Wet Ink: Relay Album Release Concert, Saturday (12/8)

News, Shows
Wet Ink: Relay

Wet Ink: Relay

Join us on Saturday to celebrate the release of Wet Ink’s new album Relay, recorded August 2012 at the state-of-the-art EMPAC center in Troy, NY, and including Wet Ink commissions by George Lewis, Rick Burkhardt, Alex Mincek, Eric Wubbels, Sam Pluta, & Kate Soper. The concert will feature large-scale premieres for the Wet Ink Band by Soper and Pluta (more info below), and we’re having a reception afterward to celebrate the album.

Dec 8, 2012, 8pm
DiMenna Center
450 West 37th St
$15/$10 students

SOPER: Voices from the Killing Jar
Spend an evening in the company of seven of history, literature, and myth’s most spellbinding women. Guggenheim Awardee composer and vocalist Kate Soper brings Madame Bovary, Clytemnestra, The Great Gatsby’s Daisy, and others to electrifying life in this monodrama for voice and ensemble.

PLUTA: Broken Symmetries
In Broken Symmetries, improviser, software developer and sound pioneer Sam Pluta combines the sonic world of guitar feedback with the virtuosic performers of the Wet Ink Ensemble’s touring septet. This twenty-five minute, one movement monolith merges epic guitar howls with Joshua Modney’s microtonal violin playing, Erin Lesser and Eric Wubbels’ virtuosic skills on the flute and piano, and the brute force of Ian Antonio on percussion with Alex Mincek on saxophone.

Wet Ink recording Relay at EMPAC

Wet Ink recording Relay at EMPAC

Wet Ink: Relay – Available for Pre-Order

News

Wet Ink: Relay


Pre-order the new album on the Carrier Records website! So excited to see this project out in the world!

The album features work developed over the past two years for the Wet Ink Band by Alex Mincek, Sam Pluta, Eric Wubbels, Kate Soper, Rick Burkhardt, and George Lewis. We had a weeklong residency at EMPAC in Troy, NY this past August to record the music, it was an incredible experience.

Please join us at our CD release concert on December 8 at DiMenna Center to celebrate! The evening will feature a new work for the Band by Sam Pluta, and the premiere of Kate Soper’s huge cycle, Voices from the Killing Jar, which we have been performing piecemeal over the past several seasons and will record for Kate’s first solo album in December.

Texturen (Rosenberger, Wet Ink) awarded German Record Critics’ Prize

Concert Reviews, News


Katharina Rosenberger’s solo album “Texturen” on hat[now]ART, featuring Wet Ink Ensemble, has been awarded a German Record Critics’ Prize! (Preis der Deutschen Schallplatten Kritik). We spent a week at UCSD in 2011 making the record, which was an awesome experience musically and personally. So glad to see this recognition for Katharina’s excellent work! You can check out the press release on the prize’s website here.

Texturen

Wet Ink: Relay coming in December!

News

Wet Ink: Relay, recorded at EMPAC, drops in December!


Very excited for the release of Wet Ink’s second album, Relay, this December on Carrier Records. This features work developed over the past two years for the Wet Ink Band by Alex Mincek, Sam Pluta, Eric Wubbels, Kate Soper, Rick Burkhardt, and George Lewis. We had a weeklong residency at EMPAC in Troy, NY this past August to record the music, it was an incredible experience.

Please join us at our CD release concert on December 8 at DiMenna Center to celebrate! The evening will feature a new work for the Band by Sam Pluta, and the premiere of Kate Soper’s huge cycle, Voices from the Killing Jar, which we have been performing piecemeal over the past several seasons and will record for Kate’s first solo album in December.

Mivos Review in NY Times

Concert Reviews, News

Mivos performing Lachenmann, as printed in the NY Times, Oct 15, 2012

Mivos got an excellent review in the New York Times for our October 13 concert, which featured works by Lachenmann, Cage, and Rihm.  You can see the review on the NYT website here, full text below.  Thanks to all who came out to see the show!

Architects of Sound, Creating Structures from the Ground UP

Mivos Quartet Performs Compositions by Modernists

By ANTHONY TOMMASINI

One of the real challenges for a composer today is finding a way to structure a piece so that it comes across with a compelling dramatic arc. Things were a little easier back in the days when sonata form, rondo and other such genres were common, though in reality those classical forms provided little more than general layouts.

Today it is not enough for composers to have vivid imaginations and distinctive musical languages. They must channel their ideas into some structure that is often unique to a particular piece. An ingenious example is the composer Helmut Lachenmann’s String Quartet No. 3 (“Grido,” 2002), which received an accomplished and absorbing performance from the Mivos Quartet on Saturday night at the DiMenna Center for Classical Music on West 37th Street. This was the concluding work on a thoughtful program that included Wolfgang Rihm’s “Quartettstudie” (2004) andJohn Cage’s String Quartet in Four Parts (1950).

Mr. Lachenmann, 76, a major German modernist, has been gaining champions among younger American performers and ensembles in recent years. In 2010 he visited New York to take part in a concert of his works at the Miller Theater, part of the Composer Portraits series. The most striking quality of his music comes from the unconventional sounds he draws from instruments.

The Italian word “grido” means shout or cry, and Mr. Lachenmann’s Third Quartet certainly cries out, though mostly in hushed and mysterious ways. Through whole stretches of this 25-minute single-movement score the players produce strangely beautiful sounds — scratches, tappings, grumbles, squeaky hinge creaks — by applying the bow to all parts of their instruments. There are all manner of tremolo effects and eerie harmonics. Who needs electronics when a string quartet can produce such wonderful noises?

Yet for me the real achievement of the piece is its structure. Out of a vocabulary of plinks, plunks and ethereal sonorities, Mr. Lachenmann has built a piece of sweeping narrative power. It begins with high scratching sounds and chords that blur tonal and atonal harmonies, yet sound uncannily precise. During some episodes the instruments slither around as if in a contrapuntal free-for-all, or break into frenetic busyness, or bring time to a standstill through hazy, hovering chords. It was actually difficult to discern the overall structure of the piece while hearing it. But it came across as a monumental entity. I was hooked by the music and the brilliant performance, as was the audience, which whooped and applauded at the end.

The Mivos Quartet, a New York ensemble founded in 2008 that focuses in contemporary music, also excelled in Mr. Rihm’s “Quartettstudie,” which combines modernist techniques with a post-Romantic sensibility as it moves through nine minutes of fitful, unpredictable music.

The components of Cage’s Quartet in Four Parts, a 20-minute piece that explores stillness and quietude, come from a set pool of short motifs, sonorities and modal-sounding chords that appear repeatedly. In their performance the sensitive Mivos players created the contemplative atmosphere this piece demands. It helped that the concert took place in the DiMenna Center’s cozy, wood-paneled Benzaquen Hall, with chairs set up for just 50 people.