Soper and Modney perform "Cipher"
Wet Ink got a nice review in the New York Times for our recent concert as part of Issue Project Room’s Gaudeamus Muziekweek. I was fortunate to perform some great new works by Kate Soper, Ted Hearne, and Chris Trapani. A short excerpt is shown below. Please click here to see the full review.
“Another of the ensemble’s composer-performers, Kate Soper, sang her own “cipher,” an exotic score in which her vocal settings of text fragments from Wittgenstein, Freud, Jenny Holzer, Michael Drayton and Sara Teasdale closely matched, in timbre and gesture, a brash violin line played energetically by Joshua Modney. Sometimes Ms. Soper ran a hand along the fingerboard.”
Wet Ink Septet
Wet Ink recently kicked off its year-long residency at Duke University with a pair of concerts featuring Wet Ink repertoire and the music of Duke graduate composers. We got a terrific review in CVNC, The Online Arts Journal in North Carolina. Please click here and check it out.
Wet Ink Septet
Wet Ink got a nice review in the San Francisco Classical Voice for our concert at the Festival of New American Music at Sacramento State University. Here are the highlights:
“No group was more bracingly thought-provoking and expansive than the Wet Ink Ensemble. These seven New York musicians/composers are fearless in testing the limitations of what instruments or musical forms can be. Best of all, they don’t shy away from integrating the spoken word as a tasty and dramatic counterpoint to the music. That played out powerfully in the unnerving but entrancing two movements from Voices From the Killing Jar, written by vocalist Kate Soper. Here hypnotic music was defined by start and stop rhythms punctuated by Soper’s sung text and finger-caress of a cymbal. In one of the movements the text was an incantation mining the Iphigenia tale, wherein the words exclaim Clytemnestra’s wish for bloodshed. Later, sax player Alex Mincek’s Nucleus bloomed in a set of short movements in which saxophone and drum interchanged musically stark exclamations.”
For the full review, please click here.
Wet Ink Ensemble received a nice review in the New York Times for our July concert at Columbia University’s Jazz Composer’s Orchestral Insitute (read the full review here). The week-long festival was a real treat; we got to share our expertise on contemporary instrumental techniques with some amazing jazz musicians, and had the opportunity to perform great large-ensemble music by some of my favorite composers (Eric Wubbels, Bernhard Lang, Katharina Rosenberger, Leroy Jenkins).
It was particularly exciting for me to be making my debut as free-jazz violin soloist in Leroy Jenkins’ quasi-concerto, Wonderlust. The review of Wonderlust is excerpted below:
“Among the works Wet Ink played… “Wonderlust” by Leroy Jenkins, embraced jazz improvisation as a primary concern. Joshua Modney, a violinist, played a flamboyant solo part over an ensemble mostly deployed as accompaniment.”
-The New York Times
We’re really excited to report a very nice review of our March show at Galapagos Art Space in The Strad magazine, quoted below! You can also view the original article here.
The Strad – June Issue
“The next evening (10 March) brought the young MIVOS quartet to the Galapagos Art Space . . . this group has been making the rounds of the downtown arts venues while preparing its first recording, on John Zorn’s Tzadik label, of Ned Rothenberg’s Clarinet Quintet. That work was the centerpiece of the programme here and it offered an appealing compendium of gentle jazz grooves and lush blues harmonies, which the MIVOS players played with spontaneity and dexterity as the composer played the soulful clarinet part.MIVOS’s approach is refreshingly undogmatic. Its sound became narrowly focused and intense in György Kurtág’s epigrammatic Microludes, just as it took on a slightly metallic, spiky edge for Evan Ziporyn’s Be In . . . In an arrangement of Machaut’s Messe de Notre Dame, the group summoned subtle gradations of tone, before the final moments dissolved into eerie, translucent sonic mist.”
I recently returned from an extremely rewarding residency at Harvard University with Talea Ensemble which culminated in a concert at Paine Hall on February 27th. All of the graduate composers whose compositions I performed (Hannah Lash, Bert Van Herck, Sivan Cohen Elias, Trevor Baca) were an absolute pleasure to work with.
My most memorable experience from this past month with the Harvard folks, both by its tremendous challenges and incredible rewards, was rehearsing and performing Trevor Baca’s Lidércfény, for flute, violin, and piano. Trevor’s input on the piece was inspirational, and I was pushed to grow as a musician in ways I did not think possible. It was also a distinct honor to perform with Elizabeth Janzen on flute and Steve Beck on piano.
Please check out this wonderful review of the performance by Piraye Yurttas.
MIVOS quartet got a really nice review from Feast of Music for our February 18th concert at The Tank. The program of Rihm, Cage, and Clyne was a thrill for us to share with the audience, and we appreciate the feedback!