presented by The New Ruckus
Formerly known as the American Composers Forum’s Tuesday Salon, Composer Nights are an opportunity for composers to present their work, chat with the audience, receive feedback, and connect with others with a passion for musical adventure. These events are friendly, fun, and always surprisingly varied. Come to share, come to ask, come to listen.
Visit newruckus.org/composernights for more information.
This Composer Night features music by:
Karel Suchy presents a love improv entitled Extemporisation of Love, and Transfigurations, a MIDI Cantata written for 12 pipe organ tracks through a MIDI interface, vocal chorus, and three-octave handbell ensemble. The work was commissioned with the condition that the organ part be impossible for a human to play. Composer Karel Suchy integrates musical composition and performance with his photography, video and engineering design. He collaborates with other artists and their work, including poetry and prose – both spoken and sung, visual art, music improvisation, dance and drama.
Steph Wendler could say she is a jazz musician, but she won't. She sings, plays and writes from her guts. Guts are everything. But she's nobody, and she knows that - she's cool with it. Only thing is: Music doesn't seem to have figured this out yet, and Steph kindly requests that you please not tell it anything.
Ken Baker presents Circumsolar Arcs and When Did I Last See You, two solo piano pieces of indeterminate genre—sort of a jazz/new age/classical hybrid. Ken is an amateur jazz pianist, taking lessons with Bryan Nichols at MacPhail Center for Music.
Mike Olson presents a live solo electronic music performance without the aid of a computer or traditional musical instrument interface (like a keyboard). The only sound source will be a device call a Quad Oscillator, which will be running through various effect devices. Mike Olson is both a self taught and classically trained composer with an unusually diverse musical background. He has moved through a wide variety of compositional styles and methods in his restless search for a means of artistic expression that is truly authentic and personal. In more recent years, this search has brought him back around full circle to his earliest musical roots, where he has abandoned any notion of self-conscious formalism in favor of a far more intuitive approach to music making.