Jam-D-Jam! is your winner for the Goat Farm Arts Center and Hambidge Center's Field Experiment. The project from the Jam-D-Jam! team is attempting to tackle the bane of every Atlantans existence — rush hour traffic. Created by Mel Chin and Severn Eaton (EMCs), encourages people to call in from their vehicles while stuck in traffic. Their unscripted words or noises of frustration, boredom, happiness, etc. are then transformed into a musical invention that is played back over the airways. So now that lovely string of expletives you've been muttering under your breath while stuck on I-85 can be turned into something exponentially better than the Honda Civic bumper you've been staring at for the past hour.
Throughout the project, EMCs will be working with a diverse set of Atlanta music makers and producers to turn highly improvisational recordings into composed sound. “We are grateful to be selected and are excited to have the opportunity to create music with the entire city of Atlanta (of course, only those stuck in traffic). This will be an interactive experiment that pushes the creativity of producers, performers, and broadcast radio," the EMC's said in a statement.
The Jam-D-Jam! team will receive $20,000, a two-week residency at Hambidge, with the final project to be unveiled in the fall.
The Atlanta Symphony Orchestra has announced its third annual Rapido! Composition Contest, designed to promote new chamber music and encourage new compositions by underrepresented composers of all levels of experience. The winner will receive a commission for a full orchestral work to be premiered by the Atlanta Symphony Orchestra in spring of 2014. More about the contest after the jump.
"It's about an ever-changing perspective on a river that is always moving," explains Singleton. "Each time you step in you're at a different place." Although Singleton's compositions have been premiered and performed by major orchestras around the world, the composer has long maintained especially strong ties to Atlanta and the ASO.
Would you explain Warhol's screen test films?
Warhol made 472 of these films between 1964 and 1966. They are short, silent, black-and-white portraits. Before he was doing this he was doing photo booth portraits, which he called “stillies,” so this kind of grew out of that – it was the next step when he bought a Bolex and decided that he was moving into making film. He didn’t really know how to edit film I guess; he didn’t have to edit film. He’d just load a reel of film, which is about three minutes in length, and he would sit someone against a white background or a black background and just let the film roll and tell them to stare straight into the camera and do as little as possible. Then he would play these films back at a slower speed, at a silent film speed instead of the sound film speed, so they’re all kind of stretched out. So, they play back and they were just over four minutes each and that’s what kind of gives them a slightly spooky quality. If you slow down someone’s face you can kind of see things flicker across them that you really wouldn’t otherwise notice. The first part of our assignment was to pick 13 of these films.
What drew you to these 13?
We started reading about the Factory in this period; it’s called the Silver Factory. It was the one that was painted silver and it was a former hat factory on East 47th Street. After this period he moved to Union Square, which is where everything changed. It’s where he got shot. I know a little bit about Warhol and the Velvet Underground and the people that were around them, but I didn’t really know much about them at all until I started researching this and the more we learned the more we decided to focus on the people that were there everyday, like Billy Name who was Warhol’s assistant and even Dennis Hopper who was an important early champion of Warhol’s work when he went out to the West Coast. This is at a point where Warhol wasn’t selling anything at all and Dennis Hopper was blacklisted from Hollywood, he wasn’t doing much at all either – this was before Easy Rider — he was blacklisted for the first time because he was too difficult to work with, I think. Hopper was one of the first people to buy a soup can painting.
While ballet audiences probably remember Tyler as the Snow King in The Nutcracker, Renfield in Dracula, or as one of the comic goblins in The Princess and the Goblin, they may not realize that for the past couple years, after rehearsals and between performances, Tyler, now in his fifth year as a principal dancer with the Atlanta Ballet, has also been performing his music around Atlanta and steadily establishing a name for himself on the city's singer-songwriter scene.
"I kind of just slid into both, not really knowing it," says Tyler of his affinity for both dance and music.
You're a member of the Atlanta School of Composers. Can you tell us what that involves?
The Atlanta School of Composers is a term that [ASO Music Director] Robert Spano coined. It's basically a long-term partnership with the Atlanta Symphony. None of the composers actually reside in Atlanta. It's people he's believed in and wants to champion. He will take someone on and perform their music and commission them for new work. The piece that will premiere this week is my first big commission with the symphony. He personally commissioned it. He's the type of conductor a composer can actually approach, and he'll listen to what you have to say. We hit it off when we first met in January of 2009, and I handed him some of my music. A few weeks later I got a phone call from him saying that he wanted to program some of my work. I was 29 then, and it's an extraordinary thing to realize that you're going to get a piece performed by the Atlanta Symphony. One of the great things that's part of the Atlanta School: When Robert commissions a work, he brings the composer back before the premiere to do a reading of the piece in progress. This is a very rare thing which few orchestras do. Usually you just show up the week of the premiere and you have three rehearsals and that's it. If you want to make changes to the piece, you have to pull an all-nighter in your hotel room, trying to make changes. So for Robert to give a reading, you then have a couple weeks to revise the piece. That is one of the greatest gifts any composer can have.
The show began with an overture, and Peters made a star's entrance with "Let Me Entertain You." In a fitting, sequined purple gown, she looked incredible. It's especially hard to believe the AJC preview article, which pointed out that Peters will celebrate her 64th birthday at the end of February.
Unfortunately, the quality of the amplification was not so good, and the sound suffered especially on big boisterous numbers like "Let Me Entertain You." The sound quality varies greatly depending on where you sit in Symphony Hall — it's one of the space's perennial problems — and unfortunately from where I was sitting, it was pretty awful: unbalanced, echoey, hollow, and undetailed. It was even hard to understand the between-song patter.
The preternaturally youthful singer will perform classics from her career on stage and screen including “Losing My Mind” and other hits by Sondheim, as well as standards from the Rodgers & Hammerstein songbook, Peggy Lee’s “Fever”, and “When You Wish Upon a Star.” The Broadway star appears in honor of the symphony’s second annual gala, a fundraiser for the orchestra's music education programs.
Individual tickets for the show start at $35 and special packages, which include a cocktail reception and a black-tie gala dinner, start at $500 per person. For more information, visit the ASO or call 404-733-4900.
You've said that Elgar's Cello Concerto is one of your favorite pieces. What aspect of it most appeals to you?
I love this piece because it's pure emotion. It's an extremely emotionally charged concerto because Elgar wrote it at the end of the first world war. He was in his 60s at the time, and he had just come home from being hospitalized. Everything inside and outside was shattered, so to speak. The Old Europe he related to was gone. Then he decided to write a cello concerto. The theme came to him the first time he came home from the hospital. It has a huge melancholia. The whole set is very sad, and I'm a happy person so I'm exploring feelings and a life situation that aren't really mine. I find it extremely challenging, but sort of rewarding to live through the eyes of the composer. The way he writes his music you can absolutely relate to his life situation, which I think is exceptional.
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