Austin is still a relatively small city, but the ease with which one can find a last-minute replacement for that “contrabassoonist who also owns his own unicycle” part is impressive, and it’s this high concentration of strong, adventurous players coupled with a titanic work ethic that has allowed ANMC to flourish in the last ten years.
Before the Aeolus Quartet returned to the frozen Northeast, they entered the studios at UT Austin to record Many-Sided Music, an album of new works by American composers, its title taken from Leonard Bernstein’s description of the “many-sidedness” of American music. I’ve had the good fortune of hearing several of these pieces live, fresh, and new, but it’s great to hear them with the benefit of time and reflection.
What strikes me about my SXSW experiences in the twelve years I’ve been here (and what I typically hear from friends and acquaintances) is that some of the best parts were not vaguely planned. What they stumbled upon as they made their way around downtown Austin and the surrounding area is what made their festival experience fun and unique.
The No Idea Festival recently celebrated its ninth year with seven days of concerts in Austin, Houston, and San Antonio. An international roster of artists participated in workshops and performances in spaces large and small and, as a run up to the festival, the No Idea Sunday Series featured four performances from local and regional improvisers.
This past Saturday, the Austin Museum of Digital Art presented the most recent concert in their performance series focused on experimental music and digital performance art. Though AMODA has no physical address (and really, isn’t that what you’d expect from a purely digital outfit?), their presence has been felt throughout the Austin area, and I was anxious to see what they had in store.