“We are a three-legged table.” This is the descriptor for Pater Familias, a project for the deconstruction of the Bach Toccata and Fugue in D Minor for simulated pipe organ (James L. Roth, pictured above), prepared turntables (J.S. Adams and Doug Poplin), and double bass. It was just one part of an eclectic evening of sound, film and intermedia works elegantly curated by J.S. Adams for Sonic Circuits, at Pyramid Atlantic this past Saturday night.
Photograph by Chris Videll.
The 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.
On 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.
On 7 March Sonic Circuits will host an evening of drones, featuring a new work by J. S. Adams employing a score based on a poem by F. T. Marinetti. My own Let X ≠ X Ensemble will provide a klangfarbenmelodie prelude to Jim’s piece. Jim describes the work in Bourgeon.
The Stylus/BLK Arkestra’s realization of J.S. Adams‘ graphic score To Satisfy Their Cruel Hunger, performed at the 2014 Sonic Circuits Festival of Experimental Music, can now be heard in its entirety on Soundcloud.