Thursday, October 17
Calicchia Gallery Studio, 1433 E 33rd St Cleveland
Doors 7:30, Music 8PM

Admission $15

James Ilgenfritz & Matthew Goodheart

Composer and bassist James Ilgenfritz is recognized in the New Yorker for his “characteristic magnanimity” and his “invaluable contributions to New York’s new-music community." His 2019 album You Scream A Rapid Language collects recent chamber works, and features Pauline Kim Harris, Conrad Harris, William Winant, Thomas Buckner, Kathleen Supové, Margaret Lancaster, and Joseph Kubera, and was noted in The Wire for its "glint of mischief" and ability to "foreground the performative and gestural elements of music making."

James presented residencies at John Zorn’s The Stone in 2015 and 2017. In 2019 James performed in Anthony Braxton’s Composer Portrait concert at Columbia University’s Miller Theater (with Either/Or and the JACK Quartet), and premiered his second opera, I Looked At The Eclipse. Recent projects include his trio Hypercolor (released on John Zorn’s record label Tzadik with Lukas Ligeti & Eyal Maoz) and his recent solo CD Origami Cosmos (featuring works by Annie Gosfield, Miya Masaoka, Elliott Sharp, & JG Thirlwell). In June 2018 James presented his second residency at John Zorn’s venue The Stone, with premieres for the Momenta Quartet, flutist Margaret Lancaster, The New Thread Saxophone Quartet, and the Kathleen Supové/James Moore/Jennifer Choi trio, as well as solo bass works by John King, Anthony Donofrio, and Lucie Vitkova.
https://jamesilgenfritz.bandcamp.com/album/proprioceptions-iii-inasmuch-and-insofar

Matthew Goodheart is a composer, improviser, sound artist, and educator who has developed a wide body of work that explores the relationships between performer, instrument, and listener. His diverse creations range from large-scale microtonal compositions to open improvisations to immersive sound installations – all unified by the analytic techniques and performative methodologies he has developed to bring forth the unique and subtle acoustic properties of individual musical instruments. Goodheart’s approach results in a “generative foundation” for exploring issues of sound in relation to physicality, perception, technology, and cultural ritual.

As his career expanded both domestically and internationally, he became compelled by the interrelationship between instrument design, acoustics, and compositional/ improvisational constraints. Working closely with David Wessel at the Center for New Music and Audio Technologies (CNMAT) at UC Berkely, he developed an electroacoustic practice dubbed “reembodied sound,” which analyzes and samples individual acoustic instruments, imports the data into a variety of software environments to synthesize signals tailored to the specific properties of the source instrument. The results are then recursively played back into the original instruments through surface transducers, causing them to resonant autonomously. Pursuing the possibilities inherent in this recursive technique have provided new directions to his work for over a decade, finding its expression in electroacoustic chamber compositions, algorithmically determined improvisation structures, site-specific sound installations, and binaural fixed-media work.

http://www.wp.matthewgoodheart.com/wp/

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Heather Mease

Heather Mease is a composer, electronic musician, and multimedia artist whose work focuses on the appropriation of media and pre-existing forms, recorded materials, and found objects as a means for exploring material culture, waste, and the consequences of nostalgia. Heather serves as Visiting Assistant Professor of TIMARA at Oberlin Conservatory of Music.
https://www.hmmease.com/