April 21st (thursday) MANFRED WERDER IN PHILLY
with Mark So, Sam Sfirri, and Jason Brogan
Vox Populi Gallery
319 N 11th Street.
ABOUT THE EVENT Join Bowerbird for an evening of music at the edge of silence. The night will feature the work of four composer / performers associated with the Wandelweiser group, including Swiss composer Manfred Werder and Americans Mark So (Los Angeles), Sam Sfirri (Charlestown), and Jason Brogan (Brooklyn). The concert will feature Werder's epic work Stück, a score consisting of more than 4000 pages, where every page may only be performed once.
If you're not already familiar with the Wandelweiser composers, you might want to check out these two resources as an introduction:
Sam Sfirri is a composer and pianist currently living in Charleston, South Carolina. His work has appeared at festivals and venues including the Dog Star Orchestra at the California Institute of the Arts, the wulf., Diapason Gallery, ISSUE Project Room, the Kunstraum Düsseldorf, Klang Im Turm, the S.E.M. Ensemble Reading of New Compositions Workshop, Site Gallery, Galerie Mark Müller, and the Janacek Conservatory. In March 2009, Sfirri was awarded the Expansion Arts Fund by the Coastal Community Foundation to write a concert-length piece of music based on natural environmental occurrences within Charleston. Sfirri is Co-Artistic Director, composer, and performer of the New Music Collective, with whom he has co-curated and performed as part of a ten-year conspectus of music by composer Michael Pisaro, Michael Pisaro: 2000 - 2010, and Silent Music: 4’33’’ and Beyond, an on-going concert series focusing on the work of composers including John Cage, Morton Feldman, Antoine Beuger, Michael Pisaro, and Manfred Werder.
Jason Brogan is a composer, curator, performer, and researcher. His work has been presented in the United States and abroad as part of the Dog Star Orchestra at the California Institute of the Arts, An Exchange with Sol LeWitt, Experimental Music at St. Mark's Church, Konzerte in der Galerie Mark Müller, Nothing New? Understanding Newness in Medieval and Contemporary Music, the S.E.M. Ensemble Reading of New Compositions Workshop, Sound Series at Presents Gallery, Sound Studies at the Universität der Künste, and Wandelweiser at the Goethe-Institut Niedlerlande. He curated the project Michael Pisaro: 2000 - 2010 and the concert series Silent Music: 4'33'' and Beyond.
Mark So grew up in Syracuse and has lived in Los Angeles for the past ten years. He has written hundreds of pieces exploring the nuances of ordinary situations, including a vast cycle of work around the poetry of John Ashbery, and performs frequently in works from the experimental tradition. He has published a book, BANGS, chronicling Manfred Werder’s ongoing performance of So’s piece BANGS [to Manfred Werder]. So attended Pomona College and CalArts, and his composition teachers have included Michael Pisaro, Thomas Flaherty, Annetta Kaplan, James Tenney, Sara Roberts, Christian Wolff, and Stephen "Lucky" Mosko. Mostly text-based and strongly influenced by the New York School, Fluxus, and the Wandelweiser composers group, his work explores varied open "theaters" of perception through scores that engage passing subtleties of continuity and arrangement (time and harmony) that often demand special attention, in and around changing experiences of silence.
Manfred Werder is a composer, curator, and pianist residing in Zürich, Switzerland. He is a member of the Wandelweiser group, co-founder of the ensemble Incidental Music, and curator of the concert series Konzerte in der Galerie Mark Müller. His music has been featured as part of the Artefact Festival, the Dog Star Orchestra the California Institute of the Arts, Instal Festival 2008, Music We'd Like to Hear, POLYply at Royal Holloway at the University of London, Q-O2 werkplaats, and the Säulenhalle Landhaus; it has been recorded and released in Europe (Edition Wandelweiser Records), Japan (Skiti Records), and the United States (winds measure recordings), and is featured in the books, The Ashgate Research Companion to Experimental Music (Aldershot: Ashgate, 2009) and Word Events: Perspectives on Verbal Notation (New York: Continuum, forthcoming 2011), and in music publications such as La Folia and The WIRE Magazine.