tags: Carol McGonnell

INTERVAL 5.3 Beaubourg to Brooklyn: Electro-Acoustic Music from Paris

Friday, February 10th, 2012

I’m thrilled to be curating the next installment of the MATA Festival’s INTERVAL series, on March 8th at the new Issue Project Room in Downtown Brooklyn. Titled Beaubourg to Brooklyn: Electro-Acoustic Music from Paris, the concert features six works for solo instrument and live electronics by six young composers from four continents, all of whom crossed paths while working in Paris. For me, it is a real pleasure to be able to share with a New York audience some of the most exciting work by colleagues that I discovered while living in France for six years. Combined with three top-notch new music interpreters, the stellar facilities of the new Issue Project Room space, and the support and visibility offered by MATA, all the ingredients for a memorable evening are in place.

The three featured soloists are virtuouso players, renowned for their interpretations of contemporary repertoire: clarinetist Carol McGonnell, saxophonist Ryan Muncy, and accordionist Bill Schimmel. These players will interact with live electronics in real time, with the computer sending transformed sounds and samples to a spatialized speaker setup—four speakers in the corners of Issue Project Room’s stellar new venue—so that the sound literally envelops the audience.

Australian composer Paul Clift’s Boundary Markers journeys inside the timbre of a bass clarinet. Andrea Agostini from Bologna, Italy encircles a solo baritone sax with a massive canvas of shifting textures in Gli atorni che s’accendevano e radiavano. From Colombia, Juan Camilo Hernandez Sanchez experiments with live transformation of intricate extended techniques for saxophone in Introspecciones Móviles. Irish composer Ann Cleare‘s I am not a clockmaker either is a frenzied, kinetic pastiche for accordion and recorded sounds. New York native Aaron Einbond explores the rich but unstable low multiphonics of a bass clarinet in Temper, while my piece Recession creates a mobile and kaleidoscopic world of changing colors from retuned and spatialized accordion samples.


Christopher Trapani is the curator of MATA’s INTERVAL 5.3