” ALLJazz presents renowned Chicago jazz improviser Michael Zerang with internationally acclaimed violinist Biliana Vouchkova for an evening of creative improvisation on Saturday, March 9, 2019 at 8:00PM. A Drone Orchestra directed by Taralie Petersen will open the show.
Tickets are $15 in advance and $20 at the door. College/university/high school students receive a $5 discount on either price (valid student ID must be presented at the door – no exceptions). Advance tickets are available online until one hour before the performance. Doors open at 7:30PM.
The ALLJazz Series is sponsored in part by Alchemy and Dobhan Restaurants. Student discount made possible by Grant Samuelsen Real Estate.
About the Musicians
Michael Zerang has been a active musician, composer, and producer since 1976, focusing extensively on improvised music, free jazz, contemporary composition, puppet theater, experimental theater, and international musical forms. He has been a long-standing member of The Peter Brötzmann Chicago Tentet, Friction Brothers, Brötzmann/McPhee/Kessler/Zerang Quartet, and Survival Unit III with Joe McPhee and Fred Lonberg-Holm.
Biliana Voutchkova is a thoroughly engaged artist, violinist, composer-performer and improvisor who combines regular performances of major solo violin/ensemble works, new music by contemporary composers often written for her, and her own work with performative, long length formats, real time composition and improvisation. Her constant research as a creative artist spans the widest possible range of sound and movement and extends her sonic, technical and physical capacities evolving into the development of a highly individual artistic language. “
Opening will be another installment of the Drone Orchestra hosted by Louise Bock. Featuring guest players Brennan Connors, Brian Grimm, Nadia Chana, Michael Groome, Erik Kramer, Patrick Best, Tracy Peterson, Taralie Peterson, Wendy Maland, and special guest…. “
On Thursday, 1/24 from 5:30-7:30pm in Boardman & Clark Law Offices at the US Bank Building; the annual fundraiser to fight domestic abuse against women “I, RESOLVE” will be held. Suggested donation is $20 and the event includes silent auction, live music (provided by yours truly), hor d’oeuvres, and drinks. Hosted by Legal Association for Women to benefit Domestic Abuse Intervention Services (DIAS) Legal Program. Please RSVP to Jennifer Luther at firstname.lastname@example.org.
…and I am still using all gut set ups on both my concert cello and “sarangi-cello” (more on that cello in a future post). I have spent a lot of time thinking about strings, calculating gauges for tension schemes, experimenting with different combos of various brands and string makers. I have a much better idea now of what I like, don’t like, and need from a gut string. Almost a year before I had purchased any gut strings, I had reached out to a couple of viola da gamba playing friends for advice on the subject. Niccolo Seligmann, a fantastic gambist and early music super-nerd, gave me some advice, which I followed: “Start with getting a couple different gauges of each string from Gamut, which is probably the best for its price. Once you’ve figured out what weights (diameter and tension) to use, then you may want to switch over to something more expensive and longer lasting, like Aquila or La Folia… the try-out process is expensive, but you can keep all the not-quite-right strings as spares. It’s always wise to have at least one spare of the top two strings and at least two spares of the top string.”
This advice was for open gut strings, but it applied to the wound gut audition process as well. For instance, getting all three gauges of a Eudoxa a-string is expense, but now I know what works and I was able to re-purpose or keep settled-in spares of the gauges which weren’t right for my instrument or the music I was making at that time.
I have found that I spend more time caring for my cello, making sure the tailpiece, bridge, nut, and peg set up are all staying “healthy”. As a result of learning to play on gut strings, I have made huge strides in my bow technique and left hand precision. Gut set ups have helped me understand how interact with the strings on a much deeper level. There is a greater subtly required when drawing the sound, as a result a wider range of tone and expression. It has taught me how to open up my articulation palate and push through to a next level of playing. Of course, it might not be the right fit for all types of music, instruments, or aesthetics: that comes down to (1) taste & importantly (2) the conditions of performance. I have used wound and open gut string combos for classical, traditional/world, contemporary, jazz, experimental, etc and have found these set-ups chameleon their way through all of these genres very well!
Over the course of this year, I have tried wound gut strings by Correlli (don’t waste your time), Damian Dlugolecki (Ni/Ag gut) and Pirastro’s Eudoxa, Oliv, and Gold (older wondertones) line strings. I have also tried plain gut strings by Dan Larsen (Gamut), Damian Dlugolecki, Toro (venice and high twist), and Aquila & Pirastro’s Chorda (not impressed). Maybe in another post I will examine these comparisons further, however this post will remain focused on Eudoxa and Oliv strings. Again this is for the first time buyer. I have certainly had some frustrating and expensive moments this year, my hope is to let you in on those insights so you don’t have to make the same mistakes.
Bonus Tip: try out a number of different rosins to find out what works best with your various string combos. Especially important if you have a mix of plain and wound gut or a combo of different brands/makers.
EUDOXA VS OLIV
I find the Eudoxa tone to be sweet and delightful, like dessert. There is a joy and playfulness in my playing, especially when I’m using the a and d string.
Oliv has a hearty, deep, complex tone which feels more like the main course. My playing is more serious and mature, especially when playing on a full set of Oliv.
I can’t get away with playing on a full set of Eudoxa, (as nice as that would be) unless maybe with medium a, d, G + a heavy gauge C; *but I haven’t tried that yet*… In contrast, I am definitely satisfied when playing on a full set of Oliv. In the last article, I gave a few examples of Steven Isserlis playing on his Eudoxa set up with Oliv C. Here is a good example of the tone capabilities of an Oliv set from Gary Hoffman (with an Evah Pirazzi a-string, I believe). A Hoffman is a very different player than Isserlis. I think their personalities are well captured by the tonal differences of these string setups.
Now that I’ve had a bit of experience practicing and performing on both Eudoxa and Oliv strings, I may choose to string up my cello with different combos that suit the circumstance of a recording session or performance.
playing with piano or contemporary ensembles: Oliv set
playing with plucked strings (like Brothers Grimm): Eudoxa set
solo, unaccompanied: (1) Eudoxa a, d, G + Oliv C (2) Oliv d, G, C + Aquila a (3) Oliv G, C + Toro or Aquila a, d
Chamber music: (1) Eudoxa top a, d, G + Oliv bottom G, C (2) full Oliv set
For a long time, I used to use Jargar a, d and Larsen G, C (which you can hear on The Brothers Grimm 2012 album Redolent Spires:bandcamp / spotify). Often this set up was too powerful for violoncello + classical guitar. If the Brothers Grimm were going out on tour, I would most likely use a Eudoxa medium set (in this case the quieter C string would be an advantage!).
The warm blend on the Eudoxas with other bowed string instruments is insane, they are perfect for chamber music. If you need to blend inward, I’d go with Eudoxa. If you need to cut through or project outward I’d go with Oliv. For instance, during rehearsals with a pianist for a performance of Schumann’s Fantasiestücke, Op.73 using a Eudoxa set up: I simply could not sing out above the piano without pushing the strings harder than I wished to. For the performance later that week, I had switched to an Oliv set up and no longer had to fight to project. I was able to float on top of the piano sound with out over playing the strings.
My cello projects better with Oliv, than Eudoxa. If you really like the Eudoxa sound on your instrument, but know you need to more power… you may want to try a full set of heavy gauge strings. It will have more tension, bigger tone and might just do the trick. In general, don’t be afraid of the thicker gauges, just make sure that your instrument is set up to handle the width, and that the tension scheme makes sense from top to bottom (less of a problem with a set, more of a problem with mix and match).
Here is a great example of Oliv on C, G and Eudoxa a, with plain gut d from Lynn Harrell (with Orlando Cole). Go for the string sound, stick around for the extended lesson on bow technique!
WHAT’S IN A GAUGE?
Thinner string gauges are lower in tension, with a sweet, reedy tone. Thinner gauges have more treble tone and quicker bow response.
Thicker string gauges have more tension, with a raspy, husky, deep tone. Thicker gauges have more bass tone and slower bow response.
Less tension results in more flex in the string and a quicker bow response. But the more flexible the string is, the quicker it will bottom out when you push it with heavy dynamics. If you often need to play loudly for your style of music, try the heavier gauge string – it can take more bow pressure and give you a bigger sound. The caveat being that thicker gauges with more tension are slower to respond under the bow.
Set advantages – I really like how the full set feels in the left hand and under the bow. It’s very nice to have the consistency of bow response, tension, thickness gradient/feel, tone etc across the whole instrument from top to bottom. (~ with both the Eudoxa medium set and the Oliv light set)
The Eudoxa string response is quick and easy, I liked this for playing unaccompanied solos at events and concerts. When you mix and match, the response is a bit different for the bow from each brand of string, so you have to change your technique a bit from string to string. Olivs are stiffer under the bow than Eudoxa, but when using a full set Olivs, it feels very nice and consistent, I doesn’t really feel stiff anymore.
Here are some quick notes from each string gauge I’ve tried:
light – didn’t even feel like a gut string because it is so thin / easy to play all the way up the fingerboard / you may consider this as an option if the rest of your strings are steel / less of an aluminum sound than the medium and heavy gauge
med – of the three gauges, this is my favorite thickness on my concert cello / great tone / easy to play all the way up the fingerboard / sometimes is a little sluggish to respond compared to the rest of the set
heavy – what I use on my Sarangi-cello / noticeably more tension than the medium gauge, especially up in thumb positions / more power yet it still retains the sweet tone of Eudoxa / very smooth left hand feel
light – sweetest sounding, but didn’t pack enough punch for me
medium – really great d string, one of my favorites, very expressive / I love the mix of the aluminum and silver, and almost wish that’s what they did for the a-string too!
medium – at first I was worried it wouldn’t be bass heavy enough, or feel too small in the hand going from the thicker Oliv C the to thinner Eudoxa G, but it really wasn’t a problem at all, and I enjoyed playing on this string very much / sometimes the sound didn’t project forward enough for certain styles – but created a really interesting inward-depth, kind of hard to describe, but was a really unique way to draw the listener in when playing solo
heavy – held up really well with the Oliv C / big warm bass tone, rich sound / but I felt like the thicker gauge contributed to the tension imbalances on the bridge and caused issues for the surrounding strings with settling in to pitch / projected outward well
medium – tone sounded great, very easy response, but just didn’t cut it when it came to power / very big volume and energy drop when I’d go from the medium G to the medium C string
I love this set up, the first time I strang up with all Olivs, I thought, “ahhh finally, a full set I can use!” / they are very expressive strings, which bring out a completely new mature sound from my instrument / I almost feel like a Character-Actor when I am playing things like Beethoven or Schumann / very bright for the first week, but then it mellows out, in a very warm way
heavy – I am using the heavy gauge d string on my Sarangi-cello and I’ve noticed with both the thicker Oliv (especially the heavy) d strings start to bring out the wolf tone on my cello more. This is something to keep in mind when finding the right balance in gauge/tension for your instrument. It hasn’t been enough of an issue to require a wolf-tone eliminator however.
light – when paired with Eudoxa med set, this over comes the volume/energy imbalance of the Eudoxa C / but response and tone are quite different / can get nice and growly when you push it
I can settle the string up to pitch in two days. Meaning for the first two days, there is a lot of peg tuning consistently throughout the practice/restringing session. On the third day, when I take the cello out of the case, it’s usually pretty close to pitch and I just have to give it one little turn at the peg and re-tune a couple of times after it adjusts to the room. Most of these strings have fully settled into pitch after 1 week. I play every day, which I think helps to quicken the breaking in process (maybe I am wrong).
I perform 100+ shows/gigs per year, and often I found my self planning when to change a string by what type of performance was coming up the next week. In most cases, I changed the string(s) at least 1 week in advance of a concert. This was usually enough time to break in the string and not have any issues with stability during the show. There were a couple of times that I had to change the string 1-2 days before a performance…. This wasn’t ideal, but I was able to perform successfully in all of those cases. I carefully monitored if my pitch dropped, double checking my tuning quietly with a clip on tuner in between movements & pieces. A number of times I performed with the clip on tuner, just to be sure I could lock in my tuning on the new strings; no one complained.
It seems like the Oliv set is more pitch stable than the Eudoxa set. Maybe due to the higher tension or the winding? Or because I have more experience now? I am not sure.
Having the right gauges and tension scheme actually contributed more than I initially thought to stability. Having the bridge and nut properly widened is also important. You don’t want the winding to get caught on the bridge or the nut, especially with all of that peg tuning you’ll be doing. When I had the medium gauge Eudoxa a & d with the heavy gauge G and Oliv light C, I had a little trouble getting the low end to settle and stay in pitch. The tension across the bridge was not balanced. With complete set (medium Eudoxa set & light Oliv set) I felt the strings settle into pitch faster and hold their tuning better. I have experienced some intense pitch swings on the low strings due to weather extremes. In August, when it was very humid, I pulled my cello out of the case and my low C was down to AA! Sometimes I would put it away in the case, after having played in a’=440 and when I pulled it out of the case the next day, my cello would be perfectly in tune at a’=415! Another time, during rehearsal there was a very hot and humid thunderstorm happening but with the air conditioning on full blast and during the finale my C string surprised me by drifting up to C# (luckily the section was in Db MJ…). In my experience this year, if it is humid+hot the strings will drift flat, if it is dry+cold the strings will drift sharp. If it is humid+cold… things get really weird and floppy, good luck. On my cello the thicker lower strings are affected most by the humidity/temperature changes.
For as much as I love these strings and highly recommend them, I have had an unfortunate winding separation issue on both Eudoxa AND Oliv a-strings. This has been the most expensive and frustrating part of the learning process. I already voiced not being crazy about the aluminum edge to the sound of the a-string in Part 1. There is a crunchy squeak sound on the surface if you don’t hit it just right with your bow. I’ve had a rough go at it this past year with the a-string winding separating from the gut core. From the very first string I installed, this happened, in fact some of the issues I ran into with the a-string going false (see Part 1) was actually the result of the winding separating from the gut core.
If you install the string and and the winding separates or goes false, even after taking the precautions of widening and lubricating the grooves at the nut and bridge and lifting the string occasionally at the bridge to reset the winding: contact Pirastro directly about getting a replacement string. I have been in contact with Pirastro about this issue and sent them my faulty strings to be analyzed. I have received replacements for all damaged strings, but I’d rather not have to do the international shipping dance over and over again…
Tip 1:Make sure the groove at the nut has a wide enough channel so it doesn’t pinch the winding – especially at the center point of the nut, where the string is bending the most. You can take your instrument to a luthier with your set of strings to have this done.
For those who are DIY: I’ve been doing it carefully myself with 400 & 600 grit sand paper, strips of leather, blunt sewing needles, rasps, and graphite (maybe a luthier will comment suggesting otherwise – please do, we’ll all learn!).
Tip 2: Wrap the neck of the cello with a cushy cloth where the strap goes over the string (see pic below). I believe this strap-wear contributed to some of the separation around first position, which began the swift death of 3 of my a-strings.
Tip 3: Peg Dope – use a peg lubricant like Hill Peg Compound. Available at most string shops for $10, this really helped my friction peg tuning. The pegs no longer “stick and jump”: I am able to turn the peg slowly and smoothly in a controlled motion without excess force to achieve very small and accurate pitch changes, like when using a fine tuner. Using peg compound in combination with winding the string close to (but not touching) the peg box wall helps to prevent peg slips.
My current set up uses Oliv light gauge C, G, and d strings with an Aquila plain gut a-string (1.20mm), for a’=440Hz playing. I got to frustrated with the winding issues on the a-strings and needed a break from that. So I’m going with an open gut a for now and am very happy with the sound! The Aquila a-string is fantastic, shout out to Curtis from Aquila USA for helping me find a diameter that would match the tension of my Oliv set. …I haven’t given up on the Oliv a string just yet, I do plan on using a full Oliv set for future projects, but I’d like to have a luthier look the nut before I install a new one.
I switched back temporarily to the Oliv a, after the Aquila and Toro a-strings it sounded very smooth and creamy to me. Shifting is obviously much easier on a wound string and I couldn’t help gliding pitches for expression. In the future, when doing a concert of Chinese or Indian music, I’ll make sure to pop on an Oliv or Eudoxa a. The Oliv a really sings in a powerful way, but one of the downfalls coming back to it after the plain gut was that I couldn’t help but play loud, loUD, LOUD! I found myself unknowingly belting out, like an opera singer. It’s good to know what these strings bring out in your playing, so you can use it to the greatest advantage. I have switched back to a plain gut top string for my upcoming performances (a thicker string for scordatura tuning). I found that I lost some subtly in my playing with the wound a, being that it was so fun to play loud. For unaccompanied solo playing, the flexibility of the plain gut and Eudoxas is an advantage to me. But! I love the uniform color, tone, and response on my instrument with the full set of Olivs.
Which string combos have worked well for you with Eudoxa &/or Oliv? Are there other brands that you find pair well with these strings? Wound gut, plain gut, synthetic, steel core? Best rosin pairings? Please share your experiences, I’d love to hear about it! Also comment below if you have string care suggestions or helpful installation techniques.
I hope you found this review helpful! Thanks for reading & happy practicing!
I’d like to start out with some after show thoughts on Brennan Connors & Stray Passage’s recent performance at Cafe CODA…
Brennan Connors & Stray Passage @ Cafe CODA | (c) 2018 Paul S Howell Photography
Brennan Connors & Stray Passage @ Cafe CODA | (c) 2018 Paul S Howell Photography
Brennan Connors & Stray Passage @ Cafe CODA | (c) 2018 Paul S Howell Photography
A big shout out and thank you to Hanah Jon Taylor and Cafe CODA for hosting us last Friday, 10/5 at his newly opened space on Willy Street. When I first moved to Madison from Indianapolis, I noticed the absence of a true Jazz club. I had been spoiled by my experiences at The Jazz Kitchen (and a number of other joints) where you knew you could go hear the best local and touring players. The environment at Cafe CODA brought me that feeling once again. It’s comfortable, in a prime location, has headroom, plenty of large inspiring photos of Jazz legends, and sounds great. The space invites you through it’s front lounge, to the bar in the middle, and finally pulls you towards the listening space in the back. As a patron, you have three options when deciding how close-to or far-from the musical action you want to be. Congratulations to Hanah (and anyone who helped out) on getting this new space up and running, I hope many successful nights of music come your way! If you are in Madison and love Jazz, check this place out.
Café CODA is Madison’s premier new jazz space! We are dedicated to the presentation of traditional, contemporary and creative music. Café CODA maintains an arts-centric program of musical performances, workshops and master classes available to residents and patrons of the Madison area.
Additional thanks to Paul S Howell for shooting some nice pics at the club!
Fri, 10/19 | 7:30pm All Ages, FREE
Wisconsin Union: Play Circle Theater
800 Langdon St, Madison, Wisconsin 53706
INDIGENOUS JAZZ SERIES PRESENTS
EXECUTIVE TEA SET
BRENNAN CONNORS & STRAY PASSAGE
Brought to you by Madison Music Collective, Greater Madison Jazz Consortium, Wisconsin Union Theater.
The inDIGenous Jazz Series is presented by Madison Music Collective, The Greater Madison Jazz Consortium, and the Wisconsin Union Theater. Concerts begin at 7:30 pm and are held in the Memorial Union Play Circle at the Wisconsin Union Theater, 800 Langdon St. Each concert is free, all-ages, and open to the public.
The group Executive Tea Set was formed at a time in history just before it was unfortunate to be associated with the word “tea.” After a short time off from regular performances, the group returns to full force with their inimitable style, humor, and grace. Michael, Mark, and Brad are psyched to welcome newest member Paul Dietrich on trumpet. Paul brings his unique panache, and subtle bluster, spurring the band into unknown universes. Their choice of repertoire combines self-described “difficult music” featuring polyrhythmic, multi-modal reading, metric mystery, and high-flying harmonic modulation with “gut-bucket tunes we can blow on”. Original music of a jazz variety carries the day, penned by the members of the group themselves, with occasional masterworks from one jazz luminary or another.
Paul Dietrich – Trumpet
Mark Siegenthaler – Piano
Bradley Townsend – Bass
Michael Brenneis – Drums
Brennan Connors & Stray Passage is primarily an improvising unit focusing on the outside or experimental aspects of jazz. Each performance is dependent on the mind states of the individual musicians, the physical environment of the performance space, and the intense listening and sonic communication that occurs as they play. Their 2017 release Emergence is available on Bandcamp. The breadth of a performance ranges from focused minimalism to fiery high energy music, all while maintaining a sense of narrative organization and compelling ensemble interplay. Their repertoire includes original compositions, a few old favorites, and raw improvisation.
Brennan Connors – Tenor and Soprano Saxophones
Brian Grimm – Electric Bass and Contra-Cello
Geoff Brady – Drums
The inDIGenous Jazz Series is presented by the Madison Music Collective, the Greater Madison Jazz Consortium, and the Wisconsin Union Theater; supported by Dane Arts, the John and Carolyn Peterson Charitable Foundation, the Madison Arts Commission, Janus Galleries, and the Evjue Foundation; and receives promotional support from WORT-FM and Wisconsin Public Radio.
In the last 5 years, I’ve had the pleasure of collaborating in various ways with ambient bassist & vocalist CJ Boyd (Joyful Noise Recordings; Obsolete Media Objects). We have a track “Horses” coming out on his yet-to-be-released, mammoth sized “50 states project” (more on that when the time comes!). Back in 2014, I contributed a track to his fundraiser compilation for reproductive rights: Running Up That Hill. When CJ came through town in 2013, it was the impetus for Mine All Mine Records + GrimmusiK Records ambient compilation Colias. I also made an official remix of “slowly by your passing” for his Visions & Revisions remix compilation. The point being, for someone who is on perpetual tour I’ve managed to collaborate with CJ nearly as much as some of my regular bandmates in town! Now multiply that by all of the musicians that he is keeping track of on the road, constantly in a cycle of scheduling tours, booking shows, recording albums (sometimes in our local coffee shop bathrooms!), releasing collaborative projects, etc…. this guy is busy! I am always impressed by the hard work and persistence I see from full time touring musician CJ Boyd.
CJ still finds time to have a voice in matters of social injustice, whether it’s through social media platforms or directly in his music. The timing doesn’t always work out when he is coming through town, but I’m glad it did this year! As always, I am excited to spend some time with CJ before/after the show and to enjoy his ambient music stylings at Madison’s new all ages venue, Communication.
CJ and I are both fans of Taralie Peterson’s musical output, including her solo projects as Tar Pet, Louise Bock, and in the dynamic duo Spires That In The Sunset Rise. A multi-instrumentalist and improviser extraordinaire, Taralie has the rare gift to pull sounds through the void from other dimensions for you to hold momentarily. This will be our first duo collaboration and I am honored to sit next to her on stage this Thursday.
As always, you can find me on Bass Guitars at the Mason Lounge on S. Park ST every Tuesday night, with the Five Points Jazz Collective! We’ll have the full sextet this week, featuring Charlie Painter on guitar, Trey Grimm on keyboard, Rin Ribble on violin, Kyle Rightley on trombone/euphonium, and Eric Shackelford on drums! Sure to please with funk, latin-jazz, swing, and blues along side the wonderful selection of craft brew that the Mason rotates on tap. Warning! Jazz occurs between 9p-12a.
Built on an improvisational base, Boat Patrol (pictured above) uses a trove of influences and techniques ranging from bluegrass to avant-garde jazz to create extensive musical landscapes and textures.
Boat Patrol began creating music in the fall of 2017 in the Northwoods of Wisconsin. Avoiding simple categorization, boat patrol explores every nook and cranny of the musical palate with each live performance serving as a unique portrait of the band. Featuring Cai Mountjoy – bass/madolin/guitar, Daleth Mountjoy – keys/synths, Evan Verploegh – drums/theremin
Labrador. The band. are a mellow, moody three-piece that sounds like the type of estro-rock you might hear in The Bronze on an episode of Buffy the Vampire Slayer.
Improviser extraordinaire and road warrior Jack Wright and his trio Roughhousing is back in Madison for a show at The Vault! Roughhousing features bassist Evan Lipson and guitarist Zach Darrup. Read more about the trio here > Roughhousing EPK. Potluck starts at 6pm – bring a tasty dish to share and enjoy; music starts by 8pm. Enjoy a night of free improv at one of Madison’s most notorious DIY venues with a trio that aims to strip away the layers of facades that plague the digital marketing age.
Hear sounds born out of the ’60s counterculture with works exploring minimalism, social and political engagement, and electronic experimentation, as well as the music they inspired for decades to come. The program will include a mixture of instrumental, vocal, and electroacoustic music, with featured guest artist Conduit. Highlights include composer and Lawrence Conservatory faculty Evan Williams’ “Bodies Upon the Gears” for clarinet, viola, and audio from Mario Savio’s 1964 speech urging the importance of civil protest; Steve Reich’s “New York Counterpoint” for amplified clarinet and tape; and Andy Akiho’s “Stop Speaking” for solo snare in conversation with digital playback. There will be a cash bar, as well as opportunities to explore the exhibits, including the MMoCA’s current exhibition “Far Out: Art of the 1960s.”
Complete Program: Music by Melissa Dunphy, Angelica Negron, Evan Williams, Steve Reich, Gilda Lyons, Anna Meadors, Kyle Tieman-Strauss, David Lang, and Andy Akiho
Performed by: Conduit (Zach Manzi, clarinet and Evan Saddler, percussion); Caitlin Mead, soprano; Kristina Teuschler, clarinet; ZouZou Robidoux, cello; Jeremy Kienbaum, viola; Heather Zinninger Yarmel, flute.
Saturday, 8/11 2:00pm at Bethel Lutheran, 312 Wisconsin Ave.
Madison New Music Festival continues with an afternoon program that invokes spirituality, morality, and reflection. Hear music including organ interludes performed by Madison Symphony Orchestra organist Greg Zelekand Vital Organ Project founder Tyler Jameson Pimm, soundscapes for viola and piano by Morton Feldman and Toru Takemitsu, African spirituals arranged for instrumental chamber ensemble, and the renowned Langston Hughes set to music by composers including Madison’s Scott Gendel.
Tickets: $15/$5 for students.
Program: Music by Toru Takemitsu, Trevor Weston, Morton Feldman, Daniel Ficarri, John Weaver, Tyler Pimm, Tania J. Leon, John Musto, Ricky Ian Gordon, and Scott Gendel.
Performed by: Jeremy Kienbaum, viola; Satoko Hayami, piano; Caitlin Mead, soprano; Scott Gendel, piano; Kristina Teuschler, clarinet; Micah Cheng, cello; Alex Norris, violin; Greg Zelek, organ; and Tyler Jameson Pimm, organ.
Sunday, 8/12 7:30pm at Robinia Courtyard, 829 E Washington Ave
Polish off your weekend with a drink at Robinia Courtyard as you listen to the world premiere of “They’re Still Here,” a new work by local multi-instrumentalist B.C. Grimm featuring 9 instruments ranging from cello to Chinese pipa. Then, kick back for a set of solo string music from violinist Aaron Yarmel and violist Jeremy Kienbaum, featuring pieces by Philip Glass, Ursula Mamlock, and one of Yarmel’s own improvisations. Finally, musicians from all three concerts close out the festival together with a performance of Julius Eastman’s “brilliant and brazen” 1973 piece, “Stay On It.” This rarely performed work ends our musical weekend with a bang– and a groove! There will be a cash bar.
Live set up for BC Grimm’s new 30min piece, “They’re Still Here”.
“They’re Still Here” Program Notes
Composed August, 2018 by BC Grimm (b 1986) for the Madison New Music Festival
This piece explores how those who have passed away continue to pop up in the everyday moments of our lives. You’ll hear field recordings of my day-to-day experience fused with instrumental sound design. These scenes recreate and reference real life moments I’ve had in the wake of these deaths.
“They’re Still Here”is dedicated in loving memory to Patrick Kelly, Ross Sutherin & Brian White-Stout and to the Grimm, Sutherin, Kelly, Morrow, White-Stout & Brethauer families.
Scene I Passing of a Friend, The Work Day Begins
Tenor Viola da Gamba with field recording
Scene II News Cycle On Fire: Rbt. Mueller’s Lonely Russia Probe
Gaohu Cantonese fiddle with foley, field recording, 1940’s radio broadcast, singing bowls, violoncello, dizi flute, bawu flute, xiao flute, sheng mouth organ
Scene III Do I Tell The Children? No, Teach On.
Violoncello with field recording, pipa lute, tenor viola da gamba, violoncello, contracello
Scene IV Fluorescence Hums The Harmonic Order of Nature
APC40 (electric hum in just intonation)
Scene V Morning Routine, Scrambled Brains
Field Recording with foley
Scene VI A Call With My Brother, Wise Counsel
Sarangi-Cello in pipa tuning with claps, cajon, motorcycle
Scene VII Ask The Corn Spirits
Gaohu fiddle with bawu flute
Scene VIII Hermie’s Chimes, They’re Still Here
Guqin Zither with pipa lute, gaohu fiddle, dizi flute
Scene IX Funeral Grave
Scene X Temple of Ancestors
Sarangi-Cello in pipa tuning with pipa lute, synthesis
Scene XI Transfigurations
Guqin zither with pipa lute, Russian folk harp, singing bowls
Scene XII Schoolyard in Snow; Children Play On
Tenor Viola da Gamba,
APC40 (electric hum in equal temperament), field recordings, foley
It has finally arrived! The 2018 LunART Festival celebrating women composers, performers, visual artists, choreographers, and more! This festival, spearheaded by Sound Out Loud flutist Iva Ugrčić, has a mission to: “… support, inspire, promote, and celebrate women in the arts through public performances, exhibitions, workshops, and interdisciplinary collaboration; thus enriching our community and creating a welcoming space for learning and experimentation.”
Please do yourself a favor and take a scroll down LunART Fest’s official facebook page, you’ll find post after post highlighting all of the fantastic musicians participating in this festival!
More from LunART: “ [This] festival strives to cultivate a vibrant, safe space for women, unveiling our artistic leadership and creating the opportunity to put our hearts and souls into what we believe in.
Throughout history, artists have created and used their works as a powerful way to comment on social issues. They have raised questions, challenged norms, and encouraged people to observe controversial subjects through a different lens. Gender issues are currently at the forefront of political and social discussions, and we want to support women across the globe as they navigate the gender imbalance in artistic fields.
This three-day festival features a remarkable range of women, diverse and varied in their artistic vision, but with the shared passion and desire to make their voices heard!
Our 2018 Artist in Residence is award-winning composer Jenni Brandon. She will coach the LunART Festival “From Page to Stage: Emerging Composers Workshop,” offering master classes, lectures, and discussions about collaboration and career tools. ”
“The main idea behind this talk is to highlight the varied roles that women play in the music industry. We are performers, composers, and scholars, yes. And those roles have been public for quite some time. But we are also pedagogues, consiglieri, critics, and administrators, not to mention conductors, librarians, and educators. My goal with this talk is to explore some examples of these roles and to demonstrate how women’s cultural agency is a vital part of music in the 21st century.”
Enjoy this opening event featuring music by Composer-in-Residence Jenni Brandon; 2018 Call for Scores Winners Katy Abbott & Veronika Krausas; Valerie Coleman and Cecilia McDowall; with special guests Katrina Schaag, writer and Zhalarina Sanders, hip-hop artist.
Katrina Therese Schaag The Infinite Woman feminist writing project
Xinyan Li, 2018 Call for Scores Winner Mongolian Impressions for solo bassoon, percussion, and string quartet
Katrin Talbot poetry reading and photo exhibition
Jenni Brandon Sun Songs for soprano, English horn, cello, and piano
Galina Ustvolskaya Composition No.1 “Dona Nobis Pacem” for tuba, piccolo and piano
Fanny Mendelssohn Three Pieces for piano four hands
Doina Rotaru Japanese Garden for bass flute/piccolo and electronics
Jenni Brandon The Woman with the Unfathomable Eyes for small chamber ensemble, narrator, and dancer
9:30pm Free | “That’s What She Said” Anthology @ Bos Meadery: 849 East Washington, Madison, Wisconsin 53703
That’s What She Said is a story-share production in which local women share real stories about their fears, their joys, their lives. Created in 2014, it is produced by The Bricks Theatre (Madison, WI) and directed by Molly Vanderlin (Owner/Producer, The Bricks Theatre). It has received great reviews, and after fifteen shows, The Bricks Theatre has decided it might have a great idea!
Join the LunART Festival in celebrating women in the arts! Enjoy this event featuring music by Composer-in-Residence Jenni Brandon, 2018 Call for Scores Winner Ingrid Stölzel, and Abbie Betinis, Hildegard von Bingen, Linda Kachelmeier, Elizabeth Alexander, Marilyn Bliss, Brianna Ware, Madeleine Dring, & Amy Beach. Featuring Festival Women’s Choir conducted by Kathy Otterson.
With special guests: visual artist Kelly Parks Snider and photographers Jennifer Bucheit & Katrin Talbot.
9:30pm Free | “Starry Night”performance: 2014 International Fingerstyle Guitar Champion and folk singer-songwriter Helen Avakian, and rock band Tiny Dinosaur @ Robinia Courtyard: 829 E Washington Ave, Madison, Wisconsin 53703
Come enjoy our fabulous guest artists, singer-songwriter Helen Avakian and Tiny Dinosaur rock band, and join us in celebrating the end of our inaugural 2018 season!
Madison singer-songwriter and guitarist Helen Avakian is the 2014 International Fingerstyle Guitar Champion, and was voted Favorite Acoustic Act by Rhythm and News Magazine. She is also a recording artist, producer, and guitar instructor specializing in acoustic guitar music. Time for some indie pop emerging from the primordial ooze of the isthmus to weave tiny tales. It’s Mesozoic music for the masses. Tiny Dinosaur is an indie rock band of four females giving a warm embrace to folk, punk, and pop to tell you a story.
LunART Festival has partnered with area art organizations including:
Overture Center for the Arts
Madison Museum of Contemporary Arts
First United Methodist Church
Madison Public Library
Capitol Lakes Retirement Center and First Unitarian Society
LunART is supported by:
Dane Arts and Madison Arts Commission
2018 UW Arts Business Competition, 2nd place
finalist for 2018 National Flute Association’s C.R.E.A.T.E. Project Competition