with American Contemporary Music Ensemble (ACME) & Angélica Negrón
Tue September 10th, 2013
Minimum Age: All Ages
Doors Open: 6:30PM
Show Time: 7:30PM
Event Ticket: $20/$25/$30
Standing: $20 advance, $25 day of show
Seated: $25 advance, $30 day of show
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
Jóhann Jóhannsson is a Berlin-based composer originally from Iceland. His varied and eclectic output includes commissioned works for Bang on A Can, Theatre of Voices and the Icelandic Symphony Orchestra as well as a collaboration with the New York-based experimental filmmaker Bill Morrison on the film The Miners’ Hymns. His debut album “Englabörn” appeared in 2002 and he has since released 5 solo albums on the labels Touch and 4AD. He has composed music for the theatre and contemporary dance and was the founder of the Reykjavik based art collective Kitchen Motors.
Jóhann was awarded a Golden Globe in January 2015 for Best Film Score for The Theory of Everything, directed by James Marsh. His music for the film also earned Jóhannsson an Oscar as well as a BAFTA nomination for best original score. Theory of Everything focuses on the life of famed physicist Stephen Hawking and stars Eddie Redmayne, who won an Oscar for his leading role as Stephen Hawking, and Felicity Jones. Jóhannsson’s other recent film scores include Denis Villeneuve’s Prisoners, Lou Ye’s Blind Massage and So Yong Kim’s For Ellen. He recently finished his second collaboration with Denis Villenueve, for the film Sicario, starring Benicio Del Toro and Emily Blunt, which will premiere and compete for the Palme d’Or at Cannes Festival in May 2015.
After a period spent mostly concentrating on film scores, this year will see the release of several new music projects, some of which have been a long time in the making. Jóhannsson is working on his first studio album in four years since his last release Miner’s Hymns in 2011. A new piece from Jóhannsson, Drone Mass, was also premiered in March 2015 at The Metropolitan Museum of Art in New York in collaboration with 2014 Grammy-Award winning vocal ensemble Roomful of Teeth and American Contemporary Music Ensemble. Last and First Men, a new audiovisual piece, is also in the making and will be performed as work-in-progress at the Kortrijk festival in Belgium in May 2015 with live music performed by the Spectra Ensemble. This piece combines film footage Jóhannsson shot with cinematographer Sturla Brandth Grovlen on various locations in the republics of the former Yugoslavia with new music composed by Jóhannsson. The title is inspired by the science fiction novel of the same name written by Olaf Stapledon which was published in 1930.
“People seem to need labels, but they can be needlessly reductive,” says Icelandic composer and musician Jóhann Jóhannsson. Ever since he was 18, when he started performing in rock bands in Reykjavik, he’s been looking for ways to break out of rigid categories. The music he¹s written for contemporary dance and theater productions, films, pop musicians and his own albums, has always explored the boundary between natural acoustic sounds and electronics, with the goal of exploring and unifying these opposites. “Music is important to me, but it¹s not how I define what I do,” he says.” ”I’m obsessed with the texture of sound and interested in minimal forms, with how to say things as simply as possible, how to distill things into their primal form. The simpler the expression, the easier it is to communicate ideas.”
Jóhannsson started studying piano and trombone when he was 11, but stopped formal musical studies in high school, feeling hampered by the constraints of academic music. After studying literature and languages at university, he spent 10 years playing his music in indie rock bands, concentrating on feedback drenched compositions using layers of guitars to sculpt interesting multi-layered soundscapes. “When I discovered the albums on Eno’s Obscure Records label from the 70’s, my interest moved into creating minimal, ambient structures with classical instruments. I set the guitar aside and started writing music for strings, woodwinds and chamber ensembles, combining acoustic and electronic sounds.” By manipulating the resonances of acoustic instruments with digital processing, Jóhannsson created music that integrated acoustic and electronic sounds into something unique and new. “My ideal is music where the electronic and the acoustic sounds blend seemlessly.”
Reykjavik¹s fertile creative community was small and collaborations between musicians, artists, actors and dancers were common. In 1999, Jóhannsson was a founder member of Kitchen Motors, an art organization/think tank/record label that encouraged interdisciplinary collaborations. “We tried to amplify the opportunities that already existed, pulling together people from the worlds of jazz, classical, electronic music, punk and metal to encourage new hybrids. My own music grew out of those experiments.”
Jóhannsson’s first solo album, Englabörn (Touch, 2002), was a suite based on the music written for the theater piece of the same name, a meeting of classical strings and electronics. “I recorded the strings, then processed them through digital filters to take apart the sounds and reassemble them. I like going to the microscopic core of the music to extract the essence, then use that to build up layers of sound.”
Writing music for plays, dance and theatrical performances led to work on film soundtracks. Jóhannsson scored more than a dozen movies, including The Good Life (Eva Mulvad, DK 2010), Varmints (Marc Craste, UK 2008) and For Ellen (So Yong Kim, US 2012) before his recent work with director Denis Villeneuve on Prisoners and Josh C. Waller on McCanick. His music has also found a home in art house films across the globe, from Lou Ye’s Mystery (CN 2011) to Janos Szazs’ recent prize winning drama, Le Grand Cahier (HU 2013).
Jóhannsson and Villeneuve decided to try something radical for the soundtrack for Prisoners, a gripping drama about kidnapping and revenge. “Denis wanted the music to be a poetic voice that worked in counterpoint to the action of the film,” Jóhannsson says. ³Even though the film is a thriller, the music is lyrical and beautiful, in stark contrast to the horror, ugliness and atrocities that the film depicts.” Jóhannsson composed the score watching an early cut of the film, reacting to the disturbing images on screen. He scored the music for an orchestra withlarge string and woodwind sections and featured the sounds of two little known instruments. The Cristal Baschet is an instrument similar to a glass harmonica, with huge metallic resonators, while the Ondes Martenot is an early electronic instrument similar to a theremin, but with a softer sound. By blending those unfamiliar sounds with string instruments, Jóhannsson created music with a delicate, glassy surface. His tranquil music actually heightens the tension of the film, despite its ambient sound. Jóhannsson says his approach to film music is informed by influences as diverse as Kraftwerk, Steve Reich, Einstürzende Neubauten, Swans, Arvo Part, Ennio Morricone, Morton Feldman, and Bernard Herrmann, but a list of his influences doesn’t do justice to the journey he took to arrive at his singular vision.
Jóhannsson grew up in the suburbs of Reykjavik, the capital of Iceland. His father was the chief maintenance engineer for IBM and one of Iceland¹s first computer programmers. ³In his downtime, at work, he’d compose melodies and sounds on the IBM 1401, a prehistoric computer, Jóhannsson says. “The music he programmed inspired my composition IBM 1401- A User¹s Manual. I incorporated some of the sounds he created when I composed the piece.”
Jóhannsson’s interest in modular synthesizers and ancient electronic instruments found an outlet in his all-analogue side project Apparat Organ Quartet, a band he formed in 1999 with 3 fellow synth and keyboard enthusiasts. After two albums, he left the band in 2012 to concentrate on his solo work.
His varied discography includes Virthulegu Forsetar (Touch 2004), a drone heavy hour-long fanfare for pipe organ and brass; Fordlandia (4AD 2008), a cinematic ode to the city Henry Ford tried to build in the Amazon jungle and Copenhagen Dreams (NTOV 2010), a visual and musical tribute to his current hometown and its people. His soundtrack for Free the Mind, a film that shows how meditation helps people suffering from PTSD and ADHD, is now available on iTunes. The soundtrack album will be available on July DATE and the film will soon be released on DVD.
The Miners’ Hymns, a melancholy tribute to the coal-mining culture in Durham, England, features Morrison¹s heartrending collage of archival footage and Jóhannsson¹s brooding music, full of low sustained notes played by brass instruments that pay homage to the brass bands the coal miners once played in. Jóhannsson performed The Miners¹ Hymns with the American Contemporary Music Ensemble at selected venues in the United States in 2014, bringing in local brass bands to play the score.
Jóhannsson has collaborated with pop artists like Marc Almond; Barry Adamson; Finnish electro band Pan Sonic, The Hafler Trio, the nom de musique of English avant garde composer Andrew M. McKenzie; CAN drummer Jaki Liebezeit; Stephen O’Malley of the dark metal band Sunn O))) and many others. “I like to get out of my own studio and work with other people. Being in a room with someone who has a different approach inspires me. Feeding off of each other¹s musicality always produces interesting results.”
American Contemporary Music Ensemble (ACME)
The American Contemporary Music Ensemble (ACME), celebrating its tenth season in 2014-2015, is dedicated to the outstanding performance of masterworks from the 20th and 21st centuries, primarily the work of American composers. The ensemble presents fresh work by living composers alongside the classics of the contemporary. ACME’s dedication to new music extends across genres, and has earned them a reputation among both classical and rock crowds. NPR calls them “contemporary new music dynamos,” and The New York Times describes ACME’s performances as “vital,” “brilliant,” and “electrifying.” Time Out New York reports, “[Artistic Director Clarice] Jensen has earned a sterling reputation for her fresh, inclusive mix of minimalists, maximalists, eclectics and newcomers.”
ACME has performed at leading venues across the country including (Le) Poisson Rouge, Carnegie Hall, BAM, Joyce Theater, Noguchi Museum, Whitney Museum, Guggenheim Museum, Columbia University’s Miller Theatre, The Metropolitan Museum of Art, Symphony Space, Stanford Live, UCLA’s Royce Hall, Virginia Tech, Newman Center at the University of Denver, Flynn Center, South Milwaukee Performing Arts Center, Montclair’s Peak Performances, and All Tomorrow’s Parties in the UK, among others. ACME can be heard on the New World Records and New Amsterdam Records labels.
ACME’s instrumentation is flexible, and includes some of New York’s most sought-after, engaging musicians. Core ACME members include violinists Caleb Burhans, Ben Russell, Caroline Shaw (winner of the 2013 Pulitzer Prize in Music), and Laura Lutzke; violists Nadia Sirota and Caitlin Lynch; cellist and artistic director Clarice Jensen; flutists Alex Sopp and Andrew Rehrig; pianist Timo Andres; and percussionist Chris Thompson.
photo credit: Ryuhei Shindo
Angélica Negrón & los Objetos Maravillosos
Composer and multi-instrumentalist Angélica Negrón was born in San Juan, Puerto Rico in 1981 and is currently based in Brooklyn, NY. Interested in creating intricate yet simple narratives that evoke intangible moments in time, she writes music for accordions, toys and electronics as well as chamber ensembles and orchestras. Her music has been described as “wistfully idiosyncratic and contemplative” (Q2) and “mesmerizing and affecting” (Feast of Music) while The New York Times noted her “capacity to surprise” and her “quirky approach to scoring”. She was recently selected by Q2 and NPR listeners as part of “The Mix: 100 Composers Under 40” and by Flavorpill as one of the “10 Young Female Composers You Should Know”.
Her music has been performed by TRANSIT Ensemble, Face the Music, Janus Trio, Iktus Percussion Quartet, Hotel Elefant, NYU Symphony Orchestra and the Puerto Rico Symphony Orchestra at various venues and festivals such as the Bang On A Can Marathon, Ecstatic Music Festival, Kennedy Center and Symphony Space. Negrón also has written music for documentaries, feature length films, theater and modern dance. She frequently collaborates with the experimental theater company from Puerto Rico Y No Había Luz writing music for their plays, which often incorporate puppets, masks and unusual objects. Other recent collaborations include So Percussion, Noveller, Sxip Shirey and toy pianist Phyllis Chen.
A long time member of the Puerto Rican indie music scene, Angélica is a founding member of the electro-acoustic pop outfit Balún and the ambient chamber ensemble Arturo en el Barco. Her new project “Angélica Negrón & los Objetos Maravillosos” is inspired by tiny objects collected over the years and explores electroacoustic soundscapes through unusual instruments and magical realism. In this new endeavour Negrón fully takes on the composer/performer role by bringing together her new music sensibility with her love for ambient pop.
Angélica Negrón official site
Angélica Negrón on soundcloud