Southeastern Composers Collective – Concert II

Southeastern Electro-Acoustic Composers Collective Concert

Monday, November 13, 2017 at 6:00 p.m.
Powell Recital Hall

1-    La Jungla (2014) fixed media                Jorge Variego

2-    Ask Not… tuba and fixed media (2011)            Joe Alexander
Alex Lapins – tuba

3-    Aeromancer (2008) bassoon and fixed media        Peter Van Zandt Lane
Peter Van Zandt Lane – bassoon

4-    I/O (2017) fixed media                    William Price

5-    A House Lost in the Forest (2017)                David Peoples
Diana Peoples – piano

6-    UT Electroacoustic Ensemble – Dr. Jorge Variego founder director

Elise Stephens, live visuals
Alex Ring Gray, computer, EWI
Harry Ward, computer, keyboard
Joseph Cullen Burke, synthesizer
Marc Guigere, self-made instrument
Jorge Variego, computer
Tyler Hyers, piano, recorder
Gage Lippi, keys
Skye Van Duuren, trumpet
Wesley Fowler, percussion    
Brandan Harden, synthesizer     

Recontextualizations in the last issue of Ink&coda

My piece “Recontextualizations” was selected for the 4.2 summer release of the Ink&coda journal. I’m thrilled to be part of it among an outstanding selection of creative artists. The recording of the work features the Domino Ensemble with Mark Boling (guitar), Keith Brown (drums), Jon Hamar (double bass) and Jorge Variego (bass clarinet and electronics). Enjoy!

 

The UT EE at the 13th Electro Music Festival

The University of Tennessee Electroacoustic Ensemble will present a 30′ set at the Electro Music Festival in Indianápolis this Sunday August 6th 3:30 PM. The group will feature: Brandan Harden (saxophone – synthesizer), Alex Gray (EWI, saxophone and computer), Elise Stephens (visuals), Harry Ward (Keys), Gurudev Ball (synthesizer), Jorge Variego (direction, computer and self powered-processed drill).

The invisible hand at the Abrons Center

New York City Electroacoustic Music Festival
Concert 12, Abrons Art Center, Playhouse
Thursday, June 22, 2017, 8-10:30 PM

Gustavo D. Chab, Blending Birds
Jorge E. Variego, The invisible hand
Frederik Gran, Vox Terminus
Ryan Carter, On the limits of a system and the consequences of my decisions
Peter VZ Lane, Studies in Momentum
Seth Rozanoff, Qu-Extensions
Nathaniel J. Haering, Cimmerian Isolation
Federico Llach, Begin
Gil Dori, Linea/Punto
Martim Galvao, For Four (for piano and electronics)
Bradley G. Robin, Fracture
Daniel Morel, Meditation

Abrons Arts Center
466 Grand Street (at Pitt Street)
New York City
Box office: 212.352.3101
www.abronsartscenter.org
Concert $20   Day Pass $30

With the Domino quartet at the Emporium

On May 5 the Domino quartet performed at the Emporium Center on 100 South Gay St. in Knoxville as the first Friday celebrations. The group featured Jon Hamar (bass), Keith Brown (drums), Mike Baggetta (guitar) and Jorge Variego (clarinets, compositions and some electronics).

With Gavin Bryars at Big Ears

Thrilled to perform with the Gavin Bryars Ensemble at the Big Ears Festival. The performances included Jesus Blood (never failed me yet) and The Sinking of the Titanic.

More about the works here:

http://www.gavinbryars.com/Pages/jesus_blood_never_failed_m.html

Bryars’ inspiration for the work came from a report that the wireless operator Harold Bride on the Titanic had witnessed the house band continue to perform as the ship sank. In April 1912, Bride had told the New York Times: “The band was still playing. I guess all of the band went down. They were playing “Autumn” then. I swam with all my might. I suppose I was 150 feet away when the Titanic on her nose, with her after-quartet sticking straight up in the air, began to settle – slowly….the way the band kept playing was a noble thing…..and the last I saw of the band, when I was floating out in the sea with my lifebelt on, it was still on deck playing “Autumn”. How they ever did it I cannot imagine. That, and the way Phillips (the senior wireless operator) kept sending after the Captain told him his life was his own, and to look out for himself, are two things that stand out in my mind over all the rest..”
Bryars imagined that the sound would continue to reverberate as it disappeared under the waves. Writing in 1993, Bryars said “the music goes through a number of different states, reflecting an implied slow descent to the ocean bed which give a range of echo and deflection phenomena, allied to considerable high frequency reduction”.