category: MATA Festival Event

Storefront Sound Installation

Saturday, April 18th, 2015

DoronSadja-installation-03

Tuesday, April 14 – Saturday, April 18, 11am to 7pm each day

Chashama 266W 37th St

“Closer Before We Touch” is an animatronic sound sculpture exploring the interplay between physical and simulated spatialization. Consisting of a motor driven set of speakers thrusting in and out towards the storefront gallery window, the work alternates between waves of noise and difference tones: beating, panning, and clustering around each other. The continuous movement of sound – at once both dizzying and mesmerizing – creates a disorienting space where sonic materiality flows in and out of ambiguity and the perception of depth exists in an intangible position between the real and the simulated.

Incomparable Contrivances

Saturday, April 18th, 2015

Photo by Beowulf Sheehan

MATA closes its festival with Talea Ensemble in an evening of percussion-rich works that explore technology, machines, and resonances. Dan VanHassel’s Ghost in the Machine, gives voice to the natural by dismantling the apparatus of logic and allowing percussion to sound without performers. Irish composer Ann Cleare’s new MATA-Commissioned percussion mini-concerto, explores the resonant qualities of a handmade sculpture. Monoliths are made audible in the sonic walls of Sam Pluta’s three-percussion concerto in binary: Machine Language, and curves sound in Davor-Branimir Vincze’s shape-shifting Inflection Point with its surprising midpoint. From Israel comes Ofir Klemperer’s A Love Song: a punk-inspired challenge to the limitations of instrumental sound. Finally, Matthias Kranebitter’s packthebox(withfivedozenofmyliquorjugs) attempts to make a pangram audible.

Dan VanHassel (USA): Ghost in the Machine (2013), NYP
Davor Branimir Vincze (Croatia): Inflection Point (2011-13), AP
Matthias Kranebitter (Austria): packthebox(withfivedozenofmyliquorjugs) (2013), NYP
Ofir Klemperer (Israel): A Love Song (2007) AP
Ann Cleare (Ireland): TBD (2015), WP – Festival Commission

Incomparable Contrivances

Saturday, April 18th, 2015

Photo by Beowulf Sheehan

MATA closes its festival with Talea Ensemble in an evening of percussion-rich works that explore technology, machines, and resonances. Dan VanHassel’s Ghost in the Machine, gives voice to the natural by dismantling the apparatus of logic and allowing percussion to sound without performers. Irish composer Ann Cleare’s new MATA-Commissioned percussion mini-concerto, explores the resonant qualities of a handmade sculpture. Monoliths are made audible in the sonic walls of Sam Pluta’s three-percussion concerto in binary: Machine Language, and curves sound in Davor Branimir Vincze’s shape-shifting Inflection Point with its surprising midpoint. From Israel comes Ofir Klemperer’s A Love Song: a punk-inspired challenge to the limitations of instrumental sound. Finally, Matthias Kranebitter’s packthebox(withfivedozenofmyliquorjugs) attempts to make a pangram audible.

Dan VanHassel (USA): Ghost in the Machine (2013), NYP
Sam Pluta (USA): Machine Language (2012)
Davor Branimir Vincze (Croatia): Inflection Point (2011-13), AP
Matthias Kranebitter (Austria): packthebox(withfivedozenofmyliquorjugs) (2013), NYP
Ofir Klemperer (Israel): A Love Song (2007) AP
Ann Cleare (Ireland): TBD (2015), WP – Festival Commission

Tickets Available Here

Bearthoven Buckshot

Friday, April 17th, 2015

Night4-Bearthoven

The eccentrically-named trio of piano, percussion, and bass known as Bearthoven takes the stage with a widely-varied program of new music that challenges the notion that the instrumentation makes the music. The evening begins with the flourescences and electronics of Jonathan Nangle’s lambent untitled (after Dan Flavin) and continues with the improvisational talents of Amanda Schoof as she joins Bearthoven for her graphic score, Intimate Addictions. David Alan Broome’s atomistic Ominousty scatters glitches from Billy Joel’s “Honesty” into millions of pieces, while Fjóla Evans’s Shoaling rumbles in murmuring and growing streams. MATA’s own Du Yun performs a new work with bass, and the evening concludes with the UK’s Adam de la Cour’s MATA-commissioned Corporate Talent Factor’s Next Top Idol! a talent competition, the likes of which has never been seen on these shores.

Amanda Schoofs (USA): Intimate Addictions (2014), NYP
Fjóla Evans (Canada/ Iceland): Shoaling (2014)
David Alan Broome (USA): Ominousty (2014)
Jonathan Nangle (UK): untitled (after Dan Flavin) (2013), AP
Du Yun (China/USA): The Man Who Swallowed A Snake (2015), WP
Adam de la Cour (UK): Corporate Talent Factor’s Next Top Idol! (2015), WP – Festival Commission

Tickets Available Here

Unreasonable Visions

Thursday, April 16th, 2015

Screen Shot 2015-02-23 at 2.03.29 PMThe Momenta Quartet joins with friends for a fascinating evening of games, visions, and sublimities. From Teheran comes Idin Samimi Mofakham’s transcendent Mirage, a slowly unfolding apparition for percussion and trio, while Eric Nathan’s vision for the quartet is heard in the compelling Four to One. Impossibilities are ever-present in Michalis Paraskakis’s Not Yet II, in which a clarinet’s subtle microtonal bendings, blendings, and bleatings challenge the quartet. Oboe and percussion join the fray for Daniel Moreira’s Das Nein-Doch Spiel: a persuasive take on the unwinnable children’s game of yes and no. While Guy Barash’s ambitious String Quartet poses its own challenges. The evening closes with a new work from MATA’s own Alex Weiser.

Michalis Paraskakis (Greece): Not Yet II (2012-14), WP
Daniel Moreira (Brazil): Das Nein-Doch Spiel (2011, rev. 2012), AP
Guy Barash (Israel / USA): String Quartet No. 1 “Wrong Ocean” (2012)
Alex Weiser (USA): New Work for Clarinet and String Quartet (2015), WP
Eric Nathan (USA): Four To One (2011)
Idin Samimi Mofakham (Iran): Mirage (2012)  

Tickets Available Here