Saturday, 5 Sept


Tinged red and blue by colorful light-bulbs and sitting on the floor around the stage area, the audience at Music ='s benefit party were taken unawares as the performance began unannounced, with a French love song for two voices by medieval composer Guillaume de Machaut.  Jumping forward approximately 500 years, this was followed by a nimble bassoon solo from 1969 by American composer Vincent Persichetti. 
Moving ahead another 40 years, two works written this year were next on the program. 
Matthew Hough made his listeners "uncomfortable, but in a cool way" (according to one audience member) with his candid work for spoken word and alto flute, entitled "You Should All Be Shot."  The flutist, breathing into her instrument and clacking its keys, performed a silent piece while the composer read aloud five reminiscences culled from his time living in Harlem (the title of the piece was once shouted at him while walking along a street in the neighborhood).  The result was humorous, moving, and disturbing, the autobiographical element rendering the experience intensely personal.
Next up was a piece for violin and cello by David Utzinger. The two instruments' graceful musical lines engaged in intimate conversation, creating finely hued music in three movements.
The performance ended with an improvisation for three electric guitars, bassoon, and alto flute, aptly titled "Madness."


check out Music = New Sound at Cafe Orwell in Bushwick this Friday, Sept. 25th.  

Sat, 16 May


Music =’s latest concert, “Talking Tree, Silent Book,” drew a sizable and excitable crowd to Bushwick’s Cafe Orwell on Saturday night.

Ya-Jhu Yang’s Silent Yet Talking had three sopranos singing three undulating, floating lines, at times moving independently of each other and at others lining up to move together.  There were moments when all three voices swirled upwards into an extended climax of surprisingly loud volume, which were followed by quieter, semi-spoken sections.  The piece ended with exhalations followed by all three singing simultaneously to form a chord.

Two cellists took the stage for Inhyun Kim’s the eye between light and heart.  Glissandos work to a climax at the high end of the fingerboard, and one of the cellists begins to yelp unexpectedly.  As the cellists’ fingers are scraping and caressing their cellos, they make similar sounds with their voices, squeaking, screaming, sighing.  Pretty sounds pop out of the turbulence, making the occasional shriek all the more delightfully jarring.

Performed by voice and percussion duo The Silent Book, Matthew Hough’s Apologies combined spoken word with the metallic reverberations of crotales; the result was a mixture of dark humor and gravitas.  The words spoken are parsed and rearranged apologies (for offensive outbursts) made by five public figures, and the two performers take turns speaking lines of these apologies separately, in unison, or simultaneously on different texts.  The crotales interludes are appealing in their delicacy, the vibrations of the discs hypnotizing; the glittering calm of their music serves to underline the error of the apologies.  The crotales are also used to emphasize certain words (fear, hate), and at one point are played with violin bows, creating tremulous waves of sound.  An extended and dramatic moment when both performers repeatedly strike a single note while speaking different texts simultaneously occurs toward the end, followed by free floating, quivering crotale gestures, which dissipate into the silent air.

The Silent Book finished up the program with an arrangement by Matthew Hough of Morton Feldman’s Only.  The crotales begin with a stream of notes, amidst whose reverberations the vox enters, the warmth of his voice creating a nice contrast to the shimmery crotales.  The phrases of the original piece are separated by more shimmers from the metal discs, and occasionally a vox note is picked up and extended by a bowed crotale.  The effect is that of an earnest, lonely voice, intimate within a vast space of star-like reverberations.

The full program:
Carolyn Chen, Pears (2007)
Ya-Jhu Yang, Silent Yet Talking (2009)
Inhyun Kim, the eye between light and heart (2009)
Matthew Hough, Apologies (2009)
Morton Feldman, Only (1947), arr. for voice and percussion by Matthew Hough (2009)