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X-WR-CALDESC:Events for BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA
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DTSTART;TZID=America/New_York:20170504T183000
DTEND;TZID=America/New_York:20170504T203000
DTSTAMP:20260425T154906
CREATED:20190321T173245Z
LAST-MODIFIED:20190321T173245Z
UID:10000854-1493922600-1493929800@www.bowerbird.org
SUMMARY:Opening: Predicated+A Recollection
DESCRIPTION:presented by Bowerbird and Slought\, curated by Tiona Nekkia McClodden; part of “Julius Eastman: That Which Is Fundamental” \nA Recollection. and Predicated. – feature archival traces and work by ten contemporary artists that engages with Julius Eastman and the fragmented nature of his legacy. A Recollection. approaches a historical exploration and remembrance of Eastman as a master of artifice\, while Predicated.\, an exhibition in conversation with the work of Julius Eastman\, explores notions of absence\, trace presence\, duration\, the politics of exhaustion\, as well as the interplay between composition and improvisation through video\, sculpture\, and photography. \nGallery hours and more information: https://www.thatwhichisfundamental.com/exhibition/ \nABOUT THAT WHICH IS FUNDAMENTAL\nJulius Eastman: That Which is Fundamental is an interdisciplinary\, multi-artist project that examines the life\, work\, and resurgent influence of Julius Eastman\, a gay African American composer and performer who was active internationally in the 1970s and 80s\, but who died homeless at the age of 49\, leaving an incomplete but compelling collection of scores and recordings. The culmination of more than three years of research\, this first iteration of this project will take place in Philadelphia in May 2017. Events include four major concerts – including several modern “premieres” of recently recovered works – and a multi-disciplinary exhibition featuring archival materials and work by ten contemporary artists who engage with Eastman and the fragmented nature of his legacy.
URL:https://www.bowerbird.org/event/opening-predicateda-recollection/
LOCATION:The Slought Foundation\, 4017 Walnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Eastman_Recollection.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170421T200000
DTEND;TZID=America/New_York:20170421T220000
DTSTAMP:20260425T154906
CREATED:20190321T173719Z
LAST-MODIFIED:20190321T173719Z
UID:10000855-1492804800-1492812000@www.bowerbird.org
SUMMARY:Morton Feldman's "Three Voices"
DESCRIPTION:ABOUT THE EVENT \nThree Voices\, written in 1982 for Joan La Barbara\, was the last solo vocal piece he wrote before his death in 1987 (For Stefan Wolpe\, dedicated to his composition teacher and written for chorus and two vibraphones\, post-dates it). It sets part of Wind\, a poem by his friend Frank O’Hara that had been dedicated to him and which he had set earlier in its entirety in The O’Hara Songs (1962) for bass-baritone. \nConceived as a trio for the one voice\, with two pre-recorded parts and one to be performed live\, the score is conventionally notated (all parts are written out with precise rhythms and pitches\, though often in differing metres) but is beguilingly short on some details. There is\, for example\, no tempo indication\, no vowel specified for the many lengthy passages without text\, no dynamics bar an initial ppp\, and no guidance as to which voice should be the ‘live’ one. \nWriting later about Three Voices\, Feldman said: ‘One of my closest friends\, the painter Philip Guston\, had just died; Frank O’Hara had died several years before. I saw the piece with Joan in front and these two loudspeakers behind her. There is something kind of tombstoney about the look of loudspeakers. I thought of the piece as an exchange of the live voice with the dead ones – a mixture of the living and the dead’. \n  \nABOUT JULIET FRASER \nSoprano Juliet Fraser has a repertoire dominated by the very old and the very new. In new music\, she has performed as a guest soloist with Klangforum Wien\, Remix Ensemble\, Talea\, ICTUS\, Plus-Minus\, We Spoke: New Music Company\, London Sinfonietta and BBC Scottish Symphony Orchestra. She is also principal soprano of EXAUDI\, the acclaimed vocal ensemble\, which she founded with James Weeks in 2002. Juliet has premiered well over 100 works\, many of which have been written for her\, and has worked particularly closely with composers Rebecca Saunders\, Michael Finnissy\, Bernhard Lang\, Matthew Shlomowitz\, Andrew Hamilton and Cassandra Miller. Her commercial recording of Morton Feldman’s “Three Voices” was released on Hat Hut Records in November 2016.
URL:https://www.bowerbird.org/event/morton-feldmans-three-voices/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Feldman_Three_Voices.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170409T180000
DTEND;TZID=America/New_York:20170409T210000
DTSTAMP:20260425T154906
CREATED:20190321T174221Z
LAST-MODIFIED:20190321T174221Z
UID:10000856-1491760800-1491771600@www.bowerbird.org
SUMMARY:Commonwealth Dinner Theater 01
DESCRIPTION:ABOUT THE EVENT\nBowerbird is excited to launch a new series – Commonwealth Dinner Theater – a night of genre bending performances combined with a delicious meal. Perfect for the curious of mind and palate. \nThe night includes a vegetarian friendly meal served family style and three wonderful acts: Philly favorite Beth Nixon\, a beautifully illustrated crankie- scrolling panoramic drawing- from Baltimore’s Hidden Eye Theater (comics artist Eamon Espey & puppeteer Lisa Krause)\, and Jupiter Blue\, a new musical duo featuring Sun Ra Arkestra’s D.M. Hotep and Tara Middleton. \n  \nABOUT THE ARTISTS \nBETH NIXON is an interdisciplinary artist who works under the name Ramshackle Enterprises. Since 1998 Beth has been writing\, building\, performing\, and touring her own solo clown and puppet shows\, collaborating with other artists\, and frequently facilitating the creation of puppet parades\, pageants\, and performances with groups of children and adults. Beth has worked with Pig Iron Theatre and Spiral Q (Philly)\, Red Moon Theater (Chicago)\, Bread and Puppet Theater (VT)\, and Big Nazo Puppets (RI). CAPSULE is a work-in-progress performance created by Beth Nixon is collaboration with Maggie Alvarez\, Theodora Rodine\, Madeline Shuron\, and Emma Wells\, directed by Jaclyn Pryor. \n  \nBaltimore-based HIDDEN EYE THEATER (Eamon Espey & Lisa Krause) presents the Nameless Gate\, a moving panorama. It is a meditation on male/ female and animal/ plant relations and the journey to return to the source of all things. It is a poem about the light of darkness. The music was specifically written for the performance and was made using a keyboard\, a shovel and a boombass. \nSun Ra Arkestra guitarist D.Hotep with Sun Ra Arkestra vocalist/lyricist/violinist Tara Middleton form the duo JUPITER BLUE\, exploring differing genres of music — from composed to improvised to experimental\, developing lyrical grooves & jazz-sourced vocal soundscapes.
URL:https://www.bowerbird.org/event/commonwealth-dinner-theater-01/
LOCATION:Maas Building\, 1325 N Randolph St\, Philadelphia\, PA\, 19122\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Commonwealth_Dinner.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170321T200000
DTEND;TZID=America/New_York:20170321T220000
DTSTAMP:20260425T154906
CREATED:20190321T174926Z
LAST-MODIFIED:20190321T174926Z
UID:10000858-1490126400-1490133600@www.bowerbird.org
SUMMARY:Arnold Dreyblatt
DESCRIPTION:NODAL EXCITEMENT for prepared Double Bass with Piano Wire\nREPERTOIRE for prepared Double Bass with Piano Wire\, Laptop\nMAGNETOM for laptop \nTHE EVENT\nBowerbird is pleased to present a rare performance by composer-performer Arnold Dreyblatt (b. New York City\, 1953). Dreyblatt studied music with Pauline Oliveros\, La Monte Young\, and Alvin Lucier and has been based in Berlin\, Germany since 1984. Among the second generation of New York minimal composers\, Dreyblatt developed a unique approach to composition and music performance. As he began his music in the late 1970’s in New York\, he invented a set of new and original instruments\, performance techniques\, and a system of tuning and has formed and led numerous ensembles under the title “The Orchestra of Excited Strings”. \nDreyblatt has been composing music for his own and other ensembles for almost forty years. Often characterized as the most rock-oriented of American minimalists\, Dreyblatt has cultivated a strong underground fan base for his transcendental and ecstatic music with his “Orchestra of Excited Strings”. The New York native studied film and video at SUNY with Woody and Steina Vasulka\, and earned his masters from the Institute for Media Studies at S.U.N.Y. Buffalo. In the mid-’70s\, he studied composition with Pauline Oliveros and LaMonte Young\, then with Alvin Lucier while completing his masters in composition\, completed in 1982. By that time\, Dreyblatt had already been directing his own music ensemble\, the Orchestra of Excited Strings. \nIn 1984\, he moved to Europe where\, in addition to composing\, he began to work in performance and the visual arts. He has received numerous grants\, stipends and commissions including the Philip Morris Art Prize\, Foundation for Contemporary Performance Art and from the Irish Arts Council. Musicians and Ensembles which have performed his music include the Bang On A Can All-Stars\, the Pellegrini Quartet\, Jim O’Rourke\, Crash Ensemble (Dublin)\, The Great Learning Orchestra (Stockholm)\, and the American Indie-band Megafaun. In 1991\, he created the contemporary opera Who’s Who in Central and East Europe 1933 which toured European theatres until 1997. \nDreyblatt has recorded for such labels as Tzaddik\, Hat Hut\, Table of the Elements\, Cantaloupe\, Important\, Northern Spy\, Choose and Black Truffel. Dreyblatt has taught music workshops resulting in performed compositions with musicians at The Music Gallery\, Toronto; MIT Boston\, Serralves Foundation\, SXSW Festival Porto\, Portugal and many others. He has performed with and without his ensemble at the Whitney Museum\, New York; the Maerz Music Festival\, Berlin; the Angelika Festival\, Bologna; The Lab in San Francisco\, Jazz House\, Copenhagen and countless other festivals and concert venues in Europe and in North America.
URL:https://www.bowerbird.org/event/arnold-dreyblatt/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Arnold_Dreyblatt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170317T200000
DTEND;TZID=America/New_York:20170317T220000
DTSTAMP:20260425T154906
CREATED:20190321T175243Z
LAST-MODIFIED:20190321T175243Z
UID:10000859-1489780800-1489788000@www.bowerbird.org
SUMMARY:Community Futurism: An Evening Curated By Moor Mother
DESCRIPTION:ABOUT THE EVENT \nThe evening features two sets by Moor Mother\, working under the theme of Community Futurism\, in collaboration with Black Quantum Futurism and the Community Futures Lab. The first set includes improv collaboration of live instrumentation with drums\, saxophone\, bass\, synth\, and text. The second features music from the album Fetish Bones as well as unreleased songs by Moor Mother. Artists include Rasheedah Phillips\, Madam Data\, Keir on sax\, Philip on drums\, and George and Steve on bass. \n  \nABOUT MOOR MOTHER \nCamae Ayewa (Moor Mother) is a national and international touring musician and has performed at numerous festivals\, colleges\, and universities sharing the stage with King Britt\, Islam Chipsy\, Claudia Rankine\, and Bell Hooks as well as opening on tour for Screaming Females. A soundscape artist with work featured at Samek Art Museum\, Metropolitan Museum of Art Chicago\, ICA Philadelphia\, and Everson Museum of Art\, Camae is also a vocalist in punk band The Mighty Paradocs and free jazz group Irreversible Entanglements. Camae is co-founder and organizer of Rockers! Philly\, a 10-year long running event series and festival that focuses on marginalized musicians and artists spanning multiple genres of music. As Moor Mother\, she released her debut album Fetish Bones on Don Giovanni Records. It was named 3rd Best Album of the Year by The Wire Magazine\, #1 by Jazz Right Now\, and appeared on numerous end of the year lists from Pitchfork\, Noisey\, Rolling Stone\, and Spin Magazine. Moor Mother was named by Rolling Stone as one of 10 Artists to Watch in 2016 and named Bandcam’s 2016 Artist of the Year. Camae also released her first book of poetry called Fetish Bones in Winter 2016 on The AfroFuturist Affair small press. As a member of Black Quantum Futurism Collective (BQF)\, she has been a part of two literary works and several zines\, and has been featured in exhibitions at the Schomburg Center\, Rebuild Foundation\, Temple Contemporary at Tyler School of Art\, and more. Camae Ayewa is a 2016 Leeway Transformation Award and Blade of Grass 2016 Fellow\, has been an in artist in residency at West Philadelphia Neighborhood Time Exchange and WORM! Rotterdam residency\, and will be featured with Black Quantum Futurism at Transmediale Festival in Berlin 2017. Moor Mother has appeared in the Quietus\, the Fader\, Vice and others. Moor Mother’s upcoming schedule includes Berhaign\, Safe as Milk Festival\, CTM Festival\, MoogFest\, and Donau Festival.
URL:https://www.bowerbird.org/event/community-futurism-an-evening-curated-by-moor-mother/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Moor_Mother.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170310T200000
DTEND;TZID=America/New_York:20170310T220000
DTSTAMP:20260425T154906
CREATED:20190321T175655Z
LAST-MODIFIED:20190321T175745Z
UID:10000860-1489176000-1489183200@www.bowerbird.org
SUMMARY:Arcana Meets Variant 6: Reich\, Feldman\, & more
DESCRIPTION:Bowerbird’s Arcana New Music Ensemble joins forces with Variant 6\, a vocal sextet specializing in contemporary music\, for a program of Steve Reich\, Morton Feldman\, Salvatore Sciarrino\, and more. \n  \n  \nTHE PROGRAM \nMorton Feldman: Voices and Instruments II\nfor three voices\, flute\, two cellos\, and double bass \nSteve Reich: Proverb\nfor three sopranos\, two tenors\, two vibraphones\, and two electric organs \nSalvatore Sciarrino: Responsorio delle tenebre\nPelle Gudmundsen-Holmgreen: Sound I\nBruno Bettinelli: Quando tutto all’intorno\nBruno Bettinelli: Sia calmo\nperformed by Variant 6 \nDai Fujikura: Poison Mushroom\nfor flute and electronics \n  \n  \nABOUT ARCANA\nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Arcana is a project of Bowerbird administered by Elizabeth Huston\, Thomas Patteson\, and Dustin Hurt. \nEmma Resmini\, flute\nCarolina Diazgranados\, cello\nChen Cao\, cello\nMatt Engle\, bass\nAndy Theiruf\, percussion\nTed Babcock\, percussion\nTing Ting Wong\, keyboard\nDavid Hughes\, keyboard \n  \n  \nABOUT VARIANT 6\nVariant 6 performs virtuosic vocal chamber music in innovative programs and unique spaces. With only six musicians\, the ensemble cultivates an intimate approach to a capella music while pushing the boundaries of what individual voices can accomplish together. Their concerts are designed to subvert a listener”s expectations for repertoire and programming by placing music from centuries apart in stark juxtaposition. Hoping to simultaneously challenge and engage\, Variant 6 seeks to create performances that constantly surprise listeners. \nJessica Beebe\, soprano\nSteven Bradshaw\, tenor\nRebecca Myers\, soprano\nDaniel Schwartz\, baritone\nElisa Sutherland\, mezzo-soprano
URL:https://www.bowerbird.org/event/arcana-meets-variant-6-reich-feldman-more/
LOCATION:Fleisher Art Memorial\, 719 Catharine St\, Philadelphia\, PA\, 19147\, United States
CATEGORIES:Arcana
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Arcana_Variant6.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170303T200000
DTEND;TZID=America/New_York:20170303T220000
DTSTAMP:20260425T154906
CREATED:20190325T152856Z
LAST-MODIFIED:20190325T152856Z
UID:10000861-1488571200-1488578400@www.bowerbird.org
SUMMARY:Bowling for Arcana: a Fundraiser
DESCRIPTION:Roll strikes\, spares\, and even gutter balls\, while you support Bowerbird’s ARCANA NEW MUSIC ENSEMBLE. We’ve rented the whole PEP Bowl facility – which means admission gets you two hours of unlimited bowling *AND* supports our mission of performing beautiful\, unconventional music in beautiful\, unconventional spaces. \n  \nABOUT PEP BOWL\nConveniently located in South Philadelphia just minutes from Center City\, PEP Bowl offers a state-of-the-art bowling experience in an authentic “vintage” bowling alley dating back to the 1950s. You can feel good bowling at PEP Bowl knowing that you are helping support PEP’s mission of providing much-needed employment and services to people with developmental disabilities in the Philadelphia area.
URL:https://www.bowerbird.org/event/bowling-for-arcana-a-fundraiser/
LOCATION:PEP Bowl\, 1200 S Broad St\, Philadelphia\, PA\, 19146\, United States
CATEGORIES:Arcana
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/bowling.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170224T200000
DTEND;TZID=America/New_York:20170224T220000
DTSTAMP:20260425T154906
CREATED:20190325T153244Z
LAST-MODIFIED:20190325T153244Z
UID:10000862-1487966400-1487973600@www.bowerbird.org
SUMMARY:We The People: Arcana Meets Prometheus
DESCRIPTION:ABOUT THE EVENT \nArcana joins forces with the Prometheus Chamber Ensemble to perform two politically charged works of modern music. Dutch composer Louis Andriessen’s 1975 composition Workers Union is notated as a single part that can be played by any kind of instruments\, melodic or percussive. Noisy\, hypnotic\, and powerfully dramatic\, Workers Union is a parable for political organizing: in the composer’s words\, “Only if every player plays with the intention that their part is essential will the work succeed.” \nWhile Andriessen’s work is based on the theme of solidarity–“Musicians of the world\, unite!”– John Cage’s nearly contemporary Apartment House 1776\, composed for the American Bicentennial\, celebrates the composer’s anarchist belief in a decentralized society with a “plurality of centers.” In the original version\, four soloists sing songs representing the religious traditions of the time of the American Revolution (Protestant\, Sephardic\, African American\, and Native American)\, accompanied by snippets of instrumental music of the time that Cage modified via chance operations. This toned-down interpretation will feature a number of Cage’s arrangements alternating with solo performances of some of the songs. \n  \nTHE PROGRAM\nGeorg Phillip Telemann: Les Nations\nLouis Andriessen: Workers Union\nJohn Cage: Harmonies from Apartment House 1776 \n  \nABOUT ARCANA\nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Arcana is a project of Bowerbird administered by Elizabeth Huston\, Thomas Patteson\, and Dustin Hurt. \nviolin: Rachel Segal\, June Bender\nviola: Veronica Jurkiewicz\nbass: Dan Turkos\, Josh Machiz\npercussion: Andy Thierauf\nbassoon: Dominic Panunto\ntrombone: Dan Blacksberg\nelectric guitar: Nick Millevoi\nflute: Katie Ambacher\nvoice: Alize Rozsnyai \n  \nABOUT PROMETHEUS\nPrometheus Chamber Orchestra is Philadelphia’s self-conducted and self-managed chamber orchestra. Its individual members perform at the highest levels\, having studied at major conservatories and universities such as the Curtis Institute\, San Francisco Conservatory\, Indiana University\, the Hartt School of Music\, and Temple University. Its members also have an affinity for creative improvisation\, rock\, bluegrass\, jazz\, and other musical styles in which the artist sees an opportunity to fuse artistry with ingenuity. Beyond outstanding musicianship\, Prometheus Chamber Orchestra boasts a wealth of expertise in other fields\, which allows Prometheus to operate as a self-managed ensemble. \nviolin: Angela Sulzer\, Liz Carlson\, Lorenzo Raval\, Rachel Massey\nviola: Veronica Jurkiewicz\, Emma Hughey\, Jennifer Boorum\, Steve Heitlinger\ncello: Thomas La Forgia\, Julia Morelli\nbass: Dan Turkos\, John DiCarlo\npercussion: Dan Schwartz\nbassoon: Dominic Panunto\nelectric bass: Matt Engle
URL:https://www.bowerbird.org/event/we-the-people-arcana-meets-prometheus/
LOCATION:Church of the Advocate\, 1801 Diamond St\, Philadelphia\, PA\, 19121\, United States
CATEGORIES:Arcana
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/prometheus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T200000
DTEND;TZID=America/New_York:20170217T220000
DTSTAMP:20260425T154906
CREATED:20190325T153559Z
LAST-MODIFIED:20190325T153917Z
UID:10000863-1487361600-1487368800@www.bowerbird.org
SUMMARY:Loren Connors / Chris Forsyth Duo
DESCRIPTION:Bowerbird is pleased to present the duo of Loren Connors and Chris Forsyth and a performance by Philadelphia’s Taiwan Housing Project \n\n\n  \n\n\nLOREN CONNORS has improvised and composed original guitar music for over four decades. His music – which embraces the aesthetics of blues\, Irish airs\, blues-based rock and other genres while letting go of rigid forms – has been recorded on Family Vineyard\, Northern Spy\, Drag City\, Table of the Elements\, Recital\, RoadCone and other labels. \nConnors\, who names abstract expressionist painter Mark Rothko his most important influence\, has performed with Thurston Moore\, Keiji Haino\, Jim O’Rourke\, John Fahey\, Alan Licht\, Jandek\, and Kim Gordon. Suzanne Langille has often appeared on Connors’ recordings as vocalist\, lyricist and arranger. Connors also on occasion performs with an avant blues band called Haunted House\, together with Langille\, guitarist Andrew Burnes and percussionist Neel Murgai. \nIn July 1979\, Cadence Magazine noted that Connors\, who had recently emerged in the scene\, was “similar to others in the Advanced Guard of improvising guitarists in that he is trying to extend the boundaries of sound and pitch of acoustic guitar\, but he is unique in the utilization of Blues in his work\, one could almost say this is Avant Garde Blues. He’s swimming in new waters and beginning to make his own environment.” \nIn recent years\, Connors has focused mostly on live recordings of extended blues abstractions\, with occasional performances in a more avant blues rock vein from time to time through the Haunted House band and collaborations with other artists. \n\n\n\n\n\n\n\n\nCHRIS FORSYTH is a lauded guitarist and composer whose work assimilates art-rock textures with vernacular American influences. Long active in underground circles\, he’s recently released a string of acclaimed records of widescreen guitar rock\, and in 2013\, he assembled The Solar Motel Band\, who have quickly developed a reputation as an incredible live act\, provoking ecstatic comparisons to visionary artists such as Television\, The Grateful Dead\, Popol Vuh\, Neil Young & Crazy Horse\, and Richard Thompson. His newest release with The Solar Motel Band is the double album The Rarity of Experience (No Quarter)\, released in March 2016. Raves have been universal. Pitchfork called it “a near-perfect balance between 70s rock tradition and present day experimentation\,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors\,” and the New York Times calls him “a scrappy and mystical historian…” His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.” \nIn addition to Forsyth’s work as a solo artist and bandleader\, he has been an inveterate collaborator with a diverse range of artists\, including singer/songwriter Meg Baird\, trumpeter Nate Wooley\, analog synthesist Koen Holtkamp\, and choreographer Miguel Gutierrez. He is a recipient of a 2011 Pew Fellowship in the Arts and resides in Philadelphia. \n\n\n\n\n\n\n\nTAIWAN HOUSING PROJECT began as a weird lo-fi fake pop recording project between Kilynn Lunsford (Little Claw\, Tyvek) and Mark Feehan (Harry Pussy\, Trash Monkeys). After a while of playing exclusively as a duo in a bedroom with two cats they enlisted Pat Ganley (Casual Viking\, Dan Melchior) and Adam Cooper (Tickley Feather\, Hanging Tounges) and started playing in a basement with three cats. Taiwan Housing Project’s hip shaking white hot noise has been met with drunken enthusiasm and dismissive shrugs from friends and foes alike.
URL:https://www.bowerbird.org/event/loren-connors-chris-forsyth-duo/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/loren_connors.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170212T200000
DTEND;TZID=America/New_York:20170212T220000
DTSTAMP:20260425T154906
CREATED:20190325T154212Z
LAST-MODIFIED:20190325T154352Z
UID:10000864-1486929600-1486936800@www.bowerbird.org
SUMMARY:The Lady with the Hammer: The Music of Galina Ustvolskaya
DESCRIPTION:ABOUT THE EVENT \nThe Russian composer Galina Ustvolskaya (1919-2006) created some of the most severe\, brutalist classical music of the 20th century. Favoring stark textures and unusual combinations of instruments– she never formally studied orchestration– her music unfolds in ruthlessly throbbing rhythms\, angular melodic shards\, and resonant caverns of silence. Though she mostly avoided programmatic depictions and favored abstract titles\, her work provoked visceral reactions: the Dutch musicologist Elmer Schonberger called her “the lady with the hammer\,” while Ustvolskaya herself described her work as “music from the black hole.” Aside from uncharacteristic pieces she wrote for public functions\, her work was largely unperformed during her lifetime. Only in the 1980s did her relatively small body of work begin to be performed and recorded\, and Ustvolskaya still remains largely unknown even among aficionados of 20th-century classical music. The Arcana New Music Ensemble is proud to present the music of this unique and powerful composer. \n  \nTHE PROGRAM \nComposition No. 1 (1970-71)\nEmma Resmini\, piccolo\nJay Krush\, tuba\nDavid Hughes\, piano \nDuet for Violin and Piano (1964)\nMin Kim\, violin\nDavid Hughes\, piano \nSymphony No. 5\, “Amen”(1989-90)\nDavid Hughes\, voice\nEvan Ocheret\, oboe\nTessa Ellis\, trumpet\nJay Krush\, tuba\nMin Kim\, violin\nEric Derr\, percussion \nGrand Duet for Cello and Piano (1959)\nTom Kraines\, cello\nMichael Tan\, piano \nPiano Sonata No. 6 (1988)\nMichael Tan\, piano \n  \nABOUT ARCANA\nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Arcana is a project of Bowerbird administered by Elizabeth Huston\, Thomas Patteson\, and Dustin Hurt.
URL:https://www.bowerbird.org/event/the-lady-with-the-hammer-the-music-of-galina-ustvolskaya/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Arcana
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Galina_U.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170129T200000
DTEND;TZID=America/New_York:20170129T220000
DTSTAMP:20260425T154906
CREATED:20190325T154624Z
LAST-MODIFIED:20190325T154624Z
UID:10000865-1485720000-1485727200@www.bowerbird.org
SUMMARY:Begin Anywhere 05
DESCRIPTION:ABOUT THE EVENT \nBowerbird is pleased to present the first event of the newly rebooted BEGIN ANYWHERE series\, a performer-driven\, salon-style concert series curated and performed by the musicians of the Arcana New Music Ensemble. With appropriate irony for our current political climate\, the concert will feature a variety of works by American composers and conclude with one tragic Russian composition. \nTHE PROGRAM \nEric Nathan: Toying (2012)\nTessa Ellis\, trumpet \nWilliam Albright: Sonata for Alto Saxophone\, 2nd movement\, arr. Mark Zelesky (1984)\nMark Zelesky\, saxophone \nGeorge Rochberg: excerpts from Caprice Variations (1970)\nJune Bender\, violin \nGeorge Lewis: Artificial Life 2007\nTessa Ellis\, trumpet\nTom Kraines\, cello\nMichael Tan\, piano\nMark Zelesky\, saxophone \nLori Laitman: I Never Saw Another Butterfly (1996)\nAlize Rosznyai\, voice\nAaron Stewart\, saxophone \nAlfred Schnittke: Cello Sonata No. 1 (1978)\nDavid Hughes\, piano\nTom Kraines\, cello \nABOUT ARCANA\nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Arcana is a project of Bowerbird administered by Elizabeth Huston\, Thomas Patteson\, and Dustin Hurt.
URL:https://www.bowerbird.org/event/begin-anywhere-05/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Arcana
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Anywhere_05.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170120T200000
DTEND;TZID=America/New_York:20170120T220000
DTSTAMP:20260425T154906
CREATED:20190325T155136Z
LAST-MODIFIED:20190325T155136Z
UID:10000866-1484942400-1484949600@www.bowerbird.org
SUMMARY:The Pine Barrens Screening
DESCRIPTION:Bowerbird is pleased to present a screening of David Scott Kessler’s evolving documentary The Pine Barrens: Whitesbog Edition with a live score performance by The Ruins of Friendship Orchestra. Guiding the viewer through the New Jersey Pineland’s winding\, rust-colored rivers; its dark\, sandy forests and slowly developing towns\, The Pine Barrens creates a contemplative\, complex\, portrait of a place out of time. With the Pinelands as a primary character\, the film explores the symbiotic yet sometimes destructive relationship between man and nature. It is believed by many that political forces and negligence may contribute to making this century the Pine Barren’s last. \nTHE RUINS OF FRIENDSHIP ORCHESTRA\nNamed for the historic Pine Barrens town of Friendship where the band first practiced together as a group\, The Ruins of Friendship Orchestra is a collective of electronic and traditional instrumentalists composing the score to The Pine Barrens concurrently to the film’s evolving editions. Ruins perform this score\, also an evolving and partially improvised work\, live at screenings\, merging performance and documentary to create a completely unique experience transporting the audience into our interpretation of this fascinating and beautiful place. \nBen Warfield\, synthesizer\nLaura Baird\, vocals\, flute\, banjo\nGretchen Lohse\, viola\nJesse Sparhawk\, harp\, bass\nJohn Pettit\, guitar\, trumpet\, harmonium
URL:https://www.bowerbird.org/event/the-pine-barrens-screening/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Pine_Barrens.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170113T200000
DTEND;TZID=America/New_York:20170113T220000
DTSTAMP:20260425T154906
CREATED:20190325T160202Z
LAST-MODIFIED:20190325T160202Z
UID:10000867-1484337600-1484344800@www.bowerbird.org
SUMMARY:Black Angels and Secrets
DESCRIPTION:ABOUT THE EVENT\nJoin us for an evening with Philadelphia’s Daedalus Quartet in the Penn Museum’s breathtaking Chinese Rotunda. Experience the demonic brilliance and visionary beauty of George Crumb’s “Black Angels: Thirteen Images of the Dark Land for Electric String Quartet” as string sounds\, chanting\, eerie glass harmonicas\, and gongs resonate under the 90 foot dome of the Museum’s Rotunda. Join in the whispering creation of Scott Ordway’s crowd-interactive archaeological soundscape “Tonight We Tell the Secrets of the World”\, commissioned by the Penn Museum. And open your ears to the evening with a new work by Joshua Hey. \nTHE PROGRAM\nJoshua Hey: lens flare from Alpha Centauri (2017)\nDaedalus commission and world premiere \nGeorge Crumb: Black Angels: Thirteen Images of the Dark Land (1970)\nfor electric string quartet \nScott Ordway: Tonight we tell the Secrets of the World (2016)\nA whisper play for soprano voice\, alto saxophone\, string ensemble\, lighting design\, and 150 whispered voices\nwith\nAh Young Hong\, soprano\nAaron Stewart\, alto saxophone\nBlake Espy\, violin\nVeronica Jurkiewicz\, viola\nAnne Peterson\, double bass \nThis event is a co-presentation of the University of Pennsylvania Museum of Archaeology and Anthropology\, the University of Pennsylvania Museum’s Department of Music\, and Bowerbird.
URL:https://www.bowerbird.org/event/black-angels-and-secrets/
LOCATION:Penn Museum\, 3260 South St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Black_Angels4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170111T200000
DTEND;TZID=America/New_York:20170111T220000
DTSTAMP:20260425T154906
CREATED:20190325T160524Z
LAST-MODIFIED:20190325T160524Z
UID:10000868-1484164800-1484172000@www.bowerbird.org
SUMMARY:ALASH Ensemble
DESCRIPTION:Bowerbird and The Rotunda are pleased to welcome back a Philadelphia favorite: The Alash Ensemble. \nABOUT THE EVENT \nALASH are masters of Tuvan throat singing\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. What does throat singing sound like? “Imagine a human bagpipe-a person who could sing a sustained low note while humming an eerie\, whistle-like melody. For good measure\, toss in a thrumming rhythm similar to that of a jaw harp\, but produced vocally-by the same person\, at the same time.” -Newsweek (March 17\, 2006) Where is Tuva? Tuva (sometimes spelled Tyva) sits at the southern edge of Siberia\, with Mongolia to its south. Over the centuries\, Tuva has been part of Chinese and Mongolian empires\, and shares many cultural ties with Mongolia. In 1944 it became part of the USSR\, and until the late physicist Richard Feynman drew attention to it\, was largely unknown to westerners. Tuva is now a member of the Russian Federation.
URL:https://www.bowerbird.org/event/alash-ensemble/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Alash_Ensemble.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161216T200000
DTEND;TZID=America/New_York:20161216T220000
DTSTAMP:20260425T154906
CREATED:20190325T160757Z
LAST-MODIFIED:20190325T160757Z
UID:10000869-1481918400-1481925600@www.bowerbird.org
SUMMARY:Svitanya: Eastern European Vocal Music
DESCRIPTION:Bowerbird is pleased to present Svitanya\, a Philadelphia-area women’s vocal ensemble that specializes in folk music of Eastern Europe. Founded in 2001\, the ensemble started with six singers performing purely a cappella arrangements. The early members included two mother-daughter pairs\, fitting for a genre in which songs have been passed from mother to daughter for centuries\, and one of these pairs is still part of the group today. \nSvitanya’s repertoire is drawn from a variety of regional traditions. Some songs are modern arrangements of old folk tunes\, some are original compositions in the folk style\, and others are sung as they have been for generations. They range from strong and strident field-working songs to traditional dance tunes to lush and emotive arrangements\, all evoking the timbres\, rhythms\, and harmonies indigenous to the region. While many songs are performed without instrumentation of any kind\, traditional ethnic instruments\, such as gaida\, tapan\, tambura and balalaika\, are used wherever possible in others.
URL:https://www.bowerbird.org/event/svitanya-eastern-european-vocal-music/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Svitanya.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161214T200000
DTEND;TZID=America/New_York:20161214T230000
DTSTAMP:20260425T154906
CREATED:20190325T161247Z
LAST-MODIFIED:20190325T161332Z
UID:10000870-1481745600-1481756400@www.bowerbird.org
SUMMARY:Voutchkova / Thieke Duo\, Jesse Kudler\, Rachel Ishikawa + SA
DESCRIPTION:ABOUT THE EVENT\nBowerbird is pleased to present the Voutchkova / Thieke Duo (from Germany)\, along side Philadelphia’s Jesse Kudler\, and Rachel Ishikawa + 사 (Sa). German duo Biliana Voutchkova and Michael Thieke have been performing and composing together since 2011. “Subdued and enchanting”\, their music paints a slow and intimate moving soundscape while increasing the sensitivity of audiences’ perceptions using “microelements”. As active performer-composers\, the two musicians are intrigued by real time composition and improvisation\, as well as by contemporary composition. The duo has performed in Italy\, Austria\, Bulgaria\, Serbia\, Czech Republic and Germany\, and have released their first album “Already there” on the Swiss label Flexion Records. \n  \nABOUT THE ARTISTS \nBILIANA VOUTCHKOVA studied classical violin in her college years and developed a strong interest in contemporary composed and improvised music. Since then\, she has been active in both fields and her work spans a wide range of music and sound. She has collaborated with Frances-Marie Uitti\, Matthias Bauer\, Audrey Chen\, Axel Dorner\, Robin Hayward\, and is part of the Berlin based Splitter Orchester\, Work in Progress and Das Neue Ensemble Hannover as well as regular guest with ensembles such as Solistenensemble Kaleidoskop\, Mozaik\, Ensemble Modern\, Sasha Waltz & Guests. In recent years\, Biliana started working intensively with dancers and expanded her interest into instant composition of sound and movement. She co-founded her group Grapeshade and developed the idea of OSM\, open sound & movement collective with partner Louise Wagner\, leading into curating their own series at Radial System V in Berlin. http://www.bilianavoutchkova.net \n  \nThe Berlin-based clarinetist/composer/performer MICHAEL THIEKE is equally at home across a broad range of musical environments\, such as experimental song forms\, collective composing projects\, improvising collectives\, and music on the fringes of jazz. He is exploring the minutiae of sound\, timbre and noise\, with a particular interest in microtonality and related sound phenomena\, and with a preference for long-term collaborations and collective work. He has toured globally around Europe\, China\, Canada\, Lebanon\, Japan and the USA\, and his work has been documented on over 40 releases on labels such as Staubgold\, Ftarri\, Leo Records\, Erstwhile and Another Timbre. Some of his current projects are: The International Nothing\, The Magic I.D.\, The Pitch\, Splitter Orchester\, Hotelgaste and Der Lange Schatten\, as well as duos with Biliana Voutchkova and Olivier Toulemonde. http://www.michael-thieke.de \n  \nJESSE KUDLER is a musician\, composer\, performer and sound artist from Philadelphia. He uses improvisation\, collaboration and site-specificity to examine modes and practices of listening\, working with field recordings\, guitar\, electronics\, synthesizers\, radios\, tapes\, and text. His current and past projects include a site-specific composition for church organ\, guitar\, and recordings with Chris Forsyth; a commissioned sound piece for the City of Philadelphia Mural Arts Program; a duo with Graham Stephenson; and performing with several festivals. He has performed across the US and Canada and has presented workshops at universities and community spaces. Kudler was the co-founder and Director of the Philadelphia Sound Forum\, a concert presentation resource. He curated the Sonic Arts Union Retrospective in 2012 and co-created and co-curated the “Wave Currents” series of live music events with live visuals at International House Philadelphia. \n  \nRACHEL ISHIKAWA is a Philadelphia-based musician who explores liminal and unfamiliar sounds in experimental and pop music. She performs as Shakai Mondai\, and is the current Social Practice Lab art resident at Asian Arts Initiative. 사 (SA)\, an art critic and artist operating out of Philadelphia\, tries to find a bridge between the digital and the natural analog. They primarily work in video and moving media\, but aspire to soon work with installations.
URL:https://www.bowerbird.org/event/voutchkova-thieke-duo-jesse-kudler-rachel-ishikawa-sa/
LOCATION:Aux Performance Space\, 319 N 11th Street\, Third Floor\, Philadelphia\, PA\, 19107\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Duo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161210T200000
DTEND;TZID=America/New_York:20161210T230000
DTSTAMP:20260425T154906
CREATED:20190325T161653Z
LAST-MODIFIED:20190325T161653Z
UID:10000871-1481400000-1481410800@www.bowerbird.org
SUMMARY:BowerBall: A Bingo Fundraiser
DESCRIPTION:BOWERBALL\nA 10th anniversary fundraiser and open house \nfeaturing\nA NIGHT OF BINGO hosted by Allen Crawford \nmusical performances by\nAshley Tini\, Laura Baird\, Bhob Rainey \nwith great prizes\, raffles\, food and drink\,\nand tunes from DJ Sebastian Petsu \nABOUT THE EVENT\nIt’s time to dust off the ball cage and get out the daubers\, it’s time to play some Bingo. Please join us for BOWERBALL\, an evening of music\, refreshments\, and yes\, Bingo\, in celebration of our 10th Anniversary and your first chance to see our new home – for concerts and office space – at University Lutheran. \nTICKET INFO \nGeneral Admission: $20 in advance\n/ $25 at the door (includes one booklet of bingo cards) \n$75 VIP Supporter\n(includes four booklets of bingo cards) \nAdditional Bingo booklets available for $10 each \nPRIZES FROM \nAdventure Aquarium\nArden Theatre Company\nArs Nova Workshop\nBartram’s Gardens\nBikram Yoga West Philly\nChris Forsyth\nCity Winery\nComedySportz\nCorePower Yoga\nCorner Bakery Cafe\nThe Crossing\nDan Blacksberg\nDi Bruno Bros\nEastern State Penitentiary\nErik Ruin\nFree Library of Philadelphia\nFringeArts\nGreene Street\nHelium Comedy Club\nJoe Coffee\nMutter Museum\nNational Constitution Center\nNetwork for New Music\nNick Millevoi\nOrchestra 2001\nOpera Philadelphia\nPennsylvania Academy of Fine Art\nPanera Bread\nPig Iron Theatre Company\nPenn Museum\nPhiladelphia Chamber Music Society\nPhiladelphia Museum of Art\nPhiladelphia’s Magic Gardens\nRipley’s Believe It or Not! Times Square\nSonesta Philadelphia\nStampin’ Up!\nTattooed Mom\nWheel Fun Rentals
URL:https://www.bowerbird.org/event/bowerball-a-bingo-fundraiser/
LOCATION:University Lutheran\, 3637 Chestnut Street\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/BowerBall.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161118T200000
DTEND;TZID=America/New_York:20161118T220000
DTSTAMP:20260425T154906
CREATED:20190325T161856Z
LAST-MODIFIED:20190325T161856Z
UID:10000872-1479499200-1479506400@www.bowerbird.org
SUMMARY:Film Screening: Ornette: Made In America
DESCRIPTION:Bowerbird is pleased to present a screening of Shirley Clarke’s 1985 film “Ornette: Made in America”. \n“Ornette: Made In America” captures Ornette’s evolution over three decades. Returning home to Fort Worth\, Texas in 1983 as a famed performer and composer\, documentary footage\, dramatic scenes\, and some of the first music video-style segments ever made\, chronicle his boyhood in segregated Texas and his subsequent emergence as an American cultural pioneer and world-class icon. Among those who contribute to the film include William Burroughs\, Brion Gysin\, Buckminster Fuller\, Don Cherry\, Yoko Ono\, Charlie Haden\, Robert Palmer\, Jayne Cortez and John Rockwell. \n“Ornette: Made In America” is essential for anyone hoping to understand the history of jazz and the fertile creative exchange that highlighted the 60’s and 70’s in America. It is a portrayal of the inner life of an artist-innovator. \nThe innovative techniques that director Shirley Clarke and producer Kathelin Hoffman employed in this film very closely parallel the music of the man who is its subject. Clarke defied traditional documentary formats to reveal Ornette’s extraordinary vision through her equally extraordinary filmmaking artistry. \nCritically acclaimed when it released in 1985\, the film is even more significant today\, as Coleman’s influence has increased\, while Clarke and Hoffman’s interpretation of his life and times remain as fresh and exciting as ever. \nThe film focuses on the struggles and triumphs of Ornette Coleman’s life as well as on the inspired intelligence that spawned his creativity and ensured his success. Clarke’s footage includes Ornette in conversation with family and friends; excerpts of interviews\, riffs and travels\, along with footage of his performances-in his hometown of Fort Worth\, TX\, in New York\, in Morocco and beyond – presents the most comprehensive record of his career available.
URL:https://www.bowerbird.org/event/film-screening-ornette-made-in-america/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Ornette.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161021T200000
DTEND;TZID=America/New_York:20161021T220000
DTSTAMP:20260425T154906
CREATED:20190325T162242Z
LAST-MODIFIED:20190325T162242Z
UID:10000873-1477080000-1477087200@www.bowerbird.org
SUMMARY:Cage\, Tudor\, Rauschenberg: 9 Evenings
DESCRIPTION:Bowerbird is pleased to screen three documentary films marking the 50th anniversary of “9 Evenings: Theatre and Engineering”. In 1966 ten New York artists and thirty engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance\, music and theater performances\, “9 Evenings: Theatre & Engineering”\, held in October at the 69th Regiment Armory in New York City. The artists were John Cage\, Lucinda Childs\, Oyvind Fahlstrom\, Alex Hay\, Deborah Hay\, Steve Paxton\, Yvonne Rainer\, Robert Rauschenberg\, David Tudor and Robert Whitman. For these films\, archival material has been combined with interviews with the artists\, engineers and performers to illuminate the artistic\, technical and historical aspects of the work. \nVariations VII\, performed at 9 Evenings\, was the next to last in John Cage’s series of indeterminate works that he had begun in 1958\, which made increasing use of electronic equipment and systems. This DVD documents the only complete performance of Variations VII and also presents a stereo audio recording of the full 85 minutes of the performance. \nBandoneon ! (a combine) is David Tudor’s first full concert work as a composer. Tudor played the bandoneon as the input into a complex sound and visual modification system that moved sound from speaker to speaker and controlled lights and video images\, creating a work that animated the entire Armory space. This DVD documents the performance with film and vintage photographs as well as interviews with the performers\, engineers and Tudor’s fellow composers. \nOpen Score is the first film to be released in a series that will bring to life a historic moment in contemporary art history. In Open Score \, Robert Rauschenberg derived the content of his performance from the characteristics of the performance venue. The tennis racquet suggested both the idea of the ready-made (at other times tennis was played at the Armory) and that of a dance improvised in accordance with specific rules.
URL:https://www.bowerbird.org/event/cage-tudor-rauschenberg-9-evenings/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/9_Evenings.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161014
DTEND;VALUE=DATE:20161016
DTSTAMP:20260425T154906
CREATED:20190523T173113Z
LAST-MODIFIED:20190523T173113Z
UID:10001001-1476403200-1476575999@www.bowerbird.org
SUMMARY:The Philadelphia Embassy of the Kingdoms of Elgaland-Vargaland
DESCRIPTION:Bowerbird\, in collaboration with Mike Bullock\, is pleased to present the inauguration of “The Philadelphia Embassy of the Kingdoms of Elgaland-Vargaland” (KREV). KREV\, as described by the country’s founders – Swedish artists Leif Elggren (King Leif I) and Carl Michael von Hausswolff (King Michael I) – is “the largest and most populous realm on Earth\, incorporating all boundaries between other nations as well as Digital Territory and other states of existence. Every time you travel somewhere\, and every time you enter another form\, such as the dream state\, you visit Elgaland-Vargaland.” \nWith performances by Ian M Fraser and Bhob Rainey in their first collaboration performing a new work derived from algorithmic digital composition techniques. Solo performance by CM von Hausswolff using electronics to make his unique blend of droned and polyfrequential beauty. \nAlso featuring a performance by Sons of God with Mike Bullock. Sons of God – the duo of Leif Elggren and Kent Tankred – excels in creating long\, puzzling stage performances that give equal roles to physical action (or inaction) and soundtrack (live or taped) with themes such as violence\, love\, the quotidian\, food and royalty. For this performance they will collaborate with electronic composer Mike Bullock\, who will create a sonic setting using modular synthesizers and field recordings. \nAlong with these performances artworks will be on display in the Gray Area and ICEBox Project Space will be videos\, porcelain objects\, prints\, stamps\, currency\, and other Royal ephemera\, as well as books\, records\, and CDs from artists Leif Elggren\, CM von Hasswolff\, Linda Aubry Bullock and Mike Bullock. \nABOUT THE PERFORMERS: \nMike Bullock is a composer\, performer\, and artist whose work encompasses improvisation\, electroacoustic composition\, modular synthesis\, intermedia installation\, contrabass and bass guitar\, porcelain making\, illustration\, and critical writing. Bullock has been performing electroacoustic improvised music since the mid 90s and has performed across the US and in Europe\, at venues such as Fylkingen in Stockholm\, Sweden; Instants Chavires in Paris; Café OTO in London; Experimental Intermedia and ISSUE Project Room in New York City; The Philadelphia Museum of Art; and EMPAC in Troy\, NY. Collaborators have included King Britt\, HPrizm (High Priest of Anti-Pop Consortium)\, Bertrand Gauguet\, Andy Guhl\, Mazen Kerbaj\, Pauline Oliveros\, Bhob Rainey\, Greg Kelley\, Steve Roden\, Hankus Netsky\, Keith Rowe\, and Christian Wolff\, Vic Rawlings\, Raed Yassin\, Christine Abdelnour\, Sharif Sehnaoui\, Domenico Sciajno\, Seymour Wright\, Sebastian Lexer\, Julien Ottavi\, Ben Owen\, Andrew Lafkas\, Bryan Eubanks\, Kenta Nagai\, Andrea Neumann\, Stephane Rives\, Scott Smallwood\, Stephan Moore\, Howard Stelzer\, Tucker Dulin\, Curtis Bahn\, Newton Armstrong. Additionally\, Bullock has taught and lectured on field recording and improvisation at Hautes Ecoles des Arts du Rhin\, The Pratt Institute\, and Massachusetts Institute of Technology. He is currently based in Brooklyn\, NY and Philadelphia\, PA. \nLinda Aubry Bullock is a painter\, porcelain maker\, graphic designer\, video artist and electronic musician based in Brooklyn\, NY. She has performed live video and modular synthesizer at numerous venues including ISSUE Project Room and Experimental Intermedia in New York City; EMPAC in Troy\, NY; and Fylkingen in Stockholm\, Sweden. Her visual art has been exhibited at Vox Populi Gallery in Philadelphia. Linda has an extensive career producing porcelain tableware for the home\, as well as experimental porcelain pieces for intermedia installation works. \nLeif Elggren (born 1950\, Linkoping\, Sweden) is a Swedish artist who lives and works in Stockholm. Active since the late 1970s\, Leif Elggren has become one of the most constantly surprising conceptual artists to work in the combined worlds of audio and visual. A writer\, visual artist\, stage performer and composer\, he has many albums to his credits\, solo and with the Sons of God\, on labels such as Ash International\, Touch\, Radium and his own Firework Edition. His music\, often conceived as the soundtrack to a visual installation or experimental stage performance\, usually presents carefully selected sound sources over a long stretch of time and can range from mesmerizingly quiet electronics to harsh noise. His wide-ranging and prolific body of art often involves dreams and subtle absurdities\, social hierarchies turned upside-down\, hidden actions and events taking on the quality of icons. Together with artist Carl Michael von Hausswolff\, he is a founder of the Kingdoms of Elgaland-Vargaland (KREV) where he enjoys the title of King. Elggren spent five years at the Academy of Fine Arts in Stockholm\, specializing in drawing\, design and book printing. In the late ‘70s he began to associate with performance groups\, meeting people like Hausswolff and Thomas Liljenberg. With the latter he formed Firework in 1978\, a duo that put up exhibitions and performances. Around the same time he purchased a press and started to publish art books. In 1988 he formed the duo Guds Söner (The Sons of God) with Kent Tankred\, whom he had met four years earlier. The duo excels in creating long\, puzzling stage performances that give equal roles to physical action (or inaction) and soundtrack (live or taped) with themes such as violence\, love\, the quotidian\, food and royalty. Solo works include Talking to a Dead Queen (1996) and Pluralis Majestatis (2000). Together with Hausswolff\, Elggren represented Sweden in the Nordic Pavilion at the Venice Biennale in 2001 (with Tommi Grönlund and Petteri Nisunen from Finland and Anders Tomren from Norway). In 2007 he appeared (with John Duncan) at the Netmage festival in Bologna organized by xing\, and executed “Something Like Seeing in the Dark.” \nCarl Michael von Hausswolff (born 1956\, Linkoping\, Sweden) is an artist living and working in Stockholm. Since the 1970s Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art\, light- and sound installations and photography. His audio compositions from 1979 to 1992\, constructed almost exclusively from basic material taken from earlier audiovisual installations and performance works\, consist of complex macromal drones interlaced with a surface of aesthetic elegance and beauty. In later works\, Hausswolff has added a purely isolationistic sonic condition to composing. More recent compositions byHausswolff are pure\, intuitive studies of electricity\, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Lately he has also developed a more conceptual form of audio art overlooking subjects such as architecture and urbanism\, rats and maggots. Collaborators include Graham Lewis\, Jean-Louis Huhta\, Pan sonic\, Russell Haswell\, Zbigniew Karkowski\, Erik Pauser\, The Hafler Trio and John Duncan. His music and sound art can be found on labels such as Touch\, Ash International\, Laton\, Oral\, RasterNoton\, Firework Edition\, SubRosa and Die Stadt. His music is published by Touch Music\, London. Hausswolff’s music has been performed throughout Europe and in North America and Asia in festivals such as Sonar\, Electrograph and I.D.E.A.L. In these concerts a very physical\, almost brutal\, side of Hausswolff’s aesthetics has blended with a droned and polyfrequential beauty. The audience very often fall into a form of trance\, dozing away in their seats. Other times people experiencing the events has thanked him “for the massage” or has expressed a “feeling that the flesh came off the bones” due to the vibrations of the low frequencies used. \nKent Tankred (born 1947\, Stockholm\, Sweden) studied painting in the early 70s before studying at EMS (Institute for Electro-Acoustic Music) in Stockholm with Rolf Enstrom and Jan W Morthenson. Tankred is interested in musical encounters with other art forms\, particularly pictorial art\, which has resulted in fusions where his music has also functioned as installations at exhibitions. The multi slide presentation Riot which was shown in Berlin in 1988 was created in collaboration with the graphic artist Leif Elggren. Tankred and Elggren work together on a regular basis as a performance duo\, calling themselves The Sons of God. Tankred aims to strengthen the ties between music\, movement and image and also to avoid conventional forms of expression. He often uses a “concresizer\,” a kind of instrument which he has constructed himself which controls different types of sound sculptures from a keyboard. His works have been exhibited in different places in Sweden and Europe. Tankred has been the president of the Fylkingen society between 1993-98.= \nIan M. Fraser is a computer musician working in free improvisation and algorithmic-based composition. His primary focus is generative structures\, pseudo-artificial intelligence\, and stochastic processes. With Reed Evan Rosenberg\, he works with the continual development of Keroaän\, a musical Artificial Intelligence designed to perform without any human intervention whatsoever. In live performance they combine live generative works with real-time visualizations utilizing high intensity strobe lights and lasers. \nBhob Rainey is an award-winning composer\, performer\, saxophonist\, and sound designer. In 1998\, with trumpeter Greg Kelley\, he founded the duo Nmperign\, which quickly became a model for a new phase of non-idiomatic improvisation often referred to as “lowercase” or “EAI” (Electroacoustic Improvisation). In 2000 he founded The BSC\, an improvising large ensemble\, in which he developed techniques for an improvisational discipline that were eventually outlined in his 2011 publication\, Manual. Throughout the late 1990’s and early 2000’s he performed globally and collaborated with numerous improvisers of both the (then) current and previous generations\, including Axel Dorner\, Andrea Neumann\, Gunter Mu ller\, Michel Doneda\, Le Quan Ninh\, and many others. By the mid-2000’s\, while continuing to work in the realm of improvisation\, Rainey began to produce electronic and algorithmic works. He spent five years collaborating with German composer Ralf Wehowsky (RLW) on the 2007 release\, I don’t think I can see you tonight\, which\, along with Nmperign and Jason Lescalleet’s Love Me Two Times (2006)\, established him as a formidable electronic composer who synthesizes streams of Musique Concrete\, computer music\, and improvisation. Throughout his career\, Rainey has sought out cross-discipline collaborations\, working with dancers\, filmmakers\, and theater companies. From 2012-2014 he worked with theater company New Paradise Labs to create The Adults\, which premiered at the 2014 Philadelphia Fringe Festival to much acclaim. Rainey was awarded the Pew Fellowship in the Arts in 2013. He is currently working on a long-term project with New Paradise Labs dealing with radical contingency. \nThe Philadelphia Embassy of the Kingdoms of Elgaland-Vargaland has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/the-philadelphia-embassy-of-the-kingdoms-of-elgaland-vargaland/
LOCATION:Crane Arts\, 1400 N American St\, Philadelphia\, PA\, 19122
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Krev01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161002T200000
DTEND;TZID=America/New_York:20161002T220000
DTSTAMP:20260425T154906
CREATED:20190325T163107Z
LAST-MODIFIED:20190325T163229Z
UID:10000875-1475438400-1475445600@www.bowerbird.org
SUMMARY:Daniel Fishkin\, Cleek Schrey\, Ron Shalom
DESCRIPTION:ABOUT THE EVENT \nThe third installment of Composing the Tinnitus Suites: 2016 consists of compositions for and by Daniel Fishkin\, Cleek Schrey\, and Ron Shalom. Shalom\, Schrey\, and Fishkin are members of New Perplexity\, a collective of new wartime composers and scholars. Schrey performs on the Hardanger Fiddle\, a Norwegian folk instrument lined with sympathetic strings that resonate as he plays. Shalom is a contrabassist blessed with perfect pitch\, but this intutitive gift is confounded by spectral barrage of the Lady’s Harp. For this concert\, the trio present a series of compositions in an attempt to answer the question\, “What is Tinnitus Music?” from each player’s perspective. \n  \n  \nABOUT THE ARTISTS \nDescribed by the Irish Times as “a musician utterly at one with his instrument and his music\,” Cleek Schrey is a fiddler and composer from Virginia. An active member of traditional music communities in America and Ireland\, he plays in the Ghost Trio with Ivan Goff and Iarla O Lionaird. His work has been presented at Pioneer Works Center for Art and Innovation in Brooklyn\, Storm King Art Center\, the Kilkenny Arts Festival\, the Lumen Performance Art Festival\, and the Bridge Progressive Art Center. Cleek frequently makes music for dance\, having worked with choreographers Douglas Dunn and Bill T. Jones and percussive dancers Sandy Silva and Nic Gareiss. He also works closely with the renowned Beckett theater company\, Gare St. Lazare\, as a composer and musician. He has studied composition with David Behrman\, Paul Caputo\, Bunita Marcus\, and Walter Zimmermann. The journal Sound Post has noted that Cleek “possesses a rare combination of traits: deep respect for traditional music and the people who make it\, and an unbounded curiosity about new directions for sound.” He is currently pursuing a Masters in Music Composition at Wesleyan University. \n  \nRon Shalom (b. 1989) is a composer\, bassist\, vocalist\, organist\, and leader of the Cult of the Illuminated Orifice. Of his own work\, Ron says\, “I seek out the boundaries between forms of performance in public life\, as well as between the musical and the theatrical\, through the creation of spectacle.” He received his undergraduate degree from Oberlin Conservatory and a master’s in composition from Wesleyan University. Recent projects include a semi-staged nihilo-pornography with the Cult\, and a third full-length album of songs with his chamber pop ensemble Fers Yn Ri. \n  \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \n  \nABOUT THE SERIES \nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.” \n  \n  \nComposing the Tinnitus Suites: 2016 has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/daniel-fishkin-cleek-schrey-ron-shalom/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/D_Fishkin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160930T200000
DTEND;TZID=America/New_York:20160930T220000
DTSTAMP:20260425T154906
CREATED:20190325T164103Z
LAST-MODIFIED:20190325T164319Z
UID:10000876-1475265600-1475272800@www.bowerbird.org
SUMMARY:Ellen Fullman with Daniel Fishkin
DESCRIPTION:ABOUT THE EVENT \nThe second installment of Composing the Tinnitus Suites: 2016 consists of solos and duets between Ellen Fullman and Daniel Fishkin. Fullman is the inventor of the Long String Instrument\, an 80 foot long string instrument consisting of stainless steel wires that she strokes with rosined fingertips. Fullman has used her instrument to explore the acoustics of large resonant spaces for over 30 years. In her Philadelphia premiere\, Ellen Fullman will install her Long String Instrument in the Rotunda Sanctuary. Though Fullman and Fishkin both work with long strings\, their work is decidedly different. In this concert\, the two will contrast their practices. \nFeaturing a conversation with the Maria Geffen Lab and Ranjit Bhatnagar. \n  \n\nABOUT THE ARTISTS\n\n\n\nEllen Fullman’s career in music was launched at age one\, when Elvis Presley kissed her hand. She went on to earn a BFA in Sculpture from the Kansas City Art Institute\, leading her to create her “Metal Skirt Sound Sculpture\,” which she wore to perform Streetwalker at the 1980 New Music America festival in Minneapolis. Soon after\, Fullman accidentally discovered the sound of longitudinally vibrating long strings. Since then\, she has been developing the Long String Instrument (LSI)\, and its abundant possibilities. Fullman has presented her work in art spaces\, festivals\, and museums in the United States and in Europe. She has been the recipient of numerous awards\, commissions and residencies including: Foundation for Contemporary Arts Grants to Artists (2015); Center for Cultural Innovation Grants (2008 and 2013); Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and DAAD Artists-in-Berlin residency (2000). Fullman’s work was cited by Alvin Lucier in his Music 109: Notes on Experimental Music (Wesleyan University Press\, 2012) and by David Byrne in How Music Works (McSweeney’s\, 2012).\n\n\n  \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \n\n\n\nABOUT THE SERIES \n\nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.”
URL:https://www.bowerbird.org/event/ellen-fullman-with-daniel-fishkin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Ellen_Fullman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160923T200000
DTEND;TZID=America/New_York:20160923T220000
DTSTAMP:20260425T154906
CREATED:20190325T164859Z
LAST-MODIFIED:20190325T164958Z
UID:10000877-1474660800-1474668000@www.bowerbird.org
SUMMARY:Philadelphia Hearing Damage
DESCRIPTION:ABOUT THE EVENT \nThe first installment of Composing the Tinnitus Suites: 2016 is the premiere performance of Philadelphia Hearing Damage. This band of broken ears is a crowd-sourced creation of local Philadelphia artists. Fishkin worked with these musicians in the summer of 2016\, teaching them how to play the Lady’s Harp\, and to apply its techniques to their own instruments. This assemblage does not consist of gifted virtuosos\, rather kindred listeners-musicians whose relationship to sound might be fundamentally unstable. \nBen Bennett\, percussion\nRachel Ishikawa\, bicycle wheel\, found objects\nHannah Judd\, cello\nBennett Kuhn\, synthesizer\, tinnitus\nConnor Przybyszewski\, trombone\nDaniel Fishkin\, lady’s harp\, composition \n  \nFeaturing a conversation with Armen Enikolopov and Monroe Street. \n  \nABOUT THE ARTISTS \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \nABOUT THE SERIES \nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.” \n  \ncover photo: Samuel Lang Budin \nComposing the Tinnitus Suites: 2016 has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/philadelphia-hearing-damage/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Hearing_Damage-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160918T200000
DTEND;TZID=America/New_York:20160918T220000
DTSTAMP:20260425T154906
CREATED:20190325T165729Z
LAST-MODIFIED:20190325T165851Z
UID:10000878-1474228800-1474236000@www.bowerbird.org
SUMMARY:DDMS13: Emily Bate and Kilamanzego
DESCRIPTION:Bowerbird and Sebastian Petsu are pleased to welcome Emily Bate and Kilamanzego to the Double Decker Music Series. Join us on Sunday\, September 18th\, at 8:00 p.m. (rain date\, September 19th) for a unique and intimate mobile concert experience on an open-top double-decker bus. Before\, between\, and after the music\, tour guide Sebastian Darkly Petsu will share dry wit and history about the City of Brotherly Love and Sisterly Affection. \n  \nABOUT THE ARTISTS \nEmily Bate is a singer\, composer and harmony fanatic working in music and theater. Recent projects include surrealist musical A Ride On The Irish Cream; choral theater piece Going Down Mount Moriah; a series of “zingles” (zine + single) combining writing and music; and acoustic chamber-math duo Jonagold.\nhttp://emilybate.com\nhttp://bandcamp.emilybate.com \n  \nKilamanzego – a name that originated as part joke and part need to express her family’s immigrant culture\, her music is always bending genre to fit her experimentation quirks. In her early teens she got hooked on playing bass\, guitar\, and other instruments which led to her excitement to craft beats\, a journey that started in winter of 2014. She’s inspired by everything from the amount of heart and soul J-Dilla put into his work to early Ta-Ku beat battle demos. The style is generally glitchy\, melodic\, odd rhythms and whatever else catches her mood. Currently she is working on a debut EP and future collabs with local talents DJ John Morrison and Moor Mother Goddess.\nhttp://soundcloud.com/zeegystardust\nhttp://www.facebook.com/zeegystardust \n  \n  \nEVENT DETAILS \nBoarding begins at 7:45pm at the northeast corner of 5th and Market Streets by the Wells Fargo building. \nTHE BUS LEAVES AT 8PM SHARP. It’s a mobile event\, so you can’t show up late or the venue will be gone! The event finishes up back where we started at 10pm. \nAs an incentive to show up on time\, our sponsor Little Baby’s Ice Cream\, will be providing FREE ICE CREAM SANDWICHES for the first 15 guest on board. So get there early! \nThis event is 21+ and BYOB (but please\, no glass\, and remember there is no restroom on the bus). \n$27 per person. Advance tickets only. There will be no walk-up sales. Only 30 seats are available and this event will sell out. (All previous Double Decker Music Series events have!) So please\, don’t sleep on it. \nIf it looks like rain\, the event will be held the following day\, Monday September 19th at 8pm. A message will be sent out by 5pm on the day of the event letting ticket-holders know about the rescheduling.
URL:https://www.bowerbird.org/event/ddms13-emily-bate-and-kilamanzego/
LOCATION:5th and Market St\, 5th and Market Street\, Philadelphia\, PA\, 19106
CATEGORIES:Double Decker Music Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160828T200000
DTEND;TZID=America/New_York:20160828T220000
DTSTAMP:20260425T154906
CREATED:20190325T170241Z
LAST-MODIFIED:20190325T170316Z
UID:10000879-1472414400-1472421600@www.bowerbird.org
SUMMARY:DDMS12: Vessna Scheff and Koofreh Umoren & JNPR
DESCRIPTION:Bowerbird and Sebastian Petsu are pleased to welcome Vessna Scheff and Koofreh Umoren and JNPR to the Double Decker Music Series. Join us on Sunday\, August 28th\, at 8:00 p.m. (rain date\, August 29th) for a unique and intimate mobile concert experience on an open-top double-decker bus. Before\, between\, and after the music\, tour guide Sebastian Darkly Petsu will share dry wit and history about the City of Brotherly Love and Sisterly Affection. \n  \nABOUT THE ARTISTS \nVessna Scheff and Koofreh Umoren – This commanding duo turns heads and pauses conversations for an inspiring and memorizing performance. Combining the delicate and tender tones of the ukulele with the soulful and nostalgic notes of the trumpet\, their sound carries the listener through an unsuspecting combination of soul\, folk\, r&b and jazz in a refreshing approach to music making. \nhttp://www.youtube.com/watch?v=q0XFuqVJgbA&feature=youtu.be\nhttp://vessnascheff.bandcamp.com/album/echoes-ep-live-tin-angel \nJNPR is the improv electronic project of duo Jeanne Lyons and Peter Christian. They create gradually-shifting landscapes of sound using small synthesizers\, drum machines\, and vocal loops. \nhttp://youtu.be/rcFd8rbTpPI\nhttp://youtu.be/vbUE_Kj1VXQ \n  \nEVENT DETAILS\nBoarding begins at 7:45pm at the northeast corner of 5th and Market Streets by the Wells Fargo building. \nTHE BUS LEAVES AT 8PM SHARP. It’s a mobile event\, so you can’t show up late or the venue will be gone! The event finishes up back where we started at 10pm. \nAs an incentive to show up on time\, our sponsor Little Baby’s Ice Cream\, will be providing FREE ICE CREAM SANDWICHES for the first 15 guest on board. So get there early! \nThis event is 21+ and BYOB (but please\, no glass\, and remember there is no restroom on the bus). \n$27 per person. Advance tickets only. There will be no walk-up sales. Only 30 seats are available and this event will sell out. (All previous Double Decker Music Series events have!) So please\, don’t sleep on it. \nIf it looks like rain\, the event will be held the following day\, Monday August 29th at 8pm. A message will be sent out by 5pm on the day of the event letting ticket-holders know about the rescheduling.
URL:https://www.bowerbird.org/event/ddms12-vessna-scheff-and-koofreh-umoren-jnpr/
LOCATION:5th and Market St\, 5th and Market Street\, Philadelphia\, PA\, 19106
CATEGORIES:Double Decker Music Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160731T200000
DTEND;TZID=America/New_York:20160731T220000
DTSTAMP:20260425T154906
CREATED:20190325T170605Z
LAST-MODIFIED:20190325T170702Z
UID:10000880-1469995200-1470002400@www.bowerbird.org
SUMMARY:DDMS11: Moor Mother and Outside Outsiders
DESCRIPTION:Bowerbird and Sebastian Petsu are pleased to welcome Moor Mother and Outside Outsiders (Kevin Diehl and D.Hotep) to the Double Decker Music Series. Join us on Sunday\, July 31st\, at 8:00 p.m. (rain date\, August 1st) for a unique and intimate mobile concert experience on an open-top double-decker bus. Before\, between\, and after the music\, tour guide Sebastian Darkly Petsu will share dry wit and history about the City of Brotherly Love and Sisterly Affection. \n  \nABOUT THE ARTISTS \nCamae Ayewa is an interdisciplinary artist based in Philadelphia. A musician performing under the name Moor Mother\, she has toured in Europe and the U.S.\, and has performed at numerous festivals\, colleges and universities sharing the stage with King Britt\, Islam Chipsy\, and Claudia Rankine. A soundscape artist with work featured at Samek Art Museum\, Metropolitan Museum of Art Chicago\, and Everson Museum of Art\, Camae is also a singer in punk band The Mighty Paradocs. Camae is co-founder and organizer of Rockers! Philly\, a 10-year long running event series and festival focused on marginalized artists. As a workshop facilitator she works with youth centered programs\, non profits and shelters. As a curator of fundraising events\, Camae has worked with and serves on the board of Girls Rock Philly\, and is assistant coordinator of The Afrofuturist Affair\, Philadelphia’s premiere afrofuturism organization. Camae is also a poet and author of the forthcoming poetry book Fetish Bones and is an avid zinemaker and collector. She is a member of Black Quantum Futurism Collective\, which released its first book\, Black Quantum Futurism theory and practice Vol. 1. and has been featured at the Schomburg Center\, as well as presented installations at the Rebuild Foundation and Temple Contemporary at Tyler School of Art. \nhttp://soundcloud.com/moor-goddess\nhttp://blackquantumfuturism.bandcamp.com \nOutside Outsiders – Kevin Diehl and D.Hotep initially met\, during the mid 1990s\, as participants in vibraphonist Khan Jamal’s avant-garde music project\, the Phila. Jazz Composers’ Forum. From that point\, Kevin has gone on to found and produce several albums of his ongoing Lukumi-percussion/avant-garde jazz hybrid project Sonic Liberation Front\, while Hotep co-ran the ensemble JazGuardian\, performed & produced music with Rogi Kenyatta’s La Tumba\, and has toured & recorded with Sun Ra’s Arkestra\, under the direction of Marshall Allen for 15 years. \nhttp://soundcloud.com/kevindiehl\nhttp://sonicliberation8.com\nhttp://soundcloud.com/akimboresearcher\nhttp://musicians.allaboutjazz.com/dhotep \n  \nEVENT DETAILS \nBoarding begins at 7:45pm at the northeast corner of 5th and Market Streets by the Wells Fargo building. \nTHE BUS LEAVES AT 8PM SHARP. It’s a mobile event\, so you can’t show up late or the venue will be gone! The event finishes up back where we started at 10pm. \nAs an incentive to show up on time\, our sponsor Little Baby’s Ice Cream\, will be providing FREE ICE CREAM SANDWICHES for the first 15 guest on board. So get there early! \nThis event is 21+ and BYOB (but please\, no glass\, and remember there is no restroom on the bus). \n$27 per person. Advance tickets only. There will be no walk-up sales. Only 30 seats are available and this event will sell out. (All previous Double Decker Music Series events have!) So please\, don’t sleep on it. \nIf it looks like rain\, the event will be held the following day\, Monday August 1st at 8pm. A message will be sent out by 5pm on the day of the event letting ticket-holders know about the rescheduling.
URL:https://www.bowerbird.org/event/ddms11-moor-mother-and-outside-outsiders/
LOCATION:5th and Market St\, 5th and Market Street\, Philadelphia\, PA\, 19106
CATEGORIES:Double Decker Music Series
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GEO:39.9505176;-75.1489247
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160626T200000
DTEND;TZID=America/New_York:20160626T220000
DTSTAMP:20260425T154906
CREATED:20190325T170911Z
LAST-MODIFIED:20190325T170947Z
UID:10000881-1466971200-1466978400@www.bowerbird.org
SUMMARY:DDMS10: Neil Feather and Nyfolt
DESCRIPTION:Bowerbird and Sebastian Petsu are pleased to welcome Neil Feather and Nyfolt to the Double Decker Music Series. Join us on Sunday\, June 26th\, at 8:00 p.m. (rain date\, June 27th) for a unique and intimate mobile concert experience on an open-top double-decker bus. Before\, between\, and after the music\, tour guide Sebastian Darkly Petsu will share dry wit and history about the City of Brotherly Love and Sisterly Affection. \n  \nABOUT THE ARTISTS \nSound Mechanic Neil Feather has been creating radical and unusual musical instruments since 1970 and is increasingly known as one of the most original musical thinkers of his day. His instruments each embody uniquely clever acoustic and engineering principles\, and are visually arresting. The music he plays on the instruments is equally original\, embodying new principles and resulting in a nearly alien idiom of music. Neil Feather has been involved in Baltimore’s fertile and eccentric culture since moving there in 1985. He was a founding member of the Red Room Collective and the High Zero Foundation. His instruments are featured in the contemporary ballet “Sunset o6.39 Hours” produced by Ballet X in Philadelphia. He is a 2016 John Simon Guggenheim Memorial Foundation Fellow in the field of music composition. \nhttp://neilfeather.com \nNyfolt is the Afrofuturism meets Cyberpunk experimental sound/performance project of poet\, painter\, and experimental musician JoAnn J. McNeil and sound artist NNN Cook. “We are fed up with divisive rhetoric / actions and are seeking communion. Together\, through our art\, we explore themes of futurism relating to personal identity and working against the isolating effects of racial politics and social stratification. \nhttp://nyfolt.tumblr.com\nhttps://soundcloud.com/nyfolt \n  \nEVENT DETAILS \nBoarding begins at 7:45pm at the northeast corner of 5th and Market Streets by the Wells Fargo building. \nTHE BUS LEAVES AT 8PM SHARP. It’s a mobile event\, so you can’t show up late or the venue will be gone! The event finishes up back where we started at 10pm. \nAs an incentive to show up on time\, our sponsor Little Baby’s Ice Cream\, will be providing FREE ICE CREAM SANDWICHES for the first 15 guest on board. So get there early! \nThis event is 21+ and BYOB (but please\, no glass\, and remember there is no restroom on the bus). \n$27 per person. Advance tickets only. There will be no walk-up sales. Only 30 seats are available and this event will sell out. (All previous Double Decker Music Series events have!) So please\, don’t sleep on it. \nIf it looks like rain\, the event will be held the following day\, Monday June 27th at 8pm. A message will be sent out by 5pm on the day of the event letting ticket-holders know about the rescheduling.
URL:https://www.bowerbird.org/event/ddms10-neil-feather-and-nyfolt/
LOCATION:5th and Market St\, 5th and Market Street\, Philadelphia\, PA\, 19106
CATEGORIES:Double Decker Music Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160625T200000
DTEND;TZID=America/New_York:20160625T220000
DTSTAMP:20260425T154906
CREATED:20190325T171330Z
LAST-MODIFIED:20190325T171421Z
UID:10000882-1466884800-1466892000@www.bowerbird.org
SUMMARY:Morton Feldman's "Samuel Beckett\, Words and Music"
DESCRIPTION:ABOUT THE EVENT \nBowerbird\, in association with Pig Iron Theatre Company\, is pleased to present Morton Feldman’s Samuel Beckett\, Words and Music. The concert will be performed by the Arcana New Music Ensemble with actors Jaime Maseda and Michael T. Williams in the magnificent sanctuary of the Fleisher Art Memorial. \n  \nTHE PERFORMERS \nPig Iron Theatre Company\nJaime Maseda as Words\nMichael T. Williams as Croak\nDan Rothenberg\, director \nArcana New Music Ensemble\nKatie Ambacher\, flute\nEmma Resmini\, flute\nAndy Thierauf\, percussion\nDavid Hughes\, piano\nJune Bender\, violin\nVeronica Jurkiewicz\, viola\nTom Kraines\, cello\nJay Krush\, conductor \n  \nABOUT THE WORK \nMorton Feldman’s 1987 composition Samuel Beckett\, Words and Music sets the text of a radio play written by Samuel Beckett in 1961. The text presents a cryptic trialogue between the ailing master Croak and his two servants\, Joe (Words) and Bob (Music). Music has no lines in Beckett’s script\, but only cues describing certain moods and textures. 20 years after he withdrew the work\, Beckett asked Feldman to give Music a voice\, interpreting the written indications with a score for a seven-instrument chamber ensemble. What results is an agonized discourse between between the two main characters\, punctuated by the guttural interjections of Croak and long\, cavernous silences. Completed shortly before Feldman’s death\, Words and Music stages a powerful\, poignant confrontation– not only between the speakable and the unspeakable\, but also between two great artists of the modern era. \n  \nTHE COMPOSER \nMorton Feldman (1926-1987) was one of the most important and influential composers of the 20th century. An early member of the “New York School” of musicians and artists grouped around John Cage in the 1950s\, Feldman developed a unique and unmistakable compositional voice: quiet\, slow\, and gentle\, but roiled with sharp dissonances and unnerving repetitions. Music critic Kyle Gann remarks that “in the current Babel of musical styles\, Feldman is almost the only composer whose music appeals across stylistic boundaries\, among minimalists\, post-serialists\, 12-tone holdouts\, electronic composers\, academics\, Downtowners\, MAX programmers\, DJ artists\, and other miscellaneous wastrels. Abstract yet deeply personal\, Feldman’s music leaves an indelible impression. \n  \nABOUT ARCANA \nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Arcana is a project of Bowerbird administered by Elizabeth Huston\, Thomas Patteson\, and Dustin Hurt. \n  \nABOUT PIG IRON \nFounded in 1995 as an interdisciplinary ensemble\, Pig Iron Theatre Company is dedicated to the creation of new and exuberant performance works. Over the course of 20 years\, Pig Iron has created thirty original works and has toured to festivals and theatres in England\, Scotland\, Poland\, Lithuania\, Brazil\, Ireland\, Italy\, Romania and Germany. Individual works have been inspired by history and biography\, rock music\, American cafeterias\, serendipity\, and scientific research. The company made Philadelphia its permanent home in 1997.
URL:https://www.bowerbird.org/event/morton-feldmans-samuel-beckett-words-and-music/
LOCATION:Fleisher Art Memorial\, 719 Catharine St\, Philadelphia\, PA\, 19147\, United States
CATEGORIES:Arcana
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160616T200000
DTEND;TZID=America/New_York:20160616T220000
DTSTAMP:20260425T154906
CREATED:20190325T171920Z
LAST-MODIFIED:20190325T171920Z
UID:10000884-1466107200-1466114400@www.bowerbird.org
SUMMARY:Sonic Liberation 8
DESCRIPTION:Bowerbird is excited to present the Philadelphia record release celebration of Bombogenic\, a new album by Sonic Liberation 8 with the The Classical Revolution Trio & Oliver Lake. The album celebrates the 15 year anniversary of Sonic Liberation 8 with a new collection of compositions and arrangements showcasing a unique confluence of loft jazz\, Afro Cuban Yoruba music\, and new chamber music. Joining SL8 in this milestone is special guest artist Oliver Lake (World Saxophone Quartet) and the Classical Revolution String Trio. In addition to five new compositions\, Kevin Diehl\, the octet’s leader\, arranged the Erik Satie composition\, Gnossienne\, recasting it as a platform for creative interaction rooted in these genres. Additionally Oliver Lake composed 2 compositions for specifically for SL8’s Afro-Cuban-Yoruba jazz format. Diehl arranged bata drums parts for these 2 pieces along with another of Mr. Lakes compositions called Love Like Sisters. Love Like Sisters originally appeared on a World Saxophone Quartet album called Metamorphosis. \n  \nTHE PERFORMERS \nSpecial Guest\nOliver Lake – Alto Saxophone\, Composition \nSonic Liberation 8\nKevin Diehl – Drumkit\, Bata Iya\, Composer\nMatt Engle – Bass\, Composer\nElliot Levin – Woodwinds\nVeronica Jurkiewicz – Viola\, String Section Leader\nMike Watson – Bass Clarinet\nNichola Rivera – Bata Itotele & Iya\, Conga\, Composer\nTom Lowery – Drumkit\, Afro Brazilian Percussion\nRon Howerton – Bata Okonkolo\, Conga\, Percussion \nThe Classical Revolution Trio\nRussel Kotcher – Violin\nPeter Oswald – Cello\nYoni Draiblate – Cello \n  \nABOUT THE ARTISTS \nThe artistic scope of renowned saxophonist\, composer\, painter\, and poet Oliver Lake’s half-century-long career is unparalleled. An extensive resume of his collaborations includes work with the Brooklyn Philharmonic\, Flux String Quartet\, Bjork\, Lou Reed\, A Tribe Called Quest\, Mos Def\, Me’shell Ndegeocello\, Anthony Braxton\, James Blood Ulmer\, William Parker\, Vijay Iyer\, Reggie Workman\, Andrew Cyrille and a veritable who’s who of the jazz vanguard. Oliver’s efforts extend far beyond the music\, with his creation of the non-profit Passin’ Thru organization\, becoming a mainstay at Pittsburgh’s City of Asylum\, publishing two books of poetry and frequently producing visual artwork for exhibitions across the country. Lake’s breadth of disciplines can be traced back to his formative years with the Black Artists Group\, the innovative St. Louis collective of musicians\, poets\, dancers and painters he helped architect over 35 years ago. As a co-founder of the internationally acclaimed World Saxophone Quartet (with fellow luminaries David Murray\, Julius Hemphill and Hamiet Bluiett)\, Oliver firmly established himself in the “Loft” jazz scene of the 1970’s in New York City\, and has since produced a body of work that is both expansive and versatile enough to avoid falling solely into the trappings of the “avant-garde” and “free” labels. The fact that his work can stand on compositional merit alone\, all while he has etched a place for himself as one of the elite saxophone players and improvisers of recent times\, is a testament to Oliver Lake’s stature as an artist. Lake’s output as an exacting and unequivocally original composer has long been celebrated\, highlighted by commissions awarded from the Library of Congress\, the Rockefeller Foundation ASCAP\, the International Association for Jazz Education\, Composers Forum and the McKim Foundation. He has been the recipient of the Guggenheim Fellowship and was also presented with the Mellon Jazz Living Legacy Award at the Kennedy Center in 2006. In 2014\, Oliver was honored with what is arguably the greatest recognition of his artistry and vision to date\, becoming one of only nineteen grantees appointed for the prestigious Doris Duke Artist Award\, a multi-year grant awarded to American artists in the fields of jazz\, theater and dance. A trailblazer through and through\, Oliver Lake continues to produce in the vociferous\, uncompromising way he only knows how to\, currently immersed in the work of such adventurous ensembles as the Oliver Lake Organ Quartet\, Oliver Lake Big Band and Trio 3. \nSonic Liberation 8 is deeply rooted in the traditions of Afro Cuban music and has spent years fusing that grand tradition with new sounds including composed jazz\, modern chamber composition\, and the powerful Orisha spirit. Sonic Liberation 8 melds together sounds and time periods in a manner like no other band around today. As Sonic Liberation Front\, this ensemble has consistently won international critical acclaim and have been named #1 or Top 10 by the Village Voice\, All About Jazz\, Jazziz\, and more. The band has recorded five internationally-distributed albums. The eight-member ensemble has played extensively in the Philadelphia and New York area\, and at festivals and cultural institutions throughout the Midwest U.S. and Canada. The core octet is scalable\, often collaborating with guest artists and expanded ensembles.
URL:https://www.bowerbird.org/event/sonic-liberation-8/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160615T200000
DTEND;TZID=America/New_York:20160615T220000
DTSTAMP:20260425T154906
CREATED:20190325T172252Z
LAST-MODIFIED:20190325T172337Z
UID:10000885-1466020800-1466028000@www.bowerbird.org
SUMMARY:The Music of Salvatore Sciarrino
DESCRIPTION:ABOUT THE EVENT \nBowerbird is excited to present flutist Christopher Schelb and pianist Michael Tan in an all Sciarrino program. Schelb will perform selections from “L’opera per Flauto\, Vol. 1” and Tan will perform four of Sciarrino’s Nocturnes. There is something very particular that characterizes the music of Salvatore Sciarrino: it leads to a different kind of listening. \nSciarrino’s “L’opera per Flauto\, Vol. 1” (1990) is a collection of seven pieces for solo flute\, each dating between the years between 1977 and 1990. Each piece is meant to stand alone as a single work. The single exception is the fact that “Come vengono prodotti gli incantesimi?” and “Canzona di ringraziamento” are linked with an attacca. Many sounds heard in L’opera per flauto are a result of approximately twenty years of Sciarrino’s work on developing new flute sonorities. Other sounds\, such as harmonics and breathy air sounds\, were common property of contemporary composers\, but Sciarrino believes they are often attributed to him because he feels they are so well incorporated and appropriately used in his music. He feels that as immodest as it seems\, each of the L’opera compositions is a legitimization of these modern sounds. \nSciarrino’s Due Notturni (1998) and Due Notturni Crudeli (2001) are evocative sets of pieces that explore the extreme boundaries of perception and audibility. Due Notturni investigates the thresholds of silence and resonance. It utilizes extended techniques that distort the resonance of the instrument and shimmering quiet sounds and cascading gestures. In particular\, the second piece of the set creates an effect as if the piano had been turned inside out as the listener is drawn to the barely audible inner workings of the instrument. Due Notturni Crudeli meanwhile explores boundaries through opposite means. The first piece features repeated chords in the highest register persistently played at fortissimo while the second uses a brutal\, rapid gesture from pianissimo to fortissimo. This forms a background of relentless sound from which silence occasionally emerges. \n  \nTHE PROGRAM \nfrom L’opera per flauto\, Vol. 1 \nCome Vengono Prodotti Gli Incantesimi?\nCanzona di ringraziamento\nVenere Che le Grazie la Fiorscono\nL’orizzonte luminoso di Aton \nChristopher Schelb\, flute \nDue Notturni (1998)\nI. Vivo volando\nII. Non troppo lento \nDue Notturni Crudeli (2001)\nI. Senza tempo e scandito\nII. Furia\, metallo \nMichael P. Tan\, piano \n  \n  \nTHE PERFORMERS \nMichael P. Tan is a Guam-born pianist currently based in New York. Mr. Tan is an avid proponent of 20th and 21st century music and has extensively performed around the United States and abroad. He has commissioned works by several composers including Matthew Greenbaum and has performed with ensembles including the Temple New Music Ensemble and the NYU Contemporary Ensemble. His musical achievements have been recognized through the Olga Gagliardi Getto Award (2012)\, the Elmer Y. Yarnell Scholarship (2013)\, and Jacobs Music Company Steinway Award (2015) for “outstanding pianistic ability\, musicianship\, and artistic and academic achievement.” In addition to his musical interests\, he has been involved with cross-disciplinary work\, participating in a Thirdbird’s workshop series with choreographers Matteo Fargion and Jonathan Burrows in 2015. His work has been presented at the 2016 Dada Lives! Exhibition at UC Blue Ash College and published in MetaDada: The International Journal of Data Mining. He holds a B.M. in Piano Performance from Temple University and is currently pursuing an M.M. at New York University\, where he serves as Adjunct Instructor of Piano. His teachers include Mr. Harvey Wedeen and Dr. Marilyn Nonken. \n  \nChris Schelb “I am a flutist and composer who is passionately engaged with contemporary music. I have always been attracted to the sonorities and sheer audacity of modernist composers— the complexity of Brian Ferneyhough and Salvatore Sciarrino and their marvelous timbres were doorways into fresh sonic worlds. I’ve slowly begun to move outwards; exploring composers such as Richard Barrett and James Dillon. these composers\, while extremely diverse in sound world\, have created a compositional language which I find extremely appealing. I currently study with David Cramer at Temple University. Over the past four years I have also studied with notable new music pedagogues such as Patricia Spencer\, Mario Caroli\, and Robert Aitken. In the Fall of 2016 I will be moving to Wales to study with Richard Craig and specialize in the interpretation of New Complexity.” \n  \nTHE COMPOSER \nSalvatore Sciarrino (b. 1947) is\, along with Luciano Berio\, among the most important Italian composers of contemporary music. Self-taught\, he began to compose when he was twelve. His first public concert was given in 1962. After completing his schooling and a few years of university in his home town\, he moved first to Rome in 1969 and then to Milan in 1977. Since 1983 he was been living in Umbria. He has taught at the conservatories of Milan (1974-1983)\, Perugia (1983-1987) and Florence (1987-1996). He has also held courses of specialization and master classes: particularly worth mentioning are those of Città di Castello from 1979 to 2000. Between 1978 and 1980 he was artistic director of the Teatro Comunale of Bologna. An Academician of Santa Cecilia (Rome)\, Academician of the Fine Arts of Bavaria and Academician of the Arts (Berlin)\, he has won numerous prizes\, the most recent ones being the Prince Pierre de Monaco (2003) and the prestigious Premio Internazionale Feltrinelli (2003). He is also the first winner of the new Musikpreis Salzburg (2006).
URL:https://www.bowerbird.org/event/the-music-of-salvatore-sciarrino/
LOCATION:Biello Martin Studio\, 148 N 3rd St\, Philadelphia\, PA\, 19106\, United States
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