Once a month, we invite a few composers to showcase a new work (or a few new works) that they are currently developing for their own solo performance. The series focuses on the equal relationship between the composing and performing parts of an individual artist and gives a forum for uninhibited performance of new original compositions. Performances are salon-style, each composer performs their set, after which we casually break for discussion and feedback. We'll end with an open improv jam led by the participating composers.

$5 donation
Tips for musicians are also welcomed


Calendar

MARCH 2010
Mon. Mar. 1
Philip White (electronics)
Paul Pinto (strings/voice/electronics)


APRIL 2010
Mon. Apr. 5
Dave Ruder (electronics)
Isabel Castellvi (cello)


MAY 2010
Mon. May 3
Composers TBA


----------------
FEBRUARY, 2009


PHILIP WHITE's performances center on a non-linear feedback system, which consists of a mixer and several homemade circuits. In addition to his work with analog and digital electronics, White has written extensively for chamber ensembles and created a large body of inter-media pieces that explore meaning in information transmission.
He currently performs with Suzanne Thorpe (thenumber46) and Chuck Johnson (with chuck johnson with philip white). Recent and upcoming performances/exhibitions include Diapason (NYC), The Frying Pan (NYC), The Stone (NYC), Sonic Circuits (DC), Redux New Media Festival (Charleston, SC) and Galerie Neurotitan (Berlin), Youngblood Gallery (Atlanta), the Red Room (Baltimore), Toy Room Gallery (Sacramento), 701CCA Gallery (Columbia, SC), Stu-stu-studio(Richmond, VA), Princeton University, Bent Festival 2010, NYCEMF 2010 and a featured spot on free103.9.org. His work "Variations on a Dream" with Kevin Taylor has been featured on the Seattle television program The American Avant-Garde. He has been artist in residence at the Rensing Center. thenumber46's debut Bleach and Ammonia was recently released in cassette format on Tape Drift Records. Philip also writes about music, contributing to the Wire magazine, SEAMUS Journal, and Notes. In addition to engineering and producing the recordings of ensembles he performs with White also works for other artists. His recent work on Charity Chan’s Somewhere the Sea and Salt has garnered the praise for the clarity and intimacy of his recording technique from many including Downtown Music Gallery's Bruce Lee Gallanter.
Philip White is also an active arts organizer. In 2005 he co-founded the New Music Collective in Charleston, SC, an organization dedicated to the production and promotion of new music. Now in its fifth year the NMC, produces about fifteen concerts a year. White still serves on the board of advisors and acts as a curator. Upcoming events include a fixed media series, featuring sound and video works from artists all over the world. Currently he works for both the Electronic Music Foundation and Music From Japan in NYC.
In 2008, Philip received his MFA in Electronic and Recorded Media from Mills College where he worked with Chris Brown, Hilda Parades, Helmut Lachenmann, Roscoe Mitchell and James Fei. While there he taught both Sound Art and Electronic Arts. More info at www.prwhite.net

i/o(1,0) Variations are a series of works for a non-linear electronic feedback system. Into the system (which is made up of a mixer and several homemade circuits routed to chaotically oscillate) I've inserted a number of computer controlled gates that can open and close the feedback loops. This allows for a composition where the pre-planned part is simply time frames in which things do or do not occur. In other words, I program a form, and then fill that form with electronic noise in real time. >b>i/o(1,0) Variations as a set of pieces, consists of a number of Fibonacci related forms. No two variations are ever to be played twice, either in rehearsal or public performance. My goal in working this way, with both a system that I can hardly control and a overlying form derived from mathematical models with which I never rehearse, is to make music I wouldn't ever think to make otherwise.


New York native, PAUL PINTO is quickly making himself known in the avant-garde music circles of the metro area as a “cutting-edge” composer, an exciting performer and founding director of the city’s freshest classical ensemble, thingNY.
Paul continues to be a devoted advocate of the music of underperformed experimentalists in classical music. In addition to directing the avant-garde new music band, thingNY, Paul curates the monthly Comformer Perposers Series, a forum for new solo works by experimental classical composers.
As a multi-instrumental and vocal improviser, Paul has lent his talents to collaborative projects in theatre and film. His own improvised compositions and performances were employed in Glasgow’s 2005 Shakespeare in the City Festival, and more recently, in the charming animated short by his brother Daniel, Hedgehug, which has been cited by numerous international film festivals. Paul's music and improvisations have been featured in the International Istanbul Theatre Festival and his debut vocal album, The Gentlemen, is available on Amie Street. Paul has collaborated with a diverse group of artists including composer/accordionist Pauline Oliveros, Co-Op Theatre East, the Panoply Performance Labs, flutist Andrea La Rose, clarinetist Thomas Piercy and bassist Andrew "Scrap" Livingston. His compositions have been performed by the BBC Scottish Symphony Orchestra, the Cuarteto Latinoamericano, the Royal Scottish Academy Chamber Chorus, ensemble loadbang, The Will Lang/Andrew Kozar duo, the Carnegie Mellon Concert Chorus, ai Ensemble and of course, thingNY. Paul collaborated with fellow thingNY composers to create the experimental opera, ADDDDDDDDD, which sold out it's first performance at the Tank in New York. His ongoing work with music improvisers, painters, directors and dancers continues to be the foundation of his own artistic creations. More info at www.pfpinto.com

For the March series, Paul will present two solo piano works. Both works deal with silence in different ways. Expletives, written in 2007, is being reworked for an upcoming recording and is divided into four parts, each containing less silence than the previous part. Every Note on the Piano will be premiered. This work uses each note of a grand piano one time. In addition to the work formed as a whole, the piece is really about the relationship between each note, the silence surrounding it, the relationship of the note preceding it, and the anticipation of the note to follow.