The University of South Carolina Experimental Music Workshop & Erik Carlson Playing The World Premiere of Erik Carlson’s “10,000,000 Vibrations”
For Immediate Release March 26, 2019
701 Center for Contemporary Art Presents
The University of South Carolina Experimental Music Workshop & Erik Carlson
The World Premiere
of Erik Carlson’s “10,000,000 Vibrations”
& music by
Mary Jane Leach
Thursday, April 11, 2019 at 7:30 pm
701 Center for Contemporary Art
701 Whaley St., 2nd Floor, Columbia, SC 29201
Contact: Hannah Shepard
The University of South Carolina Experimental Music Workshop student ensemble, directed by U.S.C. music school faculty member Greg Stuart, will perform at 701 Center for Contemporary Art in Columbia, S.C., on Thursday, April 11, 7:30 p.m. The ensemble will be joined by composer and violinist Erik Carlson. Admission is free.
The Experimental Music Workshop will perform the world premiere of Carlson’s expansive “10,000,000 Vibrations” (2019) for violin and ensemble and Stuart's "aerosol aperture" (2019) for violin, percussion, ensemble, and electronics. Also on the program are performances of music by Kunsu Shim, Eva-Maria Houben, as well as Mary Jane Leach’s “Dowland’s Tears” (2011), performed by Jennifer Parker-Harley and the USC Flute Studio.
The Experimental Music Workshop is a collective of musicians at the University of South Carolina drawn from the South Carolina Honors College, School of Music, the Columbia music and arts community, and beyond. Founded in 2009 by percussionist and USC School of Music professor Greg Stuart, the Experimental Music Workshop presents concerts of experimental music throughout Columbia and the Southeast and has collaborated with an array of prominent musicians and composers. The group’s performances have been praised as “patient, unpredictable, [and] exceedingly beautiful” (The New York Times). The Experimental Music Workshop released their debut recording on Edition Wandelweiser Records in the Winter of 2017 performing the music of Jürg Frey.
Stuart is a percussionist whose work draws on a mixture of music from the experimental tradition, Wandelweiser, improvisation and electronics. His performances have been described by the New York Times as “a ghostly, gorgeous lesson in how close, concentrated listening can alter and enhance perception.”
Composer and violinist Erik Carlson has performed as a soloist and with many chamber and orchestral ensembles throughout Europe and the Americas. He is a highly active performer of contemporary music and has had works written for him by numerous composers, including Karlheinz Stockhausen, Tom Johnson, Jürg Frey, and Georges Aperghis. He has had his own musical compositions performed in a wide variety of venues. He is an enthusiastic proponent of interdisciplinary collaboration, and performs frequently with poets, dancers, actors, and film.
Kunsu Shim’s describes his sound world as “a melting pot of ideas from opposing forces such as chaos and order, chance and causality, striding forth and dwelling, sequence and interruption, smooth and rough, I and you (we).” Shim understands his works to be a contemplation of form, and so without mysticism. His performances in the tradition of Fluxus seek to destroy the visible reality of things, and thus render them intangible.
According to Eva-Maria Houben, the focus of her composing is “fading sound.” She explains that it is the “the link between life and art; between perception in daily life and perception while performing, while composing.” As National Sawdust describes, “Houben wrings an extraordinary life out of each note she deploys precisely because she honors the space that follows—the presence of absence.”
Mary Jane Leach is a composer and performer whose work reveals a fascination with the physicality of sound, its acoustic properties and how they interact with space. In many of her works, Leach creates an otherworldly sound environment using difference, combination, and interference tones; these are tones not actually sounded by the performers, but acoustic phenomena arising from Leach’s deft manipulation of intonation and timbral qualities. The result is striking music that has a powerful effect on listeners. Leach wrote “Dowland’s Tears” for Manuel Zurria, who describes Leach as “a composer of the avant-garde, but her experience in early music was crucial to capture the heart and emotion of Dowland’s music. In fact, this composition is a form of meta-composition that might sound like Dowland but that is integrally Mary Jane Leach.”
701 CCA is a non-profit visual arts center that promotes understanding, appreciation and enjoyment of contemporary art, the creative process and the role of art and artists in the community. The center also encourages interaction between visual and other art forms. Admission to all exhibitions is free.
701 CCA is located at 701 Whaley Street, 2nd Floor, Columbia, SC 29201. During exhibitions, hours are Wed-Sat 11–5; Sun 1-5. For more information, visit www.701cca.org.
For further inquiries or high-resolution images, contact email@example.com or call (803) 319-9949. Please check the 701 CCA website for additional information on the exhibition and associated events.