So happy to hear the results of this collaboration with composer Teodora Stepančić. We worked remotely while I was in Utah, and Teodora in NYC, late summer nights recording multiphonics and long, long ostinatos. It’s a beautiful THIRTY TWO minute piece with shapes and colors that I just love. For me! All of the pieces are so beautiful. Please consider listening.
four duets for & with friends: Lucie, Erin, Katie, Rachel pieces about sharing, learning & being together dedicated to Anji, my sister composed in 2018 & 2020
released April 25, 2021
Composed by Teodora Stepančić
Performed by Katie Porter, Erin Rogers, Rachel Mangold, Lucie Vítková, Teodora
Recorded by Assaf Gidron at St.Paul’s Episcopal church, Brooklyn
Produced by Douglas Farrand & Teodora
Edited, mixed, mastered by Assaf Gidron & Teodora at Big Family Audio Co.
Photo by Gordana Reljin Stepančić
Supported by NYC Women’s Fund for Media, Music and Theatre by the City of New York Mayor’s Office of Media and Entertainment in association with NYFA
Red Desert Ensemble, Chorochronos, Infrequent Seams, CD/DL/LP
Splitting their time between New York Brooklyn and a mountain cabin in Utah, percussionist Devin Maxwell and clarinettist Katie Porter have been honing their finely poised musical partnership for the best part of two decades. They came together as a duo when Michael Pisaro wrote Turning for them in 2002. It is revived here, sparse and tense, a prolonged, palpably gradual and finely balanced rotation around the threshold of audibility. Three other pieces fill out the picture. In Andre Cormier’s Sommeil, trills and chimes are interspersed with muted tones and rumblings. Lucie Vitkova’s Choral No. 13 is luminous and graceful. Maxwell’s own Bonneville Park 3 is a spectral tour de force pitching acoustic instruments against textured electronics. Performances that testify to the deep affinity and meshed horizons that unite and energise Red Desert Ensemble.
Yesterday we performed Teodora’s duet for clarinet and casios. I was livestreamed in to Mise-En_Place in Brooklyn, my sounds broadcast over the speakers inside the space, along with other clarinet recordings, some from my speakers too, and Teodora performed her part in the space. It took several rehearsals for Teodora and I to coordinate how to work over zoom at the same time as performing with a delayed livestream. But we did it. A cacophony of clarinets and casios, but the actual sound was just a gorgeous bathtub of us. Also I get to sing and play. I love that. All three works on the concert were so beautiful, a duo with Erin Rogers on sax and Rachel Mangold on bass. So happy to be a part of this project, the recording comes out on Love Records in the spring and it’s all supported by a NYFA grant for women. HERE IS THE SHOW- It starts at about 15 minutes in, my piece is first. xo
Acoustic+ | Teodora Stepančić | mise-en place
Date: October 29, 2020Time: 2:30 pm
Duets with Erin Rogers, Rachel Mangold and Katie Porter.
I recorded bass clarinet sounds to this surreal video score by Andy Graydon, and ended up in a quartet with France Jobin (Montreal), Pierre Gerard (Liege) and Klaus Janek (Berlin). It’s a beauty. And there are SEVEN versions, with artists from all over the world, enjoying many of the same things that I do about time, space and music, and reminding me that community is bigger than this weirdness we’re living through.
Various Artists, seven interpretations of a moving image score by Andy Graydon Bandcamp Pre-Order at https://andygraydon.bandcamp.com Begins Friday, October 2nd (a Bandcamp fee-waive day)
A*rray is a new series of music compositions based on a moving image score by Andy Graydon. In response to the isolation and distancing imposed by the pandemic, Graydon began in April, 2020 to invite musicians and artists from around the world to play their own solo interpretations of the score, a four-channel video that forms the basis of his installation A* (2019). Graydon gathered these contributions into four-player ensembles, creating seven new 30-minute works. A central theme of the video score is the productive complexity of voices in conflict, and the necessity of dissonance in making meaningful connections. Each piece explores this terrain in unexpected and exciting ways, resulting in the lively variety across the series.
A*rray is being released on Bandcamp through Graydon’s own Internegative imprint, with a special pre-order starting October 2nd. The release includes all seven compositions, high resolution cover images, and a special download of the A* video score with the original installation soundtrack.
contributing artists: Cecilia Lopez, Ryan Choi, sawako, Jan St Werner, Barbara Held, Luke Martin, France Jobin, Delia Gonzalez, Stephen Vitiello, Pierre Gerard, Katie Porter, Gil Sansón, Kris Limbach, Richard Garet, José Rivera, Klaus Janek, Jonathan Zorn, Eden Girma, Amnon Wolman, Ensemble Musica Nova (Shira Legmann, Maayan Tsadka, Tom Soloveitzik, Yoni Niv), Edwin Lo, Takeshi Nishimoto, David Sani, Jenn Grossman, Wendy Eisenberg
On Thursday Sept 10, 2020 Red Desert Ensemble played a concert at the Summit Community Garden in Park City, Utah, a benefit for the garden’s COVID19 effort to provide fresh food to those in need in our community. We performed solo works by Teodora Stepancic, Daniel Goode, Tim Parkinson, Devin Maxwell and Iannis Xenakis. We also played Having Never Written A Note for Percussion by Jim Tenney with our audience. It was a little cold but very special to share music with people in real life.
Several installations and soundwalks were also placed around the garden, including text scores by Pauline Oliveros, Yoko Ono, Christian Wolff, David Dunn, a soundwalk a la Hildegard Westerkamp and several listening stations facing various vistas, a la Max Neuhaus. I wanted to curate a way to experience experimental music and sound in a safe and open way, an invitation to listen. You can read more about the project here: www.reddesertensemble.org/garden
WE CELEBRATE RELEASING 3 VOLUMES OF SCORES & MUSIC!
June 9, 2019, 8PM on the DOGSTAR Orchestra Festival at the WildBeast at CalArts
Selections from the mountains: five years after Listen/Space moved to a remote cabin in Wanship, UT and started commissioning new works for experimental chamber ensemble, we release 3 volumes of scores and recordings on Frog Peak. www.listenspacemusic.org
Performers: Katie Porter, clarinet/bass clarinet; Quentin Tolimieri, piano; Stephen Pfeifer, bass; Phil Rodriguez, trumpet; Nathan Herrera, saxophone; Christine Tavolacci, flute; Eric KM Clark, violin; Devin Maxwell, conductor/percussion; Kristin Olson, oboe; Andrew Munsey, percussion; Erin Barnes, vibraphone
Quentin Tolimieri – Bass Clarinet, Piano, Bass (2019) PREMIERE for piano, bass clarinet and bass
Travis Just – Keep Your Eyes Open (2015)
G Douglas Barrett – Everything Has Been Purged from this Composition but Melody (2015)
Eric KM Clark – Kernal (2018)
Laura Steenberge – Ritual for 3 (2016) Nathan Herrera –…
Found these on the good ol’ internet today. FAVORITE PEOPLES
At Galapagos, Brooklyn with Analog Arts, playing maybe Music for Spaceships by Devin Maxwell: James Moore (guitar), Johnny Chang (violin), Eric KM Clark (violin), Katie Porter (clarinet) and Joe Drew (trumpet). Next photo: Hira Lesea (drumset), Devin Maxwell (guitar), Katie Porter (clarinet), Kevin Farrell (bass) playing a quartet of Dev’s I don’t remember at Rattelstick Playwright’s Theater, NYC.
In 2019 I plan to send more music I love off mountains and into the desert and into the ocean. I spent some time in Madeira learning a Lois V Vierk piece, here’s a snip from my practice room!!! Happy New year all you inspiring people xo kp
Our show at the UMFA this last September is listed as a top ten moment in the arts here in Utah. We are thrilled!
“One of the most imaginative concerts of the year, Red Desert presented more than 80 years of experimental music in a continuous stream that ultimately comprised a one-hour composition. The Utah performance followed two recent appearances in New York City. The concert was presented in the Great Hall gallery of the Utah Museum of Fine Arts – a fitting venue.
As The Utah Review explained, “the order and the selected works were curated carefully. Experimentalism is not haphazard nor is it trivial nor a novel curiosity. Indeed, the Red Desert performance offered an enlightening perspective of how experimentalism shapes and affirms new sounds and techniques in the long game approach of reaching musicians and listeners.”