Autoduplicity presents their second concert exploration in Machaut + Rauschen, juxtaposing Guillaume de Machaut's ballade, “Dame, ne regardez pas” with several of Peter Ablinger's Instrumente und Rauschen and the San Diego premiere of Ablinger's Kreuze for solo cello and electronics. Leaping from the simple purity of a single melody to the “everything always” of white noise, Machaut + Rauschen explores the hidden complexity in simple sounds and hidden sounds within masses of complex noise. Listening at these extremes reveals how deceptive the very ideas of simple or complex can be.

Featuring:

Peter Ablinger

WEISS / WEISSLICH 17d: Flöte und Rauschen

WEISS / WEISSLICH 17k: Violoncello und Rauschen ("Kreuze")

Piccolo und Rauschen

Das Wirkliche als Vorgestelltes (The Real As Imaginary)

Kyrie after Machaut

Guillaume de Machaut

Dame, ne regardez pas (arr. Rachel Beetz and Jennifer Bewerse)

Admission: FREE

For more information visit, ucsdmusic.blogspot.com or autoduplicity.com

David Tudor's RAINFOREST is a blueprint to a sonic environment, an exploration of resonance that has had a significant impact on electroacoustic music. Now, over forty years since its inception, Southland Ensemble is proud to present an evening dedicated to the work and that which has been inspired by it.

The concert will feature an installation and live performance of RAINFOREST IV, as well as a world premiere of a new composition by composer Carolyn Chen inspired by Tudor's work. This concert is sponsored by PIE (People Inside Electronics). 

General Admission - $25

Students/Seniors - $15

For more information, visit www.peopleinsideelectronics.com

or southlandensemble.com

Wordless Music presents their second collaboration with filmmaker Paul Thomas Anderson: a world premiere live score and screening of PUNCH-DRUNK LOVE (2002), with Jon Brion’s original score re-orchestrated for performance by a 50-piece orchestra.

For this premiere event, composer Jon Brion will sit in and perform with the orchestra as special guest. Wordless Music has partnered with Sony Pictures and PTA to produce a new, music-less print of the film for live orchestral accompaniment, led by conductor Ryan McAdams and percussionists Yuri Yamashita-Morales and Wilson Torres. Members of Wordless Music and wild Up reprise their collaboration from last year’s sold-out performances of UNDER THE SKIN with Mica Levi at the Regent Theater.

Purchase Tickets at www.acehotel.com

More information at www.wordlessmusic.org

As part of her series of concerts exploring the question "Why live music?", Jennifer will perform music that uses technology, not to approximate or imitate other mediums such as film or recordings, but to embrace characteristics like contingency and embodiment that are the foundation of liveness. How do these works come alive in a concert hall? How are they different from a recording? Are they...?

Advaya - Jonathan Harvey

Study for String Instrument No.3 - Simon Steen-Andersen

Time With People, Op.1 - Tim Parkinson

Study No.51 - Ryan Ross Smith

Das Wirkliche als Vorgestelltes (The Real as Imaginary) - Peter Ablinger

Admission: Free

For more information, visit musicweb.ucsd.edu/concerts

WildUp joins Jennifer Koh and Shai Wosner to present works by Silvestrov, Iyer, Clyne, Vivier, and Norman.

Autoduplicity presents their second concert exploration in Machaut + Rauschen, juxtaposing Guillaume de Machaut's ballade, “Dame, ne regardez pas” with several of Peter Ablinger's Instrumente und Rauschen and the Icelandic premiere of Ablinger's Kreuze for solo cello and electronics. Leaping from the simple purity of a single melody to the “everything always” of white noise, Machaut + Rauschen explores the hidden complexity in simple sounds and hidden sounds within masses of complex noise. Listening at these extremes reveals how deceptive the very ideas of simple or complex can be.

Featuring:

Peter Ablinger

WEISS / WEISSLICH 17d: Flöte und Rauschen

WEISS / WEISSLICH 17k: Violoncello und Rauschen ("Kreuze")

Piccolo und Rauschen

Das Wirkliche als Vorgestelltes (The Real As Imaginary)

Kyrie after Machaut

Guillaume de Machaut

Dame, ne regardez pas (arr. Rachel Beetz and Jennifer Bewerse)

Southland Ensemble is thrilled to explore and interpret Brown's historic, groundbreaking work with this concert, sponsored by the Earle Brown Foundation. 

Throughout his life, Brown became known as a composer who devised a myriad of new and challenging notational systems and musical forms. He is credited with the invention of open form, a compositional format that is widely used in experimental music today, as well as with the creation of one of the earliest graphic scores, December 1952. 

On January 30th, Southland will present works from FOLIO.

FOLIO (1952-1954)

October '52

November '52

December '52

'53

June '53

4 Systems

Tickets $18 general / $15 students

Facebook Event HERE

If it's short it will be this tall.

We invite you to join us for an evening of powerful and iconic music by two of experimental music's most masterful and exuberant composers. We will be performing Curran's transfigurative string quartet VSTO, as well as some of Rzewski's most iconic and powerful compositions Les Moutons de Panurge, Coming Together and Attica. 

"I think this is a period of both destructive and creative transition...But there are signs that there is a new generation of younger musicians, there seems to be in many different places across the planet a kind of music that is being done today in “undergrounds”, squats, out-of-the-way places, hidden from view… " - Frederic Rzewski

with special guests

Scott Cazan - Danny Holt - Ulrich Krieger

Anne LeBaron - Todd Lerew - Sara Roberts

$10 tickets at the door 

For more information, visit southlandensemble.com

Autoduplicity presents their second concert exploration in Machaut + Rauschen, juxtaposing Guillaume de Machaut's ballade, Dame, ne regardez pas with several of Peter Ablinger's Instrumente und Rauschen and the world premiere of Ablinger's 16 Kreuze for solo cello and electronics. Leaping from the simple purity of a single melody to the “everything always” of white noise, Machaut + Rauschen explores the hidden complexity in simple sounds and hidden sounds within masses of complex noise. Listening at these extremes reveals how deceptive the very ideas of simple or complex can be.

Featuring:

Peter Ablinger

WEISS / WEISSLICH 17d: Flöte und Rauschen

WEISS / WEISSLICH 17k: Violoncello und Rauschen ("Kreuze")*

Piccolo und Rauschen

Das Wirkliche als Vorgestelltes (The Real As Imaginary)

Kyrie after Machaut

Guillaume de Machaut

Dame, ne regardez pas (arr.Rachel Beetz and Jennifer Bewerse)

Admission: $10

For more information visit artsharela.org/events or autoduplicity.com