Daily Music Post

Today, we are featuring not one but two composers who specialize in electronic music and sound installations - Cenk Ergun and Sudhu Tewari. "Wobble Vision," Check it out:

About the artists:

This is a really interesting site: http://cenkergun.com/

Sudhu Tewari is an electro-acoustic composer, improvisor, and tinkerer in sound, kinetic and interactive art.

He has been called a professional bricoleur,
junkyard maven and young audio-gadgeteer.

An early interest in disassembling alarm clocks and coffee makers gave rise to electro-acoustic instruments constructed with the remains of discarded stereo equipment, kinetic sculptures and sound installations. Sudhu builds audio electronics, acoustic instruments, kinetic sculptures, interactive installations, wearable sound art and recently began working with bicycles with wide variety of end results.

Highly educated at Mills College in electronic music, Tewari has been seen performing improvised music in various configurations with the likes of Fred Frith, Cenk Ergun, Mark Bartscher, Tadashi Usami, Gunda Gottschalk, Eric Glick-Rieman and Shelley Burgon.

In October 2006 Sudhu spent four months at the Artist in Residence program at the San Francisco Dump, crafting interactive installations, kinetic sculpture, lamps, and objects d’art from other people’s trash. The residency culminated in a gallery show in January 2008. Since then, Tewari's visual and interactive art has been exhibited at Swarm Gallery, 21Grand, ProArts and FLOAT Gallery in Oakland, California, Montalvo Arts Center in Saratoga, California, at UC Santa Cruz in Santa Cruz, California and at PROGR in Bern, Switzerland.

In 2007, Tewari collaborated with percussionist Kelvin Underwood on a project that integrated Taiko drumming with electronics, noise and chaos and incorporated Capoeira and Maculele movements.

Sudhu has been seen performing as a modern dancer with GroupA , the brainchild of choreographer Alyssa Lee Wimot. Tewari also collaborates with Alyssa Lee to create light installations, costumes and wearable sound art devices for GroupA performances.

In 2008 Tewari joined forces with Nuria Bowart and Melissa Crago to form SuDoNu, a performance art company focusing on developing new forms of movement and interaction arising from improvised play and spontaneous ritual to create meaningful interactions with an audience.

Tewari spent the majority of 2008 in Switzerland, working as project manager for Radio Village Nomade an online sound project of Laboratoire Village Nomade culminating in a sound play aired on Bavarian National Radio. During his residency Sudhu also participated in several collaborative art residencies with artists from around the world.

In 2010 Sudhu collaborated with sculptor Bryan Tedrick to create an interactive light and sound installation to “breathe life” into Tedrick’s 50 foot tall climbable steel sculpture, Minaret. The Minaret was installed at Burning Man 2010 and well received. Tewari’s installation took input from climbers on (and inside) the Minaret via microphones, light sensors and motion detectors and used the movement and interactions of climbers to control the lighting on the exterior of the Minaret. Sound elements, pre-recorded sound/music and electro-acoustic instruments in the base of the Minaret, were also controlled by the actions of climbers.

Tewari is currently a graduate student at UC Santa Cruz in the Cultural Musicology PhD program and the Digital Art and New Media MFA program. Tewari has also been working as a project manager for UCSC’s OpenLab, a network for collaborative discourse fueled by academic communities, arts and science communities, and industry. Tewari also leads AUX, a collaborative research group focused on sound producing kinetic art and works with the Mechatronic project group in the DANM department.

Most recently Sudhu spent most of a week in a tree creating a site-specific interactive, kinetic sound installation at Montalvo Arts Center in Saratoga, California and has been collaborating on a series of sculptures for an interactive sound garden with Liz Judkins, Daniel Yasmin and Chris Cravey

Daily Music Post

Today's piece comes from New York composer Kenji Bunch. Here is "String Circle" as performed by the youth group, FACE THE MUSIC.

About the piece: 

For whatever reason, entertainment has become something of a dirty word among the classical crowd. Even so, I have a great deal of respect for it as a goal, and I would be honored to know I entertained a listener with my music. I think it’s a generous act to strive for. - Kenji Bunch

It is also a goal that Kenji Bunch has achieved brilliantly with a rapidly growing catalog of works that is performed and recorded with increasing frequency in this country and abroad. Bunch, an active violist and a former member of the Flux String Quartet, also plays fiddle in the group Citigrass. The New York-based artist composed the present work as a viola quintet for himself and the Harrington String Quartet, with whom he gave the first performance in Amarillo, Texas, in 2005.

In String Circle, Bunch adds some strong vernacular accents to a venerable classical genre. The five movements integrate jazz, rock and bluegrass influences in a way that “entertains” in the sense of keeping you on the edge of your seat wondering what combination of sounds the composer is going to come up with next, and how he will make familiar melodic and rhythmic elements appear as though you’ve never heard them before. The slow third movement is modelled on a traditional ballad, while the fourth-movement scherzo contains an accompaniment figure for the second viola marked “quasi ukulele.” The last movement is a study in mesmerizing ostinatos that culminate in a rhythmic explosion at the end of the piece.

About the composer: 

Kenji Bunch has emerged as one of the most engaging, influential, and prolific American composers of his generation.  Hailed by the New York Times as “A Composer To Watch” and cited by Alex Ross in his seminal book “The Rest Is Noise,” Mr. Bunch’s unique blend of wit, exuberance, lyricism, unpredictable stylistic infusions, and exquisite craftsmanship has brought acclaim from audiences, performers, and critics alike.

Mr. Bunch's symphonic music has been performed by over forty orchestras, and his genre-defying chamber works have been performed in premiere venues on six continents.  His music is regularly broadcast on national radio, including NPR, BBC, and NHK, and has been recorded on labels including Sony/BMG, EMI Classics, Delos, Koch, Kleos Classics, RCA, Naxos, NPM, Pony Canyon, BCMF Records, GENUIN, Capstone, MSR Classics, AMR, Innova, ARS, Crystal, Presentation Partners, and Bulging Disc Records.

As a composer, his residencies include Mobile Symphony (Meet The Composer Music Alive), Spoleto USA, Bravo! Vail, Sound Encounters, the Chintimini Chamber Music Festival, and the Craftsbury Chamber Players.  He also served for two years as the composer in residence for Young Concert Artists, Inc.  His collaborations with renowned choreographers David Parsons, Nai-Ni Chen, Kate Skarpetowska, and Darrell Grand Moultrie have received great acclaim.

Concerts devoted to his chamber music have been given at the Stamford Music Festival in England, and at the Perpignan Conservatory in the south of France, and are scheduled for this summer at the Landgoedconcerten Oranjewoud Festival in The Netherlands.  Recent projects include the world premiere of his Piano Concerto in May 2011 with pianist Monica Ohuchi and the Colorado Symphony.  In October, 2011, he appeared as the soloist with the American Composers Orchestra in the world premiere of his viola concerto "The Devil's Box" in Zankel Hall at Carnegie Hall.  The Spring of 2013 will see the world premiere of a new work for electric violinist Tracy Silverman and orchestra, commissioned by Paul Gambill and The Orchestra Engagement Laboratory.

Mr. Bunch maintains an active career as a violist, and is widely recognized for performing his own groundbreaking works for viola.  A founding member of the Flux Quartet (1996-2002) and Ne(x)tworks (2003-2011), Mr. Bunch is a veteran of the New York new music world.  With a deep interest in vernacular American music and improvisation, he also plays bluegrass fiddle and  sings with the band Citigrass, and is a frequent guest performer, recording artist, and arranger with many prominent rock, jazz, folk, and alternative/ experimental artists.  In the spring of 2011, he released a recording of his complete works for solo viola on Bulging Disc Records.

A native of Portland, Oregon, Mr. Bunch studied at the Juilliard School, receiving his Bachelor and Master of Music degrees in viola with Toby Appel, and in composition with Robert Beaser.  Other composing mentors include Eric Ewazen and Stanley Wolfe.
Now a dedicated teacher himself, Mr. Bunch has developed and conducted residencies, workshops, and master classes across the country in composition, viola performance, improvisation, music appreciation, and arts education to students ranging in age from kindergarten to adult professionals.  He teaches at the Juilliard Pre-College, and lives in Brooklyn with his wife Monica, daughter Emmaline, and rescued pit bull Coffee.


Daily Music Post

As someone who listens to a lot of experimental music, I have to admit, I have never really heard anything quite like this. Today's music is from Víctor Adán writing for Dot Matrix Printer. If you have a second and you haven't heard this before, you should check this out.


Here is a link to a series of works like this from his website:

click here 

About the composer: 

I was born and raised in the "navel of the moon". I have been interested in music, visual arts, and computer programming since childhood. My first musical experiments took place during the late 1980s, when my parents acquired two surprising machines for our home: an upright piano and a personal computer. Both machines fascinated me, and I spent many hours pressing the keys of these two wondrous devices. Each taught me a different language, the one music notation, the other BASIC. Both machines served me well as musical instruments. The one gave me sound by pressing its keys, the other by typing lines of code with the BEEP and PLAY commands.

Then I went to music school, where I was quickly taught what music really was, and where I soon forgot all about my silly experiments. After a few disappointing first years in college, I discovered the uncompromising music of composer Julio Estrada and, in 1997, I joined his deschooling Music Creation Lab at the Universidad Nacional Autónoma de México.

Upon completing my undergraduate studies, I shifted focus to the quantitative side of my musical interests. In 2005 I earned an MS in media technology and digital communications from the Massachusetts Institute of Technology, and in 2010 a DMA from Columbia University.

I currently live in New York and typically spend my days composing, writing software and, in my spare time, teaching robots how to draw.


Daily Music Post

I just checked out the world premiere of Anna Clyne's "Primula Vulgaris" (2010) as performed by the New York outfit Metropolis Ensemble. This is a great piece.

About the piece:

Primula vulgaris: This European native is commonly known as the English Primrose and is a welcome sight in the spring.

Flower clusters enchant the beholder with pale colors of red, purple, yellow, white and blue, all with a yellow eye. The inspiration for this piece was a reading of the first string quartet I wrote for Metropolis. The original premise was to compose a string quartet derived from material from Within Her Arms, a string ensemble piece that Metropolis will perform in May 2010. The reading taught me two valuable lessons. Firstly, to write each piece fresh and anew—leaning back on older pieces can create lifeless music. I'm in a different space to where I was a year ago, when I was writing Within Her Arms. Secondly, I realized what an influence actually knowing the musicians I'm writing for has on my music. Having a sense of the musicians both individually and as an ensemble can really influence a piece and its direction. As a result of hearing my initial string quartet, I decided to start anew with fresh material and writing with Kristin, Sean, Maurycy, and Nicholas in mind.

Primula Vulgaris was commissioned and premiered by the Metropolis Ensemble at the Americas Society in New York City.

About the composer:

London-born Anna Clyne is a composer of acoustic and electro-acoustic music, combining resonant soundscapes with propelling textures that weave, morph, and collide in dramatic explosions. Her work, described as “dazzlingly inventive” by Time Out New York, often includes collaborations with cutting edge choreographers, visual artists, film-makers, and musicians worldwide.

Currently the Chicago Symphony’s Mead Composer-in-Residence through the 2013–14 season, the orchestra has performed several of her works, including the premiere of Night Ferry in 2012 under the baton of Riccardo Muti. An avid advocate for music education, Clyne teaches composition workshops for local young composers and incarcerated youths as part of this residency, and served as the Director of the New York Youth Symphony’s award-winning program for young composers “Making Score” from 2008 to 2010. Clyne was also recently a guest composer at the 2011 Mizzou New Music Summer Festival.

Clyne’s work has been championed by some of the world’s finest conductors, including Marin Alsop, Pablo Heras-Casado, George Manahan, Jeffrey Milarsky, Riccardo Muti, Alan Pierson, Andre de Ridder, Esa-Pekka Salonen, and Osmo Vänskä. Recent commissions include the Chicago Symphony Orchestra, Los Angeles Philharmonic, Carnegie Hall, Houston Ballet, London Sinfonietta, Southbank Centre, ETHEL, Bang on a Can, Metropolis Ensemble, American Composers Orchestra, and the Los Angeles Chamber Orchestra.

Clyne’s <<rewind<<, “inspired by the image of analog video tape rapidly scrolling backwards with fleeting moments of skipping, freezing and warping,” has been recently performed with both the BBC Symphony and BBC Concert Orchestra as well as at the Cabrillo Festival, the National Symphony Orchestra, and the Los Angeles Philharmonic.

She has received numerous accolades, including a Charles Ives Fellowship from the American Academy of Arts and Letters, eight consecutive ASCAP Plus Awards, and a Clutterbuck award from the University of Edinburgh. Additionally, she has received honors from Meet the Composer, the American Music Center, the Foundation for Contemporary Arts, and the Jerome Foundation. Clyne was a finalist for the ASCAP Morton Gould Composer Award, and was nominated for a 2010 British Composer Award.

In 2012, Tzadik Records released a full album of Clyne’s music, titled Blue Moth, showcasing a diverse range of her instrumental and ensemble with tape pieces, including Roulette, fits + starts and Steelworks.

Her music is published exclusively by Boosey & Hawkes.

“Anna Clyne is an artist who writes from the heart, who defies categorization and who reaches across all barriers and boundaries. Her compositions are meant to be played by great musicians and listened to by enthusiastic audiences no matter what their background.” – Riccardo Muti.


Daily Music Post


Do you like electronics and things that go boom? Then check out Andrea Mazzariello's "Electrobot" for laptop/percussion quartet.

About the piece:

The idiosyncratic instruments I've built and approaches to playing them I've developed were conceived for my own solo performance. This group of ambitious students at the So Percussion Summer Institute gave me the surprising, unimagined opportunity to expand into ensemble writing. They're reading a score that doesn't look like it sounds, and playing 2-octave MIDI keyboards to trigger samples that I created by recording myself playing old synths and step-sequencing beats. The New York director/choreographer/filmmaker Mark DeChiazza developed the projection idea, visually amplifying the small movements on the keys that become large gestures in the sonic space.

About the composer:

Andrea Mazzariello is a composer, performer, writer, and teacher. His music thinks through the capabilities of the performing body, in terms of both instrumental technique and the possibilities afforded by technological intervention, and pays special attention to the treatment and setting of his own original text, spoken and sung.

He’s active as a solo performer of his own work for a novel and evolving instrumental setup, and has presented in such diverse venues as The Knitting Factory, Cakeshop, the Queens New Music Festival, and the Wassaic Festival. His concert music has been performed or read by the New Jersey Symphony, The Berkshire Symphony, So Percussion, NOW Ensemble, and Newspeak, among many others.

In 2011, he completed his Ph.D. in Music Composition at Princeton University, writing on the vinyl resurgence and its connection to our ideas of physicality and abstraction in music analysis. He holds an M.M. from the University of Michigan and graduated magna cum laude from Williams College, where he won a Hubbard Hutchinson Memorial Fellowship for Excellence in Music and was named to Phi Beta Kappa.

Andrea joined the faculty of the Princeton Writing Program in 2010, and currently teaches a seminar called "Music and Power."

From the composer about the performance:

The amazing, amazing participants at the So Percussion Summer Institute premiered my new piece for laptop/percussion quartet last night. From left to right: Jamey Kollar, Brendan Betyn, Elizabeth John, and Evan Chapman. Full disclosure: this is the dress rehearsal, because I forgot to press record at the actual performance.

This premiere was exciting for a few reasons: the aforementioned four gave this piece real attention and insight and committed fully to a potentially disorienting learning process; the little sampler that Dan and I (mostly Dan) built to play The Exchange (and that I'll also use to perform vs. the New Machine at Wassaic) now has legs, has been used successfully by others who don't reside in my brain; and the response to the whole thing during the Institute was just so warm, from the So guys and from their really incredible students. Magical.

I also wanted to announce that I'll be performing at The Wassaic Festival, which happens over the weekend of August 3-5. I go on at noon on Saturday, August 4. I'm playing a set of songs on the solo instrument (keys, pads, laptop) called vs. the New Machine. Come up if you can! Also note that I am playing the exhibition space, not the music space. In other words, check out "art," not "music." To find me at Wassaic, not as a general rule. Unless you roll like that.

New FiveOne Experimental Orchestra Website


It's been a long time coming but we recently updated the FiveOne Experimental Orchestra website. It's great. We still have the FiveOne blog but in addition we now have more music, merchandise, full bios, as well as an updated concert schedule(which we will be announcing new dates soon).

Check it out. Buy a watch. Listen to some great music and give us some feedback.