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SUMMARY:Pure Lucia - Night 2: Duende Otherness
DESCRIPTION:Bowerbird and FringeArts present Pure Lucia – Night 2: Duende Otherness\, the second night of a two-part program celebrating the work of composer Lucia Dlugoszewski. This program traces Dlugoszewski’s artistic trajectory from her mid-career works\, composed after firmly establishing her collaboration with choreographer Erick Hawkins\, to the culminating masterworks of her later years. Featuring chamber music\, solo works\, and choreography\, the evening highlights Dlugoszewski’s radical approach to sound\, her inventive instrumentation\, and her lifelong pursuit of new sonic possibilities. Performers include Either/Or Ensemble\, trumpeter Peter Evans\, Arcana New Music Ensemble\, pianist Agnese Toniutti\, the Daedalus Quartet\, and the Erick Hawkins Dance Company. \nLucia Dlugoszewski’s name is pronounced LOO-sha dwoo-goh-SHEF-skee. \n\nClick here to read extended program Notes\n\nCONCERT PROGRAM \nAll music by LUCIA DLUGOSZEWSKI (1925 – 2000) \nLords of Persia (1965)\nEither/Or\n– Christa Van Alstine\, clarinets\n– Tiago Linck\, trumpet\n– Matt Melore\, bass trombone\n– Lauren Cauley\, violin\n– Russell Greenberg\, percussion\n– Chris McIntyre\, conductor \nSpace is a Diamond (1970)\nPeter Evans\, trumpet \nExcerpts from Black Lake  (1969)\nArcana New Music Ensemble\n– Jonathan Leeds\, clarinet\n– Molly Germer\, violin\n– Ju-Ping Song\, timbre piano\n– Andy Thierauf\, percussion \nINTERMISSION \nExacerbated Subtlety Concert (Why Does a Woman Love a Man?) (1997/2000)\nAgnese Toniutti\, timbre piano \nDisparate Stairway Radical Other (1995)\nFor string quartet with five dancers; choreography *Elusive Pierce* by Katherine Duke \nDaedalus Quartet\n– Min-Young Kim\, violin\n– Matilda Kaul\, violin\n– Jessica Thompson\, viola\n– Thomas Kraines\, cello \nErick Hawkins Dance Company\n– Jason Hortin\n– Hayley Meier\n– JR Gooseberry\n– Halie Landers\n– Rylee Lucero \n\nThis event is part of  PURE LUCIA\, a retrospective of the life and work of Lucia Dlugoszewski. View the program for the previous night:  Pure Lucia – Night 1: Quidditas Suchness \n\nPROGRAM NOTES \nThe program opens with Lords of Persia (1965)\, performed by the New York-based Either/Or Ensemble. Written for a dance by Hawkins\, the piece reflects Dlugoszewski’s deep interest in the Japanese concept of Nageire\, which she described as a process of “flinging in” musical materials with a sense of reckless asymmetry. \nSpace is a Diamond (1970)\, performed by trumpeter Peter Evans\, is one of Dlugoszewski’s most celebrated works. Composed for Gerard Schwarz\, an early champion of her music\, it remains one of the few pieces she published commercially and one of the most widely recognized in her catalog. The work demands extraordinary virtuosity\, employing extended trumpet techniques\, including extreme registers\, rapid mute changes\, and sweeping glissandi. Through these innovations\, Dlugoszewski transformed the trumpet’s sonic identity\, expanding its expressive range in ways that were groundbreaking for the time. \nPhiladelphia’s Arcana New Music Ensemble presents excerpts from Black Lake (1969)\, another work composed for a Hawkins dance. Dlugoszewski’s compositional style often reflected a fusion of Eastern and Western philosophical ideas\, and Black Lake is no exception. Structured as a series of short movements\, the work incorporates forms such as the fugue and chaconne alongside concepts drawn from Eastern aesthetics\, including sabin\, wabi\, and p’o—ideas that emphasize imperfection\, transience\, and the expressive qualities of restraint. The piece also showcases some of Dlugoszewski’s most distinctive invented percussion instruments\, including Ladder Harps\, Tangent Rattles\, and Square Drums\, which lend the music an unmistakably original timbral palette. \nFollowing intermission\, pianist Agnese Toniutti performs Exacerbated Subtlety Concert (Why Does a Woman Love a Man?) (1997/2000)\, one of Dlugoszewski’s final completed works. This composition represents the culmination of nearly five decades of exploration and refinement in her approach to the timbre piano\, a radical reimagining of the instrument that she developed through extended techniques and unconventional playing methods. \nThe evening concludes with Disparate Stairway Radical Other (1995)\, a work of rhythmic intensity and vivid textures for string quartet and five dancers\, performed by the Daedalus Quartet and the Erick Hawkins Dance Company. Originally composed for Hawkins’s dance *Journey of a Poet*\, this performance features new choreography by Katherine Duke\, current artistic director of the Erick Hawkins Dance Company and a direct artistic descendant of both Hawkins and Dlugoszewski. A defining work in Dlugoszewski’s late career\, the music brims with energy\, constantly shifting between bold instrumental colors and striking timbral contrasts. \nDuende\, a concept famously explored by Federico García Lorca\, speaks to an almost mystical force in artistic expression—an intensity that arises from deep emotional\, physical\, and even existential struggle. It is not simply passion or virtuosity but something raw\, primal\, and unpredictable\, emerging from the tension between beauty and darkness\, control and surrender. Otherness\, in contrast\, suggests a state of being outside the familiar\, an estrangement from conventional frameworks that allows for new modes of perception and experience. \nThe program title Duende Otherness reflects Lucia Dlugoszewski’s pursuit of music that resists the expected and embraces the unknown. Duende evokes the visceral\, almost physical energy of sound as a living force\, while Otherness signals her commitment to breaking away from inherited traditions\, whether through new instrumental techniques\, unconventional structures\, or her rejection of narrative in favor of pure sensory immediacy. In her work\, sound does not represent or signify—it becomes\, vibrating at the edge of the unfamiliar\, inviting the listener into an experience beyond certainty. \n\nABOUT THE ARTISTS \nLucia Dlugoszewski (1925–2000) was an American composer\, poet\, and performer whose work challenged the conventions of postwar music. Born in Detroit to Polish immigrant parents\, she moved to New York in 1949\, where she studied with Edgard Varèse and became immersed in the city’s experimental arts scene. She developed a radical performance practice called the “timbre piano\,” which used mallets and objects to activate the strings and frame of the instrument\, and she built an ensemble of invented percussion instruments in collaboration with sculptor Ralph Dorazio. For nearly fifty years\, she was composer-in-residence for the Erick Hawkins Dance Company\, creating over twenty scores in close dialogue with choreography. Her concert works—commissioned by the New York Philharmonic\, Library of Congress\, and others—expanded the expressive possibilities of acoustic instruments and often centered timbre and gesture over melody or harmony. Long overlooked\, her legacy is now being rediscovered as a vital voice in 20th-century experimental music.\nErick Hawkins (1909–1994) was born in Trinidad\, Colorado. He graduated in 1932 from Harvard University. German dancer Harald Kreutzberg so impressed him that he went to study with him in Austria. Then he studied with George Balanchine at the School of American Ballet. In 1937 he choreographed Show Piece which was performed by Ballet Caravan. Hawkins was the first man to dance with Martha Graham performing the male lead in a number of her works\, including Appalachian Spring in 1944. Not long afterwards\, he met and began collaborating with the experimental composer Lucia Dlugoszewski. Together they moved towards an aesthetic vision detached from realistic psychology\, plot\, social or political agenda and redefining dance technique according to newly understood principles of kinesiology\, creating a bridge to later somatic studies. On October 14\, 1994\, one month before he died\, he was presented with the National Medal of Arts by President Clinton.\nEither/Or (EO) is a flexible chamber ensemble based in New York City advancing a repertoire drawn from a wide spectrum of experimental traditions. Winner of the 2015 CMA/ASCAP Award for Adventurous Programming\, EO presents inclusive concert experiences such as surveys of composers like Tālib-Rāsúl Hākím\, Ana-Maria Avram\, Chiyoko Szlavnics\, and Anthony Braxton; explorations of graphic score approaches by artists like Mendi+Keith Obadike\, Joanna Ward\, and Raven Chacon; and carefully curated sets or works with titles such as Perspectives and Disclosures and Time | Again. EO’s Directors Richard Carrick and Chris McIntyre draw on a broad collective of 10 regular soloists (and guests) to realize the specific requirements of each project. Since forming in 2004\, the group has premiered more than 300 works (as well as dozens of student compositions)\, toured throughout the US and Sweden\, and recorded for labels such as New Focus\, New World Records\, Starkland\, and Sterling Classics.\nPeter Evans (b. 1981) is a visionary trumpeter\, composer\, and bandleader. Known for his fearless blend of genres and sounds\, he leads several different projects\, most notably the quartet Being & Becoming (with Joel Ross\, Nick Joz and Tyshawn Sorey). Working in formats ranging from solo trumpet to large ensembles\, Evans’ engagement with the creative process moves beyond traditional distinctions of style. A prolific recording artist\, he has released 20 recordings under his name\, mostly through his own label More is More Records. Evans has worked with a wide range of artists such as John Zorn\, Ellliott Carter\, Evan Parker\, Craig Taborn and many more. A 2022 Guggenheim Fellow in Music Composition and the recipient of other major commissions from institutions such as the Donaueschingen Musiktage and Venice Biennale\, Evans tours internationally and has been based in New York City since 2003.\nArcana New Music Ensemble is a Philadelphia-based chamber group dedicated to performing contemporary classical music. Founded in 2016 by musicians\, academics\, and curators\, Arcana champions living composers\, revives overlooked masterpieces\, and sheds light on lesser-known historical works through concerts\, workshops\, and residencies. Originally a project of Bowerbird\, Arcana has operated independently as a 501(c)(3) since 2019. Drawing from a flexible roster of over fifty musicians\, the ensemble adapts its instrumentation to suit each program. In recent seasons\, Arcana has collaborated with Pig Iron Theatre Company\, Prometheus\, and Variant 6\, and presented nearly 30 programs featuring works by composers such as Morton Feldman\, Pauline Oliveros\, Julius Eastman\, Claude Vivier\, and Raven Chacon.\nAgnese Toniutti is an Italian pianist specialized in contemporary and 20th Century music. She dedicates herself to the exploration and research on peculiar piano repertoire\, often revolving around the concept of sound and its role in musical composition. Her work investigates the complementarity of composition and improvisation in musical creativity\, both as an author and interpreter. Cage\, Scelsi\, Cardini are some of her favorites; incursions into the territory of improvisation\, performance and extemporary composition\, are also encouraged by studying Seventies’ art movements. Her collaborations often include other artistic disciplines (acting\, photography\, dance\, visual arts\, and multimedia). Among her recent projects is the release of Subtle Matters (Neuma Records\, 2021)\, a recording where she re-interprets the “timbre-piano” invented by Lucia Dlugoszewski\, and the verbal scores by Philip Corner\, and the recording of Sonatas and Interludes for prepared piano by John Cage (Neuma Records 2023)\, both Best Bandcamp Contemporary Classical of the month. As a soloist and chamber music pianist she has performed in several venues and international festivals in Europe and the USA.\nDaedalus Quartet is praised by The New Yorker as “a fresh and vital young participant in what is a golden age of American string quartets.” The group has established itself as a leader among the new generation of string ensembles. Since winning the top prize in the Banff International String Quartet Competition in 2001\, the quartet has performed in many of the world’s leading musical venues and won plaudits for its adventurous exploration of contemporary music. To date the Daedalus Quartet has forged associations with some of America’s leading classical music and educational institutions: Carnegie Hall\, through its European Concert Hall Organization (ECHO) Rising Stars program; Lincoln Center\, which appointed them as the Chamber Music Society Two (now the Bowers Program) quartet and awarded them with the Martin E. Segal Award; and the University of Pennsylvania\, where they have served as Quartet-in-Residence since 2006. At Penn\, the Daedalus Quartet has been widely praised for their innovative programming and interdisciplinary collaborations\, especially in their Beethoven Quartet cycle\, Music and Migration\, and Bartok’s Monster projects.\nErick Hawkins Dance Company\, founded in 1951\, has been touring the world since the 1960’s. With unwavering integrity and uncompromising working methods\, Hawkins choreography is based on a collaboration of music\, art\, and dance. The dances are performed to live music\, often composed especially for each dance\, along with commissioned sets by artists and sculptors. Known for a fluid\, effortless style of movement\, each dance is energetic yet poetic\, serene yet harmonious. These works with significant musicians and artists have made considerable cultural contributions. Dedicated to preserving the legacies of choreographer Erick Hawkins and his partner\, composer Lucia Dlugoszewski\, the company continues to develop dances based on Hawkins’ pioneering movement theory. Reconstructing and reimagining their work is critical to keeping the form and aesthetic of mid-century modern dance alive. A valuable piece of dance history would be lost to future generations without Hawkins’ and Dlugoszewski’s unique vision.\nKatherine Duke began her study with Erick Hawkins and Lucia Dlugoszewski in 1983. She made her professional debut in 1986 with the Erick Hawkins Dance Company at Lincoln Center. Jamake Highwater wrote “…Katherine Duke represents the idealization of Hawkins’s four decades of creating dance.” Duke became Artistic Director of the Erick Hawkins Dance Company in 2001. To preserve and perpetuate the musical\, compositional\, and choreographic legacies of both Dlugoszewski and Hawkins\, Duke has facilitated the reconstruction of classic repertory and new works for many universities and professional companies. Her passion is to share\, in its purest form\, the beauty of the technique\, the unique approach to choreography\, and the principles of this legacy through intensives\, workshops\, and commissions. She continues to bring the Erick Hawkins Dance Company into the present with archival research enriching the Company’s repertory through unexplored works by Hawkins and Dlugoszewski\, commissioned choreographers\, and her own work.\nJR Gooseberry is a distinguished dancer\, choreographer\, and educator. Embarking on 13 international tours in over twenty countries with advocates of music education\, The Young Americans\, J.R. experienced national television exposure early on and has now become its Associate Director and Choreographer. Under Bill and Robyn Brawley\, J.R. performed alongside Broadway stars Brian Stokes Mitchell\, Kelli O’Hara\, Susan Egan\, and Hugh Panero. He has danced with CalliOpus Contemporary Dance\, the Contempo Ballet Company\, and currently serves as the choreographer for HEART Global. His dance mentorships include Ms. Brawley\, Heidi Jarrett\, Alex Little\, Jose Costas\, Linda Sohl-Ellison\, Jason Hortin\, Louis Kavouras\, Cathy Allen\, and Rachel Berman. J.R. received a BFA from the University of Nevada\, Las Vegas\, where he was introduced to the Hawkins technique and aesthetic and performed Hawkins’ Cantilever for the Martha Graham University Showcase 2023 at the Joyce Theater in New York City.\nJason Hortin studied dance in Olympia\, Washington\, with Debbi Waits Halfhill. Hortin earned a BFA from University of Nevada\, Las Vegas and MFA from the University of Arizona. While at UNLV\, Hortin performed Hawkins’ Black Lake and Lucia Dlugoszewski’s Radical Ardent in Las Vegas and New York. Hortin also performed with Moving People Dance Theatre\, Robert Moses\, and Ronn Stewart. With River North Dance Chicago\, Hortin performed works by Frank Chavez\, Lynn Taylor-Corbett\, Lauri Stallings\, Harrison McEldowny\, Daniel Ezralow\, Randy Duncan\, Kevin Iega Jeff\, and Julia Rhoads. Hortin danced with Hubbard Street Dance Chicago performing over 60 masterworks by Lou Conte\, Jiri Kylian\, Crystal Pite\, William Forsythe\, Kyle Abraham\, Mats Ek\, Sharon Eyal\, Ohad Naharin\, Nacho Duato\, and Twyla Tharp and is now répétiteur for Penny Saunders\, Chaves\, and Robyn Mineko Williams. Hortin choreographs for HSDC\, Bolles High School\, Extensions Dance Company\, Snowy Range Dance Festival\, UNLV\, and UA.\nHalie Landers is a dynamic performer with extensive training in modern\, ballet\, jazz\, contemporary\, aerial silks\, and musical theater. Over the past 19 years\, Lander’s pursuits in dance and choreography have provided her with incredible opportunities including performing the leading role in Hawkins’ Agathlon\, the leading role in Martha Graham’s Heretic\, as well as performing at the University of South Korea. She earned a Bachelor of Fine Arts in dance performance and choreography from the University of Nevada\, Las Vegas. Landers also received UNLV’s  Outstanding Graduating Senior Award.\nRylee Lucero began her dance training in her hometown of Puyallup\, Washington. For the last sixteen years Lucero has studied ballet\, modern\, jazz\, contemporary\, tap\, hip-hop\, and musical theater. She graduated from the University of Nevada\, Las Vegas with a Bachelor of Fine Arts in dance performance and choreography\, as well as a Pilates certification. UNLV is where she was introduced to the Hawkins technique and aesthetic. In the spring of 2024\, Lucero had the opportunity of closely working with Louis Kavouras and Katherine Duke for a performance of Hawkins’ Agathlon. Lucero was the recipient of UNLV’s Outstanding Choreographer Award and the Emilee Barker Award. She is now an instructor of the university’s dance and Pilates programs. Lucero has also performed in the Dance in the Desert Festival\, as well as with the Elemental Dance Company in their first ever Pseudo Serenity show about mental health in Las Vegas.\nHayley Meier is a performing artist\, choreographer\, and educator. Her early training was under Timothy M. Draper. In 2009 she earned a BFA in dance from the University of Arizona on full scholarship where she was honored with the inaugural Hayley Meier Award (now known as the Triple Threat Award). Upon graduation\, Meier danced with Rochester City Ballet. She then joined Frank Chaves’ River North Dance Chicago performing works by Adam Barruch\, Ashley Rowland\, Garrett Moulton\, Hanna Brictson\, Ivan Perez\, Kevin Iega Jeff\, Mauro Astolfi\, Randy Duncan\, Robert Battle\, Sherry Zunker\, and Sidra Bell. Receiving her MFA from the UA\, Meier was awarded the Creative Achievement Award for the School of Dance and Arizona Arts Undergraduate Advising/Mentoring Award as an Assistant Professor of Practice at UA. At South by Southwest in Austin\, Texas she contributed to the widely praised StellarScape production blending music\, science\, visual art\, dance\, and technology.\n\n\n\nMajor support for PURE LUCIA: THE MUSIC OF LUCIA DLUGOSZEWSKI has been provided by The Pew Center for Arts & Heritage with additional support from the Amphion Foundation. Presented in collaboration with FringeArts.
URL:https://www.bowerbird.org/event/pure-lucia-night-2-duende-otherness/
LOCATION:FringeArts\, 140 N Christopher Columbus Blvd\, Philadelphia\, PA\, 19106\, United States
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DTSTART;TZID=America/New_York:20250509T193000
DTEND;TZID=America/New_York:20250509T220000
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CREATED:20250309T223745Z
LAST-MODIFIED:20250512T171022Z
UID:10001256-1746819000-1746828000@www.bowerbird.org
SUMMARY:Pure Lucia - Night 1: Quidditas Suchness
DESCRIPTION:Bowerbird and FringeArts present Pure Lucia – Night 1: Quidditas Suchness\, the first night of a two-part program dedicated to the work of composer Lucia Dlugoszewski. Featuring chamber music\, film\, and dance\, the program highlights key moments in Dlugoszewski’s career\, from her early experimental compositions to her long-standing collaboration with choreographer Erick Hawkins. Performers include Network for New Music\, percussionist Dustin Donahue\, pianist Agnese Toniutti\, the David Taylor Brass Quintet\, and the Erick Hawkins Dance Company. \nLucia Dlugoszewski’s name is pronounced LOO-sha dwoo-goh-SHEF-skee. \n\nClick here to read extended program Notes\n\nCONCERT PROGRAM \nAll music by LUCIA DLUGOSZEWSKI (1925 – 2000) \nSong for the Poetry of Everyday Sounds to the poem of e e cummings  (1952)\nSeparated Music (1958)\na.) for rates of speed\nb.) for delicate accidents\nFor everyday objects and percussion; Performed by Dustin Donahue\, Rachel Beetz\, Michelle Purdy\, and Andy Thierauf \nVisual Variations on Noguchi (1945/1953)\nFilm by Marie Menken; score by Lucia Dlugoszewski (“The Poetry of Natural Sound”) \nExcerpts from Openings of the (Eye) (1952)\nPerformed by Network for New Music\n– Susanna Loewy\, flute\n– Charlie Abramovic\, piano\n– Phillip O’Banion\, percussion \nAngels of the Inmost Heaven (1971)\nFor brass quintet\, performed by:\n– Chris Coletti\, trumpet\n– Peter Evans\, trumpet\n– Eric Reed\, french horn\n– Joe Fiedler\, tenor trombone\n– David Taylor\, bass trombone \nINTERMISSION \nExcerpts from Here and Now With Watchers (1957)\nFor solo timbre piano and two dancers; choreography by Erick Hawkins. Performed by:\nAgnese Toniutti\, timbre piano\nErick Hawkins Dance Company\n– Jason Hortin\n– Hayley Meier \nCantilever (1963)\nFor solo piano with four dancers; choreography by Erick Hawkins. Performed by:\nAgnese Toniutti\, piano\nErick Hawkins Dance Company\n– Jason Hortin\n– Hayley Meier\n– JR Gooseberry\n– Hailie Landers \n\nThis event is part of  PURE LUCIA\, a retrospective of the life and work of Lucia Dlugoszewski. View the program for the following night:  Pure Lucia – Night 2: Duende Otherness \n  \n\nABOUT THIS CONCERT \nThis evening includes Dlugoszewski’s Song for the Poetry of Everyday Sounds\, a 1952 work that explores the musical possibilities of everyday objects—paper tearing\, beans and rice scattering\, water pouring. Written in the same year as John Cage’s Water Music\, this piece reflects a parallel interest in expanded sound sources. It is followed by Separated Music for Rates of Speed and Separated Music for Delicate Accidents\, two works that incorporate Dlugoszewski’s invented percussion instruments\, including the ladder harp. These compositions are early studies that led to 8 Clear Places\, one of her major works for dance. \nVisual Variations on Noguchi\, a film by Marie Menken\, is accompanied by Dlugoszewski’s 1953 score\, The Poetry of Natural Sound\, her only tape piece. Created at Louis and Bebe Barron’s pioneering electronic music studio\, the work pairs abstracted imagery of Isamu Noguchi’s sculptures with a dense\, layered composition that amplifies and manipulates everyday sounds into an intense\, textural soundscape. \nOpenings of the (Eye) marks the beginning of Dlugoszewski’s four-decade collaboration with Erick Hawkins. Composed in 1952 for flute\, piano\, and percussion\, the piece features a demanding and unconventional piano part. It will be performed by Network for New Music\, a Philadelphia-based contemporary music ensemble. \nAngels of the Inmost Heaven\, composed in 1971 for brass quintet\, is known for its complex textures\, extreme virtuosity\, and use of extended techniques. Originally written for an Erick Hawkins dance\, the piece was recorded in 1975 by trombonist David Taylor\, who worked closely with Dlugoszewski throughout her career. Taylor will also perform in this concert\, leading the brass quintet in a rare live presentation of the work. \nThe second half of the program introduces live dance\, with Erick Hawkins’s original choreography performed alongside Dlugoszewski’s music. Here and Now\, with Watchers\, from 1957\, was their second collaboration and the first in which Dlugoszewski performed as a soloist. The music is for timbre piano\, a technique she developed that involves direct interaction with the strings and frame to produce a distinct range of sounds. The piece was frequently performed by the Hawkins company through the 1960s. This performance\, featuring Italian pianist Agnese Toniutti and the Erick Hawkins Dance Company\, has been reconstructed using archival recordings\, choreographic notebooks\, and musical sketches. \nThe program closes with Cantilever\, premiered in Paris in 1963 and dedicated to Austro-American architect Frederick Kiesler. Initially created for solo piano and four dancers\, the work was later adapted for different instrumental settings and larger dance ensembles. This performance presents the original version with choreography by Hawkins and music performed by Toniutti. \nQuidditas\, as drawn from James Joyce\, refers to the essential whatness of a thing—its singular identity revealed in a moment of heightened perception. Suchness speaks to the unmediated experience of reality\, where things simply are\, free from interpretation or expectation. While quidditas captures the essence of a sound\, suchness embraces its presence in time\, unfolding without direction or resolution. \nThe program title Quidditas Suchness reflects Lucia Dlugoszewski’s deep interest in the essence and immediacy of sound. Quidditas speaks to the epiphanic recognition of a sound’s unique identity\, while Suchness evokes the unfolding of sound as a presence in time\, free from expectation or resolution. Together\, these ideas encapsulate Dlugoszewski’s compositional world\, where music is not structured toward a goal but experienced as a radical encounter with the present. \n\nABOUT THE ARTISTS \nLucia Dlugoszewski (1925–2000) was an American composer\, poet\, and performer whose work challenged the conventions of postwar music. Born in Detroit to Polish immigrant parents\, she moved to New York in 1949\, where she studied with Edgard Varèse and became immersed in the city’s experimental arts scene. She developed a radical performance practice called the “timbre piano\,” which used mallets and objects to activate the strings and frame of the instrument\, and she built an ensemble of invented percussion instruments in collaboration with sculptor Ralph Dorazio. For nearly fifty years\, she was composer-in-residence for the Erick Hawkins Dance Company\, creating over twenty scores in close dialogue with choreography. Her concert works—commissioned by the New York Philharmonic\, Library of Congress\, and others—expanded the expressive possibilities of acoustic instruments and often centered timbre and gesture over melody or harmony. Long overlooked\, her legacy is now being rediscovered as a vital voice in 20th-century experimental music.\nErick Hawkins (1909–1994) was born in Trinidad\, Colorado. He graduated in 1932 from Harvard University. German dancer Harald Kreutzberg so impressed him that he went to study with him in Austria. Then he studied with George Balanchine at the School of American Ballet. In 1937 he choreographed Show Piece which was performed by Ballet Caravan. Hawkins was the first man to dance with Martha Graham performing the male lead in a number of her works\, including Appalachian Spring in 1944. Not long afterwards\, he met and began collaborating with the experimental composer Lucia Dlugoszewski. Together they moved towards an aesthetic vision detached from realistic psychology\, plot\, social or political agenda and redefining dance technique according to newly understood principles of kinesiology\, creating a bridge to later somatic studies. On October 14\, 1994\, one month before he died\, he was presented with the National Medal of Arts by President Clinton.\nAs a composer and sound artist\, Rachel Beetz considers sound as touch and is particularly influenced by natural and mechanical environments\, the life of objects\, interpersonal collaboration\, and deep listening. Combining experimental field recordings and electronically modified flutes\, her works examine community\, environmentalism\, and women’s work through sound\, textiles\, and lighting. Beetz’s sound projects have taken her from a sunless winter fjord to the mountains of Southern California\, and to empty grain bins of the American Midwest. She held residencies in art houses in rural Iceland\, the Women’s Center for Creative Work in Santa Fe\, New Mexico\, the Los Feliz Charter School for the Arts in Los Angeles\, the Atlantic Center for the Arts in Florida\, and the Walden Creative Musicians retreat. Her projects have been featured in concert halls and galleries in Australia\, Iceland\, India\, the United Kingdom\, and the United States. You can find her compositions and electronic music on Orenda and Populist records in addition to her independent artist bandcamp website. \nDustin Donahue is a percussionist dedicated to contemporary chamber music. He performs with the Partch Ensemble\, Wasteland\, and ECHOI\, and appears with frequently the International Contemporary Ensemble. He has performed for many of North America’s top presenters of chamber music\, such as the Los Angeles Philharmonic’s Green Umbrella series\, Lincoln Center’s Mostly Mozart Festival\, the Ojai Music Festival\, the Festival Internacional Cervantino\, and the Park Avenue Armory. An advocate for contemporary music\, he frequently collaborates with living composers\, such as recent projects with Carolyn Chen\, Ash Fure\, Laure Hiendl\, Bruno Ruviaro\, Steven Takasugi\, and Yiheng Yvonne Wu. He is currently Assistant Professor of Percussion at the University of Maryland\, Baltimore County.\nAndy Thierauf is a Philadelphia-based percussionist specializing in contemporary music with a focus on integrating percussion with theater\, dance\, and technology. He often performs with the Arcana New Music Ensemble\, NakedEye Ensemble\, Unseen Rain\, among others as well as collaborating with choreographers and dance companies like Vervet Dance\, the Naked Stark\, and Anne Marie Mulgrew and Dancers Company. Andy teaches at Settlement Music School and is an adjunct professor at Kutztown University.\nMichelle Purdyis a contemporary percussionist and teaching artist currently residing in Butler\, Maryland. Her sonic explorations tend to favor the mingling of found objects with more traditional instruments and an affinity for chance and improvisation whenever possible. Purdy also has been studying Javanese & Balinese Gamelan under the tutelage of Prof Gina Beck and is a board member for The High Zero Foundation and 2640 Collective. Ms. Purdy teaches at Carroll Community College\, Towson University & UMBC. She has performed locally in Baltimore’s High Zero & Artscape Festivals and abroad at So Percussion’s Summer Institute\, IFCP at Mannes\, June in Buffalo\, Make Music New York\, and The Center for Advanced Musical Studies at Chosen Vale. She received her B.A. in Percussion Performance at UMBC and her Master’s degree from SUNY Buffalo.\nMarie Menken (1909–1970) was an influential American experimental filmmaker known for her lyrical\, kinetic style and pioneering use of handheld camerawork. A central figure in New York’s avant-garde film scene\, she created visually dynamic works such as Visual Variations on Noguchi (1945/52)\, Glimpse of the Garden (1957)\, and Notebook (1962). Menken was a mentor and inspiration to artists like Andy Warhol and Stan Brakhage\, and her films continue to resonate for their immediacy\, playfulness\, and poetic intensity.\nNetwork for New Music commissions and performs new musical works by emerging and established artists of all identities\, engaging audiences with vibrant and thought-provoking experiences. We prioritize excellent performances\, innovative curation\, in-depth education programs\, and cross-genre collaborations\, enriching Philadelphia’s cultural life. The Network Ensemble\, a flexible 20-member group whose musicians also perform with leading local ensembles like the Philadelphia Orchestra and Opera Philadelphia\, presents meticulously rehearsed performances of music by composers from the United States and abroad. Since 1984\, the Ensemble has presented over 650 works and recorded four CDs for Albany and Innova labels. Committed to education\, the Network Ensemble has collaborated with students from institutions including Curtis Institute of Music\, University of Pennsylvania\, Temple University\, and Swarthmore College. The Ensemble has maintained a residency at Haverford College since 2007\, fostering emerging talent and deepening engagement with contemporary music.\nChris Coletti is a trumpeter\, soloist\, chamber musician\, arranger\, conductor\, and educator with a career spanning some of the most prestigious stages and ensembles in the world. He regularly performs as a soloist with orchestras and appears in recital and chamber settings\, performing on both modern and baroque trumpet.  He is Principal Trumpet of ROCO-Houston and the Huntsville Symphony Orchestra\, and frequently performs and records as guest principal with the Saint Louis Symphony Orchestra and others. Drawn to bold\, imaginative repertoire that spans styles and eras\, Coletti has premiered countless works as a soloist\, orchestral and chamber musician\, and as music director of Ithaca College’s Contemporary Ensemble.  He has performed with a wide range of artists across genres\, spanning Pierre Boulez\, Jon Batiste\, Kanye West\, Gloria Estefan\, Kurt Masur\, and Riccardo Muti. A former member of the Canadian Brass\, he toured internationally for over a decade and appears on more than a dozen of the ensemble’s acclaimed recordings. He is Assistant Professor of Trumpet at Ithaca College.\nPeter Evans (b. 1981) is a visionary trumpeter\, composer\, and bandleader. Known for his fearless blend of genres and sounds\, he leads several different projects\, most notably the quartet Being & Becoming (with Joel Ross\, Nick Joz and Tyshawn Sorey). Working in formats ranging from solo trumpet to large ensembles\, Evans’ engagement with the creative process moves beyond traditional distinctions of style. A prolific recording artist\, he has released 20 recordings under his name\, mostly through his own label More is More Records. Evans has worked with a wide range of artists such as John Zorn\, Ellliott Carter\, Evan Parker\, Craig Taborn and many more. A 2022 Guggenheim Fellow in Music Composition and the recipient of other major commissions from institutions such as the Donaueschingen Musiktage and Venice Biennale\, Evans tours internationally and has been based in New York City since 2003.\nTrombonist/composer Joe Fiedler is known to critics as “among the most impressive trombonists to emerge in the past couple of decades.” (Harvey Pekar\, Signal to Noise) Based in New York since 1993\, he has performed and recorded in a long and eclectic list of musical settings ranging from jazz (Andrew Hill\, Charles Tolliver) to the avant-garde (Anthony Braxton\, Cecil Taylor) to Afro-Caribbean (Celia Cruz\, Eddie Palmieri) to pop (Marc Anthony\, Jennifer Lopez). In addition\, Fiedler is the leader of the groups Open Sesame\, the Joe Fiedler Trio and Big Sackbut. His diverse discography features more than 200 recordings\, including fourteen as a leader.\nEric Reed is the horn player of the American Brass Quintet and co-principal horn of the Orpheus Chamber Orchestra. A member of the Orchestra of St. Luke’s\, he also performs with the Chamber Music Society of Lincoln Center and Ensemble Échappé\, and is a former member of the Canadian Brass. He has appeared with the Metropolitan Opera Orchestra\, New York Philharmonic\, Philadelphia Orchestra\, and International Contemporary Ensemble\, among others. A committed educator\, Reed teaches at The Juilliard School\, NYU\, and Mannes. Recent premieres include works by Jennifer Higdon\, John Zorn\, Nina C. Young\, and William Bolcom. He is also a member of Brassology\, a genre-bending brass octet. Festival credits include Aspen\, Bard\, Bridgehampton\, and Mostly Mozart. Reed holds degrees from Rice University and Juilliard\, and lives in The Bronx with his wife\, violinist Sarah Zun\, and their sons\, Oliver and Elliot.\nDavid Taylor received his B.S. and M.S. from the Juilliard School and began his career with Leopold Stokowski’s American Symphony Orchestra and the New York Philharmonic under Pierre Boulez. Simultaneously\, he was part of the Thad Jones/Mel Lewis Jazz Orchestra and recorded with Duke Ellington\, The Rolling Stones\, and Blood\, Sweat & Tears. A prolific soloist and chamber musician\, Taylor has appeared with ensembles including the Chamber Music Society of Lincoln Center\, St. Luke’s Chamber Orchestra\, and the Adelaide Philharmonic. He has commissioned works from composers such as Frederic Rzewski\, Charles Wuorinen\, and Lucia Dlugoszewski\, and performed with Yo-Yo Ma\, Itzhak Perlman\, and Wynton Marsalis. A frequent collaborator in both classical and jazz scenes\, Taylor has recorded with Miles Davis\, Barbra Streisand\, and Aretha Franklin. He is a recipient of NARAS’s Most Valuable Player Virtuoso Award and currently teaches at the Manhattan School of Music and Mannes College.\nAgnese Toniutti is an Italian pianist specialized in contemporary and 20th Century music. She dedicates herself to the exploration and research on peculiar piano repertoire\, often revolving around the concept of sound and its role in musical composition. Her work investigates the complementarity of composition and improvisation in musical creativity\, both as an author and interpreter. Cage\, Scelsi\, Cardini are some of her favorites; incursions into the territory of improvisation\, performance and extemporary composition\, are also encouraged by studying Seventies’ art movements. Her collaborations often include other artistic disciplines (acting\, photography\, dance\, visual arts\, and multimedia). Among her recent projects is the release of Subtle Matters (Neuma Records\, 2021)\, a recording where she re-interprets the “timbre-piano” invented by Lucia Dlugoszewski\, and the verbal scores by Philip Corner\, and the recording of Sonatas and Interludes for prepared piano by John Cage (Neuma Records 2023)\, both Best Bandcamp Contemporary Classical of the month. As a soloist and chamber music pianist she has performed in several venues and international festivals in Europe and the USA.\nErick Hawkins Dance Company\, founded in 1951\, has been touring the world since the 1960’s. With unwavering integrity and uncompromising working methods\, Hawkins choreography is based on a collaboration of music\, art\, and dance. The dances are performed to live music\, often composed especially for each dance\, along with commissioned sets by artists and sculptors. Known for a fluid\, effortless style of movement\, each dance is energetic yet poetic\, serene yet harmonious. These works with significant musicians and artists have made considerable cultural contributions. Dedicated to preserving the legacies of choreographer Erick Hawkins and his partner\, composer Lucia Dlugoszewski\, the company continues to develop dances based on Hawkins’ pioneering movement theory. Reconstructing and reimagining their work is critical to keeping the form and aesthetic of mid-century modern dance alive. A valuable piece of dance history would be lost to future generations without Hawkins’ and Dlugoszewski’s unique vision.\nKatherine Duke began her study with Erick Hawkins and Lucia Dlugoszewski in 1983. She made her professional debut in 1986 with the Erick Hawkins Dance Company at Lincoln Center. Jamake Highwater wrote “…Katherine Duke represents the idealization of Hawkins’s four decades of creating dance.” Duke became Artistic Director of the Erick Hawkins Dance Company in 2001. To preserve and perpetuate the musical\, compositional\, and choreographic legacies of both Dlugoszewski and Hawkins\, Duke has facilitated the reconstruction of classic repertory and new works for many universities and professional companies. Her passion is to share\, in its purest form\, the beauty of the technique\, the unique approach to choreography\, and the principles of this legacy through intensives\, workshops\, and commissions. She continues to bring the Erick Hawkins Dance Company into the present with archival research enriching the Company’s repertory through unexplored works by Hawkins and Dlugoszewski\, commissioned choreographers\, and her own work.\nJR Gooseberry is a distinguished dancer\, choreographer\, and educator. Embarking on 13 international tours in over twenty countries with advocates of music education\, The Young Americans\, J.R. experienced national television exposure early on and has now become its Associate Director and Choreographer. Under Bill and Robyn Brawley\, J.R. performed alongside Broadway stars Brian Stokes Mitchell\, Kelli O’Hara\, Susan Egan\, and Hugh Panero. He has danced with CalliOpus Contemporary Dance\, the Contempo Ballet Company\, and currently serves as the choreographer for HEART Global. His dance mentorships include Ms. Brawley\, Heidi Jarrett\, Alex Little\, Jose Costas\, Linda Sohl-Ellison\, Jason Hortin\, Louis Kavouras\, Cathy Allen\, and Rachel Berman. J.R. received a BFA from the University of Nevada\, Las Vegas\, where he was introduced to the Hawkins technique and aesthetic and performed Hawkins’ Cantilever for the Martha Graham University Showcase 2023 at the Joyce Theater in New York City.\nJason Hortin studied dance in Olympia\, Washington\, with Debbi Waits Halfhill. Hortin earned a BFA from University of Nevada\, Las Vegas and MFA from the University of Arizona. While at UNLV\, Hortin performed Hawkins’ Black Lake and Lucia Dlugoszewski’s Radical Ardent in Las Vegas and New York. Hortin also performed with Moving People Dance Theatre\, Robert Moses\, and Ronn Stewart. With River North Dance Chicago\, Hortin performed works by Frank Chavez\, Lynn Taylor-Corbett\, Lauri Stallings\, Harrison McEldowny\, Daniel Ezralow\, Randy Duncan\, Kevin Iega Jeff\, and Julia Rhoads. Hortin danced with Hubbard Street Dance Chicago performing over 60 masterworks by Lou Conte\, Jiri Kylian\, Crystal Pite\, William Forsythe\, Kyle Abraham\, Mats Ek\, Sharon Eyal\, Ohad Naharin\, Nacho Duato\, and Twyla Tharp and is now répétiteur for Penny Saunders\, Chaves\, and Robyn Mineko Williams. Hortin choreographs for HSDC\, Bolles High School\, Extensions Dance Company\, Snowy Range Dance Festival\, UNLV\, and UA.\nHalie Landers is a dynamic performer with extensive training in modern\, ballet\, jazz\, contemporary\, aerial silks\, and musical theater. Over the past 19 years\, Lander’s pursuits in dance and choreography have provided her with incredible opportunities including performing the leading role in Hawkins’ Agathlon\, the leading role in Martha Graham’s Heretic\, as well as performing at the University of South Korea. She earned a Bachelor of Fine Arts in dance performance and choreography from the University of Nevada\, Las Vegas. Landers also received UNLV’s  Outstanding Graduating Senior Award.\nHayley Meier is a performing artist\, choreographer\, and educator. Her early training was under Timothy M. Draper. In 2009 she earned a BFA in dance from the University of Arizona on full scholarship where she was honored with the inaugural Hayley Meier Award (now known as the Triple Threat Award). Upon graduation\, Meier danced with Rochester City Ballet. She then joined Frank Chaves’ River North Dance Chicago performing works by Adam Barruch\, Ashley Rowland\, Garrett Moulton\, Hanna Brictson\, Ivan Perez\, Kevin Iega Jeff\, Mauro Astolfi\, Randy Duncan\, Robert Battle\, Sherry Zunker\, and Sidra Bell. Receiving her MFA from the UA\, Meier was awarded the Creative Achievement Award for the School of Dance and Arizona Arts Undergraduate Advising/Mentoring Award as an Assistant Professor of Practice at UA. At South by Southwest in Austin\, Texas she contributed to the widely praised StellarScape production blending music\, science\, visual art\, dance\, and technology.\n\n\n\nMajor support for PURE LUCIA: THE MUSIC OF LUCIA DLUGOSZEWSKI has been provided by The Pew Center for Arts & Heritage with additional support from the Amphion Foundation. Presented in collaboration with FringeArts.
URL:https://www.bowerbird.org/event/pure-lucia-night-1-quidditas-suchness/
LOCATION:FringeArts\, 140 N Christopher Columbus Blvd\, Philadelphia\, PA\, 19106\, United States
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