- 0404.April.Thursdayhttp://avantphilly.com/event/maria-grand-jupiter-blue/The Art Dept1638 East Berks Street, Philadelphia, PA 19125
Maria Grand (solo):
María Grand is a saxophonist, composer, educator, and vocalist. She moved to New York City in 2011. She has since become an important member of the city’s creative music scene, performing extensively in projects including musicians such as Nicole Mitchell, Vijay Iyer, Craig Taborn, Mary Halvorson, Jen Shyu, Fay Victor, Joel Ross, Steve Lehman, Aaron Parks, Miles Okazaki, etc. María writes and performs her original compositions with her ensemble, DiaTribe; her debut EP “TetraWind” was picked as “one of 2017’s best debuts” by the NYC Jazz Record and her full-length album Magdalena was praised by major publications such as the New York Times, Downbeat, JazzTimes, Billboard, JazzIz, and others. The New York Times calls her “an engrossing young tenor saxophonist with a zesty attack and a solid tonal range”, while Vijay Iyer says she is “a fantastic young saxophonist,
virtuosic, conceptually daring, with a lush tone, a powerful vision, and a deepening emotional resonance.”
María is a recipient of the 2017 Jazz Gallery Residency Commission, the 2018 Roulette Jerome Foundation Commission, and the 2019 Roulette Residency. She was nominated for the Jazz Journalist’s Association Up-And-Coming Musician of the Year 2018 and named the 2018 Newcomer Musician for the El Intruso 11th Annual International Critics Poll. As an activist in the performing arts, María is a founding member of anti-discrimination group the We Have Voice Collective. María is a member of Joel Ross’ Parables, has toured with Antoine Roney, and performs regularly with her own ensemble, as well as with RAJAS, led by Carnatic musician Rajna Swaminathan, and will tour in 2019 with Code Girl, led by Mary Halvorson. She has toured Europe, the United States, and South America, playing in venues and festivals such as WinterJazzFest and the Village Vanguard in NYC, La Villette Jazz Festival in Paris, Saafelden Jazz Festival in Austria, Millennium Park in Chicago, the Blue Whale in LA, IloJazz in Guadeloupe (FR), and many others.
From the Arkestra’s engine room, Jupiter Blue’s tone scientists D.Hotep and Jupiter Girl (Tara Middleton) emerge to reveal elements and precepts of another kind of language, another tomorrow, learned through years of discipline to be given freely in the present. Hotep’s own ARP (Akimbo Research Projects) develops through-composed and free-improvised performance based on sonification of pitch-sets derived from elemental particles. Expect the never-expected as electronics, electric guitar, celestial vocals, percussion, and violin call forth shadows of unseen worlds.
- 0404.April.Thursdayhttp://avantphilly.com/event/magnus-granberg-and-ordinary-affects/University Lutheran Church3637 Chestnut St, Philadelphia, Pennsylvania 19104
Bowerbird is pleased to present the Philadelphia premiere of the Boston-based experimental music ensemble Ordinary Affects and a new evening length work by Magnus Granberg, a Swedish composer closely associated with the Wandelweiser movement. Of Granberg’s recent How Vain Are All Our Frail Delights?, journalist Ben Harper notes, “[Granberg] combines individual sounds and small fragments of material into a type of mobile structure, allowing the musicians to draw from one group or another at different times. A resemblance to late Feldman comes here from the sense of hearing patterns overlap and repeat, only never quite the same. The music feels like one extended moment, constantly changing in appearance but never changing in substance.”
Bowerbird’s Steinway Model O piano was donated in honor of Virginia Francis Lease. This concert has been supported by the Swedish Arts Grants Committee.
ABOUT THE ARTISTS
Ordinary Affects is a Boston-based experimental music ensemble. Experimental composer/performers J.P.A. Falzone, Laura Cetilia, Luke Martin, and Morgan Evans-Weiler make-up the ensemble, performing on piano/organ/percussion, cello, violin, and guitar/electronics (respectively). The ensemble was formed as a group of musicians seeking to workshop, commission, and perform experimental music. Their work is often aligned with the tradition of John Cage and the Wandelweiser Collective. While the group frequently focuses on the performance of commissioned compositions of living composers, it also serves as a laboratory for improvisation and the compositions of its members. Whenever possible, Ordinary Affects involves the commissioned composer as a performer in the ensemble. Ordinary Affects has commissioned and premiered pieces by Eva-Maria Houben, Christian Wolff, Michael Pisaro, Antoine Beuger, Sarah Hughes, Eva-Maria Houben, Ryoko Akama, Doug Farrand, Patrick Farmer, and Jurg Frey, in addition to performing works by Joseph Kurdika, John Lely, and all ensemble members. In summer 2017, Ordinary Affects attended the Avaloch Residency. Ordinary Affects has recordings on elsewhere, Another Timbre, and forthcoming recordings on Ftarri and Editions Wandelweiser.
Magnus Granberg is a composer and performer working at an intersection between contemporary chamber music and improvisation. He is based in Stockholm, Sweden. Born in Umeå in 1974, he studied saxophone and improvisation at the University of Gothenburg and in New York in his late teens and early twenties. Self taught as a composer, he formed his own ensemble Skogen in 2005 trying to integrate experiences, methods and materials from various traditions of improvised and composed musics into a new modus operandi. Now mainly working with the ensemble Skogen and the newly formed Skuggorna och ljuset, while increasingly also writing music on commission for different ensembles and projects. He is also active as an improvisor in different contexts, mainly playing the clarinet. His music has been performed in Norway, Sweden, Switzerland, the United States, England, Austria, Hungary and Slovenia, broadcast by public radio channels in England (BBC Radio 3 and 6), Germany (SWR 2), Sweden (SR P2), Estonia, Slovenia, Serbia, Hungary and the United States, and has been published by the renowned British record label Another Timbre. Recent work includes a commission from Another Timbre and Ensemble Grizzana and collaborations with musicians such as David Sylvian, Christoph Schiller and the Swiss duo Diatribes. He has in the last decade also, more or less regularly, collaborated with musicians such as Angharad Davies, Tisha Mukarji, Tetuzi Akiyama, Toshimaru Nakamura, Anna Lindal, Kristine Scholz, Rhodri Davies, Simon Allen, Christoph Schiller and Ko Ishikawa.
- 0909.April.Tuesdayhttp://avantphilly.com/event/maryanne-amacher-an-introduction/Kislak Center3420 Walnut St Philadelphia, PA 19104, 6th floor
Bowerbird, in collaboration with The University of Pennsylvania’s Music Department and the Kislak Center, are pleased to present “Maryanne Amacher: An Introduction” a talk by scholar-artist Bill Dietz on the life and work of Maryanne Amacher (1938 – 2009). Featuring rarely presented archival material, the talk will illuminate Amacher’s unique methodology and studio practice.
Maryanne Amacher’s formative years were spent in Philadelphia. She enrolled in the University of Pennsylvania in 1955, where her education was funded in part by a prestigious Senatorial Scholarship. As a music major, she studied with composer and theorist Constant Vauclain, George Rochberg and the prominent German avant-garde composer Karlheinz Stockhausen during his tenure in Philadelphia in 1964 and 1965. Alongside music classes at the University of Pennsylvania, Amacher pursued a rigorous humanities education, which included courses in literature, French language, philosophy, and journalism. Amacher’s undergraduate work in the journalism department coincided with the department’s first courses on television production and criticism (as well as the founding of the Annenberg School for Communication in 1959), and her lifelong interest in creating work for mass-media broadcast on radio and television suggests that these courses shaped her commitment to weaving perceptual experiments into everyday, domestic life.
Class of 1978 Orrery Pavilion
Kislak Center for Special Collections, Rare Books and Manuscripts
Van Pelt-Dietrich Library Center, sixth floor
3420 Walnut Street, Philadelphia, PA
Free and open to the public (please show photo ID at entrance)
Program duration approximately 60 mins.
Sound, space, and psychoacoustic phenomena are explored as three different facets of Maryanne Amacher’s creative work are joined together in a single evening for the first time. The program features two of Amacher’s rare compositions including live instruments: Adjacencies (for percussion and spatialized, four-channel electronics) and Petra (for two pianos). The artistic collective Supreme Connections will also create a site-specific interpretive installation using archival audio and visual materials. Each work will be staged in a different architectural space inside the beautiful and expansive Holy Apostles and The Mediator Church.
performance installation by Bill Dietz, Sergei Tcherepnin, Keiko Prince, Woody Sullender, Nora Schultz, and Amy Cimini.
Amacher: Adjacencies (1965)
Robert Cosgrove, percussion
Russell Greenberg, percussion
Daniel Neumann, electronics
Woody Sullender, electronics
Amacher: Petra (1991)
Marianne Schroeder, piano
Emily Manzo, piano
Program duration approximately 120 mins.
This event is part of Maryanne Amacher: Perceptual Geographies.
Maryanne Amacher (1938-2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. A collaborator with John Cage and Merce Cunningham, Amacher spent her formative years as an artist in Philadelphia, where she studied at the University of Pennsylvania with composer Karlheinz Stockhausen. She is frequently cited as a pioneer of what has come to be called sound art, although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of this nascent genre.
Though Amacher is known primarily as an electronic composer, early on she wrote a handful of pieces for classical instruments using experimental forms of notation. AUDJOINS, a Suite For Audjoined Rooms was a collection of such works, from the early to mid-’60s, for various spatially staged ensembles. Adjacencies, a graphic score for two percussionists and electronics, was written in 1965 (during her time in Philadelphia) and is the only known extant score of that series. The work directs performers by sending their microphone signals to a changing array of speakers surrounding the audience, combining otherwise distinct worlds of sound. Not performed since 1966, Lawrence Kumpf’s New York City based presenting organization Blank Forms collaborated with Amacher scholars Amy Cimini and Bill Dietz to unpack and analyze the score for its posthumous realization. The work was given its modern premiere at The Kitchen in 2017 with Ian Antonio and Russell Greenberg of the experimental piano-percussion quartet Yarn/Wire, with sound distribution by Daniel Neumann and Woody Sullender.
Starting in the late seventies, the central focus of Amacher’s practice shifted to the site-specific transformation of architectural space, involving the measured, oblique placement of speakers behind walls and under floors to reimagine manmade structures as massive analog sound filters. Moving from the entire-building scale of her Music For Sound Joined Rooms to the Mini Sound Series, Amacher strategically incorporated a variety of visual elements as cues for suggested spatial navigation. Requiring prolonged venue access as well as considerable equipment, Amacher was almost never able to mount these costly works in the US before her death in 2009, presenting them largely in Europe and Japan. Inspired by vernacular serial formats, she emphasized that the architecturally staged pieces, as distinguished from a continuous installation or traditional concert genre, were intended as “an evolving sound work ‘to be continued.’”
In 2012 a group of Amacher’s former collaborators took up the baton, joining forces to collectively engage with the questions of the posthumous life of their friend’s site-adaptive work. Under the name Supreme Connections (the top secret sound lab featured in Amacher’s unrealised treatment, Intelligent Life), the loose formation developed a model for realizing Amacher’s radical approach in keeping with its complex conception of “the work.” Recreating the working methodology of Amacher’s later years through conscious interpretation rather than incongruously faithful reenactments, Supreme Connections created a series of large-scale “hearing as if” installations at the Funkhaus, Tate Modern, Bienal de São Paulo, and Stedelijk Museum. With a week of 24-hour venue access at their disposal for the collective’s first-ever project in the US, this iteration of Supreme Connections is comprised of Bill Dietz, Sergei Tcherepnin, Keiko Prince, Woody Sullender, Nora Schultz, and Amy Cimini.
Amacher’s 1991 piece Petra was originally commissioned for the ICSM World Music Days in Boswil, Switzerland. Written for two pianos, Petra is a unique example of Amacher’s late work, a direct extension of her working methodologies for electronic compositions taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. The piece is a sweeping, durational work based on both Amacher’s impressions of the church at Boswil and science-fiction writer Greg Bear’s short story of the same name, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame.
The piece will be performed by Marianne Schroeder, who originally performed the piece alongside Amacher in 1991, and Emily Manzo. Like much of Amacher’s work, a performance of Petra is not as straightforward as it might appear—there is no definitive score but rather a series of fragments and working notes left to be deciphered. This third ever performance is an expanded version based on a newly discovered notes and scores from the Maryanne Amacher Archive.
Ways of Hearing is a multi-part workshop lead by the artist group Supreme Connections that explores the complexity and nuance of Maryanne Amacher’s artistic practice and her idea of “perceptual geography” as an approach to composition. These events will include in depth listening and discussion of archival audio, and the presentation of unpublished images of scores, notes, and texts selected from the Amacher Archive. The workshop is open to all, but overall group size is limited. Advanced registration is strongly encouraged.
This program runs from 1pm to 5pm. Breaks and light refreshments will be provided.
Today media exist which begin to mirror the sensitive range of our perceptual modes. As technologies develop to enhance the range and subtlety of our responsive energies, will the auditory arts do likewise? Will sound art explore emergent technologies to delve consciously into these expanded sensitivities? And in what ways? Taking VR (Virtual Reality 3D sonic imaging and graphics, telepresence, and cyberspace) as a point of departure, this workshop examines possibilities of individualizing sonic architectures for listeners and for spaces – an approach to composition as “perceptual geography.”
With today’s programmable immersive technologies, scenarios can be created which focus on multiple perceptual viewpoints as we respond to auditory events. Ways of hearing — how we locate, sense and feel sonic events — are in fact the specific factors which characterize experience in immersive sonic architectures; how we particularize acoustic information to construct distinct transformative experiences. How certain sounds are to be perceived — what perceptual modes they trigger, where and how they will exist for the listener — becomes as important in shaping an aural architecture as the acoustic information: frequencies, tone colors, and rhythms.
“Will certain sounds be locatable, seem miles away, feel close, pulsate vertically above our head, vibrate an elbow, suddenly appear in the space, dramatically disappear as though without a sound? Do we perceive the sound in the room, in our head, a great distance away: do we experience all three dimensions clearly at the same time? In the room, does the sound drift, float, fall like rain? Does it make such a clear shape in the air we seem to “see it” in front of our eyes? Is there no sound in the room at all, but we continue to hear “after-sound” as our mind is processing aural events perceived minutes ago? Do we experience sonic imaging very near, moving beside (outside and around) one ear only: “feel” patterns as they in fact, do originate and develop quite specifically inside, within our ears…
Excerpted from Maryanne Amacher’s “MUS 352B Workshop in Electronic, Electroacoustic and Computer Music Composition” course listing at Bard College.
ABOUT SUPREME CONNECTIONS
In 2012 a group of Amacher’s former collaborators took up the baton, joining forces to collectively engage with the questions of the posthumous life of their friend’s site-adaptive work. Under the name SUPREME CONNECTIONS (the top secret sound lab featured in Amacher’s unrealised treatment, Intelligent Life), the loose formation developed a model for realizing Amacher’s radical approach in keeping with its complex conception of “the work.” Recreating the working methodology of Amacher’s later years through conscious interpretation rather than incongruously faithful reenactments, SUPREME CONNECTIONS created a series of large-scale “hearing as if” installations at the Funkhaus, Tate Modern, Bienal de São Paulo, and Stedelijk Museum. This iteration of SUPREME CONNECTIONS is comprised of Bill Dietz, Sergei Tcherepnin, Keiko Prince, Woody Sullender, Nora Schultz, and Amy Cimini.