#talea ensemble

[jgthirlwell]

08.20.24 Talea Ensemble play Uri Kochavi's Dermis for the Time Spans Festival at the Dimenna Center in NYC.

[experimentik]

Experimentik #77 / 18.Sep.2024 / chirp crush / Kristina Warren

18. September 2024 / 20:30- (doors 20:00) *no entry during sets

duo: chirp crush Verena Barié - recorders, electronics Sjoerd Leijten - electric guitar, electronics

solo: Kristina Warren - electronics

FB event ---------------------------------

Das Konzert ist Teil des Monats der zeitgenössischen Musik Berlin der initiative neue musik e.V. / field notes berlin

title photo © Seiji Morimoto

----------

Das Ensemble chirp.crush - Verena Barié und Sjoerd Leijten - traf sich 2017 in Amsterdam (NL) und kreiert seitdem Klanglandschaften und experimentelle Narrative.

Ausgehend vom Atem als Tonerzeuger gestaltet chirp.crush - zusammen mit Markus Hennes/Stimme - abstrakte Narrative durch vielschichtige elektronische Prozesse und elektronisches Instrumentarium. chirp.crush verstehen sich als Grenzgänger zwischen experimentellem Hörspiel, Radio- und Klangkunst. Das Ensemble wurden durch zwei FEB-Ensemble Stipendien (2021 & 2022) des Musikfonds e.V. gefördert, sowie von der Kunststiftung NRW und dem NRW KULTUR-sekretariat im Rahmen von Aufführungen in LTS4 im Lichtturm Solingen.

Verena Barié (*1994) ist eine weltweit agierende Blockflötistin, Medienkünstlerin, Komponistin und Kuratorin. Nach einem klassischen Bachelorstudium mit Hauptfach Blockflöte absolvierte sie das Masterprogramm Live Electronics des Conservatorium van Amsterdam. Die Blockflöte hat Barié schon früh an die Schnittstellen von Musik, Neuen Medien und Performance-Kunst geführt. Seit Oktober 2019 lebt sie in Köln und ist als Co-Kuratorin am LTK4 – Klangbasierte Künste Köln tätig. Seit 2021 arbeitet Sie im Vorstand der Kölner Gesellschaft für Neue Musik e.V. und gestaltet das kulturelle Leben der Kölner Freien Szene durch musikalisch-künstlerische Veranstaltungen sowie kulturpolitisches Engagement mit. Mit ihrem Projektraum LTS4 in Solingen kreiert sie dialektische Projektreihen mit Medienkunst. Barié ist neben ihrer Solo-Tätigkeit u.a. seit 2017 im Renaissance Doppel-Sextett THE ROYAL WIND MUSIC (NL) und seit 2020 im klangkünstlerischen 1. DEUTSCHEN STROMORCHESTER (DE) zu hören.

Sjoerd Leijten (*1982) ist ein transdisziplinärer Künstler, Komponist und Radiomacher mit einem ausgeprägten Interesse an dissidenten Klängen und Politik. Er arbeitet häufig mit Elektromagnetismus, field recordings, noise, Echtzeitverarbeitung und Open-Source-Software und -Hardware. Seine Werke umfassen Performances, Konzerte, DIY-Instrumente, Installationen, Veröffentlichungen, Filme und Audio. Seine Musik für Kino und Videospiele wurde mehrfach ausgezeichnet. Sjoerd lebt in Antwerpen (BE) und ist Mitinitiator des von Künstler*innen geführten Veranstaltungsortes TOITOIDROME, situiert in Borgerhout. Beim lokalen Untergrundradiosender RADIO CENTRAAL 106.7 FM moderiert er die zweiwöchentliche Radiosendung TRASHKOT zusammen mit dem Künstler JO CAIMO: „Ein ranziges Gewebe aus Geräuschen, Gesprächen und Müll bildet eine wackelige Brücke zwischen Musik und Politik.”

https://www.instagram.com/chirp.crush/

photo © Vesna Faassen

----------

Kristina Warren (US, 1989) is a Providence-based sound artist whose live performances offer listeners a gentle, restorative environment. Slow analog cycles combine with detailed field grains and room-specific resonance, interweaving the fringes of attention with warm, present volumes. In Spring 2023, Warren was in residence at Vienna’s [AT] MuseumsQuartier/Q21, collaborating with TONSPUR Kunstverein Wien to present a new sound installation, Lavender Lauds, supported by the Fulbright Commission [US]. Warren’s work has previously received support from Interfaces/European University Cyprus, EMS Stockholm, Spektrum (Berlin), Signal Culture (New York/Colorado), the American Composers Forum, and Non-Event (Boston). Warren has collaborated with ensembles including Chartreuse, JACK Quartet, So Percussion, Talea, Yarn/ Wire, and the Merseyside Improvisers Orchestra. Also active as an organizer of new music performances, Warren was the 2022 Artist/Curator-in-Residence at Providence venue The Music Mansion. Recently a Visiting Assistant Professor of Electronic Music & Multimedia (Brown University, 2017-21), Warren holds a PhD in Composition & Computer Technologies (Uni. Virginia, 2017).

photo © James Lastowski

----------

Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

[hpmoon]

Talea Ensemble: James Baker, conductor Barry Crawford, flute Yoshi Weinberg, flute Michelle Farah, oboe Rane Moore, clarinet Marianne Gythfeldt, clarinet Erin Rogers, saxophone Adrian Morejon, bassoon Nicolee Kuester, horn Sam Jones, trumpet Mike Lormand, trombone Alex Lipowski, percussion Bill Solomon, percussion Nuiko Wadden, harp Steve Beck, piano Bill Schimmel, accordion Karen Kim, violin Johnna Wu, violin Leah Asher, viola Josh Henderson, viola Christopher Gross, cello John Popham, cello Greg Chudzik, bass

Video Production: H. Paul Moon, cameras & editing Kyabell Glass, additional camera Abigail Hoke-Brady, lighting designer Caley Monahon-Ward, recording & sound mix

Festival Staff: Thomas Fichter, Executive/Artistic Director Caley Monahon-Ward, Director of Production Kayleigh Butcher, Program Coordinator Carly Levin, Production Manager Chris Griswold, Assistant Production Manager

Recorded at Mary Flagler Cary Hall, DiMenna Center for Classical Music, New York City on August 26, 2023. Produced for TIME:SPANS 2023 by the Earle Brown Music Foundation Charitable Trust.

[turangalila]

Michelle Agnes Magalhaes (*1979)

02 Herbarium (2018): In My Volcano Grows The Grass, for solo piano

Herbarium, a chamber music cycle for piano, percussion and double bass

While in residence here at the Radcliffe Institute, I have developed a close relationship to the visual conception of Emily Dickinson’s poetry. Her herbarium, a collection of 424 pressed flowers from the Amherst region composed with artistry across 66 pages, became for me a model of visual composition. Some of her poems in their manuscript form—those written in envelopes and on other kinds of paper fragments, for example—make it clear that layout, rhythm, and blank spaces are an important part of her poetic construction. In this sense, Dickinson’s poetry is like a musical score, embracing both sound and visual structures. Dickinson’s herbarium, therefore, became a rich metaphor for me to think about musical notation. My score is conceived as visual construction that gives materiality and permanence to sounds that live and die only in the performance moment. The visual representation—including drafts, sketches, and all kinds of graphics—are worked with hands, eyes, and ears. I use tree structures as a tool to organize form and harmonies. I’ve become carried away by how symbolic notation beautifully combines complexity and cohesion. My Herbarium, a cycle of chamber music pieces written for the Talea Ensemble musicians, comes after a long period of sound experimentation pieces—Mobile, Calando, Three Dances, Lorca Fragments, and Chambre Double—and some graphic scores inspired by the ars subtilior movement from the end of the 14th century, including Revolutions and Crime(s). Like my sixxen concerto for six percussionists and orchestra After Spring, Herbarium is an attempt to create a synthesis in the compositional process, managing sound complexity and visual structures. All the electronic sounds of the piece are diffused inside the piano with a transducer sound system. They consist of transformations and recordings of pieces performed on Emily Dickinson’s piano, a Renaissance Revival square model she received from her father in 1845, when she was 14 years old. The recording and composition of this cycle is made possible thanks to support from the Radcliffe Institute for Advanced Study and Houghton Library, Harvard University.

[zazadupont]

M!ndf#ck Jr. 

REGISSEUR Nina Haanappel ASSISTENT REGIE Lotte Van de Poll CHOREOGRAAF Junadry Leocaria ASSISTENT CHOREOGRAFIE Aristos Iatrou SPEL EN TEKST Eveline Bace, Rachel Besemer, Jahcysha Boschman, Isabelle Cox, Harvey Elgood, Charlotte Estourgie, Jasmijn Geelen, Azra Golbach, Christopher Hatton, Loïs Iglesias Torres, Lotte Janssen, Kira-Nerys Kemble, Eliasz Korabiowski-Dean, Tizea Looijen, Christian Meñoza, Fiep Mulderije, Binh Nguyen, Cézanne Penders, Monèzra Rudge, Dorelia Schraven, Julius Schraven, Luca Soda, Stevanio Talea, Anna Tetenburg, Joey Weidema, Fé van Woensel, Karlijn Zeeman

TEKST Sanne Schumacher  SCENOGRAFIE Zaza Dupont  KOSTUUMS Eleftheria Lavdaki LICHTONTWERP Heidi de Vries GELUIDSONTWERP EN VIDEO Marijn Cinjee PROJECTLEIDSTER Wilma Smilde PRODUCTIELEIDERS Angelina Kroft, Michiel van Schijndel ASSISTENT PRODUCTIE Marit Schouwstra TECHNIEK Arist Richartz (1e inspiciënt) KOSTUUMATELIER Farida Bouhbouh, Wim van Vliet (hoofd), Jacolien Honders HOOFD TECHNIEK ENSEMBLE Götz Schwörer PRODUCTENT Internationaal Theater Amsterdam

BEELD Simon Schoo 

[burlveneer-music]

Mario Diaz de Leon - Cycle and Reveal - electroacoustic works (Denovali)

Denovali is pleased to present Cycle and Reveal, the fourth full length LP of contemporary classical works by acclaimed composer Mario Diaz de Leon. Featuring bold performances by a cast of longtime collaborators, this compilation is an essential chapter in his celebrated series of recordings for acoustic instruments and electronics. The output of Mario Diaz de Leon defies easy categorization, spanning the worlds of contemporary classical composition, experimental electronic music, extreme metal, and creative improvised music. Working extensively with an inner circle of close collaborators (ICE, Talea, and TAK Ensemble, among others) his classical works have been celebrated over the last decade for their “hallucinatory intensity” (New York Times), “snarling exuberance” (Pitchfork), “helter-skelter, electronically enhanced cadenzas” (New Yorker Magazine), and coupling of “crystalline clarity with the disorienting turbulence of a sonic vortex” (Wire Magazine).

[statesofexception]

Steven Takasugi/Talea Ensemble — ‘Sideshow’ (2015)

Performed live at the Bludenzer Tage zeitgemäßer Musik (BTZM), Bludenz

[citylifeorg]

NYU Skirball Presents the North American Premiere of Toshio Hosokawa’s

NYU Skirball Presents the North American Premiere of Toshio Hosokawa’s

NYU Skirball will present the North American premiere of Toshio Hosokawa’s HANJO on September 30 and October 2, 2022. Produced by Catapult Opera, the work features three singers and dancer Saori Tsukada with live music by the internationally acclaimed Talea Ensemble, conducted by Neal Goren. Hanjo is directed by the renowned Italian director/ choreographer Luca Veggetti. Shown: Miwako Handa in…

[musexplat]

Reseña de José Luis Hurtado: Parametrical Counterpoint

Nuestra colaboradora Susan Campos Fonseca nos invita a escuchar el disco "Parametrical Counterpoint" del pianista mexicano José Luis Hurtado, con la colaboración del Talea Ensemble. Una oportunidad para descubrir su impetuoso mundo artístico. 🇲🇽 🔥 🎶

Existen espectros que susurran y se retuercen, vibrando en las arenas del desierto. Los granos infinitesimales de polvo, que alguna vez fueron montañas, laten pulidos por las sonoridades de estos fantasmas. Algunos mamíferos tienen la habilidad de escuchar estas partículas de monumentos disueltos, de huesos pulverizados… de jadeantes e inútiles gemidos bajo las estrellas indiferentes. Estos…

[orendarecords]

Harpist Jacqueline Kerrod delves boldly into new territory on her debut solo release: "17 Days in December"

Harpist Jacqueline Kerrod delves boldly into new territory on her debut solo release. 17 Days in December features an expansive set of solo harp improvisations culled from daily explorations Kerrod’s diverse credits include work with Anthony Braxton, serving as principal harpist with NY City Opera, and performances with Anohni, Rufus Wainwright and Kanye West.

"Kerrod is a fearless improviser and experimentalist, using extended techniques in a fashion that would sound like mistakes in less sure hands." – Mike Eisenberg, Avant Music News

“[The] exceptionally virtuosic and sensitive harpist Jacqueline Kerrod… drew many different tonal colors from her instrument. ” – Timothy Hutto, Classical Source

“I sometimes think I should have picked a different instrument,” jokes South African-born harpist Jacqueline Kerrod.

Classically trained from the age of 9, Kerrod has had a vibrant and varied career as a freelancer in New York City. She has played principal harp with top orchestras and performed with elite chamber groups, contemporary music ensembles, and pop superstars like Anohni, Rufus Wainwright and Kanye West. But although she consistently worked at a very high level, these opportunities failed to provide an outlet for her own creative voice.

“Although I had dabbled in improvisation and writing my own music, it took a back seat as I continued my studies in the US and began my professional career in NYC. Even so, that little voice in my head was there, reminding me of the music I was really drawn to and my desire to make it myself.”

Kerrod’s journey of personal sonic discovery has now yielded her debut solo album, 17 Days in December, due out December 3, 2021 via Los Angeles-based Orenda Records. The album results from a month-long series of daily improvisations on acoustic and electric harp that Kerrod undertook in the basement of her home in Princeton at the height of the Covid-19 quarantine. But its origins date back long before the pandemic, to a six-year journey in a pop duo and the inspiration of working with master composer/improviser Anthony Braxton.

Kerrod was initially enlisted to play with the ensemble for Braxton’s opera “Trillium J.” That led to an invitation to join the saxophone innovator on the latest iteration of his musical system, ZIM Music – the results of which can be heard on his new 11-hour recording 12 Comp (ZIM) 2017. She later joined Braxton in duo performances in Europe and the US. Their performance from Bologna was released on the Italian label I dischi di Angelica in 2020. These opportunities became a plunge into the deep end of the improvised music realm for the harpist.

“I found it exciting and terrifying to be inside of those performances,” Kerrod recalls. “As a classical musician the process is so much about learning things perfectly and meticulously preparing so that you lessen the odds of messing up. I rarely felt free from needing to control the outcome. Playing with Braxton was such a shift because you have to be in the moment. That feeling of being able to move through unfamiliar territory and discover new things is such an adventure. I truly rediscovered my joy for music and my instrument.”

Prior to crossing paths with Braxton, Kerrod was immersed in the realm of new music with the likes of the International Contemporary Ensemble (ICE), the Argento Chamber Ensemble, Talea Ensemble, Wet Ink, Alarm Will Sound and Metropolis Chamber Ensemble; and she championed South African composers with more than a dozen works written for her. She also branched away from the classical world as half of the pop duo Addi & Jacq (with vocalist Addi McDaniel), where she developed her skills on the electric harp using guitar pedals and a looper, and with songwriting.

“Having all of these experiences with different genres and approaches opened up a whole new world of music to me,” Kerrod says. “Through them I started my listening journey into the world of free improvised music, free jazz, country blues, you name it! I realized that there are no boxes that one needs to climb into. You can and should always be yourself.”

Kerrod set up a basic studio at home to continue her evolution, but the lockdown accelerated the process and led to the experiments that comprise 17 Days in December. The harpist set out each day with no fixed agenda or any intention of releasing the results formally. She simply set a timer for 40 minutes, started recording, and let her ideas flow. There is no overdubbing or looping on the album, and no preparations on the harp. She used a screwdriver-like harp tool on one track (“December 5: Screwed”) a small glass bowl on another (“December 28: Glassy Fingers”) and a viola bow (December 29: Rust On Bow) and used delay, whammy and distortion/overdrive pedals on her electric harp. Two acoustic tracks (December 7: Gentle Jangle and December 2: Fluttering Alberti) use software effects in Ableton. Otherwise, the improvisations make use of the natural sounds possible with the unaltered harp.

The shimmering opening track, “December 1: Trill to Begin,” draws directly from one of Braxton’s twelve Language Musics. The trill was Kerrod’s solution to Braxton’s Long Sounds language, sustaining a drone despite the harp’s natural tendency for sonic decay. The warped menace of “December 21: Chatterbox” introduces the unusual sounds of her electric harp. Each day’s improv wrings rich discoveries from a different notion, from abstract memory of jazz on “December 9: An Impression” to agitated frenzy on “December 8: Sugar Up” to repurposed classical technique on “December 2: Fluttering Alberti.”

“In retrospect, these seventeen improvisations feel like a personal celebration,” Kerrod concludes. “At the time I felt like the top blew off and the music came tumbling out. I felt an incredible amount of joy, truth, warmth, clarity, and reverence for all the sounds – including those I was taught not to make! I want to continue reveling in that feeling, alone and with others, in whatever forms that may take.”

[jgthirlwell]

08.20.24 Talea Ensemble play David Bird’s Moln for the Time Spans Festival at Dimenna Center for the Arts

[huiteesproduct]

Studio Ghibli 36th anniversary 1985 2021 Miyazaki Hayao signature thank you for the memories shirt

David Sanford and Meridian Arts Ensemble; and Agata Zubel and Talea Ensemble. Serge Koussevitzky, conductor of the Boston Symphony Orchestra from 1924 to 1949, was a champion of contemporary music. Throughout his distinguished career, he played a vital role in the creation of new works by commissioning such composers as Béla Bartók, Leonard Bernstein and Igor Stravinsky. He established the Koussevitzky Foundation in the Library in 1949 to continue his lifelong commitment to composers and new music. Applications for commissions are accepted annually. The Koussevitzky Foundation has commissioned more than 500 works, created by some of the world’s most celebrated composers, which are an integral part of the Library’s unparalleled music collections.

Buy it here: Studio Ghibli 36th anniversary 1985 2021 Miyazaki Hayao signature thank you for the memories shirt HomePage: 2020 Huitees Store

[hpmoon]

Talea Ensemble (taleaensemble.org): James Baker, conductor

Video Production: H. Paul Moon, cameras & editing (zenviolence.com) Kyabell Glass, additional camera Sarah Abigail Hoke-Brady, lighting designer Caley Monahon-Ward, concert recording and mix Nathaniel Butler, audio engineer

Festival Staff: Thomas Fichter, Executive/Artistic Director Caley Monahon-Ward, Director of Production Kayleigh Butcher, Program Coordinator Carly Levin, Co-Production Manager Tim Love, Co-Production Manager

Recorded at Mary Flagler Cary Hall, DiMenna Center for Classical Music, New York City on August 27, 2022. Produced for TIME:SPANS 2022 by the Earle Brown Music Foundation Charitable Trust (timespans.org).

[plusorminuscongress]

Latest News: Koussevitzky Foundation Awards Commissions

Latest News: Koussevitzky Foundation Awards Commissions

The Serge Koussevitzky Music Foundation in the Library of Congress has awarded commissions for new musical works to four composers. The commissions are granted jointly by the foundation and the performing organizations that will present the world premiere performances of the newly composed works.

Award winners and the groups co-sponsoring their commissions are Erin Gee and JACK Quartet; George E. Lewis and PUBLIQuartet; David Sanford and Meridian Arts Ensemble; and Agata Zubel and Talea Ensemble.

Click here for more information.

Published September 27, 2019 at 10:15AM Read more on https://loc.gov