MUSIK IN NEBEL (FOG MUSIC)
Liminal Sound Series and Density512
Sunday, June 30th @5pm
Scottish Rite Theater
Christine Burke half murmur
Ingebrigt Håker Flaten Evolutionen*
Alan Retamozo Temblor*
Jeff Snyder Substratum**
Camila Agosto Chain Reaction
Vinko Globokar Kaleidoskop im Nebel
*commission and world premiere
**world premiere of new arrangement
Nicholas Perry Clark, conductor and curator
Kenzie Slottow, flute
Ashley Cook, oboe
Stephen Dubetz, clarinet
Alex Onieal, bassoon
Zach Morgan, horn
Casey Martin, trumpet
Alex Cruz, trombone
Keith Allegretti, piano
Bob Hoffnar, pedal steel guitar
Ellie Yamanaka, harp
Scott Charvet, percussion
Nicole Robbins, percussion
Nick Montopoli, violin
Alan Chen, viola
Akshaya Avril Tucker, cello
Andy Rogers, bass
Musik in Nebel (Fog Music) explores music that is largely improvised, ambiguous, and inspired by stream-of-consciousness composition. We present two brand-new commissions by local composers, Alan Retamozo and Ingebrigt Håker Flaten, as well as a commissioned arrangement of a concerto for pedal steel guitar by Jeff Snyder featuring Bob Hoffnar, Director of the Liminal Sound Series.
The music that Density512 plays is generally notated with great complexity. Musicians struggle to try and replicate the sounds that are exactly what the composer intended. But some composers take a different approach, by giving the performers more control. Camila Agosto's Chain Reaction is a series of musical images that the players interpret simultaneously. In Christine Burke's half murmur, the composer supplies a page with specific directions for all the instruments and gives them seconds of time to elaborate on what she's written. We end the show with Vinko Globokar, a trombonist, composer, and wild improviser. His work, Kaleidoskop im Nebel (Kaleidoscope in fog) fits with the other works as it is a stream-of-consciousness collage of sounds. The music is comprised of intricate instrumental techniques, peculiar percussion resonances, and even coughing and laughing from orchestra members as if we have stumbled into the middle of Globokar's improvisatory creative space.
The most important rule of half murmur is that performers may only play when the tam-tam (gong) is playing. The percussionist will stop playing 4-5 times throughout the piece and will signal to the rest of the ensemble by raising their arms above their head. Players should decrescendo to silence and cease playing immediately once they notice this; violin I, violin II and viola may continue playing throughout this silence, as long as they play in the constant layer. After a short silence the percussionist will begin again.
A composer from Iowa City, IA, whose music has recently been recognized by ETHEL, the Southland Ensemble, Koehne Quartet at Wien Modern, a.pe.ri.od.ic, Alarm Will Sound and the Mizzou International Composers Festival, and Northwestern University's New Music Conference. Past collaborations include projects with the Chicago Civic Orchestra Fellows, JACK Quartet, Talea Ensemble, Heavy Air, The Living Earth Show, NOW Ensemble, Kamratōn Ensemble, and participation in Núcleo Música Nova, the UNK New Music Festival, and the Earle Brown Music Foundation’s International Summer Academy.
Christine earned a Master's Degree from the University of Iowa, where she studied with Nomi Epstein and Josh Levine (composition) and Maurita Murphy Marx and Jorge Montilla Moreno (clarinet). She was previously a student of David Stock (composition) and Jack Howell (clarinet) at Duquesne University.
"Burke mines her materials masterfully" (Cacophony Magazine)
"Striking..." (Musical America)
Ingebrigt Håker Flaten
Evolutionen (for Helga af Klint)
"...you have to make sure that people feel free and not limited by the music; the compositions should lead the way to a player’s open mind, and that is a challenge.”
When one listens to the great bassists in modern jazz history, a striking thing (though it may not be immediately arrived at) is that greatness is reached through open-mindedness and diversity. Norwegian bassist and composer Ingebrigt Håker Flaten is also a musician whose experience is both geographical and aesthetic. A muscular player whose tone and attack run the gamut from Paul Chambers to Buschi Niebergall, his sense of both openness and control serves ensembles as diverse as The Thing, , Free Falll, Atomic, Scorch Trio and the Kornstad/Håker Flaten Duo. In addition to his own Chicago Sextet and Austin-centric The Young Mothers, Flaten has also recorded and performed with Frode Gjerstad, Dave Rempis, Bobby Bradford, the AALY Trio, Ken Vandermark, Stephen Gauci, Tony Malaby, Daniel Levin, Dennis Gonzalez and numerous others. Flaten studied Jazz at the Music Conservatory in Trondheim, Norway (1992-1995) under the tutelage of bassplayer Odd Magne Gridseth.
Alan Retamozo is an active freelance composer-guitarist based out of Austin, TX. His extensive composition and performance experience includes appearances with: Adam Rudolph and GO Organic Orchestra, Austin New Music Co-op, Revel, New Media Art and Sound Summit (COTFG), SoundSpace Music Series (Blanton Museum of Art), and his own composer-led group, Slant Ensemble. Coming from a jazz background, his work focuses on creative group improvisation, graphic and experimental notation, and conductor-led spontaneous group composition as well as traditional systems of notation. He is currently a graduate student at the University of Texas, Butler School of Music.
Substratum (version for chamber orchestra)
for Susan Alcorn
Bob Hoffnar, pedal steel guitar
Jeff Snyder (b.1978) is a composer, improviser and instrument-designer living in Princeton, New Jersey, and active in the New York City area.As founder and lead designer of Snyderphonics, Jeff designs and builds unusual electronic musical instruments. His creations include the Manta, which is played by over 150 musicians around the world; the JD-1 Keyboard/Sequencer, which was commissioned as a specialty controller for Buchla synthesizers; and the custom analog modular synthesizer on which he regularly performs.
Jeff is a member of experimental electronic duo exclusiveOr, avant jazz group The Federico Ughi Quartet , improvisatory noise trio The Mizries, and laptop ensemble Sideband. He fronts the band Owen Lake and the Tragic Loves as his electro-country alter-ego, Owen Lake. He also composes alternate-reality Early Music for an ensemble of his invented instruments.In 2009, Jeff co-founded an experimental music record label, Carrier Records , which continues to release strange and exciting experimental music. In 2011, he received a doctorate with distinction in Music Composition from Columbia University. He currently is the Director of Electronic Music at Princeton University, and the Director of PLOrk , the Princeton Laptop Orchestra.
Focus on creating a general sound aesthetic for the piece, so that all the sounds you choose are aligned and balance within this general frame. This frame can remain unchanged for the entirety of the piece, or can be adjusted as you progress through the sections. The point of the piece is to allow different sounds, actions, and reactions to develop, and to listen to the unique connections these sounds make. Think carefully about the sources of sounds you choose to make with your instruments and try to adjust these sources and use your chosen instrument in various ways.
An avid collaborator, Camila Agosto (b. 1995) passionately fuses her music with other artistic mediums. Within her works, Camila often employs extended instrumental techniques and exhibits a particular emphasis on the exploration of different timbral and textural elements to create unique soundscapes that provide a space for the performer and listener to uncover the themes within each piece. Her output ranges from electroacoustic works to orchestral scores, from works that are fully notated to improvisatory endeavors, and from solo instruments to larger ensembles. Her music has been performed by members of the International Contemporary Ensemble (ICE), the Semiosis Quartet, clarinetist Eric Umble, and Berrow Duo in venues like Miller Theatre at Columbia University (Manhattan, NY), Abrons Arts Center (Manhattan, NY), The Firehouse Space (Brooklyn, NY), Sala Neumann (Cortona, Italy), and the Banff Centre for Arts and Creativity (Alberta, Canada).
A current Master’s degree candidate at the Peabody Institute of the Johns Hopkins University, she studies with composer Oscar Bettison, and holds a Bachelor’s degree in Music Composition from Montclair State University where she studied with composer Marcos Balter. Camila has also studied with artists of note such as Amy Williams, Zosha Di Castri, David Rakowski, Juraj Kojs, and Sabrina Schroeder. She was a composition fellow at the New Music on the Point Festival, the Cortona Sessions for New Music, and most recently at the Summer Classical Music programs at the Banff Centre for Arts and Creativity.
Kaleidoskop im Nebel
Vinko Globokar’s most recently released composition, Kaleidoskop im Nebel,was commissioned by Borealis for their 2013 festival and is about the mist which falls despite all forecasts; a delightful kaleidoscope is also a fata morgana.
The sometimes bleak, sometimes lush soundscape of the piece could be heard as the diving of birds of prey or the rolling fog on a dew-drop- covered meadow, the disturbance that sets a herd of deer scurrying or the gentle rolling of a tide. As the piece progresses, it is a true kaleidoscope of sound that unfolds, transforming over elapsed seconds and remaining just long enough to peak interest before moving on to the next musical image. Performers burst out in laughter, groan in despair, and use their voices to whoop and siren in response to the sliding musical ideas. Tangible in this piece, along with others of Globokar’s, are the sonic, theatrical, and poetic discoveries inherent in the act of performance. – Caroline Fresh
From 13 to 21 years of age Vinko Globokar lived in Ljubljana (Slovenia), where he made his debut as a jazz musician. He subsequently studied trombone at the National Conservatory in Paris (diploma in trombone and chamber music). He studied composition and conducting with René Leibowitz, counterpoint with André Hodeir, and continued his studies with Luciano Berio.He has performed the premières of a large number of works for trombone by Luciano Berio, Mauricio Kagel, Karlheinz Stockhausen, René Leibowitz, Louis Andriessen, Toru Takemitsu, Jürg Wittenbach and others.
From 1967 to 1976 he was professor at the Musikhochschule in Cologne. In 1969 he was among the founders of the free improvisation group ‚New Phonic Art‘. From 1973 to 1979 he ran the department of instrumental and vocal research at IRCAM in Paris. From 1983 to 1999 he was teaching and conducting the 20th-century repertoire with the Orchestra Giovanile Italiana based in Fiesole (Florence). In 2003 he was made a honorary member of the International Society for Contemporary Music (ISCM).
sponsored in part by:
special thanks to:
Bob Hoffnar, Director of Liminal Sound Series
Nicholas Perry Clark, Executive and Co-Artistic Director
Jacob Schnitzer, Co-Artistic Director
Laura Crabbe, Deputy Director
Sara Sasaki, prismatx series Director
Adam Drake, Development Director
Akshaya Avril Tucker, Director of Public Programs
Luke Berringer, Operations Manager
Jordan Walsh, Equipment Manager
Bob Hoffnar, Sound Engineer
Scottish Rite Theater, Venue