Aug 3-5 I’ll be in Los Angeles recording the duo Malosma with flutist Christine Tavolacci at Automata.
Then spend the bulk of August 2021 playing principle clarinet for new orchestra premieres at the Ostrava Days Festival in the Czech Republic.
The first week of September I travel to Berlin, Germany to work with Lucio Capece and play a couple shows.
Sept 3@ KM28 in Berlin: I share a night at KM28 with bassist James Ilgenfritz. Clarinet solos + electronics. Bassist James Ilgenfritzand bass clarinetist Katie Porterpresent solo works by Teodora Stepancic, Devin Maxwell, Lucie Vítková, and Gergely Szabó, and perform with Viola Yip, Nicola Hein, Chris Heenan, Magda Mayas, and Axel Dörner.
Sept 5 @ St. Petersburg Art Space Berlin. Lucio Capece and I will premiere Phase to Phase I and Phase to Phase II, our bass clarinet duos recorded slowly all year over zoom.
And HUGE NEWS:. The Japanese label FTARRI will release our recordings in December 2021. Here is the cover art!
Finally, I was asked to contribute to SOUND AMERICAN Issue 27: The Life Issue. I wrote a huge article taken from letters to my friend Juho Laitinen during the pandemic, about life, kids, loss and music. This will be released in the fall.
TEMPO The Quarterly Review of New Music Vol. 75 No.297 Review by Roger Heaton
This issue of TEMPO, July 2021, spends a -good- two pages on our Red Desert album, who we are, and what this music might be about. I’m so pleased. Thank you Roger Heaton and Heather Roche.#andrecormier @thedevinmaxwell @lucie__vitkova @mpisaroliu #reddesertensemble @infrequent_seams
“One begins to see that the Wandelweiser aesthetic (wide-ranging as it is), with it’s Cagean/Wolffian roots, the importance of silence, space and sounds in space, seems, on the evidence of this disc and the pair’s extraordinarily devoted work in the performance and promotion of experimental music, to be particularly important to Red Desert, not least in the way they have presented new work in small-scale, informal and unusual spaces.”
“It is a striking and dramatic piece [Andre Cormier], played with great control and intensity by both players, which would benefit greatly from the drama of live performance.”
This is not superficial ambient music: [Lucie Vitkova] these are carefully heard sounds that are really well controlled, particularly in the clarinet playing.”