Décombres(2006) for contrabass clarinet and electronic. Alain Billard, clarinet

Ensemble SurPlus:
Erich Wagner (conductor)
Martina Roth (flute)
Joshua Löhrer (bass clarinet)
Olaf Tzschoppe (percussion)
Stefan Häussler (violin)
Sylvie Altenburger (viola)
Johannes Burghoff (violoncello)

Sebastian Schottke (recording engineer) 
Guibal-Saal, Akademie Schloss Solitude
August 2015

the use of headphones is recommended to perceive some of the nuances of timbre

***
...on the intended blankness, I see without seeing.




...sur fond blanc (2015)

**PLEASE USE HEADPHONES TO HEAR THE FULL SPECTRUM OF QUIET TIMBRES**

the armless clock understands time [ii]
for alto flute, bass clarinet, violin, cello, and piano
Written for Ensemble Surplus

Recording:
World Premiere: August 19, 2015
@ Akademie Schloss Solitude 
Stuttgart, Germany
Ensemble SurPlus


Program Notes:

Imagine a clock with no arms: just a face with no way to communicate or express itself, a clock that lost its intended function. What is the clock, but not a clock? The clock continues to go through its revolutions, but cannot outwardly tell time. Any attempt to use the clock for its function reveals stagnancy; the clock sustains internally. 

	The clock’s gears consist of stagnant revolutions, each evenly and meticulously timed. The performers, attempting to view the clock’s hidden understanding of time, move through the revolutions at different speeds and densities, attempting to understand the clock’s individual pieces. Gears turn together, the springs rebound at different rates, the wires, the verge – none provide any understanding of time by the clock. The clock’s pieces work together, and the performers cannot understand one part of the clock without reference to the others. As the parts move, they produce new meaning as they fit together differently than they had before, and the clock remembers where the parts were in time as different than they currently were. One cog perceives its role as time, based on its revolution, differently than the cog it, in turn, revolves, but is always aware of its role as time to revolve and be revolved by the wire. 

	As we observe this clock, we ask it “What is the time?” The clock, however, asks, “Are you?”


the armless clock understands time [ii]

Anima/Animus For Two Pianos
1. Anima

Composer, Anne H. Goldberg
Performers, Tristan McKay and Anne H. Goldberg


Anima

Anima/Animus for Two Pianos
2. Animus

Composer, Anne H. Goldberg
Performers, Tristan McKay, Anne H. Goldberg

Animus

Please use good headphones or speakers in a quiet environment.

Philipp Stäudlin, tenor saxophone.
Jeffery Shivers, electric guitar.

21 October 2015, Tufts

aster

Perfomed at Tzlil Meudcan Festival 2015

By Ensemble Interface

Piccolo: Bettina Danielle Berger 
Piano: Anna D’Errico
Cello: Christophe Mathias

Interlaced (interrelated) 2015 for Piccolo, Piano and Cello

Flute, Bb Clarinet, Violin, Cello, Percussion
Performed by the Callithumpian Consort at SICPP.  
conductor - Jeffrey Means
flute - Rachel Beetz
clarinet - Alexis Lanz
violin - Stephanie Skor
cello - Steve Marotto
percussion - Wing In


glacial mass versus avian being

AS A PERFORMER
Kevin has traveled and performed as a soloist and in ensembles all over the world, including Beijing and Shanghai, China; Paris, France; and Maccagno, Italy.  The New York Times reviewed one of Kevin’s concerts as “…precise and energetic…” Since then, Kevin has performed with numerous ensembles such as Iktus+, Ensemble Mise-en, Tactus, Qubit, Tempus Continuum Ensemble, and Inverted Space. Kevin has also been asked to perform as a soloist and with ensembles at many venues, such as Symphony Space, Roulette, Issue Project Room, and Galapagos in New York City.

AS A COMPOSER
Recently, Kevin has received commissions and several other premieres from ensembles such as andPlay, Cellophone, and Ensemble SurPlus. Additionally, Kevin has attended Akadmie Schloss Solitude in 2015, where he studied with Chaya Czernowin, Rebecca Saunders, and Ming Tsao. In 2011, Kevin attended the SoundSCAPE festival in Maccagno, Italy. Previously, Kevin received an honorable mention in the 2009 National Association of Composers of the USA Young Composers Competition for his piece, Meditation, for solo Bassoon. 

VIS.ART
Intrigued by the visual aesthetic of modern classical music's notation, Kevin began experimenting with visual art. Kevin began his visual art career exploring visual aesthetics in experimental music, such as notation, beyond the boundaries the genre would allow. Quickly, Kevin's works are becoming popular, and his works have been shown in numerous Seattle locations. Common Area Maintenance Art Gallery displayed Kevin's series of "Graphic Parts" [a series of 4 drawings, each performed simultaneously by a single musician], sponsored by the Paul R. Judy Center for Applied Research. Recently, Kevin's works could be seen at the 2016 Alki Art Festival in West Seattle.

EDUCATION
Kevin is currently a DMA candidate in Music Composition at the University of Washington in Seattle, WA, where he studies composition with Dr. Joel-Francois Durand and Saxophone with Dr. Michael Brockman. Kevin has earned his B.M. in Music Education and Music Composition at the University of the Pacific, where he studied primarily with Dr. François Rose and Dr. Robert Coburn in composition, and David Henderson for saxophone.  He received his M.M in Contemporary Performance from the Manhattan School of Music, where he studied with Dr. Paul Cohen for saxophone, and Dr. Reiko Fueting in composition.

the armless clock understands time [ii]

Kevin Baldwin

Recent comments

JMComposer

Related tracks