| < | August 15, 2014 | > |
Tweets
Contrary to popular belief, Twitter did not invent the abbreviated message service known as tweets. That honor belongs to Lucy Lamington, who began “tweeting” way back in the 1940s. She did so by conversing with her pet grackles in a high - pitched, s queaky - cheep y vo ice. Due to the birds’ short attention span, Lucy limited her vocalizations to 140 tweet s per session . But once the birds started to respond in kind , voilà ! – social networking and microblogging ( interspecific, to be sure ) w ere born! 
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NEW VIDEO: Fifteen Minutes of Fame
The video from August 6, 2014 World Premiere of Fifteen-Minutes-of-Fame: Robert Botti, oboe at Subculture in New York City is now available:
Simply click on the word PLAYLIST on the top left of the video to find the entire playlist for 2014. On the same page, below the 2014 videos, you can find our playlist for 2013 Fifteen-Minutes-of-Fame. You’ll be able to see our recently posted video of Fifteen-Mintues-of-Fame:: Satoshi Okamoto, double bass and Pascual Martinez Forteza, clarinet. We’ll keep them coming! |
NEW VIDEO: Composer's Voice
Check out the videos from the Composer’s Voice July 27, 2014 concert curated by Joseph Bohigian.
You can find all of the performances as well as 2 world premieres (by Octavio Vazquez and Rain Worthington) from our recent call-for-scores for violinist Eva Ingolf at:
Simply click on the word PLAYLIST on the top left of the video to find the entire playlist for 2014. |
MaD CircleThe second “MaD Circle” performance at the Composer’s Voice Concert Series was another successful presentation of new music and dance. (See my other review for the first MaD Circle performance click here.) The “MaD Circle” project sought to rethink the classic forms of the waltz and tango by combining commercial dance and concert dance to create something new. 
For this concert, curators Erin Bomboy and Callie Hatchett called for choreographers to create new works set to original music written for the project. Each selected choreographer was given a piece of music, based on either the waltz or tango form, and assigned to revitalize the form of classic dance “for a new generation through fresh choreographic ideas and rejuvenated music structures”. Like the first “MaD Circle” performance, the result was a variety of unique takes on innovating upon classical forms. 
A stand-out work from the concert was Natalie N. Johnson’s generative grammar, performed by Anna Hulse and Justine Lee and set to music by Oldrini Norberto. Norberto’s Depistango, to which Johnson’s choreography was set, was a clarinet solo full of disjunct lines and elusive meters. Johnson’s choreography, which was performed with great energy by Hulse and Lee, matched this music quite effectively, using quick, aggressive movements and leaps across the stage to match the style of Norberto’s work. This harmony between music and dance coupled high quality of both elements made generative grammar one of the most effective pieces of the afternoon. 
Another highlight of the performance was Jonathan Breton’s Carcan, which he both choreographed and performed. Breton piece was set to music by David Charles Meckler, whose A Tango dreams of Being a Waltz was one of the strongest pieces of music on the concert. In contrast to some of the other works, Meckler’s piece took a more abstract approach and went further in remaining what the tango and waltz could become. The result was music that did not at first sound like standard dance music, but was in reality set to stunning choreography by Breton that perfectly matched Meckler’s sounds. Breton’s athletic performance had him leaping and rolling around the stage in a graceful way that matched the eeriness of Meckler’s music and captured the audience’s attention. 
Joseph Bohigian |
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