All performances are slightly different, and sound installation and performance are wonderfully blurred and confused. <br /><br />Seth Cluett<br />One-inch speaker in sound hole, harmonics, open strings, edge of audibility, loud environment, ambient Green Mill makes the piece more surreal, (beautiful) soft little tones sustained from within the guitar. Ancient plucks harmonic, dyads/sine-tone swells, koto, Feldman's pacing, vast, delicate, disciplined economy of materials, mute string, bounce harmonics, 8 second pauses, the audience begins to count the talea and pulsate in a glacial unison.<br /><br />Gavin Bryars' texts for the back of the mind seem similar to an idea found in SATIE. For example in his piano music you find notes like "white and motionless" or "think about yourself" and "too proud." In Bryars' work table Guitars are used a as keyboards, playing long chains of lower-neighbor walking patterns. Bryars' music is minimalist meeting post-minimalist, neo-romantic, re-inventor, (like Miles). If it has not been done yet, I think this piece should be adapted for Chapman Stick or Stick(s). <br /><br />Morton Feldman<br /><br />"The strings (of the electric guitar) are constituted in such a different way than the other instruments that the pitch goes into another domain whatsoever."<br /><br />This "reenactment" of Christian Wolff's version from the late 60s was the highlight of the program. Especially impressive was the comparison between the reenactment and the "buffed-up" modern transcription by Josel played on a completely different guitar and amp. I absolutely love hearing pieces twice in a row, and it reminded me of what Ralph Shapey used to do with the Contemporary Chamber Players, they would repeat premieres, so we could hear all the splendor of the music a second time after the initial shock wears off, and you can concentrate on finer details.<br /><br />This Feldman "score" conjures such a meloncholy sound for me that I do not know of any other music like it. The loveliness of a fender tube amp sounding a single pitch; economy of means is brought to a new level with Feldman. Much of this music is monophonic, the timbre of cello glissandi, electrified, paced into vast slow patterns and shapes. A mountainous ascent up the modified harmonic series lifts the listener to higher realms of perception. <br /><br />All of this metaphysical music making would not be possible wihout the depdth of dedication and soulfulness of Seth's guitar playing. As pianist Dimitri Paperno would say, "he has convinced me."<br /><br />---A dramaturgical line to Christian Wolff---<br /><br />In Christian Wolff's prose works, the musicians are given directions, and the duration is open. "Play" was the commentary piece within this program. The impeccable ability of Seth and Julia as improvisers/interpreters, showed dynamic extremes, perfectly sloppy gestures that shocked me at times. Where does this aural image originate? At times the duo seemed to be intentionally competing for the same registral segment. There was nothing "polite" about this rendition, and that is why I found it satisfyingly cathartic.<br /> <br />High altissimo solo angelico, water drops below, guitar tones rhyme with cash register, and loud people giggling at the bar, the clink of the glasses enter the vocabulary. Randomizing improvisatory motions, similar to Meredith Monk's "Paris" <br />(1970). Smack and rub with bottle-neck, slide and table guitar truly played. We hear the importance of the click and buzz, faulty pickups, metallic sounds, the modern harp is the electric guitar. <br /><br />NIBLOCK<br />32 E-bow samples with added voices live, VIDEO (do we need it Mr. Niblock?):<br />Woman pulling bricks from barrow to barge, fisherman's mesh, shoveling shrimp and fish from wicker baskets, e-bows throb, room shakes, difference tones, roofer repairs the thatch roof, balancing with tiles, vast garden-plucking greens--compost shredder, shredding grain, as a listener I feel as if I am experiencing turbulent lurches on a plane in mid-flight, the minor-ninth interval, swoozy nausea to enjoy. <br /><br />All the field workers have blue shirts, careful attention to intervals, a chord arrives, beautiful constellations of e-bow, swoon music of a new kind, difference tones beeping in higher partials, sound bath--spectralist, spreading hey on the fields, spackle and brick work, using a piece of string to measure a foundation, ancient stone mason techniques, hammer and spike curving. Distractions. I close my eyes. I much prefer to close my eyes. <br /><br />I open them and peek again.....<br /><br />Women planting seeds in crumbling earth mud. Bulbs and flowers. A rickety old man splitting rocks. I close my eyes...<br /><br />I open them an peek again....<br /><br />A butcher and meat hooks. Bagging pig entrails. The nasty work of the butcher. I close my eyes again, no interest in the video!<br /><br />Sound ends with slaughterhouse video image........<br /><br />Consider the semiotics of isolated intervals: A Perfect-fifth (P5) fuses as women cut straws in the factory, rolling the bunches up in the old newspapers. <br /><br />In our visual culture, eye trumps ear. No need to contribute to that disbalance. I don't need the video for this music.....close eyes, open ears.New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-70480708447541154632010-02-18T09:09:00.001-08:002010-02-18T09:10:48.103-08:00Seth Josel on NMGM<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmESbAkSvUSi4GScWe7YnsWo7K3LLBKQ4BcvBfpliopH24VxZ9xpX70m4-NWtUMKiS3o_B5DGCXvkhqwzLurD6enVz3EhsHxodckWfC44YvxWFAJWFq9NWSit_pqSLOg9gmyRHaQ3QF2TO/s1600-h/SethJosel_02.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmESbAkSvUSi4GScWe7YnsWo7K3LLBKQ4BcvBfpliopH24VxZ9xpX70m4-NWtUMKiS3o_B5DGCXvkhqwzLurD6enVz3EhsHxodckWfC44YvxWFAJWFq9NWSit_pqSLOg9gmyRHaQ3QF2TO/s320/SethJosel_02.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5439631922949976274" /></a><br />Seth Josel will perform a concert of music for experimental electric guitar on a special New Music at the Green Mill series concert. The program will feature “The possibility of a new work for electric guitar (1966)” by Morton Feldman, and will also include works by Bryars, Niblock, Wolff, Tormey, Koch. Assisted by Julia Miller. Sunday Feb. 21 from 2-5New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-64963694463948639912010-01-21T18:14:00.000-08:002010-03-07T18:42:31.927-08:00Jeff Kowalkowski's Review of Concert #67I immediately recognized the textbook counterpoint as I entered the Green Mill. The sound of the flute and oboe playing <em>Intermissions</em> was wonderful! My first thought was that this composer has studied counterpoint! It is true, John Weinzwig was Patrica Morehead’s favorite harmony teacher at the University of Toronto.<br /><br />Andrew Gallovich pitch mapped <em>Let It Be</em> in an awesome manner, to my ear it sounded tri-tonal, as if individual tracks from a pop-sheen basement studio build-up were detuned slightly in both directions (up and/or down). His beautiful mix sounded magnificent through the monophonic system at the Green Mill. It is what Ives might have done if he had Pro-Tools. I felt the song was a powerful choice, in terms of the recontextualization into polytonality. After listening to a Gallovich piece, “normal” music in standard tunings sounds dull.<br /><br />Marcos Balter’s <em>Memoria</em> featured Russell Rolen on cello, with his intimidating display of bow technique! Rolen rivals bassist Stefano Scodanibbio in his mastery of the subtleties of harmonics both natural and artificial. <em>Memoria</em> is truly an excellent piece, the formal construction is evident upon first hearing. Balter has an incredible knowledge of contemporary string techniques, but the music does not sound overly calculated, instead it is very soulful.<br /><br />Extreme registers of the alto flute are beautiful sounds! Caroline Pittman is a master floutist. The tri-tone theme in Robert Lombardo’s <em>Dark Side of the Moon</em> sounded mesmerizing. This piece sounded like a classic, in league with: <em>syrinx</em> or <em>density 21.5</em>….<br /><br />Joanie Pallatto’s sad and beautiful songs moved me very much, broke me out of my selfish head. Her songs are very real to me: “my city shines” “private detective as fat as his gun” “selling streetwise with a grin” Foxtrot-Sondheim soliloquy songs, Brill building songs about age-ing and homelessness. Sparrow played the exultant continuo….<br /><br />Tom Steven’s <em>Suspension Fantasy</em> displayed his precise, gentle, and clear keyboard technique in a rondo format. The piece runs a gauntlet of refrences to my ear: Brubeck, Rzewski, Fats Waller, Danny Elfman, Lou Harrison, Satie, Meredith Monk, big band breaks, extended octave unison lines, and even some radical mood changes in the spirit of C.P.E. Bach. <br /><br />Janice Misurell-Mitchell Rocket-ed-dah-baby with this historical enactment of the lecture-performance genre. A channeling of Schwitters/Berbarian, this was just as refreshing as it was in 1995 when the work was first composed. Janice is a master performer, amazing vocal range, extremely precise ear for interval inflection, shape-shifting facial expressions and gestures. Like a musical Zelig for each situation in the score, she ridicules the Ready to ROCK mantra. This piece got the most visceral reactions from the audience, it is undoubtedly very funny at times, and scary at other times. You wonder if she is stuttering, or perhaps possessed! It reminded me vaguely of the shaman-performances that Sam Ashley was doing in the late 1990s, or the extreme vocal solos of Jaap Blonk. <br /><br />Lone Monad (Don Malone), my favorite DJ on the planet, entertained us while we took a cake break. I would like Don to do an entire set at the Green Mill at some point, perhaps with some live musicians thrown in the mix? Put it on the list for next year!<br /><br />Nina Corwin “my unquenchable hope hums along as I nail it to the wall” “like a soiled baby on the welcome mat, screaming for change”—This duo of Nina and Bill Harrison (Bass Magician!) was a complete joy to listen to. The virtuosic beat poetry, which reminded me (distantly) of Dick Buckley, captivated me. The commitment of the performers was obvious, and appreciated. The line is blurred between poet/composer—an ancient ideal. Janice Misurell-Mitchell joined in on the third song with impeccable microtonal flute lines in response to Nina’s speech-song delivery.<br /><br />Tim Bowlby’s <em>Just One More Time</em> was expertly performed by Alicia Tate (the first woman to receive a doctorate in English Horn performance from Juliard). This angular oboe solo requires considerable trill dexterity. The disjunct melodies in extreme registers resemble bird-song in the regularity of phrasing and the pauses which occur at regular paces. The snake-like melodies expand in contrary motion, and the piece evokes a fanfare mood.<br /><br />August Read Thomas’ <em>D(i)agon(als)</em> was then played by Cory Tiffin, a virtuoso clarinetist, who made the piece sound easy! Especially impressive was the final pitch in the very highest register of the clarinet, this note rang out with total confidence. The title reflects the shapes you find while listening, gradual unfolding lines (contrary motion), like jagged diagonals, sound like the shape a bird might make in casual flight. Sudden launches into melismas, and extreme octave displacement is combined with unexpected dynamic contrasts. If Weinzweig’s duo is exemplary counterpoint, Thomas’ solo is masterful textbook melodic writing.<br /><br />Kathleen Ginther’s <em>Epousailles</em> had only one flaw. It was too short! Having expert musicians Julia Bentley and Claudia Lassareff-Mironoff for only one short song was like arriving at the theater only to find that the show is sold out. I would have liked to hear an entire collection of these beautiful settings for voice and viola., or the entire cycle with flute and harp. Maybe next year Kathleen??<br /><br />George Flynn’s <em>Flamboyance</em> was performed by Frank Abbinanti and Eliza Bangert with an impressive calm precision. Once again, the players make these pieces look easy! George’s signature tri-chord keeps echoing throughout the piece, interrupted by his unique mercurial canonic alchemy. It seems to me that George’s technique can be re-cast using any combination of instruments and/or voices. His sonic fingerprints are unmistakeable.<br /><br />The oldest piece on the program, George Crumb’s <em>Gnomic Variations</em>, was written for Jeffrey Jacob in 1981 and performed at the Green Mill to end this concert. Jeffrey mentioned that many people feel this is Crumb’s best work for solo piano, and he should know--he has recorded every piece in Crumb’s catalogue. As I am a collector of garden gnomes, I was saddened to learn that Crumb’s intended reference in the title was “gnomic: an embedded idea that is very large, contained in a pithy phrase.” I wanted to see the little elfins running around in the yard. However, while listening to the performance, the structural philosophy became evident; the alternate meaning of gnomic became clear. Jeffrey’s ability to play inside the piano, just as proficiently as he plays on the keys, made this piece seem like a duo for one performer, or a duo for harp and piano. His control of the harmonics, plucked/auto-harp techniques, Cowell clusters, and muted strings struck with the keys was ear-opening. I would have to look at the score, but I sensed that this piece may be palindromic on some level, with thematic shapes returning in opposite registers/timbres. Jeffrey Jacobs is truly a world-class performer, with piano technique of impressive depth and accuracy. I hope he returns to <em>New Music at the Green Mill</em> with his own music! Indiana is not far away…….New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-44054592367772246192010-01-14T12:17:00.000-08:002010-01-14T12:18:44.109-08:0066th concert--Sunday, January 17Sun Jan 17, 2010 <br /><br />66th in a series <br /><br />2pm-5pm <br />$5 cover <br /><br />featuring performances and/or compositions by: <br />Frank Abbinanti <br />Eliza Bangert <br />Mark Baldin <br />Marcos Balter <br />Tim Bowlby <br />Nina Corwin <br />George Crumb <br />George Flynn <br />Andrew Gallovich <br />Kathleen Ginther <br />Joanna Jamroziak <br />Jeffrey Jacobs <br />Luis Kinugawa <br />Eric Malmquist <br />Don Malone <br />Janice Misurell-Mitchell <br />Pat Morehead <br />Joanie Pallatto <br />Russell Rolen <br />Bradley Parker Sparrow <br />Tom Stevens <br />Alicia TaitNew Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-13715990121854672532009-11-02T19:28:00.001-08:002009-11-02T19:28:42.746-08:00New Music at the Green Mill (1)<object width="400" height="300"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=7358498&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=7358498&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/7358498">New Music at the Green Mill (1)</a> from <a href="http://vimeo.com/jseqa">julia miller/jseq_a ("jessica")</a> on <a href="http://vimeo.com">Vimeo</a>.</p>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-36382074535494001982009-11-02T19:26:00.000-08:002009-11-02T19:28:03.404-08:00New Music at the Green Mill (2)<object width="400" height="300"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=7366790&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=7366790&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/7366790">New Music at the Green Mill (2)</a> from <a href="http://vimeo.com/jseqa">julia miller/jseq_a ("jessica")</a> on <a href="http://vimeo.com">Vimeo</a>.</p>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-3970733548556297852009-11-02T19:24:00.000-08:002009-11-02T19:26:19.188-08:00New Music at the Green Mill (3)<object width="400" height="300"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=7366987&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=7366987&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/7366987">New Music at the Green Mill (3)</a> from <a href="http://vimeo.com/jseqa">julia miller/jseq_a ("jessica")</a> on <a href="http://vimeo.com">Vimeo</a>.</p>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0tag:blogger.com,1999:blog-9105774776572098194.post-8942686555244086482009-11-02T19:18:00.000-08:002009-11-02T19:24:26.921-08:00New Music at the Green Mill (4)<object width="400" height="300"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=7367308&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=7367308&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="300"></embed></object><p><a href="http://vimeo.com/7367308">New Music at the Green Mill (4)</a> from <a href="http://vimeo.com/jseqa">julia miller/jseq_a ("jessica")</a> on <a href="http://vimeo.com">Vimeo</a>.</p>New Music at the Green Millhttp://www.blogger.com/profile/13839945356989062291noreply@blogger.com0