Upcoming Concerts

JENNIE GOTTSCHALK + D. EDWARD DAVIS
Ecology + Sonic Practice (artist talk)
Le Laboratoire Cambridge
Wednesday, May 23, 2018

JAKOB ULLMANN, Müntzer's Stern
ANDRE CORMIER, Sol Branche Feuille Pluie
ECC at the Korean Church of Boston
Monday, June 4, 2018

LONNIE HOLLEY + BILL ORCUTT
First Parish of Cambridge
Friday, June 8, 2018

JENNIE GOTTSCHALK + D. EDWARD DAVIS
Ecology + Sonic Practice (artist talk)
Le Laboratoire Cambridge
Wednesday, May 23, 2018/a>

Le Laboratoire Cambridge presents
Ecology and Sonic Practice, an artist talk by

JENNIE GOTTSCHALK + D. EDWARD DAVIS

curated by Susanna Bolle of Non-Event

Le Laboratoire (Directions)
650 East Kendall Street, Cambridge (enter through the caré)
Doors:6pm, Talk: 6:30pm
FREE, but RSVP requested through Le Lab

Davis and Gottschalk will share examples of sonic practice that deal with ecological issues. They will explore various approaches, including field recording, text scores, and technological interventions, in which art and science interact.

JENNIE GOTTSCHALK writes, composes, talks, listens, and transcribes. Experimental music is the most consistent focus of these actions. Some of the results can be found on soundexpanse.com, jenniegottschalk.com, and in Experimental Music since 1970 (Bloomsbury, 2016). She got her doctorate in composition from Northwestern University in 2008 and is based in Boston, Massachusetts.

D. EDWARD DAVIS is a composer whose work engages with the sounds of the environment, exploring processes, patterns, and systems inspired by nature. He holds composition degrees from Duke University, Brooklyn College, and Northwestern University. He is currently a Practitioner-in-Residence at the University of New Haven.

This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administrated by the Mayor’s Office of Arts & Culture.


Permalink

JAKOB ULLMANN, Müntzer's Stern
ANDRE CORMIER, Sol Branche Feuille Pluie
ECC at the Korean Church of Boston
Monday, June 4, 2018

Non-Event, Goethe-Institut Boston, and swissnex Boston present

JAKOB ULLMAN, Müntzer's stern (2015)
for solo bassoon & prerecorded voice
Dafne Vicente-Sandoval, bassoon
(Boston premiere)

~intermission~

ANDRE CORMIER, Sol Branche Feuille Pluie (2018)
for solo cello & modular synthesizer
Mem1 (Laura Cetilia, cello; Mark Cetilia, modular synthesizer)

ECC at Korean Church of Boston (Children's Chapel)
32 Harvard Street (entrance on Holden Street)
7pm | $15 gen / $10 students & Non-Event members

Eventbrite - Jakob Ullmann and André Cormier

JAKOB ULLMANN (b. Freiberg, Germany 1958) is a composer and organist whose barely-there minimal music dwells at the edge of perception, quiet to an extreme so as to enhance our ability to hear. Refusing the East German draft as a conscientious objector, he was accused of defamation and of passing information on with the intention of hurting state interests, consequently denied official enrollment in the masterclass of the GDR Academy of Arts, and forced to continue his composition studies with Friedrich Goldmann in private until 1984. In resistance to the “cruel noise” of ubiquitous childhood propaganda songs, the radical softness of his liminal music thus articulates a refusal of absorption into the dogma of the state apparatus and power structures. Writing Disappearing Musics among others, the absolute subtlety of Ullmann’s threshold volumes necessitates an extended duration that exceeds the conventions of typical concert music—“the length came about”, he says, “because in soft music, you need time to adjust to it.” Listeners, making a more concerted effort to hear the whispered texts and fragile, wavering pitches of his patient, peripheral music enter a state of acute attentiveness equalled by its performers’ balancing of their instruments at the interstice between vibrational response and silence. Ullmann’s music is published by Edition RZ and he was a featured artist in documenta 14. He currently lives and teaches in Switzerland.

DAFNE VICENTE-SANDOVAL is a bassoon player who explores sound through improvisation, contemporary music performance, and sound installations. Her instrumental approach is centered on the fragility of sound and its emergence within a given space, testing the threshold between instability and control. Vicente-Sandoval currently lives in Paris. She favors long-term collaborations that preserve her work’s integrity while sustaining dialogue with others (current collaborations with Jakob Ullmann, Éliane Radigue, Klaus Lang, Peter Ablinger). This will be her Boston debut.

ANDRE CORMIER’s (b 1969, Canada) work has been presented in Canada, the US, Europe and New Zealand. He has written for solo, small and large chamber ensembles, as well as music for opera, dance and collaborative work with visual artists. His works have been commissioned from a variety of artists in Canada, the US and Europe. In 2004 he founded Ensemble Ordinature and has since served as artistic director. He produced their debut recording of Kurt Schwitters’ Ursonate, which is featured on ubu.com and was favourably reviewed in UK new music magazine The Wire. Along with violist Mieka Kohut and artist Donna Kelly, Cormier co-founded CO•LAB, a multi-disciplinary collaborative project.

In 2008 he launched Éditions musique SISYPHE (emsis.ca) a music publishing house focusing on experimental music. Cormier is an Acadian, originally from Moncton NB, and has lived on the west coast since the early nineties.

In July 2009, with the help of the Canada Council, he undertook an intensive one-month composition study with Antoine Beuger in Düsseldorf, Germany. While in Düsseldorf, Begegnung, a concert programme entirely dedicated to some of his string works was presented by members of the Quatuor Bozzini as part of the Klangraum Series 2009 at the Düsseldorf Kunstraum.

MEM1 blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia’s use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure). Throughout their career, they have collaborated with a variety of musicians and sound artists including the Penderecki String Quartet, Steve Roden, Jan Jelinek, Frank Bretschneider, and Stephen Vitiello. Together, Mem1 curates the experimental music series Ctrl+Alt+Repeat and the record label Estuary Ltd.

Non-Event's programming is supported in part by the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, and admistrated by the Mayor's Office of Arts + Culture.

Permalink

LONNIE HOLLEY + BILL ORCUTT
First Parish of Cambridge
Friday, June 8, 2018

Non-Event and the Boston Hassle present

LONNIE HOLLEY
BILL ORCUTT

FIRST PARISH IN CAMBRIDGE (Helverson Parlor)
3 Church Street, Harvard Square
8pm | $15 gen / $12 students & Non-Event members

Eventbrite - Lonnie Holley + Bill Orcutt

ABOUT THE ARTISTS

"[Holley] makes the kind of sculpture–and produces the kind of music–that changes people. It gets into their emotional and intellectual core and forces them to rethink art and history, as well as their own assumptions about how the world works." – SF Weekly

LONNIE HOLLEY is a self-taught sculptor and musician from Atlanta. His sculptures, constructed from found materials, are in the collections of The Whitney Museum, The Smithsonian and The Metropolitan Museum of Art. In 2012, at age 62, Holley made his debut as a recording artist. His improvised songs defy easy categorization, but their humanity, unconventional beauty and surprising catchiness have brought Holley critical acclaim. He has released two albums on the Dust-To-Digital Label, and performed with David Byrne, Daniel Lanois and Bill Cunningham and many others.

Holley’s songs and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. No two songs, and no two shows, are the same. The layers of sound in his music are the result of decades of evolving experimentation.

“Orcutt plays with the spirit of a doomsday preacher, spewing surreal, dark imagery from a guitar with only four strings running down the neck of his acoustic.” – Pitchfork

BILL ORCUTT’s sound is a hiccup-stuttered reimagining of blues guitar. One can hear familiar Southern folk scales between Orcutt’s jagged solo acoustic phrases, pulling and pushing melodies into unresolved fragments that eventually come unmoored in vast and satisfying note-torrents. Former guitarist and founder of the noise/punk rock duo Harry Pussy, Orcutt was already a significant name in experimental noise circles when he released his solo debut in '96, and has published a string of releases since confirming his essential role in the contemporary experimental scene.

Non-Event's programming is supported in part by the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, and admistrated by the Mayor's Office of Arts + Culture.

Permalink

DONKEY NO NO at Café Fixe
Tuesday, June 12, 2018

Non-Event Presents
Our June Experimental Coffee House
featuring

DONKEY NO NO
(Jenifer Gelineau, Omeed Goodarzi, and Ted Lee)

Café Fixe
1642 Beacon Street (Washington Square)
Brookline, MA
7 p.m. /$5

"Comprised of JENIFER GELINEAU on violin & electronics, OMEED GOODARZI on guitar, and EDWARD 'TED' LEE on bowed cymbal, DONKEY NO NO create the sort of instrumental hallucinations you'd expect to hear in the background of a film by Jodorowsky or Arrabal. It's very cool, because they use the very instruments you'd hear in some shitty Ken Burns documentary, in order to play music that would make Ken's sallow head explode if he tried to wrap his noggin around it. With sometimes scratchy violin as the ostensible lead instrument, theoretical comparisons to old timey music are inevitable. But Donkey No No's sound is old timey only in as much as its tendrils are as timeless as smoke. Every note they generate heads in such weirdly trippy directions you can immediately suss why these guys are such a favorite of Gary Panter (king of the hippies). Much of their flow is an unstoppable lateral gush, reminiscent of mid-points in long sets by classic-if-lost Bay Area bands like Patrick Kilroy's New Age trio or Serpent Power. They create an aura that is filled with breath and light in a way that few other bands have ever mustered."
-Byron Coley

This program is supported in part by a grant from the Brookline Commission for the Arts and the Boston Cultural Council, both local agencies which are funded by the Massachusetts Cultural Council. The Boston Cultural Council is administrated by the Mayor’s Office of Arts + Culture.

Permalink