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December 17, 2004 Friday

ES + james Hegarty/Rich O'donnell
8:30PM - - -
Sound Objects
Percussionist Rich O'Donnell joins electronic musician James Hegarty for a concert of sonic atmospheres and improvisation. O'Donnell's widely acclaimed "see-saw" drumming and original invented instruments will be featured. Hegarty will perform computer processed instruments through a multiple speaker array of originally constructed speakers. Live projected video will also be featured.

visit http://www.NoiseReductionSociety.com/SoundObjects.html for images and music.

C o n c e r t 1 7. 1 2. 0 4--nachtmusik

play a vibration in the rhythm of the universe
play a vibration in the rhythm of dreaming
play a vibration in the rhythm of dreaming, slowly transform it into the rhythm of the universe
repeat this as often as you can

As one of Stockhausen's most misunderstood texts, nachtmusik (from 1968's Aus den Sieben Tagen), represents for the performer(s) a rather demanding task. To find a method in which to represent the idea of a fundamental rhythm extent in the universe, and a corresponding notion of the rhythm of a dream. Similarly, it poses the deeper question of how the universe can at all be dissected or contained as a single artefact of representation. In fact, the best model of the universe is the universe itself, so Stockhausen is perhaps (in an almost Zen fashion) mapping out a direction for the realization of this piece (in sound) as one that is constantly driven as a self-referential model (iterative or fractal-like). E S has approached such a task through a manner of self-quotation (of other works of Stockhausen), combined with intuitive improvisation. What is inherent in the text of nachtmusik is an approach of considered articulation of form (and therefore texture). As a vacillation between states of dreaming and the universe, nachtmusik is very much a work of Stockhausen as an overseer to the direction of the potential piece, but (ostensively) not the composer of its sounds. Stockhausen's ideas about the nature of music and particularly the intuitive nature of musical experience and performance, point toward a performer(s) requiring the ability to draw completely on years of his/her musical training, and immediately relinquishing it within the instant of musical creation so that all that is transmitted are sounds or vibrations parsed as pure inspiration devoid of human intentions, predilections or preconceived ideas.

about the artists+


As a piano-percussion duo, E S is a partnership between Michael Fowler (piano_keyboards_programming), and Stuart Gerber (percussion_laptop_electronics). The music explored by E S is forged through a mutual interest in computer technology, improvisation and electro-acoustic music. The duo has been described by its mentor-figure, Karlheinz Stockhausen, as "musicians of the highest calibre," and have performed and premiered the composer's music on three continents. Both musicians have worked individually, and as a duo, with many of the most respected composers of the latter 20th century--Milton Babbitt, Stockhausen, George Crumb, Steve Reich, and Fred Rzewski--and have received wide acclaim in the international press. E S has most recently begun to explore improvisation and the role of Stockhausen’s intuitive music scores (particularly the monumental Aus den Sieben Tagen) as a viable nexus to the interface of computer technology, improvisation and graphic music.

mdf >michael fowler, a.k.a. mdf, is a classically trained musican who explores all forms of contemporary acoustic and electro-acoustic music. He has presented solo piano concerts featuring 20th century classical art music in Japan, the US and Australia, as well as exploring concerts that feature real-time computer technologies that combine electronic improvisation and digital multimedia systems. His most recent interests involve, architecture, music performance and the computer program Pure Data. Through the Spatial Information Architecture Laboratory (SIAL), located at Royal Melbourne Institute of Technology (Australia), he will begin Post-Doctorate research in 2006 that will investigate methodologies involved in the translation of traditional Japanese garden spaces into potential architectural models, sound installations, and representative sculpture.

stu > percussionist stuart gerber has been a fixture (as well as instigator) in the Atlanta new-music scene since 2001. In addition to his collaborations with Michael Fowler in E S, he is also a founding member and co-artistic director of Bent Frequency, "…one of the brightest ensembles on the [Atlanta] music scene" (Gramophone, April 2004). Gerber has been heard in solo, duo (with E S), and orchestral performances in the US and abroad, and has worked with some of this century’s most important composers including Kaija Saariaho, Tania Leon, and Karlheinz Stockhausen. In July 2005 he will record two works for the Stockhausen-Complete edition (under the composers supervision), and will be the percussionist for the annual Stockhausen courses in Kuerten, Germany. In additional to the traditional, notation-based music interpretation, his current work has been utilizing electronic devices to augment his percussion arsenal in intuitive improvisations.

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