feedback improv

Altmix([Mix.01]; 12.20//*

strings:
- Caroline Jesalva, violin
- Julian Seney, viola
- Francesca Ter-Berg, cello 
- Hannah Dunton, upright bass
- Leo Weisskoff, upright bass
- Kai Burns, guitar
- Rihards Kolmanis, guitar
- Yoona Kim, ajaeng
- Marie Carroll, koto, composition 
- Anwei Wang, guzheng

winds:
- Lemuel Marc, trumpet
- Kimmie Sabio, trumpet
- Nikita Manin, clarinet
- Ben Eidson, saxophone 

voice:
- Chihiro Asano, voice
- Ariel Vera, voice
- Kaia Berman-Peters, accordion and voice

percussion:
- Nico Daglio-Fine, drum kit
- Henry Wilson, percussion 
- Emmett Mathison, piano

https://youtu.be/nl1reMWmlSI

l'appel du vide (2022) for large ensemble

isabelle panto gleicher, piccolo
marie carroll, composition/electronics (max/msp live processing, pre-recorded analog synth)

ore (2022) for piccolo and electronics

audio straight from mixing board

setlist:
Eternal Day and its many variations
Singular They
Circular Canon
Q+
ascend | engulf

live at icehouse 9.20.22

0:00 – 1. ergets vayt (H. Leivick)
2:15 – 2. tirtl-toybn (Yankev Glatshteyn)
3:30 – 3. nakht (Kadya Molodovsky)
6:35 – 4. a lonke tsvishn berg (Rokhl H. Korn)
8:05 – 5. the meadow with the butter-flowers

An absolutely golden performance of Butter-lider (2022), commissioned and premiered in full by No Exit New Music Ensemble, Dec. 3, 2022, SPACES Gallery, Cleveland, OH. Special thanks to No Exit directors Timothy Beyer and James Praznik; the brilliant musicians of No Exit; and my advisors, Yu-Hui Chang and Ellen Kellman.

Sean Gabriel, flute
Gunnar Owen Hirthe, clarinet
Cara Tweed, violin
Nicholas Diodore, cello
Nicholas Underhill, piano
Luke Rinderknecht, percussion
James Praznik, media and recording

-

Butter-lider is a setting of poems by H. Leivick, Yankev Glatshteyn, Kadia Molodovsky, and Rokhl H. Korn, four of my favorite Yiddish writers of the 20th century. However, instead of setting these texts for voice, my music accompanies recordings (graciously archived and provided by the Yiddish book Center) of the poets themselves reciting their writing. The final movement features my own text assembled from translated fragments of each of the four poems.

Through this piece, I hope to facilitate a dialogue, across artistic media, across time and space, between these writers’ unique perspectives, and my own, on what it means to make Yiddish art. I refuse to fall into the elitist and insulting narrative of “elevating” a folk tradition by bringing it into classical music spaces. Rather, I hope to participate in this living culture so that it may reach new audiences and new generations, and to offer another medium, another language, through which to tell Yiddish narratives.

Butter-lider (2022) פּוטער־לידער

Bodyvision w Gavilán Rayna Russom EP3: How to Set Boundaries. Gavilán Rayna Russom’s visionary career in music reverberates expansively at the multiple intersections between experimental and dance floor sounds. Rayna’s creative arc began when she was still in high school - DJing dance parties and distributing home-produced drone and noise tapes - and has carried her through a long-standing relationship with New York’s DFA Records, critically acclaimed releases for LIES, Nation, Curle, LuxRec and Ecstatic Recordings as well as the founding of her own label Voluminous Arts.

Bodyvision w Gavilán Rayna Russom EP3: How to Set Boundaries [27.06.2023]

from a few years ago

~ clearing out the archives ~

Prod. Matt Bruinooge

Cover photo by me

Miraculous Morning Demo

prod. & remix by matt bruinooge
performed/written by belu olisa

MIRACULOUS MORNING [matt's remix - it's wondaful]

ARISEN MY SENSES [MP2CORE]

While procrastinating on other projects, I found myself playing intervals on the piano, listening to them decay, and experimenting with striking other notes while holding them down. The Kukuruz Quartet's residency at Brown seemed like the perfect opportunity to turn this concept into a piece. For both the performers and the audience (who are invited to sit onstage), this piece is an invitation to listen closely to minute, often-overlooked sonic fluctuations within the mechanisms of pianos, be they echoes, pedaling, or the fingers on the keys. Most rhythms are unspecified, and the texture slowly builds in density until a conclusion in the low register. Thanks very much to the Kukuruz Quartet and Marcel Zaes for this opportunity, and to Prof. Shawn Jaeger for his advice on the concept and notation.

Kukuruz Quartet @ Brown Feb 2019

Echolocation (with Kukuruz Quartet)

composer, performer and improvisor located on Dakota land
linktr.ee/astridhubbardflynn

Echolocation (with Kukuruz Quartet)

astrid hubbard flynn

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