tags: Daniel Wohl

Of Circles and Motions of the Others

Monday, April 21st, 2014


Image by Alexander Perrelli

The 2014 MATA Festival concludes with a not-to-be missed evening that pairs the “excellent and enterprising” MIVOS Quartet with the “superhuman” Mantra Percussion in an evening of circles, seasons, and revolutions. Lisa Streich of Sweden begins the night with Play Time, her tribute to Jacques Tati in which three percussionists explore the resonant properties of a bicycle by beating, scraping and plucking it. Ansgar Beste’s Pelerinage Fantastique is a journey to the center of the prepared string quartet. MATA’s own outgoing Artistic Director Yotam Haber’s Torus, inspired by the sculpture of Richard Serra, is a study in the monumentality of forms; while Daniel Wohl’s Progression puts its faith in mechanics. From China, comes Ke Xu’s Tai Chi a gestural study in stillness, motion and entropy. Paula Matthusen’s The Days are Nouns, a setting of the Norwegian Table Prayer, sung by Jamie Jordan, channels our focus to the passage of time and the succoring power of each day.

Lisa Streich:  Playtime (2012)
Daniel Wohl:  Progression (2013)
Yotam Haber: Torus (2012)
Ansgar Beste: Pelerinage Fantastique (2012)
Paula Matthusen: The Days are Nouns (2013)
Ke Xu: Tai Chi (2013)


Monday, April 21, 2014
The Kitchen
512 West 19th St.

$20 adults / $15 students
Tickets available at: www.thekitchen.org

Festival Wrap-Up, Guest Blogger Daniel Wohl

Wednesday, June 2nd, 2010

As part of our 2010 MATA Festival Wrap-up, we’ve invited composers, performers, and others involved in the production of the Festival to write a few words about their experience.  First up is composer Daniel Wohl, who’s piece Glitch was heard on April 20th, performed by the Calder Quartet.


MATA’s 2010 presentation of an assortment of new music by young composers from around the world didn’t feel constrained by stylistic agendas. What struck me the most at the Festival was the healthy diversity of sound worlds I experienced. I was one of the composers featured on the Calder Quartet bill – and leaving myself out of it – I thought that night was a very strong and thoughtful performance of some very interesting pieces. I had heard Fabian Svenson’s  ” Singing and Dancing” in L.A last September, part of the Carlsbad Festival’s satellite concert, and I was excited to be able to hear it again. I love the unabashed, drop dead gorgeous first movement, and the goofy energy of the second. Nathan Davis’s new piece, commissioned by MATA, was a total success for me. The texture he created with his use of harmonics in perpetual motion was enveloping and worked particularly well in the space, especially as he had the quartet use amplification on top of being miked from above. Calder performed beautifully on Lisa Coon’s carefully sculpted string quartet, really enhancing it’s contours. Some people noted the similarities in the music they heard that night: a friend of mine came up to me later and said that we were all very much into “scratchy sounds”.

Other highlights for me were Tristan Perich’s piece for three toy pianos and 1-bit electronics. This is a piece I’ve heard several times now, yet it remains entrancing and entertaining each time I hear it.  I thought Ensemble Pamplemousse’s set the same day was very refreshing. They were playing some very tricky music that consisted almost entirely of sculpted noise, and I was really struck by how precise and convincing they’re performance was. That kind of music is very difficult to pull off unless you have an incredible grasp of extended technique and a strong sense of the piece as a whole. As usual Lisa Moore’s playing was fun to watch. The last piece on her program, Paul Swartzel’s “Honky Tonk Toccata” really demonstrated her incredible command of the instrument. It was good to see all these (and many more) skillful performers be advocates for young composers!

To me, the festival did a very solid job of presenting an sample of what young composers are up to these days – and I have to say I’m excited and inspired by what I’m hearing. There’s beautiful and interesting music being made by a new generation of talent. Their pieces often defy categorization and sometimes push boundaries, but never sacrifice their relationship to the audience.

Calder Quartet

Tuesday, April 20th, 2010

Tuesday, April 20
LPR Main Space


Calder Quartet

Nathan DavisSkrzyp Skrzyn [2010] (World Premiere)
2010 MATA Festival Commission
Co-Commissioned by the Carlsbad Music Festival

Fabian Svensson
Singing and Dancing [2008]
Lisa CoonsCythére (a trauma ballet in two parts) [2010] (World Premiere)
Daniel WohlGlitch [2009]

The Los Angeles-based Calder String Quartet presents a full-evening of World and New York premieres. Composers include NYC-based composer Lisa Coons’ Cythère (a trauma ballet in two parts), Swede Fabian Svensson’s puckishly-titled Singing and Dancing (written for and premiered by the Calders), Daniel Wohl’s textural study Glitch (also written for the group), and a world premiere by rising New York composer Nathan Davis, co-commissioned by MATA and Carlsbad Music Festival

MATA Sound Works

LPR Gallery Bar

MATA continues its annual presentation of sound works with daily presentations of multi-channel in Le Poisson Rouge’s Gallery Bar. Works by 2010 Commissionee Matthew Wright, MATA AD Christopher McIntyre, Antye Greie (aka AGF), and Bjørn Erik Haugen.

Daniel Wohl

Wednesday, April 7th, 2010

Glitch [2009]
Performed by the Calder Quartet, April 20

Daniel Wohl is a Paris-born composer who writes for a variety of instruments that range from computers and slide whistles to orchestras, chamber ensembles and string quartets. He has been commissioned and worked with artists such as Vicki Ray, Eighth Blackbird, the California E.A.R Unit, Calder Quartet, TRANSIT, NY Youth Symphony, Dither, Mantra, Da Capo, St Luke’s Chamber Ensemble, as well as the American Symphony Orchestra amongst others, and his music has been heard at venues such as Carnegie Hall, Symphony Space, Disney Hall’s Redcat, Chelsea Art Museum, Mass MoCA, the Dia Beacon, and on PBS. Upcoming projects include a large scale work for TRANSIT commissioned by Meet the Composer, a piece for 4 electric guitars and 4 percussionists commissioned by the Dither and Mantra quartets, and a multi-media instrumental song cycle commissioned by the Jerome Foundation. Daniel currently lives in Brooklyn, and teaches courses in composition and theory at Sarah Lawrence College.


PLAY! Music for Toys – Angélica Negrón, curator

Wednesday, March 18th, 2009

Interval 2.4
PLAY! Music for Toys
Curated by Angélica Negrón

March 18, 2009 8pm

ISSUE Project Room
At the Old American Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215

Nathan Davis – Simple Songs of Birth of Delight
performed by Douglas Perins, mbira and processing

John Kennedy – The Winged Energy of Delight
performed by Margaret Leng Tan, toy piano, toy cymbals, sand blocks

Erik Griswold – Two movements from Old MacDonald’s Yellow Submarine: Chooks and Bicycle Lee Hooker
performed by Margaret Lend Tan, toy piano, woodblocks, bicycle bell, bicycle horn, train whistle

Angélica NegrónWhat I’m Trying to Say Is…
performed by TRANSIT

Tristan Perichqsqsqsqsqqqqqqqqq
performed by Lorna Krier, Amir Khosrowpour, Tristan Perich – toy pianos

Judy Dunaway – Piece for Tenor Balloon and Voice
performed by Judy Dunaway and Jennifer Walshe

Daniel Wohl – Suite Primaire
performed by TRANSIT, with special guest Domenica Fossati