Ne(x)tworks @ CAM 4/5/08

Sunday, April 6, 2008

Because of some technical error, the program for yesterday’s Ne(x)twork’s show did not get printed correctly. Here it is:

EMF and CBD Music present

Ne(x)tworks: Dialogics 2
Chelsea Art Museum
Saturday April 5 2PM
$15

Music of Alvin Curran, Joan La Barbara, and Miguel Frasconi

Distancing #4 (1983/2008) Miguel Frasconi

Triadic Limbo (2007) (fragment) ** Alvin Curran

Words on Water (Shimmer) (2008) ** Joan La Barbara

Endangered Species
(1994 – 1996) Alvin Curran

Why Is This Night Different From All Other Nights (1992) Alvin Curran
Saltando in Padella (2005) ***

Al Forno Al Sugo Al Pesto Al Vino (2001) (fragment) Alvin Curran

** There will be no pause between Triadic Limbo and Words on Water (Shimmer)

*** Fragments of Why Is This Night Different From All Other Nights and Saltando in Padella will be performed simultaneously.

Notes on the program

Alvin Curran
From The Alvin Curran Fake Book: Saltando In Padella Dal Quinto Piano Mentre Passing Notes In Triadic Limbo (2008)

Ne(x)tworks is pleased to feature the work of Alvin Curran, acclaimed composer, sound artist, and longtime member of the radical improvisation group MEV. The music on today’s program is selected from The Alvin Curran Fake Book, a compilation of compositions, sketches and improvisational modules created over the past 40 years. The arrangement, entitled Saltando In Padella Dal Quinto Piano Mentre Passing Notes In Triadic Limbo, has been created by the composer specifically for Ne(x)tworks. It consists of a string of recent pieces and fragments thereof that are to be presented in modular format. For this performance Ne(x)tworks draws upon material from Triadic Limbo (2007), Why Is This Night Different From All Other Nights (1992), Saltando in Padella (2005), Al Forno Al Sugo Al Pesto Al Vino (2001), and Endangered Species (1994-1996). Ne(x)tworks presents this piece in celebration of Alvin Curran’s 70th year. The ensemble is also planning to release a CD of Curran’s music on the Mode label in the near future.
–Cornelius Dufallo

Joan La Barbara
Words on Water (Shimmer) (2008)

Shimmer is heat rising from the desert floor, shimmer is light sparkling on water, shimmer is wraiths passing along the back walls, shimmer is the aurora borealis, shimmer is in ghostly conversations. “Words on Water (Shimmer)” (2008) is the latest scene from an opera in-progress, for multiple layers of voices, instruments and sonic “atmospheres”. Here, I am exploring sounds inside the mind, impossible sounds, fragile sounds, transparent, ghostly sounds, shimmering voices and modular fragments. A series of inhales with no exhale, separated by sonic blackness, silences of varying lengths are shattered by a sudden burst of underwater wails, as the work moves from interior to exterior space and back again.
– Joan La Barbara

Miguel Frasconi
Distancing #4 (1981/83, arr. 2008)

In 1981, while I was living in Toronto, my composer friend Jon Siddall returned from Mills College in CA, where he had been studying with Lou Harrison and Robert Ashley. Before leaving Mills, Jon asked Lou to buy him an eight-piece gamelan degung ensemble on his next trip to Java. Lou followed through on this promise, and all the bronze keys & pot-gongs were on their way. Toronto would soon have its very first gamelan. This was particularly exciting news for me as, at the time, I often visited the then newly formed homemade new music gamelan Son of Lion on my frequent trips to NYC. I was also in a group, The Glass Orchestra, that was a self described “free-improv glass gamelan.” Upon hearing Jon’s news I immediately wrote “Study in Slendro: Distancing.” This was an open-instrumentation, homophonic, steady-pulse piece exploring additive and subtractive cross rhythms expressed through permutations of a basic pentatonic scale. The first performance was solo violin. The second, a large, loud rock band. In 1983 I arranged it for the ensemble that inspired it, and “Distancing #3” was performed in the very first concert of Toronto’s Evergreen Club Gamelan. Twenty-five years later, I’ve dusted off the score and have given it new life in an arrangement specifically for this concert.
-Miguel Frasconi

It was a wonderful concert, by the way.

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