Ten Thousand Hours is a monthly podcast hosted by bassist and composer James Ilgenfritz. Each monthly installment features an interview and performance with a special guest, with an emphasis on understanding the artistic temperament and the practical aspects of life as an experimental composer/performer.
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10khrs on 12/09/2013 at 04:15AM
On Thursday December 12, Interpretations presents an evening of premieres and classic works from distinctive solo instrumentalists. Bassist James Ilgenfritz presents solo and chamber music by Anthony Braxton & Pauline Oliveros, plus two world premieres by Annie Gosfield, and JG Thirlwell, and an improvisation with Jason Ponce. Esoteric pianist Reinier Van Houdt presents the US Premiere of Italian avant-garde composer Walter Marchetti’s new solo piano work Concerto per la Mano Sinistra in un Solo Movimento (Concerto for the Left Hand in One Movement).
Interpretatons would like to share some works by these artists! James Ilgenfritz on two tracks, one performing the music of Anthony Braxton, and one performing duo with Pauline Oliveros. Reinier Van Houdt can be heard on two tracks, performing music by Christian Marclay and Francisco López.
10khrs on 11/08/2013 at 04:47AM
On November 14 Interpretations presents the world premiere of Anne LeBaron's "Breathtails," as well as a handful of other amazing works - including the New York premiere of Los Murmullos, and the US premiere of Creación de las Aves, both written for pianist Ana Cervantes.
We have posted two pieces of music from Anne LeBaron, and we asked Anne a few questions about her career and the works presented on this concert.
What is the story with your new opera "Breathtails"?
Actually it’s not an opera although everyone seems to want to call it that, so maybe it is after all! We are calling it ‘a song cycle in 13 breaths.’ When Tom Buckner invited me to compose a work for him with my choice of text (living or deceased writer, or write it myself) and instrumentation, I immediately knew that I wanted the poetry to focus on the breath, and that the shakuhachi, with its haunting breath-infused sonorities, would be central to the ensemble. What a rare opportunity---a coveted chance to collaborate in a non-operatic context (and thus dispense with all the baggage that such endeavors can sometimes entail) and to tailor the composition for a singer whom I greatly admire. The choice of string quartet, to complete the ensemble, was made intuitively—a united front that would function alternatively and at times simultaneously as a foundation, a foil, and a Greek chorus.