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MicroTextual: music with words | words without music
a CATALYSIS PROJECTS event
Saturday April 16 | 8:00pm

at MIMODA STUDIO
5772 W. Pico Blvd, Los Angeles, CA 90019
Enter though Paper or Plastik Cafe

$15/10 online or at the door

MicroTextual, a CATALYSIS PROJECTS presentation curated by Aron Kallay, and part of MicroFest 2011, Los Angeles‘ yearly festival of microtonal music, brings together musicians and artists to create microtonal music, text performance, and performance-integrated sculpture, expanding the points of convergence between modes and disciplines of artmaking.

World premieres by Isaac Schankler, Jeffrey Holmes, Quintan Ana Wikswo, and Cat Lamb. Additional works by Harry Partch, David Rosenboom, Kim Ye, and Bill Alves


Program:

Honey, Milk and Blood | Isaac Schankler / Kim Ye / Jillian Burcar

Field (for Agnes) | Cat Lamb

Floriography | Quintan Ana Wikswo

Barstow | Harry Partch

--intermission--

Fragments | Jeffrey Holmes

Enochiography | Quintan Ana Wikswo

In the Beginning | David Rosenboom

Luminescence | Bill Alves

What the press is saying about the collaborators


On Luminescence: "...voices, gamelan, and computer-generated tones joined in a haunting, nocturnal reverie: unearthly, far beyond the reaches of harmonic or tuning systems." -
Alan Rich, LA Weekly

On Jeffrey Holmes: "Captivating...the haunting and slightly disorienting sound disrupts and engages the open ear."
-Los Angeles Times

"Quintan Ana Wikswo's work uses obsolete technology and manual techniques to capture images of decaying, paradoxical locations and traditions; drawn as she is to the ruins and outskirts of urban centers, Wikswo is documenting a discarded world."
- Shana Nys Dambrot, Flavorpill

"Ye's latex and cloth figure sculptures... update the surrealist wardrobe's toed shoes and breasted nighties for the Burrovian Interzone age of iPod people interfacing with their talking insect-typewriters."
-East Bay Express

“Schneider... manages to convey the composer through his own voice, even in such unique works as Barstow... performances lyrical and theatrical, emphasized the musical side of a composer too often known for his quirkiness"
-Mark Swed, Los Angeles Times

On Aron Kallay: “Imaginative... fascinating”
- Rod Punt

A note from the curator:

Words verses music... where do you fall? This question was first posed to me as a bright-eyed freshman in music history class. The implication being that the two are mutually exclusive; that the power of words instantly usurps music’s ability to transcend itself. My initial reaction, those many years ago, was that music, in it’s absolute form, is the height of artistic accomplishment. To be able to convey meaning--beauty, longing, sadness, the grotesque--without the need for language, and for individuals to simultaneously experience that meaning differently, is the true power of music, or so I reasoned. Then something truly amazing happened: I found the music of Harry Partch. Here was something unlike anything I’d ever heard before. Partch, realizing that people usually don’t speak in equal temperament, uses microtonality--the space between the keys on the piano--to emulate natural speech patterns in his music. The result is a space in which words and music interact harmoniously, without getting in each others way. For Partch, it’s about the words and the music.

MicroTextual uses Partch’s seminal composition, Barstow, as a jumping off point for works that explore the spaces between the keys--and between the words. Isaac Schankler’s new work for choir and synthesizer, Honey, Milk and Blood, examines inventor Nikola Tesla’s vision of a utopian maternal society, with live performative sculpture by Kim Ye. Artist Quintan Ana Wikswo presents two text performances installations, Floriography and Enochiography, which are counterpointed by Cat Lamb’s haunting Field (for Agnes) and David Rosenboom’s athletic In the Beginning: Etude I (Trombones). In Jeffrey Holmes’ song cycle Fragments, latin text floats microtonally above acerbic piano accompaniment while Bill Alves’ just intonation masterpiece Luminescence, for choir and fixed media, connects sacred numbers with sound, bringing the celestial back to earth.

-AK


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