STRINGS AND BORDERS
Jon Rose (Australian violinist/inventor/fence bower) and the leading new music violinist Cornelius Dufallo join forces with other special guests to redefine strings.
Jon Rose travels from Australia to present works from his Great Fences of Australia project. Since 1983, in addition to his work on and about the violin, Jon Rose has been bowing and recording the music of Fences worldwide. A wide range of music can be coaxed from these ubiquitous landmarks.
Cornelius Dufallo and Mari Kimura are on the forefront of redefining the repertoire for the violin. They join Jon Rose in an evening of total exploration.
May 15, 7PM.
Q2 Music’s The Greene Space
44 Charlton Street at Varick Street
For nearly 40 years, violinist/composer Jon Rose has been at the sharp end of experimental, new and improvised music on the global stage.
He has appeared on more than 100 albums, radiophonic, media, and environmental works, collaborating with many of the mavericks of new music including Kronos String Quartet, Derek Bailey, Butch Morris, John Zorn, Alvin Curran, Fred Frith, George Lewis, Otomo Yoshihide, Christian Marclay, etc. at festivals of New Music, Jazz, and Sound Art world wide such as Ars Elektronica, Festival D’Automne, Maerzmusik, Dokumenta, North Sea Jazz Fest, European Media, New Music America, the Berlin Jazz Festival, Vienna and Melbourne Festivals, etc.
In 2012, he was awarded the Don Banks life time achievement award by The Australia Council.
Cornelius Dufallo (composer/violinist) is a constant innovator at the forefront of the American contemporary music scene. The New York Times calls him one of the “new faces of new music” and praises his “alluring” solo performances and “imaginative” compositions. A virtuosic and versatile violinist, Dufallo plays both acoustic and electric violin. According to Allan Kozinn in the New York Times, Dufallo’s performances on electric violin show “how much amplification can expand the instrument’s palette. Far from robbing the violin of its beauty, electronics add textural elements and gradations of timbre that the acoustic instrument cannot approximate.” He has recorded for the Mode, Tzadik, Cantaloupe and Innova labels. He was a member of ETHEL (2005-2012) and a founder of Ne(x)tworks (2002-2011).
Mari Kimura is at the forefront of violinists who are extending the technical and expressive capabilities of the instrument. As a performer, composer, and researcher, she has opened up new sonic worlds for the violin. Notably, she has mastered the production of pitches that sound up to an octave below the violin’s lowest string without retuning. This technique, which she calls Subharmonics, has earned Mari considerable renown in the concert music world and beyond. She is also a pioneer in the field of interactive computer music. At the same time, she has earned international acclaim as a soloist and recitalist in both standard and contemporary repertoire.
As a composer, Mari’s commissions include the International Computer Music Association, Harvestworks, Music from Japan and others, supported by grants including New York Foundation for the Arts, Arts International, Meet The Composer, Japan Foundation, Argosy Foundation, and New York State Council on the Arts. In 2010 Mari won the Guggenheim Fellowship in Composition, and invited as Composer-in-Residence at IRCAM in Paris. In May 2011, Mari was presented in a solo recital at the Bohemian National Hall in NYC by the Vilcek Foundation, in recognition of her ground-breaking work as a foreign-born artist; subsequently she was named one of this year’s 45 individuals as “Immigrants: Pride of America” by the Carnegie Corporation, published in the New York Times. Mari’s latest CD, The World Below G and Beyond, is devoted entirely to her own compositions and focuses on works using Subharmonics and interactive computer music. In October 2011, Mari presented her “I-Quadrifoglo”, her first string quartet with interactive computer at New York’s Symphony Space, commissioned by the Cassatt String Quartet through 2010 Fromm Foundation Commission Award from Harvard University.
In 1994, Mari presented Subharmonics technique for the first time in public, at the League of Composers/ISCM Recital Award concert at New York’s Merkin Hall. Mari’s breakthrough drew international attention from both the musical and scientific communities. Her work was mentioned in Physics and Physics Today, and she was invited to demonstrate Subharmonics at the Acoustical Society of America’s 1995 meeting. Since then, more than a dozen articles about Subharmonics have appeared in musical and scientific journals, including several authored by Mari.
As a violinist, Mari has premiered many notable works, including John Adams’s Violin Concerto (Japanese premiere), Luciano Berio’s Sequenza VIII (US premiere), Tania Léon’s Axon for violin and computer (world premiere), and Salvatore Sciarrino’s 6 Capricci (US premiere), among others. In 2007, Mari introduced Jean-Claude Risset’s violin concerto, Schemes, at Suntory Hall with the Tokyo Symphony Orchestra. The cadenza she wrote for the concerto, incorporating advanced Subharmonics, was subsequently published in Strings. In November 2010, Mari appeared as a soloist with the Hamburg Symphony performing John Adams’ Dharma at the Big Sur, under the direction of Jonathan Stockhammer, conductor Recently, Mari’s work appeared in featured articles including the New York Times written by Matthew Gurewitsch, and in Scientific American written by Larry Greenemeier. Since 1998, Mari has been teaching a graduate course in Interactive Computer Music Performance at Juilliard. http://www.marikimura.com