Excess | Twilight
Wednesday, May 18, 2022 - 7:00pm
Hairpin Arts Center
2810 N Milwaukee Ave | Chicago
Excess | Twilight is partially supported by a grant from the Illinois Arts Council Agency.
Composed in 2022 for the Chicago Composer’s Orchestra, Lagoon is a transcription of a 10 minute field recording, blended with additional field recordings from the same location.The source recordings were made in the Baja Peninsula, Mexico, on the shore of a lagoon in February, 2022. The central source recording was taken on a very calm, quiet day, and into evening. The microphone was placed near the shoreline so that in the recording water can be heard constantly lapping in the foreground. A motor boat can be hard droning far away and gray whales exhale and inhale air at various locations in the water. Occasional sea birds pass through the sonic field.
The final movement of the score is a transcription of the lagoon at night, with coyotes yipping, crickets chirping, and a distant radio from a campsite.
Featuring guest artist Adam Sonderberg.
In Growing Block I was interested in the idea of “vertical time” - that one could extract a moment and examine all the activity within that moment as its own universe. For many years I’ve been working with single sounds or patterns that seem to develop and change through extended durations even though the musical material does not develop. The growing block universe theory posits that the past and present exist but a future does not - that is, the universe is a single block that is expanding in its complexity without moving forward. The score to the piece is a block itself, a simple semi-randomly generated grid of numbers that indicate various actions for the performers.
Eduardo Francisco Rosario
COMO LO CELESTE SITIADO (2020)
Eduardo Rosario, both an experimental musician and an artist working in sound and sculptural installations. His concerns include the afterlife of media; mapping conceptual sound ecologies; dissecting the visual representations of technological devices; how geological processes intersect with sound media; and the correlations between sound and temporary or mobile architecture.
Larvatus prodeo (2020/2022)
Larvatus prodeo is a sound performance for an ensemble of musicians. It conflates the musicians’ typical roles as interpreters with their personal identities and concerns, and it foregrounds what they reveal to and keep from the audience. Much of what unfolds in performing Larvatus prodeo is not predetermined by a fixed composition, but is instead the product of the musicians’ biographies and bodies, and of how these contribute to the piece’s immediate realization in a given performance. The score is a set of instructions and parameters that instigate contributions from and interactions among the musicians. The core of this is a long text that intercuts excerpts from the individual musicians’ private journals that they provide. A unique text that depends on the specific musicians involved is thereby produced for each performance. This text acts an armature for the various musical components of the work. The sonic outcome is certainly music, but this music is the product of a series of asynchronous relationships -- public and private, sounded and silenced, personal and performative -- that are inherent components of the work.
“…sic ego hoc mundi teatrum conscensurus, in quo hactenus spectator exstiti, larvatus prodeo.”
“…now that I am about to mount the stage of the world, where I had previously been a spectator, I come forward wearing a mask.”
-- René Descartes, 1619
The Chicago Composers Orchestra presents music by living composers, extending the orchestral tradition to be open and vibrant, to speak to contemporary live and bring diverse people together.
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CHICAGO COMPOSERS ORCHESTRA
Nature | Human
Saturday June 4, St James Cathedral, 65 E Huron St, 7:30pm
A critique of the human impact on the natural world, a melding of the classical-music artform with unconventional musical objects, and a celebration of our environment. Featuring Beyond This Point percussion collective.
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