Saturday, December 15, 2012
Doors: 7:00 pm / Concert: 8:00 pm
$20; $10 CAM members; $10 students. Tickets may also be purchased at door. Cash bar. Presented in partnership with New Music Circle.
Sour Mash was composed by George Lewis and Marina Rosenfeld as a recording collaboration for multiple playback recombinations. Their fruitful partnership has led to vinyl recordings intended to be further manipulated in their Sour Mash live sets and to be used as creative material by other musicians and DJs. This powerful composition involves experimentation with CPUs, vinyl ridges, instruments, and looped textures that change with every performance.
George Lewis (b. 1952, Chicago, Illinois) is a composer, improvisor, and electronic performer and is considered a pioneer of computer music. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis is a recipient of a MacArthur Fellowship (2002), an Alpert Award in the Arts (1999), and fellowships from the National Endowment for the Arts. Most recently, Lewis was selected by United States Artists as a 2011 USA Walker Fellow. His work, documented on more than 140 recordings, explores computer-based multimedia installations, text-sound works, and notated and improvisative forms. His oral history is archived in Yale University’s collection of “Major Figures in American Music,” and his compositions and installations have been presented by the American Composers Orchestra, Dinosaur Annex, Wet Ink, the Turning Point Ensemble, Ensemble Erik Satie, Works and Process, the S.E.M. Ensemble, the NOW Orchestra, Deutschlandradio Kultur Berlin, Contemporary Art Museum Houston, and others, with commissions from the 2010 Vancouver Cultural Olympiad, OPUS (Paris), IRCAM, Musee des Sciences et des Industries La Villette, Harvestworks, Studio Museum in Harlem, the Glasgow Improvisers Orchestra, and others. His widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008), is a recipient of the 2009 American Book Award. Lewis studied composition with Muhal Richard Abrams at the AACM School of Music and trombone with Dean Hey. He holds a BA in philosophy from Yale University. He is currently the Edwin H. Case Professor of American Music at Columbia University, New York, and lives and works in New York City.
Marina Rosenfeld (b. 1968, New York City, New York) works in sound, music composition, and performance and installation, with a significant related practice as an experimental turntablist. She has had solo presentations at Tate Modern, London; Stedelijk Museum/Holland Festival, Amsterdam; Whitney Biennials, New York (2002 & 2008); Performa Biennial, New York (2009); British School at Rome; Los Angeles’s Center for Experiments in Art, Information and Technology (CEAIT); the Kitchen, New York; and festivals including Ultima, Oslo; Liverpool Biennial; Ars Electronica, Linz; MUTEK, Montreal; Faster than Sound, Suffolk, UK; Maerz Musik, Berlin; TRANSIT, Leuven; Musikprotokoll/Steirischer Herbst, Graz; MAPA/Actions on Landscape, Catalonia; Pro Musica Nova, Bremen: Wien Modern, Vienna; Donaueschingen Musiktage; Taktlos Bern; and Vancouver New Music. She has also collaborated with Merce Cunningham and Douglas Dunn dance companies. Recordings of her music are available on Softl, Charhizma, Room 40, and Innova, among others. She has received grants and fellowships from a number of insitutions, including the New York State Council on the Arts, New York Foundation for the Arts, Harvestworks Digital Media Arts/Van Lier Fellowship, Experimental Television Center, and a Foundation for Contemporary Arts Grants to Artists award. Her residencies include Headlands Center for the Arts (2010) and Park Avenue Armory (2008-2009). Rosenfeld studied at Harvard College (BA) and the California Institute of the Arts (MFA). She is currently the Co-Chair of the Department of Music/Sound at the Milton Avery School of the Arts at Bard College and lives and works in New York City.