A Study on Effort
A Starling Recital
Premiere April 1st, 2016
Starlings steal shiny objects and catchy tunes, and swarm in murmurations.
Watch/hear the starlings steal from sight to sound, playing music by György
Kurtág, JS Bach, and Felipe Rossi in collaboration with
Featuring a voice (Bonnie Lander), a violin, and poetry from members of the
Tracing a Line
Premiered May 25th
at the Peabody Essex Museum
Matthew Aucoin, Victoria Crutchfield, Keir GoGwilt
a Line" begins with the melody from Johann Rudolf Ahle's chorale, "Es
ist genug," and performs its re-writings through JS Bach, Alban Berg, and
Matthew Aucoin. This "program-piece" also includes dramatic elements
including an adaptation of Beckett's play, "Nacht und Träume," and
pre-recorded poetry readings. The audience sits in a ring, intermingled with
the orchestra. There are no breaks for applause between pieces. The
choreographed movement of the orchestra, which begins in the center of the
audience and gradually disperses beyond the ring of audience members (some in
the various balconies of the PEM atrium) conveys the manner in which the
musical writing of the program-piece interacts with bodies. This interaction
between text and body is inspired by Beckett's stage directions and Berg's
indication that the soloist should join the first violin section in the
Variations section of the Violin Concerto's second movement.
Premiered February 20, 2014
at Fordham University
Matthew Aucoin, piano; Keir GoGwilt, violin
Recital and discussion. Violinist, Keir GoGwilt, and pianist, composer & conductor, Matthew Aucoin, will perform works that foreground the practical and theoretical questions of transcription and translation in lyric and musical texts. Musical transcriptions will include compositions by Matthew Aucoin, Alban Berg, Anton Webern, György Kurtág, with a focus on the poetry of Paul Celan.
What is the role of voice in song? What remains when the voice is left out in a transcription for violin and piano? How does the disappearance of words in musical transcription complicate the role of interpretation in performance?
This recital is intended to open up for discussion the work of performance as criticism and criticism as performance.