prelude to the evening of a sloth

d=DThe Let X ≠ X Ensemble, about to play Oblique Colors of Discontinuity in Time, the prelude to a new work by the Sloth Ensemble. Left to right: Curt Seiss, valve trombone; Dani Seiss, flute; Erica Benay Fallin, flute; Jeff Kahan, oboe & cor anglais; Tom Wall, bass recorder; me, double bass. A program note on the piece can be found on the Statements & Other Writings page.

Photograph by Gary Rouzer.

it’s okay–we’re trained professionals…

15800203223_1fdbe8a804_hOn Saturday night 7 March Sonic Circuits hosts an evening of drones at Pyramid Atlantic. Two new compositions will be premiered–an electronic work for J.S. Adams‘s Sloth Ensemble, and my own Oblique Colors of Discontinuity in Time for the Let X ≠ X Ensemble, an acoustic ensemble of winds, brass and strings (Daniele Seiss and Erica Benay Fallin, flutes; Jeff Kahan, oboe and cor anglais; Curt Seiss, trombone; Tom Wall, bass recorder; myself on double bass). Una serata neo-futurista, curated by Chris Videll, and brought to you by the letter D.

 

intersections

Intersections DPGAn image from the Nancy Havlik Dance Performance Group’s set at the recent Intersections DC festival. Pictured standing are dancers Amanda Blythe and Hannah Whitley, with Ken Manheimer and Angela Schoepke on the floor. I keep discreetly in the background along with Dani Seiss on flute and the unseen Curt Seiss on percussion.

The group performed In Advance of Rotations/Inversions/Projections, a first take of a piece inspired by my recently rekindled interest in speculation about the fourth dimension among the Puteaux Cubist group.

Photograph by David N. Dowling