As the director of the Eugene Contemporary Chamber Ensemble (ECCE), I am thrilled to announce its latest production: ANIMA.
A concert of new compositions and choreography created in collaboration between graduate students of the School of Music and Dance at the University of Oregon.
Two showings, May 29 and 30th @ 7:30pm in the newly constructed multimedia and rehearsal space in the School of Music, “The Cube” (Rm 190).
Repertoire includes multimedia installations, video projections, electronic music, and a wide variety of chamber music played by live instrumentalists, combined with contemporary choreography, lighting, and production.
FREE ADMISSION is made possible by the generous support of the University of Oregon School of Music and Dance.
I visited Portland this weekend to see a show by the new music ensemble fEARnoMUSIC. The show was titled parallaxis, and was a concert of modern chamber music, each work being combined and presented simultaneously with the work of a collaborative video artist. Great concert. Featured on the program were a smattering of movements from Ligeti’s 2nd string quartet, and a chamber work by one of my previous teachers, Steve Ricks.
I walked away with the profound and reassuring feeling that collaborative art is extremely powerful. While the romantic notion of the independent artist is certainly still valued, art created and presented collaboratively strengthens one’s sense of community. It may sound somewhat trite, but when working with others, you don’t feel so alone 🙂 While solitude has its virtues, despite what many may claim, the sociality of art is what gives it power. Art is relatively useless in a vacuum, decontextualized and stripped of all the social and aesthetic connotations that make it meaningful in the first place. It might be made to selfishly sooth the artists own soul, but the best things in life are always shared.
Another related practical matter concerning the artists well-being, is that working with others makes you feel needed. It makes you feel valued, an emotionally comforting phenomenon that is welcome to an artist who (like so many often do) is wondering what their own place in the world is, or questioning their own function or use as a creator. I felt this comfort quite deeply as I walked away from a UORDC concert last night where two of my works were performed in conjunction with choreography. Gratitude.
A suggestion: if you are feeling lonely, trapped into an aesthetic dead-end, or emotionally distraught, . . . seek another artist to work with. You’ll make each other feel a lot better about what you do.
A piece of mine for flute ensemble (10 total!) will be premiered later this month on April 27th, as part of a concert featuring the collaborative efforts of the University of Oregon graduate composers and the flute studio at the School of Music and Dance, headed up by BetaCollide member, Molly Barth.
Lots of works for solo flute. Some for piccolo. Some also including piano, or cello, . . . Then there is my behemoth, featuring practically the entire flute studio in one piece, Rapture and the Agon. My fingers are crossed.
Flute Music for the 21st Century
April 27th, 8:00pm, Beall Hall
P.S. Don’t expect the jolly fellow in the photo to be there. . . I wish he was coming, but it seems unlikely.