tags: Sam Pluta

Neither Land, Nor Sea, Nor Air

Friday, April 15th, 2016

Co-Presented by Dixon Place

MATA’s penultimate concert reimagines tradition and genre, pointing the way toward new musical taxonomies. Sabina Ahn’s alchemical Breath morphs the body’s energy into light and sound. In the same vein, Nicolai Worsaae’s Upon your body I’m crawling exhausts its performer (the legendary William Schimmel) as it engages with folk and modern conventions in a breathless one-man accordion-harmonica duet. Traditional instruments are transformed with rippling figurations and angular melody in Ukrainian composer Maxim Kolomiiets’ oboe-accordion duet Re-Pulse, and similarly in Qian Zhou’s serene Qu Shui Ming Yun for qin and electronics. Mátyás Wettl’s Unusual, a song for guitar, voice, and electronics, proposes a new avant-indie sound, while Germán Alonso’s Time In & Out is an extended riff for bass clarinet and electronics, paying homage to jazz icon Eric Dolphy.

Stuart Breczinski, oboe; Eliza Bagg, voice; Carlos Cordeiro, bass clarinet; Dan Lippel, guitar; Sam Pluta, live electronics; William Schimmel, accordion; Zhou Yi, qin

8PM at Dixon Place, 161A Chrystie Street, NYC
$25 / $20 Students

Tickets available through Dixon Place

Maxim Kolomiiets (Ukraine): Re-Pulse (2012), AP
Nicolai Worsaae (Denmark): Upon your body I’m crawling (2012)
Zhou Qian (China): Qu Shui Ming Yun (2016 Qin Version) (2011/16), WP
Sabina Ahn (South Korea): Breath (2015), AP
Mátyás Wettl (Hungary): Unusual (2014), AP
Germán Alonso (Spain): Time In & Out (2013), AP

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

Opening Night GALA at Paula Cooper Gallery

Monday, April 13th, 2015

paulacooper-300x223

7PM

At Paula Cooper Gallery
534 West 21st Street
(between 10th and 11th Avenues)

Composers and performers have flown in from around the world for the 2015 MATA Festival. Meet them and have a preview of the festival’s offerings in an intimate and ultra-chic gathering featuring wine and music. Performances by the Momenta Quartet, Curious Chamber Players and Sam Pluta.

Tomás Luis de Victoria: Quam pulchri sunt gressus tui (1572 )
Simon Steen Anderson: Inside-out-side-in ( 2001)
Rei Munakata: Sasaki-san’s Last Sword (2007)
Sam Pluta: Improvisation (2015)

Tickets available Here.

Sam Pluta

Friday, February 27th, 2015

SamPluta

Sam Pluta is a New York City-based composer, improviser, and sound artist. As a composer, he has been commissioned and premiered by Mantra Percussion, ICE, Mivos Quartet, Yarn/Wire, Timetable Percussion, RIOT Trio, Dave Eggar, and Prism Saxophone Quartet. He is Technical Director for Wet Ink Ensemble, a new music group dedicated to promoting music by young composers. Known internationally for his laptop performances with groups like Rocket Science, Wet Ink Ensemble, and The Peter Evans Quintet, he has performed as a laptop soloist and chamber musician at the Lucerne Festival, the Donaueschingen Festival, the Moers Festival, Bimhaus, Porgy and Bess, and the Vortex, amongst other international concert venues and festivals. He was recently ranked as the top electronics performer in the El Intruso international poll of jazz critics. A devoted pedagogue, he teaches electronic music, history, and theory at Manhattan School of Music, has taught at the Computer Music Center at Columbia University, and is Academic Dean and Director of Electronic Music at the Walden School, a summer music program for creative musicians. Sam’s music is released on quiet design and Carrier Records, a record label he runs with Jeff Snyder and David Franzson, and his performances can also be found on More Is More, Tzadik, and hat[now]ART. Sam holds a Doctorate in Music Composition from Columbia University and additional degrees from UT Austin, the University of Birmingham (UK), and Santa Clara University. Sam has received recent fellowships and commissions from the MacDowell Colony and the Fromm Foundation.