From today through the 27th of September, my audio piece Chilling Effects will be one of the pieces installed as a "sound walk" in the Miso Music Festival in Lisbon (visitors walk through a long hallway listening to the audio).
[Update: Also, a shorter version of Chilling Effects will be part of a concert in the Contemporanea Festival, Citta di Udine, Italy, in October.]
I'm also really happy to have heard about a competition win for a piece I finished in June (which they've asked me not to be specific about in public until they've had time to send letters to all the other entrants).
This has been the broadest travel year, so far, for my music:
Auckland, New Zealand;
Belfast, Northern Ireland;
Denver, USA;
Lisbon, Portugal;
L.A., USA;
New York, USA;
Novi Sad, Serbia;
Omaha, USA;
San Francisco, Oakland & Palo Alto, USA;
Udine, Italy;
Washington D.C., USA.
Where I can go myself (as opposed to where my music can go) depends so much on travel funding and grants and structures that are already in place. So I have a relatively easy time getting to western Europe (and now I have an annual two-week block in Serbia), but I'm still figuring out how I'll get to Iran and Indonesia and Ghana and Senegal and my other musical meccas.
Music travels to competitions and calls for scores when I mail an envelope or, increasingly often these days, just email a PDF or upload an audio file. Looking at my record of applications, 2008 might end up being the first year in which more than a third of my submissions overall are paperless. Viva la datastream!
Saturday, September 20, 2008
Saturday, September 6, 2008
momentum & the present moment
September's a full month. I'm finishing a piece for the wonderful Momenta Quartet and the luminous/fearless mezzo Abby Fischer (MySpace and bio including great mp3 of a Rands piece); the NYC concert/work season kicks back into gear; and the grant & residency application season gets seriously underway as I prep for next summer's Serbia workshop, my Singing Stones installations, and other spring/summer possibilities.
For me, the concert season officially opened two weeks ago with a loft concert by Momenta -- a highlight of my 2008 so far. They played a Haydn quartet and a long vibrant premiere by Dalit Warshaw; then they screened a new film for which they'd played a lot of the score. A rich program, a big spellbound all-ages audience, and sunset through the industrial-sized windows of a Williamsburg loft... really a perfectly-distilled "this is why we live in NYC" moment.
(Incidentally, at the loft concert, I got to meet the woman behind Momenta's name. It's not, she says, meant to suggest something specific like a plural/multiple of momentum; it's just something evocative she suggested to Stephanie. An abstract combination of associations: momentum, momentous, the present moment, etc.)
Meanwhile, my mini-piece Liberty Flickering gets premiered by the New York Miniaturist Ensemble, on the latest concert in their Edison Film Score project; and Floating Point gets played in L.A. and Omaha this week, by violin/cello duo Johnny Chang and Jessica Catron, after its New Zealand premiere earlier this year. (My music gets to travel a lot more than I do... which is as it should be; I'm happy to be settling back into concert season and fall/winter worktime.)
For me, the concert season officially opened two weeks ago with a loft concert by Momenta -- a highlight of my 2008 so far. They played a Haydn quartet and a long vibrant premiere by Dalit Warshaw; then they screened a new film for which they'd played a lot of the score. A rich program, a big spellbound all-ages audience, and sunset through the industrial-sized windows of a Williamsburg loft... really a perfectly-distilled "this is why we live in NYC" moment.
(Incidentally, at the loft concert, I got to meet the woman behind Momenta's name. It's not, she says, meant to suggest something specific like a plural/multiple of momentum; it's just something evocative she suggested to Stephanie. An abstract combination of associations: momentum, momentous, the present moment, etc.)
Meanwhile, my mini-piece Liberty Flickering gets premiered by the New York Miniaturist Ensemble, on the latest concert in their Edison Film Score project; and Floating Point gets played in L.A. and Omaha this week, by violin/cello duo Johnny Chang and Jessica Catron, after its New Zealand premiere earlier this year. (My music gets to travel a lot more than I do... which is as it should be; I'm happy to be settling back into concert season and fall/winter worktime.)
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