Rosebud: Deprivation Music No. 10

press release from http://openspace.ca/Rosebud

Genre New Music
Event Short Series of Long Forms pt. 2 Rosebud: Deprivation Music No. 10
Place Church of St John the Divine, 1611 Quadra, Victoria, BC
Artist Eric Kenneth Malcolm Clark 
Dates Saturday, February 18, 2012 at 2:00pm
Admission Tickets $15 general / $10 student, members. Available at the door.

Victoria – On Saturday, February 18, 2012 at 2:00 p.m. Open Space will be presenting Rosebud: Deprivation Music No.10 at the Church of St. John the Divine (1611 Quadra).  This is the second concert in the two-part series Short Series of Long Forms.

The voices of nine local singers will be brought together to mount Eric Kenneth Malcolm Clark’s haunting and texturally rich work Rosebud: Deprivation Music No. 10.  This work, being his 10^th composition to carry the Deprivation title, challenges the singers to perform without the use of two of the most important tools for musicians: hearing and sight.  Blindfolded singers receive their performance instruction through a recording where as the performers who are able to read the score are deprived of their ability to hear the other performers.  By depriving the singers of these tools, Clark creates a situation where magnificent synchronicities and harmonies emerge unexpectedly.  As the singers perform, sections are recorded and slowly layered on top of one another enriching the harmonies and thickening the texture resulting in a totally immersive sound environment.

This performance of Rosebud will be approximately 3 hours long during which time the audience is invited to move around to explore the sounds from different locations within the space of the Church of St. John the Divine.  Audience members will also be able to come and go as they please in order to be able to fully experience the ever changing textures of this work.

Rosebud: Deprivation Music 10 will immerse you in musical textures and vocal harmonies like never before.  Come see and hear what the performers can’t.

Eric KM Clark on Ear Meal

on Wednesday Jan 11th I presented some of my recent work as a layered performance on Ear Meal. Guest performers include Christine Tavolacci, David Seta, and Anthony Gloria.

On Tuesday night (Oct 25th), the EAR Unit will be performing a new work by CSULB’s own prof. Alan Shockley. The music department is presenting a concert of his work, and we’ll be ending it with our fun and funny rendition of his new work I feel open to…

Tue, October 25, 2011: Faculty Artist Series, Alan Shockley, composition 8:00pm DRH $10/7

click for more info

Deprivation Music No. 10 [aka rosebud]
This work was premiered in May 2011 on the Music at First series in Brooklyn Heights, NY. The wonderful performers were Joe Drew, Carmina Escobar, Lainie Fefferman, John P. Hastings, Aaron Meicht, Jascha Narvesson, Fahad Siadat and Meg Wilhoite. Jonathan Kesselman did live video, and I did live layering/mixing.
Deprivation Music 10 rosebud by Eric KM Clark

Eric km Clark’s Deprivation Choir at Music at First from Meg Wilhoite on Vimeo.

hehe, this pic was taken a few years ago (5 even?), at Sea and Space..

So far I’ve collected samples of singing from 27 individuals, which is awesome! I plan on experimenting with these over the next few months, possible starting with my new piece for choir in the Music at First series, in Brooklyn Heights on May 20th.

http://musicatfirstsite.com/

so much to do……wonderful.

photo credit: Richard Hines

should be fun in Skopje, we’ll only be in Europe for a couple of days so not much sleep for this one..

festival mainpage

link to the program

music we’d like to hear

three concerts on three wednesdays curated by three composers

7th july 2010 [this concert curated by john lely] music from the wulf. (LA)

program:

• venue:

st pauls – central line

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Purchase:

Dither:Dither
(Henceforth Records 108)

Performers:
Taylor Levine
David Linaburg
Joshua Lopes
James Moore *** Record Release Event

Dither is celebrating the release of their debut album on June 12 @ The Invisible Dog in NYC ($6, 7:00-11:00 p.m.).

Performances by: Dither, Kathleen Supové, Nick Didkovsky, Elliott Sharp, Matthew Welch, Florent Ghys, Loud Objects, Mantra Percussion, Redhooker, and The Deprivation Orchestra of NYC. Music includes: Tenney’s “Septet,” Fred Frith’s “Stick Figures” for six table-top guitars, two players, Eve Beglarian’s “The Garden of Cyrus,” and selection’s from Dither’s album.

Sounds like it’s going to be a party.

Dither the band is a four-man electric guitar quartet and Dither the album comes packaged with liner notes by Elliott Sharp. Even if you think you know in what direction these details are leaning, there is a minute and a half at the outset of this self-titled debut release when things seem held aloft in a kind of sonic limbo. Over a vague, ominous rumble, the delicate opening notes of Lainie Fefferman’s Tongues of Thorns are carefully plucked out, tempting the ear deeper and deeper into the texture. But then in a breath the musicians punch their way straight through and out into the world with a repetitive primal drive that never lets up until the piece wraps minutes later. It’s a provocative rocking that sounds good, feels good, and even when the music hits its fever pitch and the wailing claps you sharply, things still manage to keep to the honest side of controlled.

It makes for a bracing start to a disc that flexes the ears in quite a few compelling directions. Vectors by Jascha Narveson is built on relentless pitch bending, spare and spring loaded until this wind-up toy of a piece finally begins to tire out. Lisa R. Coons’s four-movement Cross Sections takes up the bulk of the disc’s 53 minutes, but in many ways it also leaves the most air in the room, twisting a path through all manner of textures with a more nuanced, patient, and subtle touch than the other works utilize. Manic racing lines move into glitchy noise and then onto glacial harmonics. In the end, the music gives way to a platform of hardly any sound at all.

Dither’s own Joshua Lopes penned Pantagruel, and whether or not the piece was in any way influenced by Rabelais’s literary creation, there’s an inventive, comic-book style boldness of color in how Lopes throws down that makes this work a striking production. In performance, the exactness of the ensemble playing and the clear-cut layers in the sonic material impress with their clock-like precision.

Concluding this odyssey is Eric KM Clark’s punishing exPAT, “a Dither commission for hearing-deprived guitar orchestra.” Seriously, the players are wearing earplugs and headphones playing back white noise, and the piece is scored for “as many guitarists as possible,” so you can see how things might get loud. exPAT is dense and aggressive—a solid, unrelenting block of vibration that’s aurally exhausting in a way the works on the album up to this point have not been. Which is not to imply that the disorienting state of overdrive this train rides out in is a negative, but as in extreme sport, part of the thrill is in the possibility of pain. Prepare your ears.

reblogged from www.newmusicbox.com