This installment of the Soundspace series was arguably the most ambitious to date. The fact that it was the largest turn out yet is a testament to the quality of the music and the hunger Austin audiences have for new and interesting music.
Fall is always overflowing with great sounds, and this embarrassment of new music riches, coupled with a bit of mercifully cool weather, made for an exciting start to the season in Austin.
For more than a decade, Houston’s Musiqa has presented a sort of artistic cornucopia for its audience. Music, dance, and the spoken word come together with other art forms in dynamic multifaceted presentations that keep the audience engaged and on its toes.
Mother Falcon’s sound is born of instrumentation largely rooted in the world of classical music mixed with a healthy dose of an indie rock aesthetic. Nick Gregg and Matt Puckett to talk about the past, present, and future of the group.
Inaugurated in 2000, Michelle Schumann’s annual “Happy Birthday Mr. Cage!” event has become a “Rite of Fall” of sorts for Austinites in and around the new music scene.
Ion Sound Project is a thoroughly engaging CD from top to bottom. If you’re interested in music that is for the most part harmonically tonal and rhythmically diverse, you’re sure to find a great deal of satisfaction in the world of Jeremy Beck.
I do, on occasion, enjoy putting on a coordinated outfit and drinking from something with a stem prior to my fiddle intake, but for me this is more of a Thanksgiving/Presidents’ Day once-a-year deal than a monthly water bill situation. For my regular listening, I prefer smaller, less formal venues, and fortunately I’m not alone.
Vessel, a recent concert presented by the Convergence Vocal Ensemble, featured an evening of commissions for four voices combined with a variety of instrumental combinations, including new instruments created specifically for this event. But what was that air compressor for?
Doing anything in Austin in the summer can be a bit of a drag, but checking out week after week of top notch chamber players is a pretty spectacular way to pass the time. This annual three-week festival has developed over the years by taking its broad and general title quite literally. It’s not summer classics, new music, or jazz; it’s all that and more.
Written over several years in the late ’60s and early ’70s, Cornelius Cardew’s The Great Learning was performed over two evenings by the Austin New Music Coop in the spring of 2011. Terabytes of high definition audio and video were recorded during those performances, excerpts of which appear throughout this podcast.