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4
(2010-11)
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1
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Darkmatter: Orbit
A KcEMA Sponsored Event
Arvin Gottlieb Planetarium at Union Station
May 6 at 7PM and 9PM
May 7 at 5PM and 7PM
Admission $15
To Purchase Tickets: By Phone: (816)460-2020
Online: http://www.unionstation.org
Look Up.
Critically acclaimed performances fuse cutting-edge technology and exceptional musical artistry at Union Station's Arvin Gottlieb Planetarium.
Dark Matter returns to Union Station's Arvin Gottlieb Planetarium with Orbit.
Hailed by KC Metropolis as a "successful, fun mix of art and science"
and by the Kansas City Star as "interesting, relaxing, stimulating and
refreshing," Dark Matter is a collaboration of composers, performers,
and scientists. It fuses cutting-edge technology with exceptional
musical artistry. The result is an art form that blurs the
boundaries among performance, education, and composition.
Experience the beauty of the cosmos with an incredible journey into space. Astronomer Bob Riddle
will guide you through the solar system and beyond while original
electro-acoustic music gives you the feeling of weightlessness.
Composers Daniel Eichenbaum and Richard Johnson collaborate with performers Rebecca Ashe and Cheryl Melfi
to create live music under the Gottlieb Planetarium's sixty-foot
dome. Presented in full-screen projection with surround-sound,
Dark Matter is an audio-visual treat audiences won't soon forget.
Orbit is an entirely original production created by the members of Dark
Matter and is suitable for all audiences. Dark Matter is
sponsored by the Kansas City Electronic Music & Arts Alliance (http://www.kcema.net), newEar (http://www.newear.org), the Fishtank Performance Studio (http://www.fishtanktheater.com), and MakeKC (http://makekc.org).
Tickets are $15 and available from the Union Station box office
by calling (816)460-2020 or online through the Union Station website
(http://www.unionstation.org).
Only four performances are scheduled at the Gottlieb Planetarium:
Friday, May 6 at 7PM and 9PM and Saturday, May 7 at 5PM and 7PM.
Seating is limited so tickets should be ordered in advance.
For more information, please contact Daniel Eichenbaum, Curator of Dark
Matter, at (816)753-4199 or email him at info@darkmatterkc.com.
Additional information, video clips, and reviews can also be found on
the Dark Matter website (http://www.darkmatterkc.com).
Dark Matter
seeks to inspire and educate its audiences. Through music, visual
projection, and interactive lecture/discussion, Dark Matter addresses
the interrelationships between science and the arts along with the
impact of technology on society. This inter-disciplinary approach helps
audiences understand the passion of science and the logic of art. The
goal is to show how science and the arts function together in a
mutually beneficial relationship.
In the planetarium, the seats recline to allow the audience a view of
the overhead dome. The audience looks neither down nor out as in a
traditional theater. Instead, they look up to see panoramas of the
night sky. Looking upward is an inherently optimistic vantage point and
Dark Matter uses that view to show how incredible our world is. There
is a world of possibilities out there and Dark Matter encourages its
audience to Look Up.
The Kansas City Electronic Music and Arts Alliance (KcEMA)
was founded in 2007 to encourage and develop understanding and
appreciation of electronic music and to create an expansive sense of
community for electronic musicians and other artists in the Kansas City
Area. KcEMA organizes concerts of electronic music and collaborative
projects with generative and performing artists. KcEMA provides a
forum for electronic musicians and artists in other media to
collaborate, exchange ideas, and grow as an interactive, supportive
community.
______________________________
Unity
KcEMA
presents a concert of electroacoustic music and video featuring Kansas
City pianist Kari Johnson and percussionist Robert Burke.
Saturday, April 16, 2011
Doors open at 7:00 PM, Concert begins at 7:30 PM
$10, $5 Students
Unity Temple on the Plaza
707 West 47th Street, KCMO
www.unitytemple.com
www.kcema.net
The
Kansas City Electronic Music and Arts Alliance closes its fourth season
at Unity Temple on the Plaza with a concert for live performance,
video, and electronic audio. Kari Johnson (piano) and Robert Burke
(percussion) share the spotlight, performing works that draw their
inspirations from a wide range: from the ethereal beauty of divinity to
the cataclysmic violence of prophecy and nature. Ms. Johnson last
performed with KcEMA on last season’s “Quadrivium Novum,” also at Unity
Temple.
Scott Blasco’s Queen of Heaven, composed for Ms. Johnson, consists of
five movements, each conceived as an icon, concerning itself with a
single idea, turning it over and over, meditating on it from different
angles. Queen of Heaven is dedicated to the Blessed Virgin Mary, “a
source of comfort and inspiration to Christians from the earliest years
of their history,” in the composer’s words. Christopher Biggs’s The
Ends of Histories for piano, digital video, and audio presents sonic
and visual materials meant to represent various historical and
contemporary ideas regarding how history ends, including religious
prophecy, socio‐political upheavel, and scientific images of mass
extinction. Ms. Johnson’s portion of the concert is rounded out by
Jeff Harriot’s Velvet Sink, a piece that explores the possibilities of
the piano, through both extended performance techniques and the
use of digital audio.
Peter V. Swendsen’s Nothing is no there and the nothing that is for
bass drum and electronics draws it inspiration from that at‐times
violent forces of wind and weather. The composer writes, “the wind and
weather are themselves the instigators, the sculptors of an ephemeral
topography of sound, texture, and sensation,” that is reflected in
portions of the work. And, finally, in Liquid Bars, composer João
Pedro Oliveira paints sonic images that are physically impossible using
the medium of digital audio: a marimba that changes its form under the
influence of the mallets that strike it, a performer that divides
himself in half and further, to create increasingly complex polyphonies
and polyrhythms.
Unity is supported in part by a grant from the Martha Lee Cain Tranby Music Enrichment Fund.
Kari Johnson is a doctoral student at the University of
Missouri-Kansas City where she studies with John McIntyre. She holds
bachelors degrees in Piano Performance and Piano Pedagogy from the
University of Central Missouri, a master’s degree in Piano Performance
from Bowling Green State University, and a master’s degree in Piano
Pedagogy from the University of Illinois Urbana-Champaign. Ms. Johnson
has won or placed in competitions throughout the Midwest, including the
MTNA Steinway Young Artist Competitions in Missouri and Illinois and
the Venetia Hall Concerto Competition. She is an active performer of
new music and chamber music. Ms. Johnson’s recent performances include
collaborative concerts at the University of Central Missouri and
Pittsburg State University, UMKC’s “Carter and Messiaen at 100”
festival, the CMS Great Plains Chapter 2009 Regional Conference, and
SEAMUS 2010. In the coming year she will perform at EMM, the Electro
Acoustic Juke Joint, SEAMUS 2011, and the Thailand International
Composition Festival. As a teacher Ms. Johnson has been on the
faculty of the Conservatory of Central Illinois, and currently teaches
at the UMKC Community Music and Dance Academy, and Avila University.
She has received several awards for her teaching, including the 2009
Muriel McBrien Kauffmann Graduate Assistant Award at UMKC. Her former
teachers include Dr. Mia Hynes, Dr. Robert Satterlee, Dr. Cynthia
Benson, Dr. Timothy Ehlen, Dr. Reid Alexander, and Dr. Diane Petrella.
Robert Burke has enjoyed an
eclectic carrier performing, studying and teaching throughout Canada,
The United States, Japan and Europe. He is originally from Alberta,
Canada although for the last decade has hailed New Orleans as home. A
strong advocate of new music, Mr. Burke has commissioned and performed
countless solo percussion works in recital and held member ship in New
Works Calgary, Syncronia (St. Louis) and Conundrum New Music Ensemble.
He has also been a regular member of the Edmonton Symphony Orchestra,
The Calgary Philharmonic and The Louisianna Philharmonic. As a drumset
player, Mr. Burke has performed and toured with a remarkable number of
New Orleans recording artists in clubs and festivals throughout the
United States and Europe. Artists include Brian Lee, Johnny Sansone,
Preston Hubbard, Frankie Ford, Cyril Neville, Allen Toussaint, Irma
Thomas, Peter Nero, Marvin Hamlish and Robert Goulet to name a few.
Robert Burke holds degrees from University of Alberta, the University
of Calgary and is currently completing his DMA at the University of
Missouri – Kansas City. He has studied with Keiko Abe in Tokyo Japan,
Leigh Stevens, Ken Watson of MGM Studios, Jerry Steinholtz (Dianna
Ross) and the late Forrest Clark, past principal of LA Philharmonic.
His world music studies include Berimbau, Riq, Tabla, Djembe and Bendir
and percussion of the Cuban and Brazilian tradition. Mr. Burke Has
been on faculty at the University of Calgary, Mount Royal College, the
University of Missouri - Columbia and Central Methodist College. He
currently lives in Kansas City with his wife and one year old daughter.
The Kansas City Electronic Music and Arts Alliance (KcEMA)
was founded in 2007 to encourage and develop understanding and
appreciation of electronic music and to create an expansive sense of
community for electronic musicians and other artists in the Kansas City
Area. KcEMA organizes concerts of electronic music and collaborative
projects with generative and performing artists. KcEMA provides a
forum for electronic musicians and artists in other media to
collaborate, exchange ideas, and grow as an interactive, supportive
community.
______________________________
Ballads
KcEMA Presents A Recital of Music for Voice and Digital Audio
Featuring Bonnie Lander, coloratura soprano
Monday, March 14, 2011
Doors open at 7:30 PM, Concert begins at 8:00 PM
$10, $5 Students
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO | 816.221.5115
www.charlottestreet.org
www.kcema.net
Program:
They Wash Their Ambassadors in Citrus and Fennel- Jonathan Christopher Nelson
It was Raining- John Chittum
Vocalise- McGregor Boyle *World Premier
Animus/Anima- Matthew Burtner
Aphorisms on Futurism - Andrew Seager Cole
Bonnie Lander is
a coloratura soprano based out of Philadelphia, PA. Classically
trained, Bonnie performs a wide range of contemporary music in a wide
variety of spaces. Most recently, she performed with the Philadelphia
Chamber Music Society under the baton of Leon Fleisher and as a
participant in the Yellow Barn Kurtág Residency studying with soprano
Susan Narucki, who affectionately termed her "the Janis Joplin of
modern music". Bonnie recently completed her Artist In Residence at
the <fidget> space, which concluded with a solo concert of new
works for voice. Bonnie is a founding member of chamber opera company
"Rhymes With Opera," and a featured artist with the "Embody" vocal arts
series in Baltimore. She has performed experimental improvisation with
amazing musicians Mike Formanek, David Smooke, Shodekeh, Kate Porter,
and Peter Price. In 2010 Bonnie co-created the experimental quintet Q-1
which is featured regularly throughout the Philadelphia area in all of
its various formations.
Bonnie holds a BM in Voice Performance from the University of
Miami Frost School of Music in the studio of Esther-Jane Hardenbergh;
MM in Voice Performance at the Peabody Institute in the studio of
Phyllis Bryn-Julson; two GPDs in Voice and Computer Music studying with
Dr. McGregor Boyle. She is the only person to have twice received the
Phyllis Bryn-Julson Award for the Commitment to and Performance of
20th/21st Century Music. More information is avalible at
http://bonnielander.com
______________________________
Back to the Source Code
A Kansas City Homecoming Recital of Music for Double Bass and Digital Audio
Featuring Jeremy Baguyos, Double Bass
Saturday, February 19, 2011
Doors open at 7:30 PM, Concert begins at 8:00 PM
$10, $5 Students
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO | 816.221.5115
www.charlottestreet.org
www.kcema.net
Back to the Source Code
represents something of a homecoming electroacoustic concert for
bassist Jeremy Baguyos. Jeremy, who grew up in Overland Park and
now lives in Omaha, returns to the Kansas City area to perform works
for Bass and Digital Audio, including pieces by McGregor Boyle, Andrew
May, and Kirsten Volness, alongside works by Kansas City‐based
composers Jason Bolte and Andrew Seager Cole.
Jeremy explains the program: “‘Back to the Source Code’ is an acknowledgement that my creative
output includes the sum total of all experiences stretching back to my earliest memories, musical
and non‐musical. My interests in music can be traced to all my
inspiring and knowledgeable music teachers in the Shawnee Mission
public school system as well as my first double bass teacher, Misha
Krutz, a former member of the Kansas City Symphony. My interest in
music technology can be
traced to the early Apple computers, recording weird noises on a Fostex
X‐15 multitrack tape recorder, and playing Rush and Devo tunes on
consumer‐level Yamaha and Casio synths at a local Service Merchandise."
“In college as well as my professional life, I challenged myself, at
the very least, to become the ideal version of myself. An
artist can lose their identity especially when market forces often
dictate decisions that would otherwise, in a more perfect world, be
decided by artistic Jeremy Baguyos photo by Adrienne Merit
motivation. Although one can never truly ‘go home,’ I can at least
perform a recital in the city where I grew up, the city where I did my
first bass recital more than two decades ago. Only this time, I’m
packing a lot of technology and the wisdom of twenty years along with
my bass. I feel like Vejur.”
Jeremy Castro Baguyos,
a Filippino‐American transplanted to the North American Heartland
(including almost a decade growing up in Overland Park, KS) is a
computer‐mediated sound artist exploring the new forms of human
expression at the intersection of tradition and technology. Attracted
by the esoteric, yet, multi‐disciplinary art of computer music, he has
been professionally involved in various facets of Computer Music since
1999, the year he joined the 21st‐Century Ensemble in Washington, DC.
He maintains concurrent appointments as Assistant Professor of Music
Technology/Artist Faculty of Double Bass at the University of Nebraska
at Omaha where spends time with both the Dept. of Music and the School
of Interdisciplinary Informatics. He is Principal Bass of the Des
Moines Metro Opera Orchestra and Section Bassist in the Lincoln
Symphony, and he also subs on occasion with the bass sections of the
Kansas City Symphony and the Omaha Symphony.
Jeremy has made numerous appearances as a soloist and/or chamber
musician spanning nineteen states, Italy, and Spain with notable
recital appearances at the International Society of Bassists Convention
and as soloist with orchestras including the Columbus Philharmonic
(Indiana) and the Heartland Philharmonic (Nebraska). His computer music
work has been presented internationally, highlighted by performances at
the International Computer Music Conference in Belfast (United
Kingdom), the Seoul International Computer Music Festival (KOREA),
Spring in Havana (CUBA), and Festival international de música
electroacústica (CHILE). He holds a BM degree in double bass
performance from Indiana University, Bloomington and an MM in Computer
Music from the Peabody Institute of Johns Hopkins University.
______________________________
Dark Matter: Orbit (a KcEMA sponsored event)
Location: Arvin Gottlieb Planetarium at Union Station
Event Date: February 4 & 5, 2011
Event Time: 7PM and 9PM Both Evenings
Ticket Price: $15
To Purchase Tickets: By Phone: (816)460-2020 or Online: http://www.unionstation.org
http://www.darkmatterkc.com
info@darkmatterkc.com
Look Up.
Cutting-edge technology and exceptional musical artistry combine in an incredible journey at Union
Station's Arvin Gottlieb Planetarium.
Dark Matter announces its inaugural performance, entitled Orbit, at Union Station's Arvin Gottlieb
Planetarium. Dark Matter is a collaboration of composers,
performers, and scientists. It fuses cutting- edge technology
with exceptional musical artistry. The result is an art form that
blurs the boundaries between performance, education, and composition by
blending them into an event produced at one of the largest stardomes in
the country.
Experience the beauty of the cosmos with an incredible journey into
space. Astronomer Bob Riddle will guide you through the solar
system and beyond while original electro-acoustic music gives you the
feeling of weightlessness. Composers Daniel Eichenbaum and
Richard Johnson collaborate with
performers Rebecca Ashe and Cheryl Melfi to create live music under the
Gottlieb Planetarium's sixty- foot dome. Presented in full-screen
projection with surround-sound, Dark Matter is an audio-visual treat
audiences won't soon forget.
Orbit is an entirely original production created by the members of Dark Matter and is suitable for all
audiences. These performances are supported in part by an Inspiration Grant from the Metropolitan
Arts Council of Kansas City. Dark Matter is also sponsored by the
HMS Beagle, Kansas City's ultimate science store and the Kansas City
Electronic Music & Arts Alliance (www.kcema.net). Tickets are
$15 and available from the Union Station box office by calling
(816)460-2020 or online through the Union Station website
http://www.unionstation.org.
Only four performances are scheduled at the Gottlieb Planetarium:
Friday, February 4 at 7PM and 9PM and Saturday, February 5 at 7PM and
9PM. Seating is limited so tickets should be ordered in advance.
For more information, please contact Daniel Eichenbaum, Curator of Dark
Matter, at (816)753-4199 or email him at info@darkmatterkc.com.
Additional information can also be found on the Dark Matter website
http://www.darkmatterkc.com.
About Dark Matter:
Dark Matter seeks to inspire and educate its audiences. Through music,
visual projection, and interactive lecture/discussion, Dark Matter
addresses the interrelationships between science and the arts along
with the impact of technology on society. This inter-disciplinary
approach helps audiences understand the “passion” of science and the
“logic” of art. The goal is to show how science and the arts function
together in a mutually beneficial relationship.
In the planetarium, the seats recline to allow the audience a view of
the overhead dome. The audience looks neither down nor out as in a
traditional theater. Instead, they look up to see panoramas of the
night sky. Looking upward is an inherently optimistic vantage point and
Dark Matter uses that view to show how incredible our world is. There
is a world of possibilities out there and Dark Matter encourages its
audience to Look Up.
______________________________
Current Trends
Friday, December 3, 2010 (First Friday)
Doors open at 7:30 PM, Concert begins at 8:00 PM
FREE ADMISSION: Donations Accepted
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO | 816.221.5115
www.charlottestreet.org
www.kcema.net
For Three Seasons, the
Kansas City Electronic Music and Arts Alliance (KcEMA) has been
introducing audiences to the cutting edge of electronic music and video
being created in the Kansas City area. For Current Trends, KcEMA is
looking further, bringing examples of the most innovative work composed
throughout the U.S. and internationally to Urban Culture Project’s La
Esquina for an exciting evening of sound and image on December’s First
Friday.
The works selected for performance tonight have inspirational sources
varying from the immediately relevant to the utterly timeless. Mike
McFerron’s Prelude to You Brought This On Yourself was composed to
accompaniment a play exploring the physical and emotional abuse
experienced by an openly homosexual high school student. In the
composer’s words, the work “attempts to comment on a human collective
intolerant of an individual voice, who is not asking to be understood
or even heard, but simply allowed to exist.” Bret Battey’s Sinus Aestum
draws its inspiration from the lunar plain of the same name, smooth and
dark, “articulated by threads of white dust, like the tips of flowing
waves.” In both the music and video, algorithmic processes unfold in a
fashion that parallels that image of the distant plain.
For A’aa, Matthew Burtner looked a little closer to home than the
moon’s surface. He was not only inspired by Guatemalan lava flows, but
included recordings of these flows in his deeply meditative, ecological
work. Jeffrey Hass’s Magnetic Resonance Music in turn draws on the
personal experience of having an MRI, during which he “focused on the
bizarre, strident, extremely loud noises and complex rhythms the
machine was making and how they might be incorporated into a musical
composition.”
Christopher Burns’s Sawtooth incorporates the element of visual
performance, by translating the motions of a live performer into both
music and animation. In Phoenix, Robert Ratcliffe “explores the
possibility of combining characteristic features of synthetic‐driven
electronic dance music genres such as acid house and techno” with the
characteristic elements of instrumental and electroacoustic
composition. 2BTextures is the product of a collaboration between
Composer Elainie Lillios and visual artist Bonnie Mitchell. The two
movement work of abstract animation “takes viewers on an integrated
sonic and visual journey into a surrealistic environment influenced by
nature.”
The Kansas City Electronic Music and Arts Alliance (KcEMA) was founded
in 2007 to encourage and develop understanding and appreciation of
electronic music and to create an expansive sense of community for
electronic musicians and other artists in the Kansas City Area. KcEMA
organizes concerts of electronic music and collaborative projects with
generative and performing artists. KcEMA provides a forum for
electronic musicians and artists in other media to collaborate,
exchange ideas, and grow as an interactive, supportive community.
Urban Culture Project is an initiative of the Charlotte Street
Foundation, an organization dedicated to making Kansas City a place
where artists and art thrive. Urban Culture Project creates new
opportunities for artists of all disciplines and contributes to urban
revitalization by transforming spaces in downtown Kansas City into new
venues for multi‐disciplinary contemporary arts programming. For more
information, visit www.charlottestreet.org.
______________________________
ArtSounds: Quadrivium Duplum
7:30pm, Tuesday, November 9, 2010
Free and Open to the Public
Epperson Auditorium
Kansas City Art Institute
4415 Warwick Blvd.
Kansas City, MO 64111
The Kansas City Electronic Music and Arts Alliance continues its
partnership with UMKC, KCAI, and ArtSounds in presenting Quadrivium
Duplum, a concert featuring Kansas City chamber music ensemble,
Quadrivium, alongside live electronic audio and video.
Mara Gibson’s E: Vespers is one of a series that explores perceptions
of an eclipse. The piece follows aspects of an eclipse visually through
time, with consonance and dissonance fading in and out between very
"real" and "unreal" sounds, with bells taking on a role of primary
significance. Andrew Seager Cole’s A Slow Unraveling focuses on
the spinning out of a small portion of music and starts with short,
fast elements that increasingly slow down until the music completely
unravels, finally coming to a rest.
In composing Orbit, Daniel Eichenbaum drew upon the following
description of orbital experience by astronaut Joseph Allen for
inspiration: ‘We orbit and float in our space gondola and watch the
oceans and islands and green hills of the continent pass by at five
miles per second. We move silently and effortlessly past the
ground. I want to say “over the ground” as I write this, but
remember that in space your sense of up or down is completely gone and
my description must reflect this fact. In addition, the
breathtaking speed of the ship is an odd and confusing contrast to the
feel of perpetually floating within the spaceship. You do not sit
before the window to view the passing scene, certainly not down upon
it. Are you speeding past oceans and continents, or are you just
hovering and watching them move beside you?’
Additionally, the program for Quadrivium Novum includes Christopher
Biggs’ Bioluminescence, abstractly reflecting marine phenomena in audio
and video; Jason Bolte’s Scrap Metal, an electroacoustic work that
explores relationships between sonic material produced on the piano and
various metallic sounds; and William Lackey’s the world falls asleep,
inspired by the works of Charles Pierre Baudelaire, a
nineteenth-century French poet.
Quadrivium is a Kansas City-based ensemble dedicated to the performance
of new music and established repertoire for flute, clarinet, cello, and
piano. Quadrivium actively seeks out new repertoire, as well as
opportunities to fuse cutting-edge performance with performing arts
education and outreach. Quadrivium strives to present programs of
music that illustrate the grand conversation of composers and
performers across time, genre, and geography.
______________________________
electro<>acústico
Saturday, October 2, 2010
Doors open at 7:30 PM, Concert begins at 8:00 PM
$10, $5 Students
Urban Culture Project’s La Esquina
1000 West 25th Street, KCMO | 816.221.5115
www.charlottestreet.org
www.kcema.net
The Kansas City Electronic Music and
Arts Alliance opens its 2010-11 season with a concert feturing
Clarinetist Mauricio Salguero
alongside electronic audio and video. The program entitled
electro<>acústico is the result of Mauricio's collaboration with
several Kansas City area composers. Mauricio will present world premieres of
pieces written specifically for him by composers Rodolfo Acosta, Andrew
Cole, Jason Bolte and Eric Honour plus pieces by Jorge Sosa and Mark
Snyder. The program combines a cutting edge mix of video, electronic
sounds and high tech with the emotional intensity and technical
dexterity of Mauricio’s playing. Guest artist Rebecca Ashe on the flute
will join Mauricio on Asha Srinivasan´s Bapu; an exciting piece based
on Indian traditional music. Later this month Mauricio and Christopher
Biggs will tour Universities in Illinois, Wisconsin, Iowa and Missouri
presenting this riveting recital.
Mauricio Salguero is currently a DMA candidate at the University of
Missouri-Kansas City (UMKC) Conservatory of Music under the guidance of
Jane Carl. Mauricio plays clarinet and saxophone and teaches at the
UMKC Community Academy. His musical interests span diverse genres,
including contemporary, classical and Latin music. Critics have praised
him as having "conviction and impressive technique,” and this fall he
will perform a full recital of pieces for clarinet and electronics
written for him on a tour to colleges in Missouri, Iowa, Illinois and
Wisconsin.
Mauricio was one of the winners of the Artist Presentation Society
Auditions-2010, and will be performing on their 2010-11 concert series.
Mauricio's honors include a 2010 Inspiration Grant from the KCArts
fund, the First Prize in the National Contest of Musical Composition
from the Institute of Culture and Tourism City of Bogotá, Colombia, the
Bettylou Scandling Hubin Scholarship in both World Music and Music
Technology from Mu Phi Epsilon and the Spaulding/Warfield Memorial
Scholarship from Sigma Alpha Iota. In 2008 he received the Preparing
Future Faculty Fellowship from UMKC, a competitive program that focuses
on college teaching, and he was recently featured in the recorded
release of Stephen Yip's "Gorintou” on the album Mosaic (Capstone
Records, 2010).
Mauricio has appeared as a soloist with the Universidad Javeriana
Orchestra, the University of Arkansas Wind Symphony and recently played
Frank Martin’s Concerto for Seven Instruments with the Symphonic
Orchestra of the UMKC Conservatory of Music. He has also performed at
ClarinetFest 2008 and 2010. He holds a B.M. from the Universidad
Javeriana in Bogotá, Colombia, and a M.M. from the University of
Arkansas-Fayetteville. His previous teachers include Nophachai
Cholthitchanta, Chris Jepperson and Javier Vinasco.
______________________________
UMKC Academy - Summer Composition Workshop
7:30pm, Tuesday, JUNE 22, 2010
FREE and Open to the Public
White Recital Hall
Performing Arts Center, UMKC
4949 Cherry Street
Kansas City, MO
The Kansas City Electronic Music and Arts alliance will present a
concert of works for instruments and electronics as part of the UMKC
Academy’s Summer Composition Workshop. The concert, which is free
and open to the public, will be held in White Hall on Tuesday, June
22nd at 7:30 P.M.
The concert features an excerpt from Paul Rudy’s electronic-symphony
series, 2012 Stories, with Rudy accompanying the electronics with
various instruments, such as pan flute and assorted percussion.
Rudy’s works in this series focus on environmental sound sources, such
as water, animals, and bells, which are turned into a unified
resonating kaleidoscope that gravitates towards meditative peace.
Rudy will be giving a presentation as part of the composition workshop
earlier in the day. Dr. Rudy is a Guggenheim recipient and a
recent winner of the Prix de Rome.
The concert also includes Scott Blasco’s lyric and moving Sustenui Te
sung by Katie Woolf, and Peiying Yuan’s intensely detailed and
ebullient work Fractal Excisions performed by Brad Baumgardner.
Blasco and Yuan will be working at the composition workshop as mentors
for younger composers, as will Christopher Biggs and Richard Johnson,
both of whom have pieces on the concert.
Jason Bolte’s Scrap Metal for piano and fixed media opens the
concert. The pianist, Kari Johnson, creates various sounds by
scraping, strumming, plucking, and beating inside and on the
piano. These rich and dynamic sounds integrate seamlessly with
metallic bangs, crashes, and resonances emanating from the
speakers. Bolte’s work oscillates between an intensity bordering
on violence and a scenic, meditative beauty. The concert ends
with Caroline Miller’s pop-influenced and energetic Tarantella for
cello and fixed media.
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“One
could say it [a KcEMA concert featuring Joao Pedro Oliveira] was
a healing of the wound between ‘fixed media’ and ‘live’ electroacoustic
performance. The unity of the aesthetic effect of the musicians who
performed live and the composers who engineered their fixed-media
playback was among the best I’ve ever heard.”
- Chamber Music
Today
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