Bellowing Sun MIND OVER MIRRORS Wide Lights Low Apr 6–7, 2018 Fri–Sat, Notes Program

Eyes Sun Bellowing MIRRORS MIND OVER Wide Lights Low Apr 6–7, 2018 Apr 6–7, Fri–Sat, Notes Program at MCA Stage Theater Neeson Edlis STAGE MCA Winter/Spring Bellowing Sun running 2018 time is ninety minutes with no intermission. SUPPORT FOR THIS Created and performed by Mind Over Mirrors in Sun Bellowing MIRRORS MIND OVER MCA STAGE PROJECT collaboration with Timothy Breen, Eliot Irwin, ABOUT THE WORK Lead support for the MCA Stage New Works and Keith Parham. Initiative is provided by Elizabeth A. Liebman. –––––––––––––––––––––––––––––––––––––––––––––– “For a moment of night we have a glimpse of Bellowing Sun is a PERFORMERS National Performance ourselves and of our world islanded in its Network/Visual Artists Network (NPN/VAN) Oberheim SEMs, Jaime Fennelly stream of stars—pilgrims of mortality, voyaging Creation and Development Fund OB-6 synthesizer, and between horizons across eternal seas of space Project co-commissioned Indian harmonium by the Museum of and time.” Contemporary Art Chicago in partnership Lead vocals, zither, Janet Beveridge Bean —Henry Beston, The Outermost House (1928) with Alverno Presents and NPN. Additional and percussion support comes from the NPN Forth Fund and from the NPN Fiddle and vocals Jim Becker Performance Residency In 1925, a thirty-seven-year-old American writer and WWI Program. Major contributors of NPN Drums and vocals Jon Mueller vet named Henry Beston bought fifty acres of desolate include the Doris Duke Charitable Foundation, dune land on Coast Guard Beach on Cape Cod—the the Andrew W. Mellon –––––––––––––––––––––––––––––––––––––––––––––– Foundation, the Ford PRODUCTION peninsula’s furthest fingers reaching into the gray Atlantic— Foundation, and the National Endowment and designed and built a small cottage overlooking the for the Arts (a federal Artistic Director Jaime Fennelly agency). ocean. He named it the Fo’castle. For an entire year Music Composition Jaime Fennelly, beginning in September 1926, he lived alone there in the in collaboration with hostile, briny wilderness and dedicated himself to closely Janet Beveridge Bean, Jim Becker, observing the multifarious but unforgiving ecology of ever- and Jon Mueller changing sand and sea and to integrating his mind and body within its clamorous calm. He walked, he watched, Stage and Timothy Breen and Visual Concept Jaime Fennelly he listened, and he wrote. The result was his masterpiece The Outermost House: A Year of Life on the Great Beach SUPPORT FOR Zoetrope Textile Timothy Breen of Cape Cod (1928). A seminal work of naturalist literature THE ARTISTS Painting that remains revered by environmentalists, animal National Performance Network (NPN) is the Zoetrope Design Eliot Irwin, with assistance rights activists, and poets alike, it elevates description of fiscal sponsor of Mind and Metal and by Jaime Fennelly the natural world to an incandescent metaphysical pitch. Over Mirrors. Motor Fabrication Additional support for Bellowing Sun has been provided by The Richard Lighting Design Keith Parham Ninety years after Beston’s book was published, composer, H. Driehaus Foundation and by an Individual harmoniumist, and synthesist Jaime Fennelly completed Artist Program Grant Live Sound Engineer Elliot Dicks from the City of Chicago his ambitious multimedia production Bellowing Sun. Department of Cultural Affairs & Special Events, Coproducers David Ravel and Commissioned for its world premiere performance by the as well as a grant from 2018 Apr 6–7, Fri–Sat, Notes Program the Illinois Arts Council Jaime Fennelly Museum of Contemporary Art Chicago, the work Agency, a state agency through federal funds developed over the course of nearly three years, gradually provided by the National Record Label Paradise of Bachelors Endowment for the Arts. accreting into a rapturous, prismatic seventy-three-minute This production is also partially supported by Album Public Relations Jonathan Williger / composition. In live iterations, the audience encircles the an Individual Artist Motormouth Media Support Grant from the musicians—Fennelly, Janet Beveridge Bean, Jim Becker, Illinois Arts Council Agency, the record label and Jon Mueller—each of whom plays multiple instruments, Paradise of Bachelors, and individual donors. with a large kinetic light sculpture hovering suspended above the players. This monumental zoetrope which rotates to create an ever-changing architectural kaleidoscope of Theater Neeson Edlis STAGE MCA Bellowing Sun is a commission by the MCA New organic shapes and color, a delicate but imposing Works Initiative, which provided design, sound, and firmament-tent that simultaneously evokes astronomical technical residency support for Mind Over Mirrors and their collaborators using the theater between objects and microscopic life-forms. May and December of 2017. Additional MCA support included video documentation and a taped live A twelve-faceted sonic inquiry into celestial cycles, the CONTINUES IN interview with Jaime Fennelly for future netcasting MARGIN ON PAGE 4 and for the museum’s archive. rhythms of the natural world, and the illuminating nature SUPPORT FOR THE ARTISTS of darkness, Bellowing Sun is the majestic culmination of Throughout, Fennelly’s Oberheim synths and sequencers (Continued) Fennelly’s immersive explorations of the natural world’s stitch together a colossal quartet counterpoint, driven by a sensory dimensions and the dialogues between musical new emphasis on interlocking full-band rhythmic grooves. traditions—acoustic and electronic, vernacular and avant- He relies less than ever before on the harmonium, though garde. It deliberately situates its questing, edge-of-earth it still features prominently, contributing an airy link to spirit within the context of Beston’s Fo’castle. The link to the rhythms of human breathing. Bean sings on half of the Beston is not merely intellectual, but rather experiential tracks, including early stunner “Matchstick Grip” and the and geological. The solitary compositional genesis of the spectacular closer “Pause to Wonder.” Whether piece, and a significant portion of its early recording articulating words or intoning phonemes, her powerful, (before tracking and mixing sessions with John McEntire lucent voice elevates the proceedings to a devotional plane of Tortoise), occurred at Bean’s home atop a dune of fine whenever it emerges from the saturated field of sound. quartz “singing sands” on the shore of Lake Michigan, an environment akin to the Cape. Beston directly inspired The mood is at once ecstatic and elegiac; death and decay certain moments: the gulls he describes frantically are present here. The exuberant kosmische pulse of “Feeding on the Flats” are mirrored here by a percolating “Zeitgebers” (the title refers to environmental cues, such as synthesizer that mimics their dance with surf and sand; light or dark, that synchronize an organism’s biorhythms) “Lanterns on the Beach” is named for a chapter about is tempered by the seething dirge of “Vermillion Pink.” night in The Outermost House; and “Pause to Wonder” Timothy Breen cites the elaborate funerary textiles of the draws directly from his gorgeous description of butterfly Paracas culture of Peru as an inspiration for his paintings Mind Over Mirrors would like to thank migrations. But his methodology of extended, observational on the zoetrope. (“Oculate Beings” is not coincidentally a David Ravel and Yolanda Cesta Cursach contemplation of nature, of carefully transcribing a world reference to the Pre-Columbian coastal society that shared for initiating and supporting an idea of witness, pertains most prominently. beliefs of regularly communing with the spirit world.) to create beyond what we think is possible. But the degradation of our planet, and particularly the Additional thanks go to the following, who Sonically, Bellowing Sun is both kaleidoscopic and telescopic impending end of deep night, provides a melancholy, have been supportive over the last three in nature, offering a radiant palette of rhythmic, textural, reverent subtext to the otherwise celebratory tones. years in the creation of this work: Brendan and tonal complexity, as well as rapid shifts in scale, from In most places on Earth, careless and overzealous artificial Greaves, Chris Smith, Jonathan Williger, the intimately corporeal to the dizzyingly cosmic. Though lighting, coupled with overpopulation, mean that many Phill Cabeen, John Rich, Peter Taub, Richard long associated with his meditative solo work for of us will never see a truly dark night sky, with its Norwood, Dennis O'Shea, Andy Kauf, and harmonium, tape delay, and other effects, with Bellowing vertiginous, multihued clots of seemingly infinite stars, all of the staff at the MCA, Stanlyn Breve Sun Fennelly has ascended to a thrilling new planets, comets, and galaxies punctuating the black. As and all at NPN, John McEntire, Bob communicatory stratum, departing from the solo, interior Beston wrote even back in 1928, “The world today is sick to Weston, MINBAL, Jeff Pachman, Bob Shook, monologues of his early work and the deeply focused its thin blood for lack of elemental things, for fire before Saverio Truglia, Julia Dratel, Martin Andrew, dialogues of the album’s recent predecessor Undying Color the hands, for water welling from the earth, for air, for the Glenn Kotche, Marcy Dinius, Haley Fohr, (2017) for something broadly communal, massively dear earth itself underfoot . Our fantastic civilization Doug McCombs, Miguel Gutierrez and Sally polyphonic, and unabashedly spiritual in its scope and

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