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Evento
I am nothing without you
The dynamics of our daily interactions can influence our moods, our decisions, and the way we see the world. When people interact harmoniously, there is a flow and rhythm that moves, uninterrupted. But when discord arises, we can choose to be passive and ignore it, or be aggressive and fight.
Imago [Pupa Part II] by Dorian Wallace
Hajnal Pivnick, violin
Elliot Wallace, drumset
Tiffany Mangulabnan, dancer
counter(Projections) by Scott Rubin
Hajnal Pivnick, violin
Diane Skerbec, dancer
Tame Your Man by Nathan Hall
Adam Tendler, piano
Bound to Fly, bondage artist
Tame Your Man is a 'living music sculpture': a theatrical work composed for piano, electronics, rope bondage artist, and narrators. It is the composer's first work dealing directly with sexuality and the exchange of power. As a gay man, sexual roles (who is active or passive, who is in control) may be negotiated over the course of a relationship, and even evolve over time. For Tame Your Man, the composer explores these ideas through music, where a pianist willingly gives up his power and mobility to a bondage artist. The pianist must trust the bondage artist enough to give up control while still focusing on the piano performance. The bondage artist in turn must trust the pianist to communicate limits and follow a script. Though Tame Your Man touches on the eroticism of dominance and submission, these communications of power and trust can be complex, but also quite beautiful. The piano music for the piece is comprised of 12 movements that roughly follow the traditional 'circle of fifths'. Stylistically militaristic pounding and dance club-like movements open the performance and soon become transformed, ending in slower, ecstatic meditations. Over the course of the work, the piano purposefully reduces the range of motion of the hands on the keyboard. This will be the NYC premiere of Tame Your Man. The piece had it's premiere on November 9, 2012 at the ATLAS Black Box Theater on CU Boulder Campus.
The violin is one of the most visibly gestural instruments in the orchestra due to the strong visual relationship between the labor required to produce the sound and the sound itself. The notion of gesture lies at the intersection of movement and sound. The second piece, (counter)Projections, scored for violinist, dancer, electronics, and projections, questions the relationships in the sonic, visual, and psychological domains. The dancer performs a physical and visual amplification of the physical connection that the musician has with her instrument. (counter)Projections interrogates and confronts the connections between the violinist, sound, and dancer. How can sound suggest movement, and what can movement tell us about sound? How are our perceptions of the two challenged when they become discordant?
The final piece is Imago [Pupa Part II], a work for solo dancer, amplified violin, and drumset. The choreography by Kim Neal Nofsinger explores an idea of obsession as the dancer moves around the violinist, who is under a bright spotlight. The dancer is like a night insect that moves erratically and incessantly towards the light. The angular movements of the dancer are reflected in the musicians' movements and sounds produced.
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UbicaciónCary Hall, Dimenna Center for Classical Music (Ver)
450 W 37th St.
New York, NY 10018
United States
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