12/15/16 at 7:30 pm
The Invisible Dog Art Center: 51 Bergen St., Brooklyn
Tickets: $20 / $15 Artists & Students
Ghost Ensemble premieres newly commissioned pieces, and closes with a memorial rendition of Pauline Oliveros’s “Tuning Meditation,” the piece which brought many of them together years ago.
The project will culminate in an evening of world premiere performances on December 15 at Invisible Dog Arts Center in Brooklyn. Support the project through Hatchfund!
Teodora Stepancic’s works speak in the hushed voice of the outsider; do not try to draw attention; stress generosity, attentiveness, intimacy, spirit, and focus. Kristina Wolfe studies how music helps listeners perceive invisible aspects of the world and the shadows of other times, also incorporating resonance, ritualistic controllers, spectral techniques, medievalism, Deep Listening, and lutherie. Elizabeth Adams‘s work critiques or models social dynamics, varieties of agency, or exchanges of power. Andrew C. Smith’s music often involves just intonation tunings, repetition, and connections with language. Ben Richter’s works combine subtly shifting timbres and sliding microtonal fluctuations to create atmospheres of constant transformation and sonic spaces outside of time.
Since its founding in 2012, Ghost Ensemble has dedicated itself to long-term study of experimental music with a focus on new perceptual perspectives that explore the experience of listening. The group has extensively explored the Deep Listening philosophy of Pauline Oliveros, collaborating with the composer to inaugurate the release of her Anthology of Text Scores at Eyebeam in 2013, and has previously premiered new works written for the ensemble by John Rot, Leonie Roessler, Kyle Gann, Lucie Vítkova, Sky Macklay, and Somna M Bulist. Ghost Ensemble’s performance techniques realize fragile, liminal sounds, produced by virtuosic performers who are experts on their instruments. These practices can only be realized through long-term collaborations between composers and performers. Tax-deductible donations to Ghost Ensemble’s commissioning project support a crucial stage of this long-term relationship between composers and performers, and help to shape its future.