Our friends at New Amsterdam Records have given us the opportunity to share a number of exclusive album previews in recent months. Today we’ve got something different to offer along with NewAm: our first video premiere, for the Molly Joyce composition Shapeshifter. Performed by the Dutch duo of violinist Monica Germino and sound engineer Frank van der Weij, the piece is one of two works included on Joyce’s new digital EP, Lean Back and Release.
You might recall that Joyce, a composer and performer who studied with Samuel Adler and Christopher Rouse at the Juilliard School and currently is enrolled at the Yale School of Music, had a piece featured on A O R T A, the recent New Amsterdam release by pianist Vicky Chow. About Shapeshifter, she says:
“Shapeshifter is a work inspired and motivated by physical change and its many implications. When I originally wrote it for the violin and engineer duo of Monica Germino and Frank van der Weij, I was aiming for the violin to gradually ‘shape-shift’ to a new and divergent sound. Thus the video to accompany excerpts of the work utilizes projection mapping and more to distort the actress’s appearance and propel her to a new physical image.”
The video was shot and edited by Kevin Eikenberg of Four/Ten Media. Along with Shapeshifter, Joyce’s new EP features a second transformational piece, Lean Back and Release, which was given a memorable professional premiere by Adriana Mateo at the 2014 Bang on a Can Marathon.
Lean Back and Release is available now via the Bandcamp player embedded above. Joyce and New Amsterdam will celebrate the release of the EP and video on March 6 at 6:30pm with a free concert featuring violinist Kristin Lee, concertmaster of the Metropolis Ensemble, at 1 Rivington Street on Manhattan’s Lower East Side; to RSVP, go here.
Our friends at New Amsterdam Records have given us the opportunity to share a number of exclusive album previews in recent months. Today we've got something different to offer along with NewAm: our first video premiere, for the Molly Joyce composition Shapeshifter.
When I turned 30, even though it was going to be expensive, I felt I ought to purchase health insurance. Having heard horror stories from older colleagues about scenarios in which they had found themselves, it seemed to be the right thing to do. I could only hope it was the biggest chunk of money I would ever “throw away.” Fifteen months after I had made that decision, I was diagnosed with Multiple Sclerosis.
http://thelogjournal.com/wp-content/uploads/2017/02/am-20.jpg33002200Amanda Monacohttp://thelogjournal.com/wp-content/uploads/2016/10/TheLogJournal_300px.pngAmanda Monaco2017-02-08 23:58:362017-02-09 00:02:02Variations: Amanda Monaco - As Serious As Your Life
Soper presents a variable treatise on art and its available meanings, one as clever and sly as it is erudite and provocative. But instantly, the musical conversation – and as often as not it’s exactly that, given Soper’s demands on her instrumental accomplices to verbalize, to engage in theatrics, to deliver lines outright – suggests some nuances she clearly intended, along with others she surely could not have foreseen entirely.
http://thelogjournal.com/wp-content/uploads/2017/02/SoperEricBruckerCourtesyEMPACRensselaer1.jpg16002400Steve Smithhttp://thelogjournal.com/wp-content/uploads/2016/10/TheLogJournal_300px.pngSteve Smith2017-02-07 21:53:052017-02-08 23:05:26Performance Review: Kate Soper, Ipsa Dixit
Let's begin bold: There surely will be no student undertaking of an operatic or music-theater work more significant than the new production of Robert Ashley's 1999 opera Dust that the College of Performing Arts at the New School unveiled on February 2 in the school's Ernst C. Stiefel Concert Hall.
http://thelogjournal.com/wp-content/uploads/2017/02/048.jpg49127360Steve Smithhttp://thelogjournal.com/wp-content/uploads/2016/10/TheLogJournal_300px.pngSteve Smith2017-02-03 23:41:312017-02-06 17:06:55Performance Review: Robert Ashley, Dust