Christopher McIntyre leads a multi-faceted career in the contemporary arts as a solo and ensemble performer, composer, and curator/producer. He performs on trombone and synthesizer in a variety of settings that often incorporate improvisation within notation. Current projects include leading TILT Brass Band and SIXtet, 7X7 Trombone Band, and Lotet, and collaborative efforts including creative music ensemble Ne(x)tworks. His compositions typically include conceptual elements such as spatialization, recontextualized notated material, and gradually shifting aural tableaux achieved with improvisative strategy. He has contributed work to the repertoire of Lotet, TILT, Ne(x)tworks, 7X7 Trombone Band (for choreographer Yoshiko Chuma), Flexible Orchestra, and B3+ brass trio. Beyond performing and creating music, McIntyre is active as a curator and concert producer. He is currently Artistic Director of the MATA Festival, and frequently presents independent projects at venues including The Kitchen, Issue Project Room, and The Stone (June 2007).Visit cmcintyre.com for more info.
BIO
MATA Interval - Dither Electric Guitar Quartet
Dates:
Wed Jan 21, 2009 00:00 - Tue Dec 16, 2008
MATA Interval 2.3
Featuring Dither Electric Guitar Quartet
Wednesday, January 21, 2009
Doors Open at 8PM
Issue Project Room
@ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
map & travel info
Brooklyn, NY - On January 21st at Issue Project Room, MATA presents a gloriously loud and eclectic program featuring Dither, a versatile electric guitar quartet and a rising force in New York. Curated by guitarists James Moore and Taylor Levine, MATA will showcase six exciting new works by young composers for electric guitars in duos, quartets, and finally a 10-piece hearing-deprived electric guitar orchestra!
Program Info
James Moore and Taylor Levine are accomplished guitarists and chamber musicians who actively perform new and experimental music in New York. The two share a common approach to the guitar as a unique electro-acoustic instrument with extensive capabilities for electronic manipulation, a rich history of improvisation, wide ranges of timbre and style, and endless popular and cultural roots. Forming Dither in 2007 in collaboration with guitarists Simon Kafka and Josh Lopes, they have found an outlet to explore some of their favorite guitar music, and to work with composers to create an exciting new repertoire.
As Curators for MATA 2.3, James and Taylor will present an entire show of new electric guitar works, many of which are world premieres, including pieces by Eric km Clark, Lisa R. Coons, Bryce Dessner, Florent Ghys, Joshua Lopes, Paula Matthusen, and Wil Smith. These works represent a wide variety of approaches: from clean pop textures to heavily processed noise, from tight rhythmic unity to cacophonous sound mass. What unifies them all is that they utilize and wholeheartedly embrace the beautiful and engulfing sound of electric guitars.
Closing the show will be an exciting large ensemble piece by Eric km Clark, Canadian experimental composer and violinist for the California EAR Unit. The curious and captivating feature of this piece is Eric's compositional technique of "Hearing Deprivation." In this practice, the performers are deprived of hearing through the use of earplugs and cup-headphones, which playback white noise at a high volume. This makes it nearly impossible for an individual player to effectively coordinate with the ensemble or to judge his or her own sound. As the performers attempt to play their parts accurately, new soundscapes emerge ranging from hypnotizing hermetic canons, to driving sections of controlled chaos, to beautiful pointillistic textures. Though it may be a frightening idea, hearing deprivation proves to be a highly effective musical tool, and a powerful dramatic gesture.
WEB RESOURCES
MATA Interval blog
Composer Bios [w/ links]
Dither Electric Guitar Quartet
James Moore
Taylor Levine
Hearing Deprivation
Issue Project Room
Please vist www.matafestival.org/interval/?p=164 to hear samples of Dither's work
About MATA Interval
Started during the 2007-08 season, MATA Interval is a bi-monthly concert series dedicated to small-scale performances by emerging performers and composers based in New York City. Produced in conjunction with Issue Project Room, Interval’s programming is developed and produced by selected participants in MATA’s Curatorial Associate program. The intimate and community-based character of Interval encourages risk taking and allows MATA to showcase a wide array of aesthetics from the city’s vibrant musical culture.
The Curatorial Associate Program is a ten-week paid internship that mentors and educates young artists interested in concert production. Each year young composers and performers are selected from a competitive pool of applicants to our open call for proposals, and are invited to work closely with MATA'
Featuring Dither Electric Guitar Quartet
Wednesday, January 21, 2009
Doors Open at 8PM
Issue Project Room
@ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
map & travel info
Brooklyn, NY - On January 21st at Issue Project Room, MATA presents a gloriously loud and eclectic program featuring Dither, a versatile electric guitar quartet and a rising force in New York. Curated by guitarists James Moore and Taylor Levine, MATA will showcase six exciting new works by young composers for electric guitars in duos, quartets, and finally a 10-piece hearing-deprived electric guitar orchestra!
Program Info
James Moore and Taylor Levine are accomplished guitarists and chamber musicians who actively perform new and experimental music in New York. The two share a common approach to the guitar as a unique electro-acoustic instrument with extensive capabilities for electronic manipulation, a rich history of improvisation, wide ranges of timbre and style, and endless popular and cultural roots. Forming Dither in 2007 in collaboration with guitarists Simon Kafka and Josh Lopes, they have found an outlet to explore some of their favorite guitar music, and to work with composers to create an exciting new repertoire.
As Curators for MATA 2.3, James and Taylor will present an entire show of new electric guitar works, many of which are world premieres, including pieces by Eric km Clark, Lisa R. Coons, Bryce Dessner, Florent Ghys, Joshua Lopes, Paula Matthusen, and Wil Smith. These works represent a wide variety of approaches: from clean pop textures to heavily processed noise, from tight rhythmic unity to cacophonous sound mass. What unifies them all is that they utilize and wholeheartedly embrace the beautiful and engulfing sound of electric guitars.
Closing the show will be an exciting large ensemble piece by Eric km Clark, Canadian experimental composer and violinist for the California EAR Unit. The curious and captivating feature of this piece is Eric's compositional technique of "Hearing Deprivation." In this practice, the performers are deprived of hearing through the use of earplugs and cup-headphones, which playback white noise at a high volume. This makes it nearly impossible for an individual player to effectively coordinate with the ensemble or to judge his or her own sound. As the performers attempt to play their parts accurately, new soundscapes emerge ranging from hypnotizing hermetic canons, to driving sections of controlled chaos, to beautiful pointillistic textures. Though it may be a frightening idea, hearing deprivation proves to be a highly effective musical tool, and a powerful dramatic gesture.
WEB RESOURCES
MATA Interval blog
Composer Bios [w/ links]
Dither Electric Guitar Quartet
James Moore
Taylor Levine
Hearing Deprivation
Issue Project Room
Please vist www.matafestival.org/interval/?p=164 to hear samples of Dither's work
About MATA Interval
Started during the 2007-08 season, MATA Interval is a bi-monthly concert series dedicated to small-scale performances by emerging performers and composers based in New York City. Produced in conjunction with Issue Project Room, Interval’s programming is developed and produced by selected participants in MATA’s Curatorial Associate program. The intimate and community-based character of Interval encourages risk taking and allows MATA to showcase a wide array of aesthetics from the city’s vibrant musical culture.
The Curatorial Associate Program is a ten-week paid internship that mentors and educates young artists interested in concert production. Each year young composers and performers are selected from a competitive pool of applicants to our open call for proposals, and are invited to work closely with MATA'
2010 MATA Festival
Deadline:
Sun Feb 15, 2009 00:00
[url=http://www.matafestival.org][img]http://www.matafestival.org/images/ycp_bw-logo_small.jpg[/img][/url]
[size=20][b]2010 MATA Festival: Call For Submissions[/size]
[size=15]Postmark Deadline: February 15th, 2009[/b][/size]
MATA (Music at the Anthology) is currently accepting submissions from young composers for possible commissions and performances on the 2010 MATA Festival in New York City. Materials for submission must include:
Recording (CD) of one or two recent works (We prefer you send two works, however no more than two may be submitted. Both works can be on one CD. MIDI recordings will not be accepted.)
[list][*]Scores to accompany the above recordings (unless scores are not pertinent)
[*]Biography or résumé
[*]A list of works
[*]Contact information
[*]SASE if you wish to have your materials
[/list]
Applicants must not have reached their 40th birthday by February 15th, 2009. Three or four commissions will be offered for the 2010 festival, and commissioning fees will range from $2000 to $5000, depending on the parameters of the work. Composers are expected to attend the premiere of their work. Please include a sentence in your cover letter specifying if you would like your works to be considered generally for the festival in the event that you are not chosen for a commission. [b]MATA considers works of any instrumentation and duration[/b]; please send whatever you consider to be your best work. In addition to traditional ensemble combinations, [b]MATA also accepts submissions of work utilizing digital media[/b] such as speaker-based sound pieces, electro-acoustic compositions, and audio/visual presentations. If your performer interface (i.e. sheet music) falls outside conventional notation systems, please include examples and clearly explain its parameters. Also for computer-based sound and multimedia work, please include documentation of your process (basic schematics, strategic principles, etc).
If your music has been programmed by MATA, or you have received a commission, you must wait three years before re-applying. Only one commission will be awarded to any one composer in his or her lifetime. To submit or for more information, contact:
[b]MATA[/b]
293 Warren Street, #2
Brooklyn, NY 11201
Tel: (212) 563-5124
Email: [email]info@matafestival.org[/email]
Web: [url=http://www.matafestival.org]www.matafestival.org[/url]
[b]ABOUT MATA[/b]
For the past twelve years, MATA has been dedicated to commissioning and presenting works by young composers from around the world. MATA's directors are motivated by a desire to create community among young musicians, especially those whose work defies definition and doesn't fit into existing institutions. By providing young composers with a professional performance of their work, access to first-rate performers and valuable connections to colleagues, MATA nurtures their entry into American musical life. Founded in 1996 by Philip Glass, Eleonor Sandresky, and Lisa Bielawa, MATA presents pieces by young composers on a week-long festival, held each spring in New York City, and organizes year-round concerts through its bi-monthly series, Interval. The festival always features several works that MATA has commissioned, performed by professional musicians from around the world. To date, MATA has commissioned 44 works, and has presented over 150 performances of pieces by young composers. The commissioned works have represented a broad range of media including Harry Partch instrumentarium, solo voice with quadraphonic live electronics, gamelan ensemble and full orchestra. MATA holds an annual open call for scores, from which a panel of established musicians selects composers who will participate in that year's festival. For most of these composers, the performance of their work on the MATA Festival represents one of their first commissions, and their first significant exposure to New York audiences. MATA prides itself on giving young composers an outlet for their work, thereby helping them acquire the skills necessary to begin their musical career.
[size=20][b]2010 MATA Festival: Call For Submissions[/size]
[size=15]Postmark Deadline: February 15th, 2009[/b][/size]
MATA (Music at the Anthology) is currently accepting submissions from young composers for possible commissions and performances on the 2010 MATA Festival in New York City. Materials for submission must include:
Recording (CD) of one or two recent works (We prefer you send two works, however no more than two may be submitted. Both works can be on one CD. MIDI recordings will not be accepted.)
[list][*]Scores to accompany the above recordings (unless scores are not pertinent)
[*]Biography or résumé
[*]A list of works
[*]Contact information
[*]SASE if you wish to have your materials
[/list]
Applicants must not have reached their 40th birthday by February 15th, 2009. Three or four commissions will be offered for the 2010 festival, and commissioning fees will range from $2000 to $5000, depending on the parameters of the work. Composers are expected to attend the premiere of their work. Please include a sentence in your cover letter specifying if you would like your works to be considered generally for the festival in the event that you are not chosen for a commission. [b]MATA considers works of any instrumentation and duration[/b]; please send whatever you consider to be your best work. In addition to traditional ensemble combinations, [b]MATA also accepts submissions of work utilizing digital media[/b] such as speaker-based sound pieces, electro-acoustic compositions, and audio/visual presentations. If your performer interface (i.e. sheet music) falls outside conventional notation systems, please include examples and clearly explain its parameters. Also for computer-based sound and multimedia work, please include documentation of your process (basic schematics, strategic principles, etc).
If your music has been programmed by MATA, or you have received a commission, you must wait three years before re-applying. Only one commission will be awarded to any one composer in his or her lifetime. To submit or for more information, contact:
[b]MATA[/b]
293 Warren Street, #2
Brooklyn, NY 11201
Tel: (212) 563-5124
Email: [email]info@matafestival.org[/email]
Web: [url=http://www.matafestival.org]www.matafestival.org[/url]
[b]ABOUT MATA[/b]
For the past twelve years, MATA has been dedicated to commissioning and presenting works by young composers from around the world. MATA's directors are motivated by a desire to create community among young musicians, especially those whose work defies definition and doesn't fit into existing institutions. By providing young composers with a professional performance of their work, access to first-rate performers and valuable connections to colleagues, MATA nurtures their entry into American musical life. Founded in 1996 by Philip Glass, Eleonor Sandresky, and Lisa Bielawa, MATA presents pieces by young composers on a week-long festival, held each spring in New York City, and organizes year-round concerts through its bi-monthly series, Interval. The festival always features several works that MATA has commissioned, performed by professional musicians from around the world. To date, MATA has commissioned 44 works, and has presented over 150 performances of pieces by young composers. The commissioned works have represented a broad range of media including Harry Partch instrumentarium, solo voice with quadraphonic live electronics, gamelan ensemble and full orchestra. MATA holds an annual open call for scores, from which a panel of established musicians selects composers who will participate in that year's festival. For most of these composers, the performance of their work on the MATA Festival represents one of their first commissions, and their first significant exposure to New York audiences. MATA prides itself on giving young composers an outlet for their work, thereby helping them acquire the skills necessary to begin their musical career.
MATA Interval feat. Jenny Walshe/Grúpat
Dates:
Wed Sep 17, 2008 00:00 - Tue Aug 26, 2008
MATA Interval 2.1
Music of the Dublin collective Grúpat
Performed by Object Collection and curator Jennifer Walshe
Wednesday, September 17, 2008
Doors Open at 8PM
Issue Project Room
@ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
map & travel info
For additional info, incl. audio and video, please visit the Interval blog
Brooklyn, NY - At ISSUE Project Room on September 17, MATA kicks off the second season of its bi-monthly series Interval with a program of music by the radical and enigmatic South Dublin collective Grúpat. Curated by Irish vocalist and composer Jennifer Walshe, Grúpat's greatest champion, Interval 2.1 features the collective's eclectic blend of textural and playful music, performed by Ms. Walshe and up-and-coming New York interdisciplinary group Object Collection.
Program Info
The Grúpat collective, comprised mainly of artists living in the South Dublin County Council area of Ireland, is a political and artistic group based on the ideas of the Situationists, graffiti artists, direct action networks, and others, which they called “The Avant Gardaí.” Grúpat works primarily in sound, with work ranging from strictly-notated compositions for classic ensembles to graphic scores, sonic sculptures, sound installations and interventions in both the public and private sphere. These facts sometimes make it difficult to determine exactly who or what is in Grúpat. Notable members, however, include Bulletin M, The Parks Service, Detleva Verens, Ukeoirn O’Connor, Flor Hartigan and O’Brien Industries. This sub-set of Grúpat often exhibit under the name “6by4” a reference to the Parisian composers known as “Les Six” and the postcode Dublin 24, in which they all reside.
Vocalist and composer Jennifer Walshe has been working closely with members of Grúpat as a commissioner and curator since their inception. She has commissioned a number of works for solo voice which she has premiered to critical acclaim at concerts in the Kilkenny Arts Festival (Ireland), the Museum of Arts and Design (New York), Tmu-na Theatre (Israel) and Frau Musica Nova (Germany). Grúpat members have exploited Walshe’s commitment to non-traditional musical notation by writing pieces for her voice which incorporate photographs of the landscape around Tallaght, embroidered pictures from the Tallaght Echo and diagrams of the sky over South Dublin County into their scores. These unusual notational methods have garnered much interest for Grúpat members’ work - Three Songs by Ukeoirn O’Connor, Scintillia Studies by Detleva Verens and Whives by Flor Hartigan were exhibited in the Museum of Arts and Design, New York in November 2007.
For her performance of Grúpat works during Interval 2.1, Walshe will be joined in by members of Object Collection. Founded in 2004 by multidisciplinary artist Kara Feely and composer/instrumentalist Travis Just, Object Collection is a collaborative theater-music performance group solidly rooted in the experimental tradition. Their dedication to new artistic work in hybrid forms, including the use of found sound, is perfectly suited to the work of Grúpat artists and their common aesthetic.
About MATA Interval
The September 17 program at ISSUE marks the opening of MATA Interval's second season of programs. Started during the 2007-08 season, Interval is a bi-monthly concert series dedicated to small-scale performances by emerging performers and composers based in New York City. The intimate scale encourages participants to take risks and push the limits of their work, thereby ensuring that MATA stays on the cutting edge of the new music community.
In its first season Interval debuted to great acclaim, selling out nearly every concert event. Highlights included a night of video and electronic works curated by composer Zach Layton, a performance by Flux Quartet curated by cellist Ha-Yang Kim, and a night of electro-acoustic performances by members of the performance collective Symbol, curated by composer Mario Diaz de Leon. In the 2008-2009 season MATA Interval will expand to include five concerts, each produced by a participant in the Curatorial Associate Program.
About MATA
For the past ten years, MATA has been dedicated to commissioning and presenting works by young composers from around the world. MATA's directors are motivated by a desire to create community among young musicians, especially those whose work defies definition and doesn't fit into existing institutions. By providing young composers with a professional performance of their work, access to first-rate performers and valuable connections to colleagues, MATA nurtures their entry into American musical life.
Music of the Dublin collective Grúpat
Performed by Object Collection and curator Jennifer Walshe
Wednesday, September 17, 2008
Doors Open at 8PM
Issue Project Room
@ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
map & travel info
For additional info, incl. audio and video, please visit the Interval blog
Brooklyn, NY - At ISSUE Project Room on September 17, MATA kicks off the second season of its bi-monthly series Interval with a program of music by the radical and enigmatic South Dublin collective Grúpat. Curated by Irish vocalist and composer Jennifer Walshe, Grúpat's greatest champion, Interval 2.1 features the collective's eclectic blend of textural and playful music, performed by Ms. Walshe and up-and-coming New York interdisciplinary group Object Collection.
Program Info
The Grúpat collective, comprised mainly of artists living in the South Dublin County Council area of Ireland, is a political and artistic group based on the ideas of the Situationists, graffiti artists, direct action networks, and others, which they called “The Avant Gardaí.” Grúpat works primarily in sound, with work ranging from strictly-notated compositions for classic ensembles to graphic scores, sonic sculptures, sound installations and interventions in both the public and private sphere. These facts sometimes make it difficult to determine exactly who or what is in Grúpat. Notable members, however, include Bulletin M, The Parks Service, Detleva Verens, Ukeoirn O’Connor, Flor Hartigan and O’Brien Industries. This sub-set of Grúpat often exhibit under the name “6by4” a reference to the Parisian composers known as “Les Six” and the postcode Dublin 24, in which they all reside.
Vocalist and composer Jennifer Walshe has been working closely with members of Grúpat as a commissioner and curator since their inception. She has commissioned a number of works for solo voice which she has premiered to critical acclaim at concerts in the Kilkenny Arts Festival (Ireland), the Museum of Arts and Design (New York), Tmu-na Theatre (Israel) and Frau Musica Nova (Germany). Grúpat members have exploited Walshe’s commitment to non-traditional musical notation by writing pieces for her voice which incorporate photographs of the landscape around Tallaght, embroidered pictures from the Tallaght Echo and diagrams of the sky over South Dublin County into their scores. These unusual notational methods have garnered much interest for Grúpat members’ work - Three Songs by Ukeoirn O’Connor, Scintillia Studies by Detleva Verens and Whives by Flor Hartigan were exhibited in the Museum of Arts and Design, New York in November 2007.
For her performance of Grúpat works during Interval 2.1, Walshe will be joined in by members of Object Collection. Founded in 2004 by multidisciplinary artist Kara Feely and composer/instrumentalist Travis Just, Object Collection is a collaborative theater-music performance group solidly rooted in the experimental tradition. Their dedication to new artistic work in hybrid forms, including the use of found sound, is perfectly suited to the work of Grúpat artists and their common aesthetic.
About MATA Interval
The September 17 program at ISSUE marks the opening of MATA Interval's second season of programs. Started during the 2007-08 season, Interval is a bi-monthly concert series dedicated to small-scale performances by emerging performers and composers based in New York City. The intimate scale encourages participants to take risks and push the limits of their work, thereby ensuring that MATA stays on the cutting edge of the new music community.
In its first season Interval debuted to great acclaim, selling out nearly every concert event. Highlights included a night of video and electronic works curated by composer Zach Layton, a performance by Flux Quartet curated by cellist Ha-Yang Kim, and a night of electro-acoustic performances by members of the performance collective Symbol, curated by composer Mario Diaz de Leon. In the 2008-2009 season MATA Interval will expand to include five concerts, each produced by a participant in the Curatorial Associate Program.
About MATA
For the past ten years, MATA has been dedicated to commissioning and presenting works by young composers from around the world. MATA's directors are motivated by a desire to create community among young musicians, especially those whose work defies definition and doesn't fit into existing institutions. By providing young composers with a professional performance of their work, access to first-rate performers and valuable connections to colleagues, MATA nurtures their entry into American musical life.
