Lis Rhodes

Light Music is an innovative work presented originally as a performance that experiments with celluloid and sound to push the formal, spatial and performative boundaries of cinema. An iconic work of expanded cinema, it creates a more central and participatory role for the viewer within a dynamic, immersive environment.

Formed from two projections facing one another on opposite screens, Light Music is Rhodes’s response to what she perceived as the lack of attention paid to women composers in European music. She composed a ‘score’ comprised of drawings that form abstract patterns of black and white lines onscreen. The drawings are printed onto the optical edge of the filmstrip. As the bands of light and dark pass through the projector they are ‘read’ as audio, creating an intense soundtrack, forming a direct, indexical relationship between the sonic and the visual. What one hears is the aural equivalent to the flickering patterns on the screens.

Light Music is projected into a hazy room – the beams that traverse one another in the space between the two projections become ethereal sculptural forms comprised of light, shadow and theatrical smoke. This format is designed to encourage viewers to move between the screens, directly engaging with the projection beams, forming a set of social relations in which cinema is transformed into a collective event without a single point of focus. Light Music occupies an important threshold in film history, drawing on early experiments in ‘visual music’ from the 1920s by pioneers including Oskar Fischinger, Hans Richter and Walther Ruttmann, and subsequently opening cinematic practice up to a host of concerns from gender politics to phenomenological experience.

Lis Rhodes (born 1942, London) is a major figure in the history of artists’ filmmaking in Britain and was a leading member of the influential London Filmmakers’ Co-op. She currently lives and works in London, where a survey exhibition of her career, Lis Rhodes: Dissonance and Disturbance, was held at the ICA from January to March 2012. Her films are distributed by LUX.

https://www.tate.org.uk/whats-on/tate-modern-tanks/display/lis-rhodes-light-music

Advertisements

John Cage

johncage1.jpg

“It was at Harvard not quite forty years ago that I went into an anechoic [totally silent] chamber not expecting in that silent room to hear two sounds: one high, my nervous system in operation, one low, my blood in circulation. The reason I did not expect to hear those two sounds was that they were set into vibration without any intention on my part. That experience gave my life direction, the exploration of nonintention. No one else was doing that. I would do it for us. I did not know immediately what I was doing, nor, after all these years, have I found out much. I compose music. Yes, but how? I gave up making choices. In their place I put the asking of questions. The answers come from the mechanism, not the wisdom of the I Ching, the most ancient of all books: tossing three coins six times yielding numbers between 1 and 64.”
–John Cage, 1990

UBUWEB:SOUND


John Cage “4’33” – Original Performance, 1952

John Cage “4’33”


NOLA The Cat Performs John Cage’s 4’33”

Luke Fowler

Luke Fowler & Lee Patterson: Performance for Invented Acoustical Tools and Synthesis

Artists Luke Fowler and Lee Patterson present their response to Tony Conrad’s Invented Acoustical Tools 1969 – 2014 by performing on instruments they have made themselves, and exploring the work of Conrad. Taking place at Inverleith House, this performance has been created in direct response to the exhibition and incorporates some of the works on display.

Tony Conrad: Invented Acoustical Tools 1969 – 2014 is on at Inverleith House until the 18th January 2015.

https://lux.org.uk/work/all-divided-selves

La Monte Young

A short video of a recent trip to The Dream House in NYC. The Dream House is a light and sound experience originally conceived in the ’60’s by La Monte Young. This installations has been in most of major cities around the world at one time or another. It’s now at 275 Church Street (between Franklin St & White St.) in New York City, and has been at this location since 1993. At any rate, it is historically a very important work and an amazing experience.

Steve Reich

Steve Reich was recently called “our greatest living composer” (The New York Times), “America’s greatest living composer.” (The Village VOICE), “…the most original musical thinker of our time” (The New
Yorker) and “…among the great composers of the century” (The New York Times).. From his early taped speech pieces It’s Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot’s digital video opera Three Tales (2002), Mr. Reich’s path has embraced not only aspects of Western Classical music, but the structures, harmonies, and rhythms of non-Western and American vernacular music, particularly jazz. “There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,” states The Guardian (London).

In April 2009 Steve Reich was awarded the Pulitzer prize in Music for his composition ‘Double Sextet’.

Performing organizations around the world marked Steve Reich’s 70th- birthday year, 2006, with festivals and special concerts. In the composer’s hometown of New York, the Brooklyn Academy of Music (BAM), Carnegie Hall, and Lincoln Center joined forces to present complementary programs of his music, and in London, the Barbican mounted a major retrospective. Concerts were also presented in Amsterdam, Athens, Brussels, Baden-Baden, Barcelona, Birmingham, Budapest, Chicago, Cologne, Copenhagen, Denver, Dublin, Freiburg, Graz, Helsinki, Los Angeles, Paris, Porto, Vancouver, Vienna and Vilnius among others. In addition, Nonesuch Records released its second box set of Steve Reich’s works, Phases: A Nonesuch Retrospective, in September 2006. The five-CD collection comprises fourteen of the composer’s best-known pieces, spanning the 20 years of his time on the label.

In October 2006 in Tokyo, Mr. Reich was awarded the Preamium Imperial award in Music. This important international award is in areas in the arts not covered by the Nobel Prize. Former winners of the prize in various fields include Pierre Boulez, Lucian Berio, Gyorgy Ligeti, Willem de Kooning, Jasper Johns, Richard Serra and Stephen Sondheim.

In May 2007 Mr. Reich was awarded The Polar Prize from the Royal Swedish Academy of music. The prize was presented by His Majesty King Carl XVI Gustaf of Sweden. The Swedish Academy said: “…Steve Reich has transferred questions of faith, society and philosophy into a hypnotic sounding music that has inspired musicians and composers of all genres.” Former winners of the Polar Prize have included Pierre Boulez, Bob Dylan, Gyorgi Ligeti and Sir Paul McCartney.

In December 2006 Mr. Reich was awarded membership in the Franz Liszt Academy in Budapest and in April 2007 he was awarded the Chubb Fellowship at Yale University. In May 2008 he was elected to the Royal Swedish Academy of Music.

Born in New York and raised there and in California, Mr. Reich graduated with honors in philosophy from Cornell University in 1957. For the next two years, he studied composition with Hall Overton, and from 1958 to 1961 he studied at the Juilliard School of Music with William Bergsma and Vincent Persichetti. Mr. Reich received his M.A. in Music from Mills College in 1963, where he worked with Luciano Berio and Darius Milhaud.

During the summer of 1970, with the help of a grant from the Institute for International Education, Mr. Reich studied drumming at the Institute for African Studies at the University of Ghana in Accra. In 1973 and 1974 he studied Balinese Gamelan Semar Pegulingan and Gamelan Gambang at the American Society for Eastern Arts in Seattle and Berkeley, California. From 1976 to 1977 he studied the traditional forms of cantillation (chanting) of the Hebrew scriptures in New York and Jerusalem.

In 1966 Steve Reich founded his own ensemble of three musicians, which rapidly grew to 18 members or more. Since 1971, Steve Reich and Musicians have frequently toured the world, and have the distinction of performing to sold-out houses at venues as diverse as Carnegie Hall and the Bottom Line Cabaret.

Mr. Reich’s 1988 piece, Different Trains, marked a new compositional method, rooted in It’s Gonna Rain and Come Out, in which speech recordings generate the musical material for musical instruments. The New York Times hailed Different Trains as “a work of such astonishing originality that breakthrough seems the only possible description….possesses an absolutely harrowing emotional impact.” In 1990, Mr. Reich received a Grammy Award for Best Contemporary Composition for Different Trains as recorded by the Kronos Quartet on the Nonesuch label.

In June 1997, in celebration of Mr. Reich’s 60th birthday, Nonesuch released a 10-CD retrospective box set of Mr. Reich’s compositions, featuring several newly-recorded and re-mastered works. He won a second Grammy award in 1999 for his piece Music for 18 Musicians, also on the Nonesuch label. In July 1999 a major retrospective of Mr. Reich’s work was presented by the Lincoln Center Festival. Earlier, in 1988, the South Bank Centre in London, mounted a similar series of retrospective concerts.

In 2000 he was awarded the Schuman Prize from Columbia University, the Montgomery Fellowship from Dartmouth College, the Regent’s Lectureship at the University of California at Berkeley, an honorary doctorate from the California Institute of the Arts and was named Composer of the Year by Musical America magazine.

The Cave, Steve Reich and Beryl Korot’s music theater video piece exploring the Biblical story of Abraham, Sarah, Hagar, Ishmael and Isaac, was hailed by Time Magazine as “a fascinating glimpse of what opera might be like in the 21st century.” Of the Chicago premiere, John von Rhein of the Chicago Tribune wrote, “The techniques embraced by this work have the potential to enrich opera as living art a thousandfold….The Cave impresses, ultimately, as a powerful and imaginative work of high-tech music theater that brings the troubled present into resonant dialogue with the ancient past, and invites all of us to consider anew our shared cultural heritage.”

Three Tales, a three-part digital documentary video opera, is a second collaborative work by Steve Reich and Beryl Korot about three well known events from the twentieth century, reflecting on the growth and implications of technology in the 20th century: Hindenburg, on the crash of the German zeppelin in New Jersey in 1937; Bikini, on the Atom bomb tests at Bikini atoll in 1946-1954; and Dolly, the sheep cloned in 1997, on the issues of genetic engineering and robotics. Three Tales is a three act music theater work in which historical film and video footage, video taped interviews, photographs, text, and specially constructed stills are recreated on computer, transferred to video tape and projected on one large screen. Musicians and singers take their places on stage along with the screen, presenting the debate about the physical, ethical and religious nature of technological development. Three Tales was premiered at the Vienna Festival in 2002 and subsequently toured all over Europe, America, Australia and Hong Kong. Nonesuch is releasing a DVD/CD of the piece in fall 2003.

Over the years, Steve Reich has received commissions from the Barbican Centre London, the Holland Festival; San Francisco Symphony; the Rothko Chapel; Vienna Festival, Hebbel Theater, Berlin, the Brooklyn Academy of Music for guitarist Pat Metheny; Spoleto Festival USA, West German Radio, Cologne; Settembre Musica, Torino, the Fromm Music Foundation for clarinetist Richard Stoltzman; the Saint Louis Symphony Orchestra; Betty Freeman for the Kronos Quartet; and the Festival d’Automne, Paris, for the 200th anniversary of the French Revolution.

Steve Reich’s music has been performed by major orchestras and ensembles around the world, including the London Symphony Orchestra conducted by Michael Tilson Thomas, New York Philharmonic conducted by Zubin Mehta; the San Francisco Symphony conducted by Michael Tilson Thomas; The Ensemble Modern conducted by Bradley Lubman, The Ensemble Intercontemporain conducted by David Robertson, the London Sinfonietta conducted by Markus Stenz and Martyn Brabbins, the Theater of Voices conducted by Paul Hillier, the Schoenberg Ensemble conducted by Reinbert de Leeuw, the Brooklyn Philharmonic Orchestra conducted by Robert Spano; the Saint Louis Symphony conducted by Leonard Slatkin; the Los Angeles Philharmonic conducted by Neal Stulberg; the BBC Symphony conducted by Peter Eötvös; and the Boston Symphony Orchestra conducted by Michael Tilson Thomas.

Several noted choreographers have created dances to Steve Reich’s music, including Anne Teresa de Keersmaeker (“Fase,” 1983, set to four early works as well as”Drumming,”1998 and “Rain” set to “Music for 18 Musicians”), Jirí Kylían (“Falling Angels,” set to “Drumming Part I”), Jerome Robbins for the New York City Ballet (“Eight Lines”) and Laura Dean, who commissioned “Sextet”. That ballet, entitled “Impact,” was premiered at the Brooklyn Academy of Music’s Next Wave Festival, and earned Steve Reich and Laura Dean a Bessie Award in 1986. Other major choreographers using Mr. Reich’s music include Eliot Feld, Alvin Ailey, Lar Lubovitch, Maurice Bejart, Lucinda Childs, Siobhan Davies and Richard Alston.

In 1994 Steve Reich was elected to the American Academy of Arts and Letters, to the Bavarian Academy of Fine Arts in 1995, and, in 1999, awarded Commandeur de l’ordre des Arts et Lettres.

http://www.stevereich.com

R. Murray Schafer

R. Murray Schafer is Canada’s pre-eminent composer and is known throughout the world. In an era of specialization, R. Murray Schafer has shown himself to be a true renaissance man.

Born in Sarnia, Ontario in 1933, Murray Schafer has won national and international acclaim not only for his achievement as a composer but also as an educator, environmentalist, literary scholar, visual artist and provocateur. After receiving a Licentiate in piano through the Royal Schools of Music (England) in 1952, he pursued further studies at the Royal Conservatory of Music and the University of Toronto, followed by periods of autodidactic study in Austria and England which encompassed literature, philosophy, music and journalism. A prolific composer, he has written works ranging from orchestral compositions to choral music as well as musical theatre and multi-media ritual.

His diversity of interests is reflected by the enormous range and depth of such works as Loving (1965), Lustro (1972), Music for Wilderness Lake (1979), Flute Concerto (1984), and the World Soundscape Project, as well as his 12-part Patria music theatre cycle. His most important book, The Tuning of the World (1977), documents the findings of his World Soundscape Project, which united the social, scientific and artistic aspects of sound and introduced the concept of acoustic ecology. The concept of soundscape unifies most of his musical and dramatic work, as well as his educational and cultural theories.

His other major books include E.T.A. Hoffmann and Music (1975), Ezra Pound and his Music (1977), On Canadian Music (1984), Voices of Tyranny: Temples of Silence (1993), and The Thinking Ear: On Music Education (1986). He has received commissions from numerous organizations as well as several prizes. He was the first winner of the Glenn Gould Prize for Music and Communication as well as the Molson Award for distinctive service to the arts. In 2005 he was awarded the Walter Carsen Prize, by the Canada Council for the Arts, one of the top honours for lifetime achievement by a Canadian artist.

Murray Schafer’s new creation (opera), “Patria 8 – The Palace of the Cinnabar Phoenix” was very successfully premiered September 13-16, 2001 in four shows, recorded by CBC Radio. Eight shows were presented from August 31 to September 10, 2006, in Haliburton Forest and Wildlife Reserve. It was magical and beautiful (see photos and press reviews).

http://www.philmultic.com/composers/schafer.html