BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA - ECPv6.16.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.bowerbird.org
X-WR-CALDESC:Events for BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20060402T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20061029T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20070311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20071104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20080309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20081102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20090308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20091101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20100314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20101107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20110313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20111106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20120311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20121104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20130310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20131103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20140309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20141102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20150308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20151101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20160313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20161106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20170312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20171105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20180311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20181104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20190310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20191103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20200308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20201101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20210314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20211107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20220313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20221106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20230312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20231105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260307T200000
DTEND;TZID=America/New_York:20260307T220000
DTSTAMP:20260825T141819
CREATED:20260107T171405Z
LAST-MODIFIED:20260227T191259Z
UID:10001306-1772913600-1772920800@www.bowerbird.org
SUMMARY:Tudor works for Live Electronics
DESCRIPTION:Bowerbird is pleased to present Composers Inside Electronics—Phil Edelstein\, Ron Kuivila\, and Michael Johnsen\, with Daniel Fishkin—performing works by David Tudor. \nComposers Inside Electronics (CIE)\, formed in 1973 with David Tudor\, pioneered a collaborative approach to live electronic music that treated circuits and components as instruments in themselves rather than as tools. This closing concert of A View from Inside: David Tudor at 100 features an evening of Tudor’s electronic compositions spanning 1970 to 1984. \nThe program opens with Pepscillator\, one of Tudor’s sound environments created for the Pepsi Pavilion at Expo ’70 in Osaka\, Japan. Using chains of audio processors creating multiple self-oscillating feedback loops\, Pepscillator exemplifies Tudor’s approach to designing systems of electronic components whose interconnections define both the work’s structure and its real-time performance. Pulsers (1976) explores rhythms created electronically by analog circuitry\, with time-bases that can be varied and destabilized by the performer. Dialects (1984) transforms vowel-like and fricative sound sources—the beating of insects’ wings and modulated alpha waves—through vocoder circuits and percussion generators triggered by Jackie Matisse’s vibrating wire flower sculptures. \nThe concert offers a rare opportunity to experience Tudor’s electronic works performed by artists who worked directly with him and who continue to realize and evolve his vision through their own research and performance practice. \n\nPROGRAM \nDavid Tudor: Pepscillator (1970)\n     Phil Edelstein and Daniel Fishkin\, electronics \nDavid Tudor: Pulsers (1976)\n     Michael Johnsen\, electronics \nDavid Tudor: Dialects (1984)\n     Ron Kuivila\, electronics and sculpture by Jackie Matisse \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nARTIST BIOS \nPhil Edelstein in the early 1970s co-founded Electronic Body Arts (EBA)\, a collaboration between choreography\, music\, and engineering\, and is a founding member of Composers Inside Electronics (CIE). He has collaborated on Rainforest IV and CIE projects since their inception in 1973 and on the evolution of the automated installation version Rainforest V\, principally with John Driscoll. Another recent project with Driscoll is their installation Cluster Fields. His work includes compositions\, performances\, software\, and sound installations for architectural spaces and focused sound fields. Recent focus is the development of compositional and orchestration tools for constructing sound fields for installation and performance. Current projects include updates to Impulsion\, where synthetic and encoded reverberant spaces are folded upon themselves and acoustically rendered\, and performances and new realizations of works by David Tudor such as Pepscillator. \nDaniel Fishkin’s ears are ringing. His lifework investigating the aesthetics of hearing damage has received international press (Nature Journal\, 2014)\, and he has been named a “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. He is the only luthier to have studied directly with daxophone inventor Hans Reichel. His instruments have toured internationally\, including Canada\, Norway\, Germany\, France\, Japan\, Kazakhstan\, and Australia. He is the first USA-based artist to receive the P.I.G. Prize (2021) from Henrik Vibskov. He holds an MA in Music Composition from Wesleyan University and a PhD in Composition and Computer Music from the University of Virginia. He is Assistant Professor of Music Production at Ramapo College of New Jersey. His current favorite wood is Gymnanthes lucida (Oysterwood). \nMichael Johnsen is a circuit designer\, performer\, and researcher from Pittsburgh. His recent research concerns circuit-level understanding of David Tudor’s “folkloric” homemade instruments and related lutherie\, resulting in restoration\, cloning\, and performance of vintage circuits\, along with publications and lectures. His performance work is characterized by a relative lack of ideas per se and an intense focus on observation—the way a shepherd watches sheep. As a performer and builder of live electronics\, he cultivates an integrated menagerie of custom devices whose idiosyncratic behaviors are revealed through complex interactions\, producing teeming chirps\, sudden transients\, and charming failure modes\, embracing the dirt in pure electronics. He has shown work at Arter (Istanbul)\, singuhr (Berlin)\, INA GRM (Paris)\, the Getty (Los Angeles)\, MdM Salzburg\, Kagurane (Tokyo)\, MoMA\, SF Cinematheque\, Radio France\, Idiopreneurial Entrephonics (Connecticut)\, The Kitchen (New York)\, High Zero (Baltimore)\, and Musique Action. He co-edits ubu.com/emr\, designs synthesizers for Pittsburgh Modular\, and may be reached at johnsen.rahbek gmail.com. \nRonald Kuivila composes music and designs sound installations involving homemade and home-modified electronics\, software\, and household objects. Homemade devices of his own design pioneered the use of ultrasound (In Appreciation) and sound sampling (Alphabet) in live performance. Other works explore compositional algorithms (Loose Canons)\, speech synthesis (The Linear Predictive Zoo)\, and high-voltage phenomena (Pythagorean Puppet Theatre). Many of his works are sound installations. Radial Arcs\, commissioned by Ars Electronica\, coordinates 96 stun guns; Sparks on Paper uses strings activated by low-power static fields to resonate vellum. Long-term installations have included Visitations at Mass MoCA and Weather at Six at Wesleyan University. Making the World Safe for Piezoelectricity organizes commonplace objects into large-scale time structures. Bellona Times combined telephones and wavefield diffusion with a fragmented presentation of the FBI interrogation of January 6 rioter Danny Rodriguez. His first professional New York performance was in 1978 in two studio events with the Merce Cunningham Dance Company at the invitation of David Tudor. \n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/tudor-works-for-live-electronics/
LOCATION:Community Education Center\, 3500 Lancaster Avenue\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/12/Mar-7-Tudor-Live-Electronics-CIE.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260306T200000
DTEND;TZID=America/New_York:20260306T220000
DTSTAMP:20260825T141819
CREATED:20260107T170820Z
LAST-MODIFIED:20260227T191251Z
UID:10001305-1772827200-1772834400@www.bowerbird.org
SUMMARY:Forest Speech and Piano
DESCRIPTION:Bowerbird is pleased to present pianist Amy Williams and a performance of David Tudor’s Forest Speech led by Composer Inside Electronic’s Phil Edelstein with Daniel Fishkin\, Michael Johnsen\, Victoria Keddie\, Eugene Lew\, and Gianna Santucci. \nThis concert celebrates David Tudor’s dual legacy as both a revolutionary pianist and electronic music pioneer. The program opens with Amy Williams performing works by Morton Feldman\, John Cage\, and Earle Brown that were written for and premiered by Tudor in the 1950s. As one of the most sought-after interpreters of piano music in his generation\, Tudor’s performances transformed indeterminate scores into vivid sonic experiences\, establishing new possibilities for what piano performance could be. Williams\, a composer and pianist known for her deep engagement with contemporary repertoire and her acclaimed recordings of Morton Feldman and other experimental composers\, brings her own interpretive insight to these historically significant works. \nMichael Johnsen performs Tudor’s Untitled (1972)\, a seminal work of live-electronic music in which modular electronic components are configured to form feedback loops that generate sounds without exterior input. Composed for simultaneous performance with John Cage’s vocalization of his Mesostics Re Merce Cunningham\, Untitled represents Tudor’s pioneering experiments in creating electronic sound without oscillators\, tone generators\, or recorded natural sound materials. \nThe evening concludes with Forest Speech (1976)\, a rarely performed work from Tudor’s Rainforest family that uses amplified objects as “instrumental loudspeakers.” Developed in 1976 and expanded as a group version in 1978\, Forest Speech transforms sound into vocal-like illusions through formant resonances and vocoder-like circuit networks. This performance version utilizes everyday objects fitted with sonic transducers—metal barrels\, plastic tubing\, found materials—that resonate and shape electronic sound\, creating a dense acoustic environment where physical materials become active participants in the composition. \n\nPROGRAM \nMorton Feldman: Intermission 6 (version 1) (1953)\nEarle Brown: Four Systems (1953)\nMorton Feldman: Extensions 3 (1952)\nJohn Cage: Water Music (1952)\nMorton Feldman: Intermission 6 (version 2) (1953)\nAmy Williams\, piano \nDavid Tudor: Untitled (1972)\nMichael Johnsen\, electronics \nDavid Tudor: Forest Speech (1976)\nwith Phil Edelstein\, Daniel Fishkin\, Michael Johnsen\, Victoria Keddie\, Eugene Lew\, Gianna Santucci \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nARTIST BIOS \nPhil Edelstein in the early 1970s co-founded Electronic Body Arts (EBA)\, a collaboration between choreography\, music\, and engineering\, and is a founding member of Composers Inside Electronics (CIE). He has collaborated on Rainforest IV and CIE projects since their inception in 1973 and on the evolution of the automated installation version Rainforest V\, principally with John Driscoll. Another recent project with Driscoll is their installation Cluster Fields. His work includes compositions\, performances\, software\, and sound installations for architectural spaces and focused sound fields. Recent focus is the development of compositional and orchestration tools for constructing sound fields for installation and performance. Current projects include updates to Impulsion\, where synthetic and encoded reverberant spaces are folded upon themselves and acoustically rendered\, and performances and new realizations of works by David Tudor such as Pepscillator. \nDaniel Fishkin’s ears are ringing. His lifework investigating the aesthetics of hearing damage has received international press (Nature Journal\, 2014)\, and he has been named a “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. He is the only luthier to have studied directly with daxophone inventor Hans Reichel. His instruments have toured internationally\, including Canada\, Norway\, Germany\, France\, Japan\, Kazakhstan\, and Australia. He is the first USA-based artist to receive the P.I.G. Prize (2021) from Henrik Vibskov. He holds an MA in Music Composition from Wesleyan University and a PhD in Composition and Computer Music from the University of Virginia. He is Assistant Professor of Music Production at Ramapo College of New Jersey. His current favorite wood is Gymnanthes lucida (Oysterwood). \nMichael Johnsen is a circuit designer\, performer\, and researcher from Pittsburgh. His recent research concerns circuit-level understanding of David Tudor’s “folkloric” homemade instruments and related lutherie\, resulting in restoration\, cloning\, and performance of vintage circuits\, along with publications and lectures. His performance work is characterized by a relative lack of ideas per se and an intense focus on observation—the way a shepherd watches sheep. As a performer and builder of live electronics\, he cultivates an integrated menagerie of custom devices whose idiosyncratic behaviors are revealed through complex interactions\, producing teeming chirps\, sudden transients\, and charming failure modes\, embracing the dirt in pure electronics. He has shown work at Arter (Istanbul)\, singuhr (Berlin)\, INA GRM (Paris)\, the Getty (Los Angeles)\, MdM Salzburg\, Kagurane (Tokyo)\, MoMA\, SF Cinematheque\, Radio France\, Idiopreneurial Entrephonics (Connecticut)\, The Kitchen (New York)\, High Zero (Baltimore)\, and Musique Action. He co-edits ubu.com/emr\, designs synthesizers for Pittsburgh Modular\, and may be reached at johnsen.rahbek gmail.com. \nVictoria Keddie is an interdisciplinary artist working across sound\, video\, installation\, performance\, and research. Her practice investigates architectures of communication—acoustic\, spatial\, and technological—and how gesture\, noise\, and interference shape experience. For over a decade she co-directed E.S.P. TV\, a mobile platform for hybrid media and broadcast performance. She teaches at the University of Pennsylvania\, where she designed a spatial sound studio for Fine Arts\, and directs the Spatial Sound Consortium with Harvestworks\, linking international studios. She has performed and exhibited at the Whitney Museum of American Art\, Pioneer Works\, Fridman Gallery (US)\, the Barbican (UK)\, Berghain (DE)\, Goethe-Institut (NY/CO)\, and MAPS (DK). Fellowships include NYSCA/NYFA (2022)\, Max Planck Institute for Empirical Aesthetics (2023)\, and the Bemis Center (2024). In 2025 she was Composer-in-Residence at EMS\, Stockholm. \nEugene Lew is a Philadelphia-based guide\, producer\, educator\, and organizer engaged in performance\, design\, access\, management\, transformation\, (attempted) capture\, storage\, and playback of shared IRL experiences\, with a sound/music bias. His practice centers on fleeting moments\, aggregate independent decision-making\, and stochastic phenomena. He values serendipitous collaborations and long-term partnerships exploring cycles of remembering\, learning\, forgetting\, and reconstructing. \nGianna Santucci is an interdisciplinary artist and percussionist from Merritt Island\, FL\, based in Philadelphia. She received an MFA in Painting (University Fellowship) from Tyler School of Art and a BFA in Fine Arts and BM in Music Performance from Florida Southern College. Her work has been exhibited at Icebox Project Space\, Vox Populi\, and Cherry Street Pier in Philadelphia. Recent performances include New Ear::SPATIAL at Fridman Gallery\, the Low Tech Electronics Faire at the Charles Library\, and Chilladelphia at Thunderbird Hall. Through multimedia installations\, her work engages militarized sound\, subculture\, transmission\, and rhythm. \nAmy Williams is a composer of music described as “simultaneously demanding\, rewarding and fascinating” (Buffalo News) and “fresh\, daring and incisive” (Fanfare). Her works have been presented internationally by leading soloists and ensembles including the Pittsburgh Symphony Orchestra\, Buffalo Philharmonic Orchestra\, JACK Quartet\, Ensemble Aleph\, Dal Niente\, Wet Ink\, Talujon\, International Contemporary Ensemble\, and pianist Ursula Oppens. Recordings appear on Albany\, Parma\, VDM (Italy)\, Blue Griffin\, Centaur\, and New Ariel. She has a deep connection to Morton Feldman—her father and Feldman were close colleagues at the University at Buffalo. As half of the Bugallo-Williams Piano Duo\, she has performed worldwide and recorded six CDs for Wergo (Nancarrow\, Stravinsky\, Varèse/Feldman\, Kurtág). She has taught at Bennington College and Northwestern University and is currently Associate Professor of Composition at the University of Pittsburgh. \n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/forest-speech-and-piano/
LOCATION:Community Education Center\, 3500 Lancaster Avenue\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Tudor
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/12/Mar-6-Forest-Speech-and-Piano.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071119T200000
DTEND;TZID=America/New_York:20071119T220000
DTSTAMP:20260825T141819
CREATED:20190523T175921Z
LAST-MODIFIED:20190523T175921Z
UID:10001003-1195502400-1195509600@www.bowerbird.org
SUMMARY:ROBIN HAYWARD /ANTHEA CADDY / EVE RISSER / JOEL GRIP / FEENEY / NEIDHARDT / BAILLY / HURT / THE PYGMY VARIATIONS
DESCRIPTION:ROBIN HAYWARD tuba \nANTHEA CADDY cello \nNEWTON ARMSTRONG electronics \ngermany / australia \nThe tuba player Robin Hayward\, born in Brighton\, England in 1969\, has been based in Berlin since 1998. Through a combined conceptual and empirical approach he has radically extended the tuba’s potential in both the areas of noise and microtonality. His compositions for other instruments reflect a similar medium-specific approach. As an interpreter his specific playing ability has been utilized by leading composers such as Alvin Lucier\, Christian Wolff and Peter Ablinger. He has toured extensively both solo and in collaboration. His research to date has been documented in his solo CD Valve Division and numerous collaborative releases. Active in many contemporary music ensembles including Phosphor\, Ictus and Kammerensemble Neue Musik Berlin\, in 2005 he founded Zinc & Copperworks for continued research into brass instruments. \nAnthea Caddy is an Australian cellist who applies a distinctive and idiosyncratic set of techniques to her instrument. Exploiting the cellos textural\, spatial and dynamic capabilities she draws reference points from electro-acoustic and contemporary compositional approaches to inform her practice. Interested in the relationship between electronic and acoustic sound\, she seeks to consolidate both the conceptual and practical aspects of these two media\, articulating techniques and concepts indigenous to digital spatialisation in her performances and recordings. She has toured nationally and internationally performing in festivals and series solo and in collaboration within a diversity of contexts. \nPROTECTOGRAPH \nEVE RISSER prepared piano\, flute\, voice\, toys \nJOEL GRIP double-bass \nfrance / sweden \nProtectograph plays music. Stories given to you by the eccentric musical body of Eve Risser and Joel Grip. Two extreme personalities – armed with prepared piano\, flute\, and double-bass – who rumbles and scrapes their way through unknown paths\, constantly trespassing musical borders. French-Swedish chanting. Music\, En garde! Protectograph has performed at experimental improvised music festivals and venues in Scandinavia\, France and USA ranging from the Louvre Museum in Paris (Musée du Louvre) to The Talking Head Club in Baltimore. \n TIM FEENEY percussion \n PAUL NEIDHARDT percussion \nALBAN BAILLY guitar \nDUSTIN HURT trumpet \nithica / baltimore / france / philly \nTim Feeney seeks to explore and examine the timbral possibilities inherent in everyday found and built objects. He treats his percussion setup as a friction instrument\, using bows\, scrapers\, and rosined drumheads to capture and amplify frequencies that go unheard when an object is struck with a traditional mallet. He supplements this acoustic console with an electronic instrument\, arranged from no-input mixers\, contact microphones\, and effects pedals\, that synthesizes and alters the spectral characteristics of low-fidelity sine tones\, feedback\, and noise. \nBaltimore ‘s Paul Neidhardt is one of the countries most astonishing new music percussionists. A trained\, highly disciplined player with a flair for complex textural sound produced by friction\, Neidhardt’s approach to improvising covers the majority of the terrain explored by the explosive side of European free music and subtle textural players like Sean Meehan and Jason Kahn\, while retaining a freshness and flexibility of purpose all his own. His background playing rock and African music adds a potential for propulsive intensity to his playing not usually found in players so skilled in the arts of minimalist reductionism. Despite recovering from injuries that limited his time playing in recent years\, he is a highly in-demand player\, working with groups like Trokeneis\, Death in the Maze\, and Multiphonic Choir\, as well as frequent collaborations with Jack Wright. He is currently a member of the Red Room collective and High Zero Foundation. \nAlban Bailly\, a native of France\, began his music path by playing rock his youth. He moved onto studying Jazz\, which opened him to free improvisation in the late nineties. In 2001 he studied Arabic music and oud in Marrakech\, Morocco. Back to Nancy\, France\, Alban became an active performer\, playing solo and together with performers in Europe. It is at this period the gypsy and Balkan music intrigued him and took him to Serbia to meet traditonal Eastern European music in 2004. Since making Philadelphia his home in 2005\, Alban has experienced abundance of opportunity as a composer and a performer\, collaborating with musicians from Eastcoast and beyond. Using his guitar and accordion\, he plays various genres of music and often collaborates with dancers. \nComposer\, free improvisor\, and organizer\, Dustin Hurt is emerging as a key element to Philadelphia ‘s experimental and new music scene. Dustin’s frequent collaboratations include a duo with Alban Bailly (as Ko Koed)\, a trio with Tim Albro and Jesse Kudler (as HZL BRD)\, and a trio with Sean Mattio and Troy Herion. He is a performer in Nicole Bindler’s Philadelphia New Dance and Music Ensemble and was a performer in John Berndt’s Baltimore based large group ensemble\, Second Nature\, in March of 2006. He has also performed with Toshi Makihara\, Jack Wright\, Gene Coleman\, Christine Sehnaoui\, Dave Smolen\, Carlos Santiago\, Leandro Barzabal\, Jon Barrios\, and Paul Neidhardt\, among others. His composed works have been performed by members of the Philadelphia Orchestra\, the Pennsylvania Ballet Orchestra\, and regularly by the Philadelphia based avant-supergroup\, Normal Love. \nTHE PYGMY VARIATIONS \nA collection of string tunes inspired by the pygmies of the Central African Republic.               \nAnne Fredrickson – cello \nJesse Moynihan – violin \nKatt Hernandez – violin \nCarlos Santiago – violin \nGina Fererra – gyil \nEvan Lipson – bass \nAshley Deekus – percussion\, conductor \nThe Pygmies are a broad group of people who live in Central Africa\, especially in Congo\, Central African Republic and Cameroon. Music is an important part of Pygmy life\, and casual performances take place during many of the day’s events. Music comes in many forms\, including the spiritual likanos stories\, vocable singing and music played from a variety of instruments. The African Pygmies are particularly known for their usually vocal music\, usually characterized by dense contrapuntal communal improvisation. Simha Arom (2003) says that the level of polyphonic complexity of Pygmy music was reached in Europe in the 14th century\, yet Pygmy culture is unwritten and ancient\, some Pygmy groups being the first known cultures in some areas of Africa. Music permeates daily life and there are songs for entertainment as well as specific events and activities.
URL:https://www.bowerbird.org/event/robin-hayward-anthea-caddy-eve-risser-joel-grip-feeney-neidhardt-bailly-hurt-the-pygmy-variations/
LOCATION:Community Education Center\, 3500 Lancaster Avenue\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/071119_front.jpg
END:VEVENT
END:VCALENDAR