6 - 10 September 2017 From classical crossover and minimal soundscapes to modern composition with (live) electronics. Gaudeamus Muziekweek presents the newest music by young music pioneers during the eponymous and highly renowned music festival in Utrecht, the Netherlands.
Vine, Anthony (1988), USA
A Night Out with Modelo62
Date:Thursday 08 Sep 2016 Start:8:30 PM Location Theater Kikker Price:€ 18 / € 13 (online) € 35 (combi)
Composer’s Kitchen (2)
Date:Thursday 08 Sep 2016 Start:7:00 PM Location TivoliVredenburg Price:€ 15 / € 10 (online) € 35 (combi)
Anthony Vine is a Brooklyn-based composer of acoustic and electroacoustic concert music. Vine studied with Huck Hodge at the University of Washington (MM) and Thomas Wells at the Ohio State University (BM). His collaborators (now or in future) include the Minnesota Orchestra, Alarm Will Sound, Yarn/Wire, Ensemble SurPlus, Trio Surplus, Bearthoven, and the Illinois Modern Ensemble. His music has been performed at the Akademie Schloss Solitude, Internationales Musikinstitut Darmstadt, Mizzou Composers Festival, Minnesota Orchestra Composer Institute, SaxOpen, and the SCI National Conference. He received a Con Edison Composer Residency and won second prize in the 2015 Salvatore Martirano Memorial Composition Competition.
Vine works with choreographers and multimedia artists such as the Logan Company. He is the founder and executive director of the Columbus // NYC New Music Exchange [CNX], a programming and outreach initiative that seeks to build relationships between the contemporary music communities of Columbus (Ohio) and New York City.
From a Forest of Standing Mirrors (2014)
percussion, piano, double bass, and video projection
While working on sketches for this piece, I stumbled upon Maguy Marin’s choreographic work Umwelt. In a static and Beckett-inspired world, dancers move between networks of overlapping mirrors, slipping in and out of sight. During these fragmentary entrances, the dancers perform repetitive, mundane activities, from changing clothes to eating food. My music soon became infected by Marin’s piece, preoccupying itself with reflection and stasis. The composition is comprised of harmonic pillars that are built from the sound of five pitched gongs. These vertical sonorities are subjected to what can be thought of as varying degrees of reflection and fragmentation throughout the piece. Due to the fragility of the materials, this seemingly repetitious musical surface becomes an ever-shifting profile that seems to move spontaneously and unpredictably.
For Agnes Martin (2013)
flute/piccolo, alto/soprano saxophone, two percussionists, piano, violin, cello, cassette tape players, and diatonic harmonicas
I have been fascinated with harmonicas for quite some time. The instrument’s flexibility, (typically detuned) tonal construction, piercing difference tones, and the interference/beating in case of layered sounds are intriguing. All these elements are used to generate the structure, harmony, and other compositional tools of For Agnes Martin. Harmonicas weave their way through the ensemble and float above a bed of sine tones that emanate from cassette tape players. The various sound topographies bleeding in and out of relief reminded me of the “floating layers” in the work of Agnes Martin where paint, canvas, and the liminal space between the elements appear to fluctuate.