Below are excerpts being used in the audio installation component of Wayne Horivitz’s new modular site-specific multimedia work.
Recorded over 4 days with Horvitz and Tucker Martine in the bunkers & cistern at Fort Worden in Port Townsend, WA, each day was a different set of musicians and performance parameters, and featured an incredible range of artists. Improvisations and written segments were captured over many many hours, underground, in the dark, in unimaginably mystical acoustic spaces.
The full piece – 55: Music and Dance in Concrete – premieres in September in Seattle, Port Townsend, and at the Arizona State University Art Museum, with a pre-recorded electronic score comprised of fragments from 55 improvisations and 55 written works.
Improvised trio with Beth Fleenor, Eyvind Kang and Briggan Krauss…in the Fort Worden Cistern with its 45 second reverb, and a Wayne Horvitz / Tucker Martine blessing….
Horvitz 55 written excerpt…Beth Fleenor, Maria Mannisto, Victoria Parker, Heather Bentley, Rowena Hammill…recorded in a concrete bunker…a very very cold concrete bunker, with the most enchanting sound…
Lead Bunny will consolidate and solidify Paige Barnes’ ongoing exploration of the themes conflict and reconciliation. She is drawn to uncomfortable emotional content, in order to communicate aspects of human nature that are repressed.
The current production is dance-based and involves 14 artists from different disciplines: animation, dance, music, film, light, and costume/special effects. These artists are essential parts of a whole vision.
The Hedreen Gallery will present Lead Bunny – a gallery film installation with four performances during October 1- 31, 2012.
In celebration of her birthday, composer/clarinetist Beth Fleenor presents a new Workshop Ensemble – a morphing sonic vehicle that performs original works composed for dance, film & blindfolded ensemble, among other outlets. (Includes Brian Bermudez, Sam Boshnack, Greg Campbell, Chris Credit, Paul Kemmish, Michele Khazak, Adam Kozie, Kate Olson, Michael Owcharuk, Naomi Siegel, and Jacques Willis).
Second set features Slaughterhouse 3 (Fleenor, Owcharuk & Kemmish) – performing originals, inspired covers and Slavic folk tunes, flooding the streets with joy, longing and merriment…music for the people.
Monday, August 27 – 8pm
5000 Rainier Ave S (Seattle)
Come learn the choreography from Ciara’s 2010 “Ride” video that was so hot it was banned from BET and the UK. Amy O’Neal performs an imitation of this video in her upcoming solo work “The Most Innovative, Daring, and Original Piece of Dance Performance You Will See this Decade” premiering at Velocity Dance Center October 12-14 and 19-21 2012.
Open to all levels of movement experience and curiosity!
Thursday, Sept 6 – 6-9 pm
Velocity Dance Center / Founders Studio / 1621 12th Ave
Cost: by donation (all funds go towards the development of Amy O’s current solo work)
More information: http://www.tinyrage.com/
“Between January 4, 2011 and January 4, 2012, I wrote a tune every single day. This was an exercise in artistic discipline. I wanted to kick my creative process into a higher gear and explore the different types of music I like. Out of that project was born this band PLY. Rock, new music, jazz, classical, pop with a good dose of improvisation. Joining me are Beth, PK, and Max; great players and friends who go on all kinds of musical adventures with me.” -Michael Owcharuk
Michael Owcharuk – piano and composition
Beth Fleenor – clarinet
Paul Kemmish – bass
Max Wood – drumsRecorded 7/23/12 by Doug Haire at Jack Straw Productions
Mixed and mastered by Mike Dodge at Doogin Design
“A common theme today was how important it is for music to be continually adapting and changing from what came before. Derek Bermel spoke of his many influences and said, “If you limit your intake, the genre becomes stagnant.” George Lewis quoted, “Your history is going to come into your music if you let it.” As American composers one is exposed to a multitude of cultures, which can be a great resource and create music that is unlike anywhere else. All genres have room to move somewhere new. This may sound jaded, but it seems that all music with integrity is really struggling in today’s corporate-run America, maybe because exercising one’s mind doesn’t help to sell product. It has been thought provoking to be at this institute with great minds from two genres that are maybe struggling the most – jazz and classical. Hopefully this “pooling together” between us all, as if we ourselves were an orchestra, will create solutions or at least inspiration for this incredible group of American composers. ”
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