18/03/2017 - 14:47
ArtEZ University of the Arts based in Arnhem, The Netherlands, asked me to come give a workshop for their Lost in Transition general study day on 16 March where they bring creative students from different art disciplines together. It was the Netherland’s national election day and I had just returned from weeks in North America. What a way to land.
We spent 3.5 hours making, interpreting and remaking one another’s works based on the concepts and practical expressions of transitions. I was flabbergasted and touched to be part of such original, resourceful and wise work coming from these young artists.
David Dramm and I took it upon ourselves to tour together after a 22 year hiatus. We started with a concert at our homebase, Splendor Amsterdam, where we could try a few things out before we hit the road.
I played radical repertoire including works by Sam Pluta, Hugo Morales, David Dramm, Yannis Kyriakides and myself and David told stories about our former tours. We ended the concert with a story that we told together.
First stop was Chicago which is not on the west coast and David was not there. Sam Pluta and I recorded his sonically intense and tremendous to perform Delay/Line. I gave a couple of composition seminars and we joined our favorite bassoon players Katie Young and Dana Jessen for an improv concert at Elastic Arts that was reminiscent of a concert in Splendor that Shackle produced a couple of years ago.
Recording Sam Pluta’s Delay/Line. Univ of Chicago.
David and I met up in Vancouver where he met with the students of John Korsrud and joined me for a concert produced by Music on Main. We get together with David Pay, the director of Music on Main, in the Netherlands and it was a treat to finally spend time with him on his own turf. What a stunning venue the Fox Cabaret is!
Vancouver is the home of the NOW Society run by colleague and close friend, Lisa Cay Miller. We managed to squeeze in a play at the NOW Society INsphere Sessions. I like the way Lisa hears and reacts when we play together. Jeff Younger joined us as did a few others. Nice night of improv with a lot of circular breathing.
Next came a residency at Brigham Young University in Provo, Utah. I fell in love with the mountain that hovers over the campus. The snowy cliffs and peaks bewitched us with light and shadows moment to moment for four days. I collaborated with six student composers and recorded their flute/electronics compositions. A gratifying lip-buster and just the beginning. We will work together again in Amsterdam in June in a BYU/Splendor exchange residency. David taught lessons for a full day, we gave a joint lecture on Splendor and our work, I led an improv class and we finished with a concert. The rewards of spending time with the musical community of BYU were felt by all.
Another early flight took us to San Francisco where we got in a car and drove to Santa Cruz, American style. We gave another Composition Colloquim and enjoyed the challenge of tweaking our duo presentation. The students told us we brought a freshness to the seminar formant by handing the lead back and forth and into the public.
Our concert was in the Radius Gallery run by the Indexical Foundation. Bravo Indexical for creating a vibrant series with a curious audience from scratch!
The last concert was at the San Francisco Center For New Music. The audience included some new and some dear old friends. Performing for them in such an intimate space gave the concert a sort of conversational flavor. Hello, we’re here to tell you our stories.
Meerenai Shin was the curator for the Center For New Music Concert and this was her last concert.
13/02/2017 - 14:00
As a composer/performer/improviser and self-taught nerd I am often faced with the conundrum of how to present my work in a way that would be artistically and technically useful without slighting the importance of the necessary performative eruptions that my music needs to come to life.
This time I got to taste the vibe of the UCSD music students while also solving some programming issues in Utter.
We made our way to Berlin for a short stay on a snowy day. The concert was part of The Kontraklang Tactile Paths Festival which was a continued celebration of Christopher William’s PhD accomplishments.
We played works that we love to play by Justin Bennett, Yannis Kyriakides and me plus the added extra of Jitterbug by Annea Lockwood who came over from the US to be part of the festivities.
05/11/2016 - 20:40
I led a four day workshop for Composition, Sonology and Art Science students from the Royal Conservatory in The Hague called Make and Remake where they furiously researched and constructed sound and visual installations in record time.
The results were unexpectedly complex and engaging. Wow.
25/09/2016 - 11:30
Symbolic Sound, in partnership with De Montfort University’s Faculty of Art, Design and Humanities hosted the eighth annual Kyma International Sound Symposium. The theme was “Emergence”. We all lectured, performed and listened to talks about the past and current theories and manifestations of emergence. Subjects ranged from swarming to strange attractors and many in between. Enough information and inspiration to chew on for the coming year.
Those who gathered for this symposium are a group of devoted users of the Kyma System that was developed by Carla Scaletti and Kurt Hebel. It was a remarkable experience to spend four days with the creators of the instrument I use to make my art. Personal relationships with the makers of my flutes and the makers of the Kyma System: How wonderful is that?
Carla Scaletti KISS2016
Starting Utter KISS2016
Revealing my desktop. Talk and Run?
More photos can be found here.
15/06/2016 - 11:16
Away is one of my oldest Max patch pieces. It was a commission from Stephen Altoft for his 19-tone trumpet.
I’ve played a flute version many times and am touched to see that Stephen is still playing it.
This time in Hamburg.
Pete Furniss was in town for a couple of days and we explored and tweaked our duo version of Martin Parker’s brilliant GruntCount Max piece.
We brainstormed a lot and managed to test hardware and software, communication desires, noise, silence and then played our new version as a half hour set in Splendor Amsterdam on May 3 as a warm up to the magnificent Steamboat Switzerland.
GruntCount with Pete Furniss, 3 May, Splendor
25/05/2016 - 11:14
Photos are starting to arrive that document various experiences in Mexico last month. These are from the Cloister of Sor Juana where I performed on 21 April. Many thanks to Carlos Iturralde for making this concert and lively discussion in the Habitación del Ruido Series possible.
Modes of Mechanical Assistance by Hugo Morales
17/05/2016 - 11:18
RAW will be performed on Saturday 21 May as part of the MAZE Festival.
As usual I’ve been messing with the Max Patch just to give some unpredictability to the upcoming performance.
RAW is a work that asks the musicians to improvise on unfinished musical material and to collectively create a work in real time as they are given ongoing random choices to make. RAW embraces the unpolished and unbridled opportunities that unforseen combinations offer us to respond to in the process of making art.
RAW is a Max patch where each player influences the structure by sending a message to the patch at his or her own discretion. The Max patch in turn chooses random combinations of players to play, suggestions for the type of music to play and random prerecorded text samples to be played.
The score is broadcast on iPads: