Miolina, violin duo, Lynn Bechtold and Mioi Takeda
Noted for her ‘virtuosity and technical expertise’ in All About Jazz, and labeled ‘up-and-coming’ by Time Out, violinist/composer Lynn Bechtold has appeared in recital throughout North America and Europe, and has premiered solo/chamber works by composers such as Carter Burwell, Gloria Coates, George Crumb, John Harbison, Alvin Lucier, and Morton Subotnick. She is a member of groups including Zentripetal, Miolina, BleeckerStQ, N/S Consonance, and SEM, and her performances have been broadcast on various TV and radio, including 30 Rock, CBS Morning Show, Good Day NY,Unbreakable Kimmy Schmidt, CBC, NHK, and WNYC. An active performer of all genres of music, she has appeared at venues including Bowery Ballroom, Carnegie Hall, Lincoln Center, Joe’s Pub, LPR, and Madison Square Garden. She holds degrees from Tufts University, New England Conservatory, and Mannes College-The New School for Music, where she studied with noted violinist Felix Galimir. As a composer, she specializes in electroacoustic compositions. Her works have been performed on festivals and series such as Circuit Bridges, the Composers Concordance Festival and the Music With A View Festival, and at venues such as Bohemian National Hall and the Austrian Cultural Forum in NYC, and at the Institut Finlandais in Paris. She teaches at the Dwight School and Greenwich House Music School in NYC, and she is on the artistic staff of the Norwalk Youth Symphony in CT.
Minnehaha Miniatures, for two violins and pre-recorded electronics, was written in early 2015, to be included on a concert Miolina would be performing on International Women's Day. At the time, I was spending time performing with a dance company in Minneapolis and Grand Marais, MN, and I was surprised to see just how many streets/parks/towns there were named after Minnehaha, a fictional Native American woman in Henry Wadsworth Longfellow's epic poem The Song of Hiawatha. It seemed interesting to me that this fictional character was honored in so many ways, probably in more ways than many actual women. While researching the name "Minnehaha," I found out that it means "waterfall" in the Native American Dakota Sioux dialect. Ironically, "Lynn" is also said to mean "lake" or "waterfall" in Old English. During this time, I came across the amusing Google pronunciation and decided to include it in the piece. The pre-recorded electronics derive from this Google pronunciation and serve to add microtones to the work.
Triptych: Three Studies in Gesture and Noise
William Price’s music has been performed in Europe, South America, Asia, and throughout the United States. His works have been featured prominently at such events as the World Saxophone Congress, the International Trumpet Guild Conference, the Música Viva Festival in Portugal, the Musinfo Art & Science Days in France, the International Clarinet Association Conference, the New York City Electroacoustic Music Festival, the Society of Electroacoustic Music in the United States (SEAMUS) National Conference, the Bowling Green State University New Music Festival, and the Florida State University Festival of New Music.
Price’s music has received awards and commissions from numerous organizations, including ASCAP, the Percussive Arts Society, NACUSA, the Southeastern Composers League, and the Alabama State Council on the Arts, and in 2009 he was named the Music Teachers National Association Shepherd Distinguished Composer of the Year. His works are published by Triplo Press, Honeyrock Publishing, Cimarron Music Press, Northeastern Music Publications, Conners Publications, and Imagine Music Publishing, and William’s music is available on Ablaze Records, Summit Records, Innova Recordings, New Focus Recordings, New Tertian Recordings, EMPiRES Recordings, and Mark Records.
Dr. Price received a BMEd degree from the University of North Alabama and his Masters and Doctoral degrees in Composition from Louisiana State University, where he studied composition with Dinos Constantinides and electroacoustic composition with Stephen David Beck. Dr. Price currently teaches courses in music theory and composition at the University of Alabama at Birmingham.
Composed in 2014, Triptych: Three Studies in Gesture and Noise is a two-channel electroacoustic composition that explores and develops artifacts found in the space between recorded sounds. It is a three-part cyclical assemblage based primarily on noise, musical remnants, and studio debris.
Duetto con Bobik
Brian C. Moon
Mioi Takeda, violin
Brian C. Moon received his Master of Music in Composition from Birmingham-Southern College and his Bachelor of Arts in Music Technology from the University of Alabama at Birmingham. His composition instructors include Ron Clemmons, Jan Vicar, Traci Mendel, Charles Mason and Dorothy Hindman. For many years, Brian has been an active composer and member of the Birmingham Art Music Alliance, as well as an adjunct music instructor at Birmingham-Southern and UAB, where he has taught Ear Training, Computer Music, and Multimedia Productions. Brian also served as Director of the Computer Music Ensemble for the Fall 2003 semester. As for the local Birmingham band scene, Brian is singer/songwriter for the Maisleys and bassist for Delicate Cutters. Brian currently serves as President for the Birmingham Art Music Alliance, an autonomous nonprofit organization with the twofold mission of promoting music by Alabama composers and presenting concerts of recently created art music to communities in Birmingham and beyond.At UAB, Brian is the instructional design manager for the College of Arts and Sciences. He supports and develops innovative pedagogies for both classroom and virtual environments, within the College’s Digital Media and Innovative Learning group.
Duetto con Bobik, a piece for solo violin and electronics, was written for violinist Karen Bentley Pollick in 2010. The electronics for this piece are comprised entirely of manipulated recordings of Bobik—a stray hound dog that had taken up residence at the President’s home on the campus of Birmingham-Southern College. These recordings influenced the rhythmic, textural, and melodic composition of the work, resulting in a quirky, fun, and surprisingly tonal experience. Though most of the melodic material in the tape part did not need to be auto-tuned, some material was tweaked using the “I Am T-Pain” application on an iPhone.
Holland Hopson Composer/Performer: banjo, voice, electronics
Holland Hopson is a composer, improviser, and electronic artist. As an instrumentalist he performs on clawhammer banjo, soprano saxophone and electronics. He has held residencies at the Atlantic Center for the Arts, Florida; STEIM, Amsterdam;Experimental Music Studios, Krakow and Katowice, Poland; Sonic Arts Research Studio,Vancouver, Canada; LEMURPlex, Brooklyn; and Harvestworks Digital Media Arts, New York where he developed a sound installation based on Marcel Duchamp’s sculpture, With Hidden Noise. An avid phonographer, Holland has recorded sounds on five continents and in over a dozen countries. Holland’s latest solo recording is Post & Beam, a collection of traditional and original songs arranged for banjo and live electronics. The Albany Times Union called Post & Beam “a haunting, often mesmerizing album of old songs and new sounds.”
Oren Fader, guitar
Neil Leonard is a composer, saxophonist and interdisciplinary artist. His work ranges from solo concerts for saxophone/live electronics, to works for orchestra, audio/video installation and sound for dance, theater and performance.
His compositions/performances were featured by Carnegie Hall, Boston Globe Jazz Festival, Musicacustica (Beijing), International Computer Music Convention (Montreal), Tel Aviv Biennial for New Music, Moscow Autumn, Auditorium Parco della Music (Rome), Museo Riena Sofia (Madrid), Panama Jazz Festival, Jazz Plaza International Festival (Havana). Leonard’s ensemble featured Marshall Allen (Director of Sun Ra Orchestra), Bruce Barth, Joanne Brackeen, Don Byron, Uri Caine, Kenwood Dennard, Robin Eubanks, Oriente Lopez, Rudresh Mahanthappa, Badal Roy, Jamaaladeen Tacuma. He has collaborated with Juan Blanco, Richard Devine, Bill Frisell, Phill Niblock, Robin Rimbaud aka Scanner, Amnon Wolman.
Leonard composed the music for Relatives, by Tony Oursler and Constance DeJong that was featured by the Whitney Biennial and the ICA, Boston. Leonard's work with visual artist Maria Magdalena Campos-Pons spans twenty-five years. Their collaborative performance, film, video and installations were featured by the Havana Bienal, 49th and 55th Venice Biennale, Museum of Modern Art (NYC), purchased by the National Gallery of Canada and presented by Dakar Biennial.
Leonard is the Artistic Director of Berklee College of Music's Interdisciplinary Arts Institute. He is currently on the Fulbright Specialist Roster and is a Research Affiliate at M.I.T. program in Art, Culture and Technology.
I Will Not Be Sad In This World
Margaret Lancaster, bass flute
According to the Los Angeles Times, composer and performer Eve Beglarian “is a humane, idealistic rebel and a musical sensualist.” She was recently awarded the 2015 Robert Rauschenberg Prize from the Foundation for Contemporary Arts for her “innovation, risk-taking, and experimentation.”
Beglarian’s current projects include Descent, an immersive music-theater piece about a downed female aviator; the long-term undertaking A Book of Days, text/music/visuals, one for each day of the year; and Brim, the ensemble and repertoire she has created in response to her 2009 journey down the Mississippi River by kayak and bicycle.
Beglarian's chamber, choral, and orchestral music has been commissioned and widely performed by the Los Angeles Master Chorale, the American Composers Orchestra, the Bang on a Can All-Stars, the Chamber Music Society of Lincoln Center, the California EAR Unit, the Orchestra of St. Luke's, Relâche, the Paul Dresher Ensemble, Sequitur, loadbang, the Guidonian Hand, Newspeak, the Ekmeles Vocal Ensemble and individual performers including Maya Beiser, Sarah Cahill, Lauren Flanigan, Marya Martin, and Mary Rowell.
Highlights of Beglarian's work in music theater includes music for Mabou Mines' Obie-winning Dollhouse, Animal Magnetism, Ecco Porco, Choephorai, and Shalom Shanghai, all directed by Lee Breuer; Forgiveness, a collaboration with Chen Shi-Zheng and Noh master Akira Matsui; and the China National Beijing Opera Theater's production of The Bacchae, also directed by Chen Shi-Zheng.
She has collaborated with choreographers including Ann Carlson, Robert LaFosse, Victoria Marks, Susan Marshall, and David Neumann, and with visual and video artists including Cory Arcangel, Anne Bray, Vittoria Chierici, Barbara Hammer, Kevork Mourad, Shirin Neshat, Matt Petty, and Judson Wright.
Performance projects include Brim, Songs from a Book of Days, The Story of B, Open Secrets, Hildegurls’ Ordo Virtutum, twisted tutu, and typOpera.
Recordings of Eve's music are available on Koch, New World, Canteloupe, Innova, CRI Emergency Music, OO Discs, Accurate Distortion, Atavistic, Naxos, Kill Rock Stars, and forthcoming on ECM.
For more information about Eve Beglarian, please visit www.evbvd.com.
I will not be sad in this world is based on the song “Ashkharumes Akh Chim Kashil” by the legendary 18th-century Armenian troubadour Sayat Nova and is often played on the duduk.
Thanks to Marya Martin who commissioned the piece. Many thanks to my friend and colleague Margaret Lancaster, who tried out the piece for me and advised me about notation. Thanks also to the Civitella Ranieri Foundation who were my generous hosts while I was writing I will not be sad in this world.
Margaret Lancaster, voice
Composer, producer, singer, Robert Voisey has been described as “mad” by the New York Times and publications around the globe. The LA Times highlighted Voisey as a composer using creativity to get his work heard. His work has been heard in more than 40 countries in venues including Carnegie Hall, Winter Garden Atrium in New York City, London’s Stratford Circus, Museum of Contemporary Art Chicago, Tompkins Park in New York City and Chashama’s street window on 37th street in New York City, as well as TV, radio, off-off broadway productions, movie screenings, bars, and a 3 story video installation projected against a building.
Robert Voisey is the Executive Director of Vox Novus, a new music production and promotion company. Through Vox Novus, he founded and directs the performance projects: 60x60, Composer’s Voice, Fifteen-Minutes-of-Fame, and Circuit Bridges resulting in more than 500 performances promoting thousands of composers, musicians, choreographers, dancers, and artists. He is also the Organizational Advancement Director of Electronic Music Midwest and is active in promoting contemporary new music projects throughout the world.
Known for his short works and miniatures his 10 minute opera “Popetjie” has been included in Opera Shorts. Several of his one-minute works have been selected for 60x60, Fifteen-Minutes-of-Fame, and the Electronic Music Midwest CD. His 50 second work “Oregon” was selected for the 50/50 CD, and a 6 second work “sic second chance” was chosen for Vine Orchestra.
Composing electroacoustic and chamber music, his aesthetic oscillates from the Romantic to the Post Modern Mash-Up. Voisey’s electronic work ranges wildly in style and aesthetic but has the common feature of being collaborative and community orientated.
Voisey has been profiled and his music broadcasted on HEC-TV public television in St Louis, Elektramusik in France, as well as radio stations all around the world including: Cityscape NPR St. Louis Public Radio; Arts & Answers & Art Waves on WKCR, Talkback with Mark Laiosa on WBAI, Upbeat with Eva Radich on Radio New Zealand; Martian Gardens with Max Shea on WMUA; Kalvos and Damian’s New Music Bazaar on WGDR; and Kol Yisrael Israeli Radio.
"hunger" is arranged for voice and electronic playback commissioned by Margaret Lancaster for her ThreeTwo Concert in New York City. The text was written by Robert Voisey on a cold grey December day reminiscing about a past life not yet completely gone.
it is sad.
yesterday, i was thinking about you;
it made me feel sad, that we lost all those good times.
all those good times.
it is sad.
that was then.
now when i see you, i remember why we failed so bad.
it is sad.
it is so sad.
Born in New Zealand in 1939 and living in the US since 1973, Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations, through text-sound and performance art to concert music. Her music has been performed in many venues and festivals including: the Possibility of Action exhibition at MACBA Barcelona, De Ijsbreker, the Other Minds Festival-San Francisco, the Walker Art Center, the American Century: 1950 – 2000 exhibition at the Whitney Museum, the Los Angeles County Museum, Queen Elizabeth Hall, the Westdeutscher Rundfunk, CNMAT Berkeley, the Asia-Pacific Festival, Donaufest 2006 Ulm, the Donau Festival Krems, the 7th Totally Huge New Music Festival Perth, Ear To The Earth Festival - New York and Sonic Acts XIII.
Her sound installation, A Sound Map of the Danube, has been presented in Germany, Austria and the USA. This is a surround 'sound map' of the entire Danube River, incorporating a wide variety of water, animal and underwater insect sounds, rocks from the riverbed and the voices of those whose lives are intimately connected to the river. Other recent projects include Ceci n’est pas un piano, for piano, video and electronics commissioned by Jennifer Hymer; Jitterbug, commissioned by the Merce Cunningham Dance Company, a six channel soundscape with two improvising musicians; and In Our Name, a collaboration with Thomas Buckner based on poems by prisoners in Guantánamo. She was a recipient of the 2007 Henry Cowell Award. Her music has been issued on CD and online on the Lovely Music, Ambitus, EM, XI, Rattle, Lorelt, and Pogus labels.
In NW Montana, on Flathead Lake one afternoon I noticed the deliciously pitched plops and gurgles with which the piece opens and was able to set my microphone down amongst the rocks, very close to the water. Later that year at the Hoboken Ferry Terminal in New Jersey, I was struck by the sounds the metal gangplanks generated and returned on a windy day.
Each time a boat passed on the Hudson or a ferry docked nearby, the gangplanks’ overlapping sections produced intricate textures, resonating strongly in the hangar-like terminal. Buoyant is the interplay of these sources, together with a recording I made in 1999 of a boat basin on Lake Como, Italy.
The Spell III
Lynn Bechtold, violin
Aleksandra Vrebalov (born September 22, 1970 in Novi Sad, Yugoslavia) is a Serbian composer based in New York City. She studied composition with Miroslav Statkic at Novi Sad University, then with Zoran Erić at Belgrade University, Elinor Armer at the San Francisco Conservatory of Music, and Ivana Loudova at the Prague Academy of Music. She obtained her Doctor of Musical Arts degree from the University of Michigan where she studied with Evan Chambers and Michael Daugherty.
A highly regarded musician, she has had residences at the Rockefeller Foundation Bellagio Center, Tanglewood, New York’s New Dramatists, MacDowell Colony, and American Opera Projects among others. She has received Awards or Fellowships from the American Academy of Arts and Letters Charles Ives Fellowship, Meet the Composer, Highsmith Composition Competition, Vienna Modern Masters, Serbian Fund for an Open Society, ASCAP Awards, and Douglas Moore Fellowship.
The Spell III, written for violinist Ana Milosavljevic, is inspired by a traditional song from Eastern Serbia about a fairy stripped off of her powers because she fell in love with a mortal. All violin sounds are played, captured, recorded, and looped by the performer on stage. Voices are prerecorded and are quoting the material from the original song performed by Moba, a female vocal group from Serbia. In The Spell III, my intention was to create a complex sonic ambience by using minimal musical patterns layered over each other in various combinations. The piece is dedicated to Vladimir Pavlovic. Special thanks to Brian Mohr.
The Spell III was choreographed by Takehiro Ueyama for TAKE Dance, in 2009.
Margaret Lancaster, flute and Oren Fader, guitar
Composer Mark Lackey has garnered premieres from many artists including the Eastman Wind Orchestra, Samford University Wind Ensemble, Definiens Ensemble in Los Angeles, cellist Craig Hultgren, and violinist Courtney Orlando. His music is available on the Potenza Music label and through Dorn publications. Dr. Lackey is an Assistant Professor of Music at Samford University's School of the Arts where he teaches music theory, musicianship, orchestration, and composition. He previously served on the faculty at Towson University and at Johns Hopkins University, with courses in music theory, musicianship, American music history, and an introduction to computer music. He has received awards including a Johns Hopkins University Arts Innovation Grant, a Samford University Innovative Technology Grant, and an Encore Grant from the American Composers Forum.
Lackey earned the degrees Doctor of Musical Arts in composition, Master of Music in theory pedagogy, and Master of Music in composition from The Peabody Conservatory where his teachers included Christopher Theofanidis and the late Nicholas Maw. He is a member of Pi Kappa Lambda national honor society in music, the American Composers Forum, the Birmingham Art Music Alliance, and the College Music Society.
'embodied' is an edgy work for flute, guitar and boombox, and I hope you have fun with it! Or, to put it another way: "embodied enacts the re-embodiment of situated cognition and our sensorimotor experience of music as described by Vijay Iyer, a way of experiencing music that has been devalued in binaries of 'high' and 'low' art. Because of its engagement with popular style and with the physicality of dance, it exists in opposition to the abstract, language-based, phallogocentric models of musical meaning that have been dominant in the discourse within and about modernist music. Additionally, the unresolvable tension between the sounds from the boom box and the sounds from the flute and guitar, as well as dualities between electronic sounds and recorded 'real' sounds of clay and glass objects that foreground their earthiness, are themselves suggestive of these binaries and of the ever-present gap between our idea of a thing and the thing itself for which Derrida coined the term différance."