On April 1 Jonathan Morgan is premiering a new work of yours, [[[clouded]]]. What can you tell us about the piece?
[[[clouded]]] for electro-acoustic viola and live video is 1 of 14 works in an electro- acoustic chamber works series called [[[nexus]]]. This chain of works started in 2013 and stems from three joined ideas.
ORIGIN Middle English: from Old French ordre, from Latin ordo, ordin- ‘row, series, rank.’
ORIGIN late 15th cent. (denoting a gaping void or chasm, later formless primordial matter): via French and Latin from Greek khaos ‘vast chasm, void
ORIGIN Middle English (in the sense ‘unoccupied’): from a dialect variant of Old French vuide; related to Latin vacare ‘vacate’; the verb partly a shortening of avoid, reinforced by Old French voider.
chasm |ˈkaz m|
a deep fissure in the earth, rock, or another surface.
• a profound difference between people, viewpoints, feelings, etc.: the chasm between rich and poor.
chasmic |ˈkazmik| adjective( rare)
ORIGIN late 16th cent. (denoting an opening up of the sea or land, as in an earthquake): from Latin chasma, from Greek khasma ‘gaping hollow.’
I’m familiar with your music for instruments and electronics, but not so much with what you do with visuals. Could you discuss your approach, and how the audio and visual work with each other in your view?
In my sound/visual works i am interested in embracing an indeterminate (glitch) graphic/design element. In the case of the series [[[nexus]]], all of the visuals are representations of the harmonic waves happening in real-time. Everything from the speed of the rotations to the changing of parameters is mapped to the behavior of harmonic space and time. To take it a step further, i have started projecting the waves onto the performer/s to create a sense of ‘digital’ or ‘VR’ type of experience that if done correctly turns your shit projector into the most advanced projection mapping effect available.
I’ve seen you list this piece, in various places, as being by Josh Carro or by your band/artist name, [[[personablack]]]. I’ve seen records out by both. Is there a distinction? Do you write a piece and then decide who it gets released by? Or does deciding that in advance influence your writing?
That’s a fair question, in 2012/13 i created the moniker [[[personablack]]] literally meaning ‘black sound’ because i had over 20 albums under josh carro and was simply ready for something new and anonymous like. Everything made from 2013 is by [[[personablack]]]. As far as the writing goes, my influences are always coming from sound and or design.
This isn’t the first time you’ve worked with Jonathan. What’s your working relationship like? Is there a lot of back and forth?
Jonathan is exceptional and skilled, he has been nothing but open and interested in doing something new. When we first met at the Now Hear Ensemble premiere of my work
I typically don’t have back and forth communication because it can tend to make the work/writing contrived and boring.
What else do you have coming up?
Right now, i am working on 5 separate project albums with Blood Oath (U. Krieger, josh carro) Ehnahre, [[[personablack]]]6, VHS release of [[[personablack]]] PERVERSION and can’t talk about the last one, all of which will be coming out from late summer 2017 to end of 2018.
A new work for electro-acoustic piano commissioned by Vicki Ray which should be premiered in the end of spring.
Seattlemix for Bf clarinet, cello, piano – April 5th @ FSU
falling into the blackness – April 15th @ UNT
420 Fest – April 20th @ TBA
In the summer my postcard works will be performed by NMCE partly for the Tenney Symposium and partly for chamber concerts throughout the year.
As always a lot of random underground shows, most of which are listed on any of my sites:
Anything else you’d like to add?
I’d like to thank my family and friends for their endless support and patience. Also, thank you for the opportunity to discuss my work with you and your readers.
Please come to the concert Saturday, April 1 at 8 PM – 10 PM Bird Studio, Occidental College
Tickets for vla. are available at synchromymusic.org/vla
Now Hear, UC Santa Barbara’s resident ensemble, will be performing Mirrors on February 17, 7:30 PM, at Lotte Lehman Concert Hall at UCSB. The program features a diverse range of composers, but all of the works relate to the same overarching theme of symmetry and reflection. It includes Michael Beil‘s Karaoke Rebranng!, Edo Frenkel‘s &, &, &, &… for solo piano, Marc Evans‘ Counterflow, and three world premieres – Joshua Carro‘s [[[a nation defiled]]], Dan VanHassel‘s Invective, and a new arrangement of Guillaume de Machaut’s Ma fin est mon commencement. I interviewed Anthony Paul Garcia, the ensemble’s percussionist, about the concert. Here is Anthony:
Mirrors is a program about symmetry and reflection. Can you talk a bit more about the ways the pieces work together to achieve this goal?
The show was designed with the Mirrors concept in mind. We commissioned two new works by composers we love and have worked with before – Dan VanHassel and Josh Carro – and asked them to interpret the theme as they pleased. Both of them approached the idea differently: Josh’s piece is a more abstracted interpretation with some impressive live video echoing the sound of the work, while Dan’s – an unrelenting, percussive power house – is divided in to two parts, the second being a retrograde of the first so it is a literal mirror of itself. So, we present the two halves of Dan’s pieces on opposite sides of the program. In addition to commissioning those new works, we knew that we had to put Michael Beil’s Karaoke Rebranng!, a piece we have performed before, in the dead center of the show. It’s an amazing piece that incorporates a life-sized projection of live video of the performers mirrored on the wall next to the ensemble. Basically, the video records a chunk of us playing some material and plays it back and our recorded physical actions “play” (or sing, if you want to take the Karaoke metaphor) the fixed media backtrack which is often comprised of reversed sounds of previous sections. There is also a big surprise at the end. It is something you have to see to believe. Bookending the show with Machaut’s Ma fin est mon commencement or, “My end is my beginning,” seemed obvious because of the title and the construction – all of the melodic material is recycled, retrograded, inverted, and self referential – but we wanted to make it our own, so it got the Now Hear treatment – live electronics and processed speech. With those big structural pieces in mind, we programmed some other pieces within the show that vibed well with the rest.
The program includes works by diverse composers, including world premieres by Dan VanHassel and Josh Carro, as well as the newly arranged piece by 14th century composer Guillaume de Machaut. How does the music on this program compare to the music you typically perform?
For the most part this is a pretty “on brand” show for us. Most, if not all of our programs, contain works we commissioned or that were written specifically for us. Not only because our instrumentation is a little unique but also because that was a core purpose of forming the group – making brand new music and giving composers an opportunity to do so. Additionally, we are always trying to incorporate technology as a kind of 6th member of the group. That technology can be fixed media backtracks, live processing, video, and anything else. This show is no exception in that realm, however.
The Machaut arrangement is something we have never done before. We all liked the idea of having this piece on the program since it felt like such a great fit but we knew a straight arrangement of the three voice chanson for our instrumentation would not only not make sense in the context of the show, but the words are so important that they needed to be incorporated. So we all got together and kind of jammed on the piece and came up with something that is our own and features the text as samples.
We are also excited to have Marc Evans play a short piano solo in the show. We have had Marc play with us so many times and his playing is so great that we jumped at the chance to feature him in a solo role. I don’t think we have ever had a purely acoustic solo in a show ever! So, that’s new and I think it will be a wonderful addition to the program.
How do you hope the audience will react to the music?
As with most of our shows, we hope that we offer both music that is accessible and some that is challenging and new. I really can’t imagine anyone not grooving to Dan’s choppy beats (my girlfriend dances to it when she hears me practicing at home) or feeling jazzy with Marc Evans’ trio for bass, clarinet, and vibes, but I also think people will be surprised and blown away by the unexpected sounds of Josh’s piece and the crazy arrangement of the Machaut. We always want people to come to our shows with open ears, and this kind of balance helps encourage that. We are very proud to be able to perform works with such a variety of approaches and aesthetics.
What’s next on Now Hear’s schedule?
We have already begun our next project! We are collaborating with composers from UC Irvine to create some wonderful new music. There may or may not be some water droplets that show up to perform with us, but I guess you’ll have to come to the show at UCI on April 19th to find out.
More information on Now Hear Ensemble’s February 17 concert is up at NowHearEnsemble.com.
Last weekend, composer collective Synchromy bridged the Nor Cal/So Cal gap and opened the floodgates for inter-state collaboration. In other words, they hosted the incredible San Francisco based new music ensemble Wild Rumpus, down here at ArtShare. After seeing the group perform at last year’s New Music Gathering, Synchromy member Nick Norton said that it was “only a matter of time” before they made their way down to LA. And while building a “California Sound” might be a bit ambitious for a single concert, the performers and composers featured showed an impressive artistic breadth that never felt overwhelming. More importantly, what this concert lacked was pomp. The audience was small (as one might expect for an out of town group) but excited to see what Wild Rumpus had in store. While some of the music was thorny, the whole show ended up fun. Fun isn’t typically the go to description of Contemporary Art Music, but from the noisy neighbors who did not care that “Serious Art Making” was happening downstairs, to Norton’s tie dyed FYF shirt and his band’s logo duct-taped to the front of the bass drum that made its way into the percussionist’s setup, the whole night felt a little impromptu, kind of spontaneous, and a bit like hanging out in a good friend’s garage.
San Francisco provided some amazing composers, and Wild Rumpus brought some killer players. It was a little novel seeing new faces on the Art Share stage that has become a bit of a home base for LA new music. But the novelty was quick to wear off, and the talents of the performers soon stood in full display. For close followers of Synchromy, a pair of trombone solos from last years anti-valentine’s day concert were reprogrammed, this time under the interpretation of Weston Olencki. Both Richard Valitutto’s Walk of Shame and Scott Worthington’s Unphotographable were outstandingly played. The Valitutto was rendered shamelessly and brashly as a piece of its name and nature ought to be. And the Worthington proved an indomitably delicate wall of glissandoing brass against the backdrop of a slowly shifting sine wave.
The two trombone solos were stylistically distinct, as was the rest of the concert. Each piece seemed in a different world than the previous, making each moment fresh, never fatiguing despite a few pieces that lingered in soundworlds for an extended period of time. Despite their stylistic differences, each piece drew from its context on the program and it was interesting to see similar soundscapes explored by different composer. For example, where Walk of Shame started brassy and noisy and had petered itself out by the end, Sonnet XX for solo cello composed by Ursula Kwong-Brown, and performed by Joanne De Mars, started sweet, almost melodramatically so, and slowly peppered in more and more gritty gestures eventually ending in a shimmer of harmonics Unphotographable had an electroacousitc companion on the program too, Spectral Fields in Time by LA based Joshua Carro featured a longer form with slowly shifting masses of sound and the timbres of the full instrumental ensemble of Wild Rumpus. It featured the amplified wash of cymbals, (which harkened to the Lucier-esque LFO of Worthington’s miniature) and heavily amplified piano to accompany the ensemble’s winds, bass, and electric guitar. Both electroacoustic pieces suffered from a logistic issue: the placements of the mains. While ArtShare is a relatively wet hall, it certainly isn’t as reverberant as Zipper or any other recital hall. As such, the high mounted mains really made the electronic elements feel very separate from the ensemble. This was passable for the Carro due to the size of the ensemble, but really took away from the Worthington.
Another gripe on the venue were the neighbors. As the final sounds of Balance of Power by Dan VanHassel (also co-director of Wild Rumpus) faded out, dance music thudded in from a tenant upstairs. (Artshare is an apartment for artists as well as a venue). The piece relied on stark contrasts between more intense moments of percussive groove and lush swelling noisy chords, and while at first the Cagian response of an upstairs boombox seemed a little cute, and almost appropriate for a concert of new music, it continued, ruining more subtle moments both in Walk of Shame and Sonnet XX. Despite the interruption, the VanHassel was executed brilliantly, and was, (to one who is only fleetingly familiar with the composer’s work) quintessential VanHassel, featuring an incredibly well blended ensemble sound and and incredible accuracy within the group.
The Norton and the Barabba utilized the full ensemble along with vocalist Vanessa Langer. Brabba’s cry trojans cry was evocative of the VanHassel, though, with textures peeking in and out of each other a bit more subtly. The piece was extensively theatrical making great use of Langer’s immense stage presence. Beach Song by Norton may have been the only lone wolf on the program, seemingly unpaired. The song is an adaptation of a pop song originally written “after suffering a dramatic New Year’s Eve break up” and then re-re-arranged for Wild Rumpus. The use of classical voice provided an incredibly interesting juxtaposition over the very singer/songwritery text and the timbrally interesting arrangement.
While Wild Rumpus probably won’t be back in town for a while, if you end up up the coast, or they end up down here, I highly recommend coming out to see this incredibly versatile ensemble. The video below features their performance from last year, and the Carro that was on the program last week: