tags: Ryan Muncy

Where Seagulls Scream and Breakers Roar

Saturday, April 16th, 2016

Co-Presented by Dixon Place

Ensemble neoN returns to close the 2016 MATA Festival, alongside the Rhythm Method Quartet and other festival friends, in an evening of contradictions, games, and improvisation. Lula Romero’s present/absent is reminiscent of free improvisation despite its complex notation, while Helen Papaioannou’s Splinter (a MATA Commission) enfolds games and improvisations within a fixed form. José Manuel Serrano’s Rosa de Paracelso is a game of texture, wherein the bass flute is veiled by an accompanying quartet. Through the use of text prompts, Edgar Guzmán’s After tomorrow and Ophir Ilzetzki’s Spotlight exist at the intersection of improvisation and fixed notation; musics that are at once stable and mobile. Concluding the festival is Emma O’Halloran’s Cages, an embrace of the joy of composing with text from the writings of John Cage.

Ensemble neoN, Rhythm Method Quartet, Ryan Muncy, and others
8PM at Dixon Place, 161A Chrystie Street, NYC
$25 / $20 Students

Tickets available through Dixon Place

Emma O’Halloran (Ireland): Cages (2013), AP
Lula Romero (Spain / Germany): present / absent (2011), AP
Helen Papaioannou (UK): Splinter (2016), WP – Festival Commission
Ophir Ilzetzki (Israel): Spotlight (2013), AP
José Manuel Serrano (Argentina): Rosa de Paracelso (2014), AP
Edgar Guzmán (Mexico): After tomorrow (2011)
Therese Birkelund Ulvo (Norway): Silent Song (2008)

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