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2018-Program-Book-With-Cover.Pdf Abrons Arts Center July 16-22, 2018 NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JULY 16-22, 2018 ABRONS ARTS CENTER __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 12 INSTALLATIONS 63 PRESENTATIONS 64 COMPOSERS 65 PERFORMERS 104 ACKNOWLEDGEMENTS THE ALICE M. DITSON FUND New Music USA DIRECTOR’S LOCATIONS WELCOME ABRONS ARTS CENTER 466 Grand Street Between Pitt Street and Willett Street. Welcome to NYCEMF 2018. Nearest subway stop: Delancey Street. On behalf of the Steering Committee, it is my great pleasure to welcome you to the 2018 New York City Electroacoustic Music Festival. We have an exciting program of 21 concerts taking place at the Abrons Arts Center in New York City. We hope that you will enjoy all of them. We would first like to express our sincere appreciation to the following people and organizations who have contributed to us this year, in particular: - The Abrons Arts Center - The Genelec corporation, for providing us with loudspeakers to enable us to play all concerts in full surround sound - The Alice M. Ditson Fund of Columbia University. - The Amphion Foundation - New Music USA - Fractured Atlas/Rocket Hub - New York University, Queens College and Brooklyn College, C.U.N.Y., and the State University of New York at Stony Brook, for lending us equipment and facilities - Institut Ramon Llull, Sirga Festival, and Placa[base for their support of our concert of music of Catalonia. - The Steering Committee, who spent numerous hours in planning all aspects of the events - All the composers who submitted the music that we will be playing. None of this could have happened without their support. Hubert Howe Emeritus Professor of Music Queens College and the Graduate Center City University of New York 5 FESTIVAL SCHEDULE MONDAY TUESDAY WEDNESDAY THURSDAY JULY 16 JULY 17 JULY 18 JULY 19 PRESENTATION 12:00 - 12:45 PM UNDERGROUND THEATER CONCERT 1 CONCERT 4 CONCERT 7 CONCERT 10 1-3 PM 1-2 PM 1-3 PM 1-3 PM EXPERIMENTAL UNDERGROUND EXPERIMENTAL PLAYHOUSE THEATER THEATER THEATER CONCERT 2 CONCERT 5 CONCERT 8 CONCERT 11 4-6 PM 4-6 PM 4-6 PM 4-6 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE UNDERGROUND THEATER CONCERT 3 CONCERT 6 CONCERT 9 CONCERT 12 8-10:30 PM 8-10:30 PM 8-10:30 PM 8-10:30 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE PLAYHOUSE 6 FRIDAY SATURDAY SUNDAY JULY 20 JULY 21 JULY 22 SYNAIPHEUS PINKFLOYDI LIVE FEED 12:00 - 8:00 PM 12:00 - 8:00 PM UNDERGROUND UNDERGROUND THEATER THEATER CONCERT 13 CONCERT 16 CONCERT 19 1-3 PM 1-2 PM 1-2 PM EXPERIMENTAL PLAYHOUSE EXPERIMENTAL THEATER THEATER CONCERT 14 CONCERT 17 CONCERT 20 4-6 PM 4-6 PM 4-6 PM PLAYHOUSE EXPERIMENTAL PLAYHOUSE THEATER CONCERT 15 CONCERT 18 CONCERT 21 8-10:30 PM 8-10:30 PM 8-10:00 PM PLAYHOUSE PLAYHOUSE PLAYHOUSE 7 Akio Mokuno, composer and performer, New NYCEMF 2017 York City. (www.akiomokuno.com) STEERING COMMITTEE Dafna Naphtali, composer, performer, educator, New York City (http://dafna.info) Angelo Bello, composer, New York City Daniel Pate, percussionist Nathan Bowen, composer, Professor at (http://www.danielpatepercussion.com/) Moorpark College (http://nb23.com/blog/) Tae Hong Park, composer, Music George Brunner, composer, Director of Music Technologist, New York University, New York Technology, Brooklyn College C.U.N.Y. (http://steinhardt.nyu.edu/faculty/Tae_Hong_P ark) Daniel Fine, composer, New York City Izzi Ramkissoon, composer and performer, Travis Garrison, composer, Music Technology New York City faculty at the University of Central Missouri (http://www.travisgarrison.com) David Reeder, composer, developer, installation artist, New York City Doug Geers, composer, Professor of Music at (http://mobilesound.org) Brooklyn College (http://www.dgeers.com/) Paul Riker, composer, Lead Audio Development Engineer, Visualization Lab, King Michael Gogins, composer, Irreducible Abdullah University of Science and Technology Productions, New York City (http://michaelgogins.tumblr.com) Meg Schedel, composer, Professor of Music at Stony Brook University Elizabeth Hoffman, composer, professor at (http://www.schedel.net) New York University (https://wp.nyu.edu/elizabeth_hoffman/) Madeleine Shapiro, cellist, New York City (http://www.modernworks.com/) Hubert Howe, Professor Emeritus of Music at Queens College Joshua Tomlinson, composer (http://qcpages.qc.cuny.edu/hhowe) Mark Zaki, composer, Professor of Music at Howard Kenty, composer, Stony Brook Rutgers University University, Brooklyn, NY (http://hwarg.com) _____ Judy Klein, composer, New York City Eric Lyon, composer, Professor of Music at Virginia Tech University (http://www.performingarts.vt.edu/faculty-staff/v iew/eric-lyon) 8 FESTIVAL STAFF REVIEWING Hubert Howe, Director and co-founder The New York City Electroacoustic Music Festival gratefully acknowledges the Travis Garrison, Chief Audio Engineer and assistance of the following people, who helped Technical Director, Playhouse review the submissions to the festival: Howie Kenty, Technical Co-Director, Christopher Bailey Underground and Experimental Theaters Angelo Bello Nathan Bowen Angelo Bello, Assistant Technical Director Maja Cerar Patti Cudd Doug Geers, Arristant Technical Director James Dashow Javier Garavaglia Joshua Tomlinson, Assistant Technical Travis Garrison Director Doug Geers Michael Gogins Mengjie Qi, Assistant Marianne Gythfeldt Jocelyn Ho Elizabeth Hoffman _____ Hubert Howe Howie Kenty NYCEMF logo designed by Matt and Jeremiah Keith Kirchoff Simpson. Benjamin O’Brien Izzi Ramkissoon Margaret Schedel Madeleine Shapiro Joshua Tomlinson Gianni Trovalusci Mark Zaki 9 PROGRAMS & NOTES 10 Concert 1 Program Notes Monday, July 16 Marco Molteni, Broken Aelia Minimix 2 1:00-3:00 PM Broken Aelia Minimix 2 is the electronic version of the solo cello piece Broken Aelia (one of the three pieces Experimental Theater inserted in Three Pills - 2009). I imagined that the cello part (a very simple melody, based on a few notes) was Program gradually stifled by electronic intervention ... Clara Maida, Ipso Lotto Marco Molteni Ipso Lotto is part of Lostery, a sound and visual Broken Aelia Minimix 2 6'30" installation. Condensing the words "lost" and "Lottery", the title expresses pessimism and the idea of failure. It Clara Maida accounts for the socio-economic crisis and the Ipso Lotto 8'05" increasing inequality between people. It questions 2 parameters which have a significant impact on our lives: Massimo Avantaggiato the cogwheels of the societal machine in which we are Three Miniatures 5' immersed and which mostly conditions our destinies; the notion of chance which plays a part in the path that we Alexander Sigman will or will not be able to follow, divides individuals on the furo_remix 6'06" side of lucky or unlucky according to the system of their country - more or less favoured, equalitarian, free, at Marie-Hélène Bernard peace or at war, etc. From the Latin locution "ipso facto", BOA Sr 13'40" I coined the title of Ipso Lotto ("by the very lot", by what one can get or not). The piece uses sounds recorded in Patricia Martinez game rooms or casinos/ The jolts, the rolls, the rebounds Del cuadro a la postergación and ricochets, recur in a circular space which recalls the (Espejos de tiempo I) 5'56" structure of the roulette in a casino. Dario Casillo Massimo Avantaggiato, Three Miniatures I. Minus one Ordinary Trip Report 7'30" II. Sonom III. Ordi ventilo INTERMISSION In these pieces I only used sounds derived from wind, industrial or domestic fans/ventilators and water droplets. Juan C. Vasquez In this acousmatic miniatures the intervention of man on A Chinese Triptych 6' nature is represented by computational strong modeling of original sounds, while wild nature is represented by Paolo Pastorino natural sounds. First Performance: Csound conference Velocita limite 3'30" 2017, Montevideo, Uruguay. Edward Wright Alexander Sigman, furo_remix Space to Think 11' furo_remix (2017), scored for voice, guitar, and live electronics (projected via small tactile transducers into Man Jie the guitar), uses as its source material the score and Another Door III 4'59" various recordings of John Dowland’s 1600 lute song “Flow, My Tears,” as well as computer voice renditions of Christopher Coleman the song’s text, “translated” into Japanese via Google "…the liquid mountains of the sky…" 8'42" Translate (hence the Japanese title, a Katakana rendering of the word “flow”). In the electronics, the Te Hau computer voices, as well as zither, koto, waterphone, Huan 1'27" and fire organ samples, are mapped to the recordings of the Dowland via concatenative synthesis techniques. Erik Nystrom furo_remix derives its sound elements from the Spheroid 12' electronics of the voice and guitar duo. The remix may be presented as fixed media work, or may serve as the all works on this concert are fixed media basis of a stereo or multichannel improvisation. 11 Marie-Hélène Bernard, BOA Sr Juan C. Vasquez. A Chinese Triptych This piece is inspired by a news report listened in 2010, A Chinese Triptych was composed with recordings from consisting of the announcement of an old woman’s an extensive sound documentary made by the artist in death. I was immediately attracted by the mysterious the Chinese cities of Hangzhou, Suzhou, Shanghai, voice of this woman, called Boa Sr, living in the Wuxi, Harbin, and Beijing during 2017. The piece Andaman Archipelago (located in the Bay of Bengal), overlaps sonic events from the rural, the industrial and who was the last native speaker of language Bo. At the the digital China in a single flowing musical discourse, end of her life, she did not have more people to attempting to represent the full range of highly exchange with and spoke to the birds, in the hope to be contrasting ways of living in China. The piece lasts heard by her ancestors. An Indian linguist researcher, exactly 6 minutes, a number that has in China the called Anvita Dehbi, recorded Boa Sr’s words and connotation of events “flowing smoothly”.
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