(p) SPACE presents: Even & La Berge
Tuesday, March 20, 2018, 7:30PM - 9:30PM
Noa Even and Anne La Berge team up for a program of new multimedia solo works for flute and saxophone followed by a set of improvisation.
Buy Tickets HERE!
:sunglasses: :selfie: (2017)
for saxophones, mobile phone, & video
for flute and electronics
for flute and electronics, narration and iPads
Anne La Berge
Noa Even & Anne La Berge
ABOUT THE PROGRAM:
Delay/Line is a focused study on the effect of simple delays on a gradual glissando from the low to the high range of the flute. Simple in nature, but virtuosic to perform, Delay/Line is a testament to Anne LaBerge's virtuosity as an electro-acoustic performer and improviser. Delay/Line was commissioned by the Barlow Endowment for Music Composition at Brigham Young University.
Utter maps out the emotional and linguistic complexities of mother/child communication. The intimate, innovative setting features Anne La Berge together with 6 iPads that create a two-way guiding system where performer and media discover each other, exploring Utter's rich sonic and visual fabric.
:sunglasses: :selfie: is an attempt to establish the selfie as a mirror between emojis and humans, and as such, the material of the work is meant to straddle the two sides of the medium. In a rather explicit way, the saxophonist assumes the role of an emoji (sometimes wearing the "cool emoji" mask). As an acting emoji, the saxophonist thus represents the "other side" of the medium. However, this should not necessarily be read as the narrative. The concept of an emoji mask is indeed the highlight here. As emojis often mislead readers from one's true emotion, emojis should also be considered a masking device in itself. 😎🤳 is therefore a piece about restraining one's self from unmasking and embracing the digital culture of [positive] fakery.
ABOUT THE ARTISTS:
Noa Evenis a Cleveland-based saxophonist dedicated to sparking deeper interest in the arts of today through the performance of contemporary music. She is a co-founder and the Executive Director of Cleveland Uncommon Sound Project (CUSP), a non-profit organization aimed at strengthening the artistic engagement of the Northeast Ohio community by championing the creation and performance of new music. She teaches saxophone and co-directs the new music ensemble at Kent State University and holds a DMA in contemporary music from Bowling Green State University.
As a soloist and member of two duos, Ogni Suono and Patchwork, Noa collaborates regularly with composers and provides educational experiences for students of all ages. She has been featured on many notable festivals and concert series, including the Interference Series, SEAMUS, Singapore Saxophone Symposium, Bowling Green New Music Festival, NEOSonicFest, Omaha Under the Radar, Outpost Series, Permutations, and Frequency Series. She has commissioned numerous composers, including Kate Soper, Felipe Lara, Eric Wubbels, Erin Rogers, Osnat Netzer, Hong-Da Chin, Chris Fisher-Lochhead, Nick Didkovsky, and Ruby Fulton.
Noa has presented dozens of master classes, clinics, and student composer readings at music schools across the country and abroad, such as Israel Conservatory (Tel Aviv), Western University (Ontario), New England Conservatory, University of Arizona, San Francisco Conservatory of Music, and Shaker Heights High School (OH). She served as sabbatical replacement at the University of Oregon in the spring of 2017.
Noa is a Conn-Selmer and Vandoren artist.
Anne La Berge's passion for the extremes in both composed and improvised music has led her to the fringes of storytelling and sound art as her sources of musical inspiration. Her performances bring together the elements on which her reputation is based: a ferocious and far-reaching virtuosity, a penchant for microtonal textures and melodies, and her unique array of percussive flute effects, all combined with interactive electronic processing and text.
She performs regularly as soloist, with the ensemble MAZE and in the duo Shackle. She is a founding artist of Splendor Amsterdam, a collective of musicians, who have transformed an old bathhouse in Amsterdam into a cultural mecca, where she regularly produces and shares small scale concerts with international guests.
In 1999, together Steve Heather and Cor Fuhler, she founded Kraakgeluiden, an improvisation series based in Amsterdam, exploring combinations of acoustic instruments, electronic instruments and computers, and using real-time interactive performance systems. Many of its musical collaborations that have resulted have taken on a life beyond the Kraakgeluiden series, which ceased in 2006. La Berge's own music has evolved in parallel, and the flute has become only one element in a sound world that includes computer samples, the use of spoken text and electronic processing.
She works regularly as an improvisation and live electronics coach worldwide in the context of residencies and private coaching.
She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec., Intackt and Data labels which include recordings with Ensemble Modern, United Noise Toys, Fonville/La Berge, Rasp/Hasp, Bievre/La Berge, Apricot My Lady, Big Zoom, Corkestra, La Berge/Williamson and MAZE.
Her music is published by Frog Peak Music (US) and Donemus (NL) and many of her Max patch based compositions are available as Apps from her privately. She is the Managing Director of the Volsap Foundation that produces innovative music projects.
Sam Pluta is a Chicago-based composer, laptop improviser, electronics performer, and sound artist. Though his work has a wide breadth, his central focus is on the laptop as a performance instrument capable of sharing the stage with groups ranging from new music ensembles to world-class instrumental improvisers. By creating unique interactions of electronics, instruments, and sonic spaces, Pluta's vibrant musical universe fuses the traditionally separate sound worlds of acoustic instruments and electronics, creating sonic spaces which envelop the audience and resulting in a music focused on visceral interaction of instrumental performers with reactive computerized sound worlds.
As a composer of instrumental music, Sam has written works for Wet Ink Ensemble, the New York Philharmonic, International Contemporary Ensemble, Yarn/Wire, Timetable Percussion, Mivos Quartet, Spektral Quartet, Ensemble Dal Niente, Mantra Percussion, TAK, Rage Thormbones, and Prism Saxophone Quartet. His compositions range from solo instrumental works to pieces for ensemble with electronics to compositions for large ensemble and orchestra. In addition to acoustic and electro-acoustic works, Pluta has written extensive solo electronic repertoire ranging from multi-channel acousmatic compositions to solo laptop works with video to laptop ensemble compositions for up to 15 players.
Sam is the Technical Director for the Wet Ink Ensemble, a group for whom he is a member composer as well as principal electronics performer. As a performer of chamber music with Wet Ink and other groups, in addition to his own works, Sam has performed and premiered works by Peter Ablinger, Karlheinz Stockhausen, Katharina Rosenberger, George Lewis, Ben Hackbarth, Alvin Lucier, Chiyoko Szlavnics, Alex Mincek, Kate Soper, and Eric Wubbels among others.
As an improviser, Sam has collaborated with some of the finest creative musicians in the world, including Peter Evans, Evan Parker, Ikue Mori, Craig Taborn, Ingrid Laubrock, Anne La Berge, and George Lewis. Sam is a member of multiple improvisation-based ensembles, the jazz influenced Peter Evans Ensemble, the free improvisation-based Rocket Science (with Evan Parker, Craig Taborn and Peter Evans), the analog synth and laptop duo exclusiveOr (with Jeff Snyder), and his longstanding duo with Peter Evans. Sam has also performed with the Evan Parker Electro-Acoustic Ensemble. With these various groups he has toured Europe and America and performed at major festivals and venues, such as the Lucerne Festival in Switzerland, the Moers and Donaueshingen Festivals in Germany, Bimhuis in Amsterdam, and The Vortex in London.
Dr Pluta studied composition and electronic music at Columbia University, where he received his DMA in 2012. He received Masters degrees from the University of Birmingham in the UK and the University of Texas at Austin, and completed his undergraduate work at Santa Clara University. His principal teachers include George Lewis, Brad Garton, Tristan Murail, Fabien Levy, Scott Wilson, Jonty Harrison, Russell Pinkston, Lynn Shurtleff, and Bruce Pennycook.
Sam is Assistant Professor of Music and in the College at the University of Chicago. His is director of the CHIME Studio and co-director of Contempo, the University's new music ensemble in the Chicago Center for Contemporary Composition. From 2011-15 he directed the Electronic Music Studio at Manhattan School of Music, and has taught at Columbia University and Bennington University. For 16 years he taught composition, musicianship, electronic music, and an assortment of specialty courses at the Walden School, where he also served as Director of Electronic Music and Academic Dean.
In his compositions, Dan Tramte[b. 1985] embraces his digital-nativeness, acknowledging what it means to live in a media saturated post-internet wasteland. As such, his music resembles the experience of playing a video game, or scrolling through a social network feed. For Tramte, mobile social media is in fact his primary platform for composition. 500+ videos on his Vine feed thoroughly documents nearly all of the constituent audio-visual composition materials in his [notated] work and installations from 2014 through 2017-works often featuring oddity-instruments such as DJ Hero controllers, morse code straight keys, GoPro cameras, and mobile devices. Persistent in his efforts to find and cultivate his voice, Tramte values building enduring relationships with performers. He collaborates with musicians/ensembles Nico Couck (two solo works and Ine Vanoeveren duo), Noa Even (solo work and Patchwork duo), Weston Olencki (solo work and Wild Rumpus), Morehshin Allahyari (two audio/visual collaborations), InterSpheres Trio, Murat Çolak, Marek Poliks, Keith Kirchoff, working on multiple projects with each performer/composer/group.
In his research, Tramte examines video game music by building his own apparatuses to facilitate mediated analysis and showcase design models for composition. For his dissertation he built an a/v media player optimized for theoretical analysis of video games, whereas users may modify video playback rates/seek-points in real-time to both experience the media [as a game in itself] and digest theorists' subtitle-style textual analysis at desired rates. At the 2016 North American Conference on Video Game Music, he presented a paper on single-seed procedurally generated video games (like No Man's Sky and Desert Golfing) and demonstrated a piece he wrote at IRCAM modeling this technique called Fever Dream. He is currently focussed on game development of audio-only creative sandbox games.
As a YouTuber, Tramte volunteers much of his remaining free time every week at his standing desk contacting composers for materials, producing recording+score videos, and uploading/sharing them online. Having founded the 501c3 nonprofit organization "Score Follower" (YouTube channels Score Follower, Incipitsify, and Mediated Scores), he is responsible for the most widely used legal new music audio+score resources on the net.
Tramte earned a Ph.D. in Music from the University of North Texas, a MM in composition at Bowling Green State University, and a BM in performance also at BGSU. Although he rarely performs anymore, he continues to master various party tricks such as multi-order polyrhythms, or singing the alphabet backwards while solving a rubik's cube. Currently, Tramte is teaching computer music at Central Connecticut State University. From 2014-2017, he worked as a teaching fellow at Harvard University, helping to teach courses on music theory and the physics of sound.