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Clayton's version operates in a similar way, using the first piece of music that each member of Mivos Quartet ever memorized as musical building blocks to interweave and deconstruct. Our interview with Jace dives further into these topics and more. Holographic was released on New Amsterdam Records in January Holographic by Daniel Wohl. And was documented at various junctures throughout last season. Be sure to check it out if you are in the area. Paul in commissioning and presenting Holographic , a new album and performance series created by Paris-born composer Daniel Wohl.

For the Liquid Music iteration of Holographic Feb , Wohl called on the talents of Mantra Percussion and the Holographic String Quartet featuring members of Flux Quartet and String Noise , blending the virtuosic talents of his performers and a newly commissioned visual component by artist Daniel Schwarz with rich electronic creations to bring his spellbinding multimedia work to life. At Liquid Music we think and talk a lot about the audience for new music. Our patrons inspire us creatively and in many ways shape our course.

With this blog series, we decided to go directly to the source and ask our audience members what draws them to new music, and especially to Liquid Music. In this third part of our series we talk to three couples who enjoy Liquid Music together, despite or because of? I grew up overseas and moved around a lot as a child; I lived in Tahiti from age , and the art we were exposed to there was not Gauguin. It was more indigenous, more primal art. I then lived in the high plateau area of Madagascar where there is an important cultural influence from the South Asian Indians who had settled there.

Last, I lived in Cameroon until I was Then I moved back to Paris and was there during the late 60s, which were, of course, a tumultuous time. We moved back to Minnesota when I was young since all of our family is here. My father loved classical music and this had a big influence on me. When my parents were away I would often blast Beethoven, lying on the floor between the speakers listening to it. I also sang in the church choir. I studied law at the University of Minnesota and lived and practiced law in Belgium for many years.

When I finally moved back to the Twin Cities in the late 70s I was looking for a way to become involved in the local community and a friend introduced me to The Saint Paul Chamber Orchestra. I like to be nourished and energized by listening to music, not pained by it. How did you first hear about Liquid Music? What appealed to you about the series? Liquid Music was so different! There are no parameters, there is a sense of being off-balance, and I like that. Not knowing what to expect is exciting. This is not the discordant new music of the 60s and 70s.

There is often a connection to the past, there is music from improbable sources. The multimedia aspect of Liquid Music is also very appealing. There is a lot of looking to nature now with fresh vision, imagination, and technology. The classical aspect is integrated in a very appealing way.

I also enjoy moving from one venue to another as it adds a different dimension to the experience. The sound and space are very different in each venue. It breaks down the barrier between high and low art. How many performances have you attende d? What are some of your favorite Liquid Music performances? That performance was magical. I also enjoyed Miranda Cuckson and Nina Young at the Amsterdam — the composition and soundscape in that performance was wonderful.

We loved the collaboration between music and the visual experience. What kinds of music do you listen to at home? We listen to Classical MPR and jazz stations. I particularly like Tom Waits. In fact, these days when Anne is gone and I am blaring music, it is usually the Beatles instead of Beethoven! What other arts activities do you take advantage of in the Twin Cities? I played the B flat clarinet and bass clarinet beginning in fifth grade and all of my friendships seemed to revolve around music.

We had no TV, very little radio reception, and no access to outside music events, so when I was turned loose on the world, I soaked up all of the music I could find! I still do that. I now have four kids and nine grandkids and they all sing and play instruments. Whether I like something or not, it is interesting to me. I grew up in Burma now Myanmar and was very influenced by the culture there. My father was there to set up the psychology department at the University of Rangon, so I grew up with people from all over the world.

I was pretty much self-educated in high school — I found it more interesting to travel and explore than go to school. When and how did you first hear about Liquid Musi c? They were non-traditional, new music concerts held in smaller venues times a year. The vibe was kind of similar to Liquid Music.

The performances are always a surprise and an adventure. There is great quality and variety to them. How many performances have you attended? What are some of your favorite recent Liquid Music performances and why are they favorites? I loved that it all happened in front of the curtains, and I especially liked the bingo warm up. It was like opera without singing. We were completely surprised by the mix of drama, music, and personality - a total experience. There was lots of talk about it afterwards, which is always a good sign.

There was also a lot of interaction with the audience in that performance which made the artists feel closer. The small venues Liquid Music often uses means that it is more about personality than performance —there is eye contact between the audience and the artist.

What kind of music do you listen to at home? I especially enjoy the blues, like Scottie Miller and Ruthie Foster. What other kinds of music do you go to hear live? I like to hear new and different music and prefer solo or smaller groups over large groups. I like to hear voices rather than cacophony and I like to hear kids who are still learning. Do you also attend SPCO concerts? Are you a classical music fan? Both: Yes and yes! When we are traveling we go out of our way to see and hear music - our favorite music venue in New York is Juilliard.

Classical music was pretty pervasive there. It was serendipitous to find that out that they also knew about Liquid Music. We live in St. Paul, have a fierce attachment to the city, and like to support the arts here. My mom played the piano, so I grew up with piano music, but this was something else. He was playing multiple keyboards and modifying the piano itself with other instruments. It was not unconventional just for the sake of it, but for creating new sounds that are worth hearing.

We bought CDs after that concert and have listened to them a lot. The music grows on you the deeper you delve into it. You experienced new sounds being born in front of you, coming from an instrument processed through a computer. It was also multi-sensory — I loved the music and video interaction. The visuals were not always directly in sync with the music, they sometimes took you on a detour, but they were still in an interesting dialogue with the music.

The Ordway Concert Hall is a special venue as well. You can hear everything more vibrantly there, experiencing the full spectrum of sound. That performance was technically impressive yet intimate — there was even an audience interaction component. This was another of the first performances we saw and it was in St. Paul and we recognized a lot of friends again. This is true of so many Liquid Music performances, even at the Ordway. There is such a generosity on the part of the artists. I studied in Spain so I appreciated that so much of lyrics were in Spanish.

I loved his tinsel dancers. Roberto was saying challenging things but made you feel good at the same time. It was melodic fun, everyone looked like they were enjoying themselves — it was a very cool collaborative jam session with friends. But I know classical musicians and have a personal connection to classical music. We are members of the Club and that has made trying out classical music accessible. Liquid Music is a nice balance between classical concerts and rock concerts — the music is not treated overly casually but there is still the energy of the connection with the musicians.

The artists aren't experimenting as much, you just let the music sweep over you. It has the double benefit of making you see the classical version differently. With Liquid Music you are not just listening to a beginner or some random performance. It is very calculated, thought out, and built on a foundation of classical training. There are all sorts of layers… As a photographer and videographer, I do a lot of work with musicians and artists, which adds a whole different level of understanding to the experience.

I always have to be alert, my senses are heightened. Living in downtown St.

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Paul, we make ourselves get out and take advantage of so much stuff that we can easily walk to — the St. She credits her grandmother, Harriet, for encouraging her love of the performing arts and volunteering. Libby lives with her partner and their rescue dog in Minneapolis. In this wordless opera, the myth is shattered and ultimately re-made within a space that fragments story and identity, and hangs in teetering balance between solidity and hallucinatory illusion. Read last week's interview with Orpheus composer Steven Mackey here. Special thanks to Libby for putting this interview together for us.

Hi Mark. Y our website and other materials suggest that this has been a long, meandering road to be able to present this work with you and Steven. This was the first project that Steve and I ever talked about doing when we first met. That was , at the Ojai Music Festival. We were both involved in major productions there, and liked what each other were doing, respectively.

So, that was when Steve and I first agreed to make a piece with electric guitar and dance.

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It has been seven years in development, though. How do you stay excited about something that takes that long, from concept to delivery? The fear of the piece. It calls on both of us, in our own way, to go deeply back into something that we did before, and to bring it into conversation with the work we are doing now. When something feels deeply personal and important, then the stakes are much higher. Both of us felt like this was a push into the unknown. Sure, it has some of its creative juice in Northfield, but you could have debuted this in really any place.

Why Minneapolis? People love this piece. She had the faith in us and what we were doing, to trust us and to let us do something. I had a career as a dancer, before that I was a filmmaker and set designer and visual artist. Then, as I built my career as a director and I started working in music and film again, I never really went back into dance. And that was an incredibly fearful experience. I set it as a task for myself, on purpose, because I knew that it kind of scared me, and I thought it was appropriate for this project that I should do that.

But, the discovery that I had in the process was really incredible. Things I once knew but forgot. This project brought that part of my history back into my practice in a more concrete way, and I think that it will probably stay there.

Follow Mark: www. The conversation explored how the work was conceived and created, and how the audience might put the various elements into context. Where did the idea come from? SM: I had the idea for a theatrical piece for guitar and dancer when Mark and I first met in Orpheus, the son of Apollo, was known for his extraordinary ability to play the lyre. I was fascinated by the concept.

The story is classic: Orpheus falls in love with Eurydice, who is bitten by a snake, dies, and falls into the underworld. Orpheus uses his skill on the lyre to convince the gods to let her come back to earth, but sadly he fails a critical test at the last minute and she returns to Hades. The twists of the story fit well with the topography of my music, and I jumped at the chance to find ways of using the guitar to express such a wide range of emotion.

An opera without words is an unusual form. Tell us how the story gets told. The guitar itself does the singing. I use a wide range of musical ideas to characterize the many different elements of the story and electronics effects pedals and loopers expand the sound palette of the guitar into something more orchestral. Video imagery also helps set the stage, and I think it all works really well together.

I take it there are no supertitles if there are no words? How did the process work? Mark literally gave me a two-page synopsis of his understanding of the plot points in the Orpheus myth. In the beginning, Mark and I each worked separately on our vocabularies - our lexicon of materials. Then we started putting them together to see how they worked in tandem. Once we added the dancers it became a process of understanding the timing of each section. Have you done anything like this before? Follow Steve Mackey: Website: www. Over the course of the And now it has a name: Music for the Long Emergency.

You can help support this project by making a contribution to Music for the Long Emergency 's Indiegogo campaign here. Bring your curiosity and your friends.

With this new blog series, we decided to go directly to the source and ask our audience members what draws them to new music, and especially to Liquid Music. In this second part of our series we talk to three fans who are involved with Liquid Music in multiple ways. Read pt. Music is an integral part of, or way to engage, a community. When and how did you first hear about Liquid Music?

The Amsterdam had only opened recently and I was planning on presenting music but was still figuring out what types. See my comment about music and building community. Almost all of them! What are some of your favorite Liquid Music performances and why are they favorites? Dawn of Midi because they created an atmosphere — the music was hypnotic. Tim Hecker because it was written, arranged and produced to be sonically visual. I listen to a mix of contemporary electronic music, 70ss syntho pop, ambient music, some singer-songwriter stuff.

I like late 70s to early 90s kraut rock, Danish, Dutch, Belgian music…. How did you find all of this stuff? It may have started with listening to Tangerine Dream, not sure. I like Robert Fripp, Eno, Bowie. What kind of music do you play for a party? My parties always end with dance music. What other kind of music do you go to hear live? I used to go to Pitchfork all of the time because they promote independent musicians and curate what should be important.

They also book acts that influence new musicians, so you get a live sense of where this new music is coming from. They are educational and trend setting. I like some classical music, and go to the SPCO occasionally. I prefer chamber music to big orchestral pieces — there is just too much information to process with those. What upcoming Liquid Music events are you most looking forward to? All of them! I really enjoyed last weekend's Devendra Banhart and Friends Follow Jon's upcoming happenings here: www.

I've been a keyboard player for 20 years in my band Heiruspecs. But I also love strings — viola and cello. Adam Levy and I programmed a music festival there at the same time, called Southern Songbook , featuring local artists making their way through the American Songbook. I was there with Brother Ali and we were in Capetown for a week but only had to play in the festival for a couple of hours.

The rest of the time we traveled around, met great people and saw amazing things — I swam in a cage next to great white sharks! That was all about the place and the people. Another great gig was with Chastity Brown in the UK — we met Damien Rice there and also connected with Jools Holland who liked us so much we ended up performing on his show. The J ulius Eastman Memorial Dinner , of course. That was two grand pianos and two acoustic uprights and Jace was managing the sound with a sufi plug in. We had two half days to rehearse and everything came together in the first few hours.

That was a beautiful performance and the audience was great — such a diversity of people came out. I liked the Jherek Bischoff concert for its collaborative aspects and the variety of artists involved, including some SPCO musicians.

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For me it is the overall experience — setting, lighting, people, visuals, mood — that makes the performance, not only the music. However, as automation makes more human labor obsolete, we need to think differently. Is Universal Basic Income the solution? Join Andrew Yang for a rational discussion on the future of work, the merits of UBI, and why we need to shift to a human-centered form of capitalism.

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Johnson In A Free State — V. The Book of Daniel — E. Thompson The Wild Boys — William Burroughs Rabbit Redux — John Updike The Sea of Fertility — Yukio Mishima The Ogre — Michael Tournier The Bluest Eye — Toni Morrison Mercier et Camier — Samuel Beckett Troubles — J. Jahrestage — Uwe Johnson The Atrocity Exhibition — J.

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White The Bell — Iris Murdoch Jealousy — Alain Robbe-Grillet Voss — Patrick White The Midwich Cuckoos — John Wyndham Blue Noon — Georges Bataille Homo Faber — Max Frisch On the Road — Jack Kerouac Pnin — Vladimir Nabokov Doctor Zhivago — Boris Pasternak Justine — Lawrence Durrell The Lonely Londoners — Sam Selvon The Roots of Heaven — Romain Gary Seize the Day — Saul Bellow The Floating Opera — John Barth The Lord of the Rings — J.

Tolkien The Talented Mr. Ripley — Patricia Highsmith Lolita — Vladimir Nabokov A World of Love — Elizabeth Bowen The Trusting and the Maimed — James Plunkett The Quiet American — Graham Greene The Recognitions — William Gaddis The Ragazzi — Pier Paulo Pasolini Self Condemned — Wyndham Lewis A Ghost at Noon — Alberto Moravia Lord of the Flies — William Golding Under the Net — Iris Murdoch The Go-Between — L.

Hartley The Long Goodbye — Raymond Chandler The Unnamable — Samuel Beckett Watt — Samuel Beckett Lucky Jim — Kingsley Amis Junkie — William Burroughs Casino Royale — Ian Fleming Invisible Man — Ralph Ellison Memoirs of Hadrian — Marguerite Yourcenar Malone Dies — Samuel Beckett Day of the Triffids — John Wyndham Foundation — Isaac Asimov The Opposing Shore — Julien Gracq The Catcher in the Rye — J.

The Rebel — Albert Camus Molloy — Samuel Beckett The End of the Affair — Graham Greene The Abbot C — Georges Bataille The Labyrinth of Solitude — Octavio Paz The Third Man — Graham Greene The 13 Clocks — James Thurber Gormenghast — Mervyn Peake The Grass is Singing — Doris Lessing I, Robot — Isaac Asimov The Moon and the Bonfires — Cesare Pavese Love in a Cold Climate — Nancy Mitford The Heat of the Day — Elizabeth Bowen Kingdom of This World — Alejo Carpentier Nineteen Eighty-Four — George Orwell All About H.

Hatterr — G. Desani Disobedience — Alberto Moravia Death Sentence — Maurice Blanchot The Heart of the Matter — Graham Greene Cry, the Beloved Country — Alan Paton Doctor Faustus — Thomas Mann The Victim — Saul Bellow Exercises in Style — Raymond Queneau Under the Volcano — Malcolm Lowry The Plague — Albert Camus Back — Henry Green Titus Groan — Mervyn Peake The Bridge on the Drina — Ivo Andri?

Brideshead Revisited — Evelyn Waugh Animal Farm — George Orwell Cannery Row — John Steinbeck The Pursuit of Love — Nancy Mitford Loving — Henry Green Christ Stopped at Eboli — Carlo Levi Transit — Anna Seghers Ficciones — Jorge Luis Borges Dangling Man — Saul Bellow Caught — Henry Green Embers — Sandor Marai Go Down, Moses — William Faulkner The Outsider — Albert Camus In Sicily — Elio Vittorini The Living and the Dead — Patrick White Hangover Square — Patrick Hamilton Between the Acts — Virginia Woolf The Hamlet — William Faulkner Farewell My Lovely — Raymond Chandler Native Son — Richard Wright The Power and the Glory — Graham Greene The Tartar Steppe — Dino Buzzati Party Going — Henry Green The Grapes of Wrath — John Steinbeck Finnegans Wake — James Joyce Coming Up for Air — George Orwell Goodbye to Berlin — Christopher Isherwood Tropic of Capricorn — Henry Miller Good Morning, Midnight — Jean Rhys The Big Sleep — Raymond Chandler Nausea — Jean-Paul Sartre Rebecca — Daphne du Maurier Cause for Alarm — Eric Ambler Brighton Rock — Graham Greene Murphy — Samuel Beckett Of Mice and Men — John Steinbeck The Hobbit — J.

The Years — Virginia Woolf In Parenthesis — David Jones The Revenge for Love — Wyndham Lewis Eyeless in Gaza — Aldous Huxley The Thinking Reed — Rebecca West Gone With the Wind — Margaret Mitchell Keep the Aspidistra Flying — George Orwell Wild Harbour — Ian MacPherson Absalom, Absalom! At the Mountains of Madness — H. Lovecraft Nightwood — Djuna Barnes The Last of Mr.

Norris — Christopher Isherwood The House in Paris — Elizabeth Bowen England Made Me — Graham Greene Burmese Days — George Orwell The Nine Tailors — Dorothy L. Sayers Threepenny Novel — Bertolt Brecht Novel With Cocaine — M. Ageyev Cain Tropic of Cancer — Henry Miller A Handful of Dust — Evelyn Waugh Tender is the Night — F. Scott Fitzgerald Thank You, Jeeves — P. Wodehouse Call it Sleep — Henry Roth Miss Lonelyhearts — Nathanael West Murder Must Advertise — Dorothy L.

The Autobiography of Alice B. Toklas — Gertrude Stein Testament of Youth — Vera Brittain A Day Off — Storm Jameson Brave New World — Aldous Huxley Cold Comfort Farm — Stella Gibbons To the North — Elizabeth Bowen The Thin Man — Dashiell Hammett The Radetzky March — Joseph Roth The Waves — Virginia Woolf The Glass Key — Dashiell Hammett Cakes and Ale — W. Somerset Maugham The Apes of God — Wyndham Lewis Her Privates We — Frederic Manning Vile Bodies — Evelyn Waugh The Maltese Falcon — Dashiell Hammett Hebdomeros — Giorgio de Chirico Passing — Nella Larsen A Farewell to Arms — Ernest Hemingway Red Harvest — Dashiell Hammett Living — Henry Green The Time of Indifference — Alberto Moravia The Last September — Elizabeth Bowen Harriet Hume — Rebecca West The Sound and the Fury — William Faulkner Les Enfants Terribles — Jean Cocteau Look Homeward, Angel — Thomas Wolfe Story of the Eye — Georges Bataille Orlando — Virginia Woolf Lawrence The Well of Loneliness — Radclyffe Hall The Childermass — Wyndham Lewis Quartet — Jean Rhys Decline and Fall — Evelyn Waugh Quicksand — Nella Larsen Steppenwolf — Herman Hesse Remembrance of Things Past — Marcel Proust To The Lighthouse — Virginia Woolf Tarka the Otter — Henry Williamson Amerika — Franz Kafka Blindness — Henry Green The Castle — Franz Kafka The Plumed Serpent — D.

The Making of Americans — Gertrude Stein Manhattan Transfer — John Dos Passos Dalloway — Virginia Woolf The Great Gatsby — F. The Trial — Franz Kafka The Artamonov Business — Maxim Gorky Billy Budd, Foretopman — Herman Melville The Green Hat — Michael Arlen The Magic Mountain — Thomas Mann We — Yevgeny Zamyatin A Passage to India — E. Forster The Devil in the Flesh — Raymond Radiguet Cane — Jean Toomer Antic Hay — Aldous Huxley Amok — Stefan Zweig The Garden Party — Katherine Mansfield The Enormous Room — E.

Cummings Siddhartha — Herman Hesse The Glimpses of the Moon — Edith Wharton Babbitt — Sinclair Lewis Ulysses — James Joyce The Fox — D. Crome Yellow — Aldous Huxley The Age of Innocence — Edith Wharton Main Street — Sinclair Lewis Women in Love — D. Night and Day — Virginia Woolf Tarr — Wyndham Lewis The Return of the Soldier — Rebecca West The Shadow Line — Joseph Conrad Summer — Edith Wharton Growth of the Soil — Knut Hamsen Bunner Sisters — Edith Wharton Under Fire — Henri Barbusse Rashomon — Akutagawa Ryunosuke The Voyage Out — Virginia Woolf The Rainbow — D.

Kokoro — Natsume Soseki Locus Solus — Raymond Roussel Rosshalde — Herman Hesse