Here’s another review of Night Three of the Resonant Bodies Festival by Bruce Hodges of Seen & Heard International. My piece If only after you then me gets some words:
Later they emerged, as from corners of a boxing ring, for the stark, often angry If only after you then me by Amadeus Regucera, using a raw assemblage compiled from William S. Burroughs, Jean Genet, George Bataille, and Antonin Artaud. As the two musicians stood facing each other, in front of lamps that evoked a police interrogation, their outbursts bore the harshness of unresolvable pain.
You can read the whole review here.
So it’s been awhile and I’m going to try to be more diligent about these news updates.(Honestly, it’s easier to do it on Facebook but alas, many of my friends quit the site or never had a profile—this is for you, _____!) On September 11, a sobering date, I witnessed the premiere of my piece If only after you then me at Roulette in Brooklyn on Night 3 of the 2015 edition of the Resonant Bodies Festival. The performance was given by the fantastic and virtuosic Rachel Calloway and Ari Streisfeld, also known as Duo Cortona. This trip east also marks the VERY FIRST TIME I HAD BEEN TO NEW YORK CITY. Yes, it’s true; why? — because I’d never had the occasion or reason to go…until now. The performance was a high-intensity showcase which was received well (hoots! hollers!) by both the audience and the performers. I am truly grateful.
The piece was performed again on October 18 as part of the JACK Out-of-the-Box Marathon Concert at Merkel Hall in NYC as a part of the SONiC Festival. I was so stoked to find out that New Yorker critic Alex Ross even mentioned me by name (I got two whole sentences!!) in the New Yorker magazine:
On Oct. 18, the JACK Quartet, having performed Mincek’s piece, will host a six-hour marathon, which is likely to deliver a few transitional jolts. The lineup includes Amadeus Regucera’s “if only after you then me,” for voice and violin, whose text is compiled from writings by William S. Burroughs, Jean Genet, Georges Bataille, and Antonin Artaud, with instrumental savagery to match.
“…instrumental savagery to match!!!!” Swoon. As I write this, I smile out of disbelief and delirium (it’s been a long day…a story for another blog post). Thank you, Rachel and Ari for a fantastic opportunity and for your dedication and brilliance. Bravo, brava.
Soooo, it’s been awhile since I’ve posted anything in this space — and things have been super busy! This past June, I participated in a workshop for dance and music at the Hong Kong Modern Academy. Working closely with choreographer Elysa Wendi, I developed a short piece (performed by yours truly) called Schlachtfeld (a) in which I take some of my ideas about “fully-embodied music” (an intersection of movement, sound, and space) and flesh them out, so to speak. It was an intensely inspiring and perhaps provocative process and performance, which took place at the Goethe Institut, Hong Kong. I’ll post documentation of that experience on my Projects page soon!
This past spring I was announced as one of ten composer laureates for the first Festival Musica Academy (17 Sept – 3 Oct) in Strasbourg, France, led by my former mentor Philippe Manoury. I was given the opportunity to write a new piece for the Ensemble Linea to be workshopped and performed at the festival this coming September. Festival Musica is an international contemporary music festival that was founded in 1983 and “caters to a curious public, cultured and many, eager to get acquainted with contemporary artistic expressions in all their aesthetic and geographical diversity.” Needless to say, this will be an amazing opportunity and I can’t wait to participate in a few weeks. Also, the process of composing my piece – OPHELIA. Her heart is a clock. took over most of my summer and I can safely say that it is the most ambitious piece of instrumental music I’ve yet written.
Also, in two weeks, 11 September, the amazing vocalist Rachel Calloway and violinist Ari Streisfeld (of the JACK String Quartet) will premiere my piece If only after you then me (an expansion of my previous piece, litany) at the 2015 Resonant Bodies Festival in New York City, so if you’re in the area, hit up Roulette in Brooklyn on 11 Sept at 8pm to check out what promises to be a great concert — here’s the link: http://www.resonantbodiesfestival.org/2015-festival-calendar/
I’ve some more exciting new projects to announce for 2016, so watch this space (or whatever they say).
Until next time,
I mean, it’s like, you know, whatever, dude.
This is cool: on Friday (May 15), my string quartet obscured-distorted-redacted (2012) — premiered by the JACK String Quartet — was featured on Alex Ross’s awesome blog as “Soundcloud of the Day!” Totally rad! My friend and virtuoso percussionist Russell Greenberg — who plays as one of two “yarn(s)” and one of four in the crazy-good and outstandingly-far out ensemble Yarn/Wire — ping-ed me this morning to let me know
Have a listen!
As a part of Left Coast Chamber Ensemble‘s 22nd Season, flutist Stacey Pelinka and harpist Meredith Clark are premiering my new work Crave for bass flute and harp. The premiere performance was tonight at the Throckmorton Theater in Mill Valley and tomorrow (Dec 8), they’ll play it again at the David Gallagher Arts Pavillion in San Francisco (66 Page St). Then, a week from Monday on December 15th, they’ll play it once more as a part of the Berkeley New Music Project on the UC Berkeley campus at Hertz Hall. The info is below.
I’m so thrilled about this collaboration and I’m so excited to share this new work with you all. Hope to see you at one of the concerts!
Berkeley New Music Project/Eco Ensemble: Music by Berkeley Composers
UC BERKELEY DEPARTMENT OF MUSIC • Hertz Concert Hall Monday, December 15, 2014 8PM • Free admission
On November 7, 2014, I participated in the concert “Dalalæða: Music for Cellos and Electronics” along with pieces by Icelandic composers Úlfur Hansson and Georg K. Hilmarsson, all performed by Celli@Berkeley. (If you’re gonna listen to the Soundcloud link, please use headphones as the mix and the piece are *extremely* subtle and delicate: thanks!) The show was part of the final season of the L@TE: Friday Nights at BAM/PFA series at the current (awesome!) Berkeley Art Museum, a Brutalist wonder that is being shuttered because it’s seismically unfit.
The piece, for three cellos and live electronics along, was performed by cellists Mosa Tsay, Lukas Whaley-Mayda, and Kane Suga and my genius-collaborator Daniel Cullen (who controlled the live electronics in six channels via iPad) and transformed the simple score into a lush soundworld of harmonics, glitch-distortion, cathedral-reverb, and feedback. Within the resonant space of the concrete museum, the music went up and out.
I was and am deeply inspired by the abstract painting of the mid-late Twentieth century and the possibilities for human expression that they conveyed and continue to strive for whenever we experience them. For me, the project solidified in my mind on the day of my 30th birthday this past September. I had just returned from a summer in Europe, participating in music festivals and visiting friends in Iceland, Switzerland, and Germany. The piece had been commissioned by my friend, painter John Zurier, but I had not sat down with my ideas, instead allowing them to simmer while I hiked over glaciers in þórsmörk, Iceland or gallivanted through the ecstatic streets of Berlin.
Already in a strange time of transition as I prepare to leave the academy and graduate in May 2015, I turned 30 on September 7. That morning, on my way to lunch with my parents, I received the news that my close friend Melanie Lewis had passed away after an eight-year battle with cancer. Not knowing what to do with myself, I spent the next few hours with Barnett Newman’s series of paintings The Stations of the Cross at the DeYoung Museum in San Francisco. It was in these moments of shock and contemplation that Open finally took shape. I’ll miss Melanie a lot. Her voice will always be with me, encouraging me, comforting me, especially in moments of doubt and self-pity. Some of her thoughts and poetry can be found here.
My love for the paintings of Newman and Rothko is pretty outrageous. In an effort to articulate my ideas about the impact of the paintings, I’m writing a sprawling study on the relationship between Newman’s conception of scale and the music of Morton Feldman. There is A LOT there. I’ll post the paper as soon as I finish and get the edits in. Any input would be great! Anyways, as far as OPEN is concerned, I had a lot of fun writing it, rehearsing it, and putting together the concert with Celli, Úlfur, Georg, and John Zurier. You can check out their work below.
While I gather my thoughts about Darmstadt, edition 2014, I’ll just leave this here. This is Christine Schörkhuber’s video documentation of the “Composition Beyond Music” workshop led by Peter Ablinger at the 2013 Impuls Academy in Graz, Austria. I’ve posted about it below and I *still* haven’t collated all my documentation on it, so for now, this is all I’ve got. Stay tuned.
It’s been a couple of months since I’ve updated this space with happenings, so here goes:
Saturday, March 8th 2014//The Night Light//Oakland, CA// 9p-ish//$7//with Dead Meat and Station & the Monster
Thursday, April 3rd 2014//The Make-out Room//San Francisco, CA//7:30p-ish//Details TBA
The Eco Ensemble premieres of Push (2) for female voice, (bass) flute, (bass) clarinet, violin, viola, cello, and double bass (hear my composition Push (1) here)
Monday, May 12th 2014//Hertz Hall, UC Berkeley Department of Music//Berkeley, CA//8p//Details TBA
UC Berkeley Symphony Orchestra (I serve on the staff as Manager)
Gershwin, An American in Paris & Shostakovich, Symphony No. 10//Friday & Saturday, March 14th-15th 2014//Hertz Hall, UC Berkeley Department of Music//Berkeley, CA//8p//$5 (Cal student) -$12 (student/senior)-$16 (general)
Mahler, Symphony No. 2 “Resurrection” w. University Chorus//Friday & Saturday, March 14th-15th 2014//Hertz Hall, UC Berkeley Department of Music//Berkeley, CA//8p//$12 (Cal student) -$15 (student/senior)-$20 (general)
Eco Ensemble (Concert No. 2) – Bird Concerto with Pianosong, Mouthpiece Segment of the 4th Letter, Multiplication Virtuelle
Cal Performances presents: Eco Ensemble performs Erin Gee, Mei-Fang Lin, Jonathan Harvey//Saturday, April 12th 2014//Hertz Hall, UC Berkeley Department of Music//Berkeley, CA//8p//$10 (student) -$20 (senior)-$30 (general)
This year, I’d like to make blogging and online communication a more regular thing if only to have a place for my mind, both personal and creative, to wander/settle/muse. I’m currently researching the intersections between Feldman’s music and the “painterly” world with which he regularly interacted. I know this is nothing new but I’d like to explore his ideas concerning duration and surface vis à vis scale and flatness in painting.
In the meantime, “Happy New Year” — here’s my favorite Feldman piece.