Sudden Sound Concert | Krannert Art Museum

Eric Leonardson Springboard Trio performs a 7:30pm concert with two of Chicago’s most creative musical performers, Carol Genetti and Gregorio Gregorio on Thursday, October 20 in the Sudden Sound Concert Series at Krannert Art Museum, 500 E. Peabody Drive, Champaign, Illinois. Facebook Event.

Artists’ Biographies

carol genetti photo by dan mohr

(photo by Dan Mohr)

Carol Genetti is a Chicago-based vocalist whose work extends to sound and visual art media. Her palette is primordial, existing in a space where language and music have yet to be formed and formulated into familiar cultural patterns. Genetti’s aesthetic is one of raw power, yet also delicate, subtle, and precise. An exquisite soloist, she is often also heard in the company of other improvising musicians. She has been performing in North America and Europe, mostly as a vocal improviser, mostly in collaborations with other musicians, including Jack Wright, Eric Leonardson, Bob Marsh, Peter Maunu, Olivia Block, Andrew Clinkman, Katherine Young, Jon Mueller, Albert Wildeman, and Jim Baker. Learn more at carolgenetti.com.

Guillermo Gregorio 2015

Guillermo Gregorio, 2015

Born in Buenos Aires, Argentina, in 1941, American composer and clarinet player Guillermo Gregorio has lived variously in Europe and the United States since 1986. He has performed extensively, and his compositions have been recorded on numerous CDs by the Swiss label hatART and the American labels New World Records, Atavistic, and Nuscope, among others. His works have been played by noted New Music ensembles in the USA and Europe. In addition, as an instrumentalist, Gregorio has worked with many experimental and improvisational groups, including those that recorded the music of Cornelius Cardew, Anthony Braxton, and Philip Corner, among other contemporary composers. As a visual artist and designer painting and graphic design has a central influence in his music. Learn more at ggregorio.com.

Eric & springboard

(photo by Noé Cuéllar, 2010)

Eric Leonardson is an audio artist who performs with the Springboard, an instrument built by the artist to explore the sonic potential of coil springs and other materials and amplified by a piezo disc contact microphone.

World Listening Day 2013: R. Murray Schafer Tribute at Stratford Summer Music Festival

July 18, 2013 Tribute dinner/concert for R Murray Schafer. Photo by Irene Miller

July 18 Tribute dinner/concert for R Murray Schafer. From l. to r. Eleanor , Sabine Breitsameter, Eric Leonardson, and Murray Schafer. Photo by Irene Miller 2013.

It was a sweltering evening at The Church Restaurant, in Stratford, Ontario on 2013 World Listening Day, where my friend Sabine Breitsameter and I had the honor of joining R. Murray Schafer, his wife Eleanor, and a large group of a hundred people in celebration of and tribute to Schafer on his 80th birthday, at the Stratford Summer Music Festival.

Following a moving concert of six pieces from Schafer’s aesthetically diverse musical oeuvre, interspersed with speeches by Eleanor his close friends and colleagues, and an exquisite dinner, Sabine and I addressed the appreciative and attentive audience with a few words about Schafer’s importance in establishing the World Soundscape Project in the early-70s, which culminated in his seminal book, The Tuning of the World, published in 1977. (This book sparked international interest in “acoustic ecology.” Simply defined, this multidisciplinary field of study and action is concerned with the relationship of living creatures with their sound environment. For many it draws attention to the dynamic relationship between sound, listener, and environment.)

My long-time colleague and a fellow member of the World Forum for Acoustic Ecology (WFAE), Sabine Breitsameter and I presented the book we co-edited. It is entitled, Ways of Listening, Figures of Thought: A Festschrift for R. Murray Schafer on the Occasion of his 80th Birthday. Along with Schafer’s Festschrift we presented him with the latest issue of Soundscape: The Journal for Acoustic Ecology, Volume 12, just hot off the presses in Carbondale, Illinois.

The evening’s program included performances of six pieces of music that Schafer has composed since the early 60s. Many of these were from his Patria cycle. Overall, I learned and was impressed by how aesthetically diverse this sample was. From five decades of composing I now understand a little better why he is considered one of Canada’s most respected composers, while I’m left wondering why, 20 years after the founding of the World Forum for Acoustic Ecology, the significance of acoustic ecology remains little known in his homeland.

On the following day, I attended an early morning performance of Schafer’s Wilderness Lake, performed by four groups of trombonists situated around the small lake of a nearby park in Stratford. Soprano Brooke Dufton performed from a canoe that navigated around the islands from which we listened and watched. Ms. Dufton also performed wonderfully in one of the wilder music theater pieces at the tribute the night before.

 

December 5, Variations VI Performance at Neiman Center, SAIC

Variations VI poster7:00–9:00 pm Wednesday, December 5

Leroy Neiman Center
School of the Art Institute of Chicago
37 S. Wabash Avenue
Chicago IL 60603

Variations VI (1966), for a plurality of sound-systems (any sources, components and loud-speakers) will be performed by students, faculty, and others in the Leroy Neiman Center at The School of the Art Institute of Chicago, on Wednesday, December 5, 2012. Variations VI is one of a set of seven variations composed between 1958 and 1967 by American composer, John Cage (September 5, 1912 — August 12, 1992).

This performance was organized by composer, instrumentalist, and SAIC Faculty member Julia Miller. Projects/Systems/Scores are designed by its performers: Lee Blalock, James Connolly, Anna Friz, Eric Leonardson, Julia A. Miller, Alyssa Moxley, Enid Smith, and Will Soderberg. Located in downtown Chicago, the Neiman Center is SAIC’s first ever campus center, recently opened in May 2012.

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July 27, Chronography: Animal in 46. Internationale Ferienkurse für Neue Musik Darmstadt 2012

grammophone and dog in Antarctica

Dog Chris Listening to the gramophone, Antarctica, Herbert Ponting 1911. Used with permission from the Alexander Turnbull Library, Wellington New Zealand.

Jay Needham and Eric Leonardson perform Chronography: Animal 22:00 Friday, July 27

Internationales Musikinstitut Darmstadt (IMD)
603qm Alexanderstr. 264283 Darmstadt (Atelier Elektronik)

This event happens within the Soundscape Composition program featuring Hildegard Westerkamp, and is organized in cooperation with the 46. Internationale Ferienkurse für Neue Musik Darmstadt 2012 (46th International Summer Course for New Music 2012) and The Global Composition: Conference on Sound, Media, and Environment.

Chronography: animal is a live electro-acoustic work based on field recordings that Jay Needham gathered in Antarctica in 2009. For this work, antique gramophone horns have been re-purposed and are now used as amplified instruments, percussive bells that resonate, clang and chime. It is the traveling of these sound machines into the wilds that initially fascinated Needham and eventually lead him to create sound sculptures that often times blur the line between musical instruments and scientific apparatus. For listeners, the work is intended as an audible exploration, a pseudo–scientific demonstration where the sounds of ship propellers, penguin colonies and ice fractures gather to express an epistemology of field recordings and the role that sound technologies have played in exploration and musical performance. Chronography: animal is conceived of as a bridge to connect practices of improvised music and sound art that evokes a sense of place.

The program

Hildegard Westerkamp: Kits Beach Soundwalk

Jay Needham: Chronography: animal (Uraufführung)
A live sound art work for re-purposed gramophone horns and Antarctic field recordings
Performers: Eric Leonardson, Jay Needham

Hildegard Westerkamp: Gently Penetrating beneath the sounding surfaces of another place

Hildegard Westerkamp: Attending to Sacred Matters

The Tenth Muse for 2010 Latino Theatre Festival

10lf_header_560x180.jpg7:30 Thursday, July 22

Goodman Theatre
170 North Dearborn Street
Chicago, IL 60601

The Tenth Muse, in An Evening of Original Music and Performance

A new opera by Chicago-based composer Elbio Barilari, The Tenth Muse celebrates the life and poetry of the extraordinary Mexican writer, poet, musician, scientist, thinker and feminist, Sor Juana Inés de la Cruz. This 40-minute work is performed for one night only in the 5th Latino Theatre Festival (June 19–July 25), in the Owen Theatre at the Goodman.

I perform on springboard with a neo-baroque ensemble performing on period instruments.

This program is part of an evening of original music composed by local artists in association with the Latino Music Festival (Chicago), Lyric Opera of Chicago, Collaboraction and Aguavá New Music Studio. Tickets are $18/$9 (Students w/ID)