Upcoming Concerts

WERNER DAFELDECKER + VALERIO TRICOLI Goethe-Institut Boston
Friday, October 24, 2014

MARK FELL at the Metropolitan Waterworks Museum
Wednesday, November 5, 2014

MICHAEL PISARO performed by GREG STUART + JOE PANZNER, plus JOHN MALLIA/KATARINA MILJKOVIC
Williams Hall, NEC
Tuesday, November 11, 2014

JAKE MEGINSKY at Café Fixe
Tuesday, November 18, 2014

WERNER DAFELDECKER + VALERIO TRICOLI
Goethe-Institut Boston
Friday, October 24, 2014

Non-Event and the Goethe-Institut Boston present

WERNER DAFELDECKER + VALERIO TRICOLI
performing John Cage, "Williams Mix Extended"
octophonic electro-acoustic diffusion
+ solo sets

Goethe-Institut Boston
170 Beacon Street
Boston, MA 02116
8 p.m.
Tickets:
Advance - $12.50 general admission, $8 students/Non-Event members
Night of Show - $15 general admission, $10 students/Non-Event members

Eventbrite - Werner Dafeldecker & Valerio Tricoli

ABOUT THE ARTISTS

WERNER DAFELDECKER was born in Vienna in 1964 and studied the double bass. As a musician and composer, he moves between improvised and composed music and takes advantage of the manifold possibilities offered by electro-acoustics. His works often follow the principles of reductive music that is based on thinned-out, concentrated material, subjecting it to subtle modifications. His musical projects are often inspired and deduced by outside influences such as architecture, physics, photography and film. Werner Dafeldecker also focuses intensively on field recording and has built an extensive sound archive and realized several works for radio and film.

VALERIO TRICOLI is a Berlin-based composer, improviser, sound installation artist, producer, sound engineer and curator bridging musique concrete and conceptual forms of sound with a radical interest in how reality, virtuality and memory relate to each other during the acoustic event. He mostly uses analogue electronic devices (reel-to-reel tape recorders, synthesizers, microphones, light effects, ultrasonic speakers). The structure of the setup is ever-changing however, seeking multiple relations between the performers, the device and the space in which the event takes place. He is one of the founders of 3/4HadBeenEliminated and the Bowindo label/collective.

ABOUT WILLIAMS MIX EXTENDED

Williams Mix Extended is a new interpretation of John Cage's Williams Mix by Werner Dafeldecker and Valerio Tricoli, originally scored for magnetic tape in 1952. Approaching the original score from a contemporary perspective, this new interpretation of Williams Mix contains a close analysis of the relationship between early tape music and current digital production, allowing for original parameters of the score to be realized within the context of recent audio technologies. Williams Mix Extended has an duration of 32 minutes whereas the original is 4 minutes and 15 seconds long. The difference between the two durations is generated by the transposition of the score´s specifications from tape to digital audio software. To complete Williams Mix Extended a library of approximately 2000 different sounds are used, which were all recorded by Dafeldecker and Tricoli.

This program is part of the Goethe-Institut Boston's "New Music from Germany" series

Permalink

MARK FELL at Metropolitan Waterworks Museum
Wednesday, November 5, 2014

Non-Event and the Metropolitan Waterworks Museum present

MARK FELL
long Boston mix

Metropolitan Waterworks Museum
2450 Beacon Street
Boston, MA 02467(map)
7:00pm / Free (Suggested donation: $10)
Please RSVP at info@waterworksmuseum.org or 617-277-0065

MARK FELL is a multidisciplinary artist based in Sheffield (UK). After studying experimental film and video art at the local polytechnic he reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed record releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Fell is widely known for combining popular music styles, such as electronica and techno, with more academic approaches to computer-based composition with a particular emphasis on algorithmic and mathematical systems. His recent musical practice has become increasingly informed by non-Western musics, this is evident in two linked works Multistablity and UL8 which explore a number of unfamiliar timing and tuning systems. Uncut magazine called these “completely mind-blowing” and the Wire magazine said these were “amazing.” As well as recorded works Fell produces installation pieces often using multiple speaker systems. Although well versed in the use of ambisonics, his work in this area is characterized by “non-illusion based” approaches where multiple waveshapes are spatially distributed to form complex synthetic sonic environments.

The diversity and importance of Fell’s practice is reflected in the range and scale of international institutions that present his work -- from large super clubs such as Berghain (Berlin), to Hong Kong National Film archive and many others. Fell has received commissions from prestigious institutions including Francesca Von Habsburg’s Thyssen-Bornemisza Art Contemporary (Vienna) with a premier at Seville Biennale of Art, and the National Ballet of Madrid have performed to his works. He has been recognized by ARS Electronica (Linz) with an Honorary mention in the digital musics category, and was shortlisted for the Quartz award for his contribution to research in digital music. In addition to his creative practice Fell has been involved in a number of academic research projects ranging from computer science to musicology, and as a curator Fell is widely recognized for his contribution to the development of experimental electronic music in Europe.

Permalink

MICHAEL PISARO performed by GREG STUART + JOE PANZNER, plus JOHN MALLIA/KATARINA MILJKOVIC
Williams Hall, NEC
Tuesday, November 11, 2014

Non-Event, NEC's Department of Music Theory, and EMMA present

MICHAEL PISARO
Closed Categories in Cartesian Worlds (2011/12)
White Metal (2012/13)

Michael Pisaro, composition, sine tones, mixing
Joe Panzner, sine tones, noise generation
Greg Stuart, bowed crotales, noise generation

JOHN MALLIA and KATARINA MILJKOVIC
Untitled Work

Williams Hall
New England Conservatory
290 Huntington Avenue
Boston, MA
617-585-1100
8pm / FREE and open to the public

MICHAEL PISARO (born 1961 in Buffalo, New York) is a guitarist and composer. A member of the Wandelweiser Composers Ensemble, he has composed a large number of works for a great variety of instrumental combinations. Recordings of his work (solo and collaborative) have been released by Edition Wandelweiser Records, erstwhile, another timbre, slubmusic, Cathnor, Senufo Editions, winds measure, HEM Berlin and on Pisaro's own imprint, Gravity Wave.

Before joining the composition faculty at the California Institute of the Arts in 2000, he taught music composition and theory at Northwestern University. Presently he is Fromm Foundation Visiting Professor of Music Composition in the Department of Music at Harvard. In 2006 he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award.

JOE PANZNER is a computer musician and educator from Akron, OH currently residing in Columbus, OH. Panzner works with live electronics and within an ethos of musical materialism, preferring visceral sound experience to narrative or representational tactics. He uses treated natural and instrumental sounds, computer synthesis, and digitally processed analog synthesis to produce music teeming with frequency extremes, sudden dynamic shifts, and an array of acoustic and psychoacoustic phenomena. His forthcoming book, The Process That Is The World: Cage / Deleuze / Events / Performances (Bloomsbury), traces the philosophical linkages between Gilles Deleuze and John Cage in the domains of musical ontology, performance, and politics. He is presently a lecturer of Music History at The Ohio State University.

GREG STUART is a percussionist whose work explores various alternative percussion techniques, including sustained friction, gravity-based sounds via small grains, sympathetic vibration, and electronic instruments. Since 2006, Stuart has collaborated extensively with the composer Michael Pisaro, producing a large body of new music for percussion comprised of pieces that focus on the magnification of small sounds through recording and layering, often in combination with field recordings  and/or electronic sounds. Stuart also currently works with the percussion trio Meridian (with Tim Feeney and Nick Hennies) and with computer musician Joe Panzner. He has performed at MaerzMusik (Berlin), The Stone (NYC), Issue Project Room (NYC), The Wulf (Los Angeles), Gallery Kapleica (Ljubljana), Elastic Arts Foundation (Chicago), New Music Co-Op (Austin), Philadelphia Sound Forum, Sushi Performance and Visual Art (San Diego), MacPhail Center for Music (Minneapolis), and the Columbia Museum of Art among others. His work can be heard on such labels as Edition Wandelweiser, Gravity Wave, Erstwhile,Cathnor, Accidie, and Senufo Editions. Greg Stuart is an Assistant Professor at the University of South Carolina in Columbia, S.C. where he teaches experimental music, music history and runs the New Music Workshop.

JOHN MALLIA's compositions for diverse instrumental, vocal and electronic forces have been performed internationally by artists and organizations including Yo-Yo Ma, Gaudeamus (The Netherlands), International Computer Music Association, Society for Electro-Acoustic Music in the United States, Zeppelin Festival of Sound Art (Barcelona, Spain), Festival Synthese (Bourges, France), Society for New Music (New York), CyberArts (Boston, MA), Medi@terra's Travelling Mikromuseum (Greece, Bulgaria, Germany), and the Boston Microtonal Society.

His work has been recognized by the Institut de Musique Electroacoustique de Bourges' International Competition of Electro-acoustic Music and Sonic Art (1991, 2000 France), the Luigi Russolo competition (2000 Italy), and the Boston Microtonal Society's Annual Award for the creation of microtonal music. He was co-Director of the Auros Group for New Music (1992-99) and has produced more than seventy concerts of contemporary music in New England. He remains active as a presenter of concerts of electro-acoustic music in the Boston area.

Composer KATARINA MILJKOVIC investigates theinteraction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot's essay "The Fractal Geometry of Nature" and self-similar complex structures resulting in the cycle, Forest, a dreamy piece, along the lines of Feldman or Brown. Entirely captivating." (Signal to Noise). Her generative music has been described as "a refined, hypnotic dream" (Danas), "a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors" (Radio Belgrade), "an ambient tone poem... that moved hypnotically through the sonic frame" (Lucid Culture). Miljkovic has been on the faculty at the New England Conservatory of Music since 1996 and is the recipient of the Louis Krasner and Lawrence Lesser award for excellence in teaching.

Permalink

JAKE MEGINSKY at Café Fixe
Tuesday, November 18, 2014

Non-Event Presents
Our November Experimental Coffee House
featuring

JAKE MEGINSKY

Café Fixe
1642 Beacon Street (Washington Square)
Brookline, MA 02445
617-879-2500
8 p.m./$5

JAKE MEGINSKY (percussion/electronics) has collaborated and performed with such artists as Milford Graves, Alvin Lucier, Joan Labarbara, Greg Kelley, Bhob Rainey, Vic Rawlings, Joe McPhee, Thurston Moore, William Parker, John Blum, Daniel Carter, Paul Flaherty, Arthur Brooks, Bill Nace, and John Truscinski.

HUCK magazine describes his work as “constantly transgressing the boundaries between acoustic and electronic, analog and digital” and continues, “….invention is at the heart of Jake’s work even before he strikes a note.” Volcanic Tongue recently called Meginsky’s 2014 solo record, L’appel Du Vide,“a hallucinatory electro percussion masterpiece” and in the WIRE Magazine review of the album, Nick Cain writes, “the album uses little more than a couple of sounds, extracting often head spinning complexity from a minimum of means.” Also in reference to L’appel Du Vide, Matt Krefting writes, "the music is meticulously constructed and consistently surprising, twisting and sparkling. The electronics spin away, shooting off into bizarre and unexpected territory, and all the while Meginsky guides them with a benevolent, confident, endlessly fascinated hand."

Meginsky's recordings can be found on Feeding Tube Records (Northampton, MA), Rel Records (Providence, RI), Open Mouth Records (Northampton, MA), Hells Half Halo (Seattle, WA), Wooden Finger Records (Belgium), Ultra Eczema Records (Belgium), and Ecstatic Peace Records (Northampton, MA). He recently remixed Body/Head’s (Kim Gordon & Bill Nace) “Last Mistress” for Matador Records (NYC). In May of 2015, he will premiere a new work at La Mama in New York City with choreographer Gwen Welliver. His debut solo album is available directly from Open Mouth Records.

This program is supported in part by a grant from the Brookline Commission for the Arts, a local agency supported by the Massachusetts Cultural Council.

Permalink

AARON MOORE at Café Fixe
Tuesday, December 9, 2014

Non-Event Presents
Our December Experimental Coffee House
featuring

AARON MOORE

Café Fixe
1642 Beacon Street (Washington Square)
Brookline, MA 02445
617-879-2500
8 p.m./$5

AARON MOORE is an Englishman residing in Brooklyn, New York who plays music with instruments & devices. Primarily a drummer he generally considers any instrument or object playable in one way or another. Moore is a founding member of English experimental music group Volcano The Bear. Now in their 19th year together VTB have been critically acclaimed as one the leading lights of the British experimental music scene. In a 2006 article on the group the Wire magazine described them as “producing some of the finest, wildest British music of the last 10 years on record & on stage”.

As an improvisor Moore thrives on the unpredictable; the potential for chaos and collapse leading to new territory. Contrastingly, his studio compositions, starting as improvisations, are mulit-layered and meticulously edited over months and years. His debut solo album under his own name, 2005’s “The Accidental” recorded in Leicester, England was a minimal work primarily using one acoustic instrument per track to create drones, loops and soundscapes. “The Accidental” was described by Foxy Digitalis as “...graceful as a ripple in fresh water, or as a snowfall on a particularly cold January morning”.

Since moving to Brooklyn in late 2006, Moore has been developing his solo work under the name Invisible Sports in a number of ways using drums, voice, melodic percussion, trumpet, tapes & loops. For the second Invisible Sports studio album “The Future Tastes” Moore composed songs based around melodic percussion & multi-tracked voice whilst his live work and the live album “Ow Pow Hero Hour” leans towards sprawling epics of progressive looping & ritualistic improvisation.

Moore has appeared on over 40 albums with various groups & toured extensively in Europe and North America. He has a number of other ongoing projects including a duo with Argentinian guitarist Alan Courtis, Brooklyn based 'jazz' group Gospel Of Mars and has collaborated/performed with Boredoms, A Hawk & A Hacksaw, Thierry Muller and Tom Recchion amongst many others.

This program is supported in part by a grant from the Brookline Commission for the Arts, a local agency supported by the Massachusetts Cultural Council.

Permalink