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Tag Archives: Arnold Schoenberg

The Schoenberg Soundways
March 2-7, 2015
USC Campus
Los Angeles, CA

“The Schoenberg Soundways” was a dissemination of Arnold Schoenberg’s work presented through multiple formats and venues seventeen years after the Schoenberg Archives were moved from University of Southern California, Los Angeles, to Vienna, Austria.

“The Schoenberg Soundways” embodied intermittent audio emissions of five compositions that played as the mobile exhibition. Each composition were ‘performed’ by five USC Hospitality Vehicles, as they deliver services and goods throughout the USC campus. A bronze plaque, containing a quote from Schoenberg represents a commemorative gesture that was installed on the grounds of the Thornton Music School. The project included an evening of presentations and concerts at the Ramo Recital Hall including a lecture by Paul Chaikin, followed by Aron Kallay performing Schoenberg’s Drei Klavierstucke, Opus 11. Karen Dreyfus led the Thornton School of Music Ensemble for the performance of “Verklarte Nacht.”

A Visions and Voices Arts and Humanities Initiative project.

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Solo show and live performance at Samuel Freeman Gallery, Los Angeles CA.

The installation included “Four Letters to Mahler” and “DSENOISE” box set installation. Performances the night of the opening included DSE, David Galbraith, and Dewey Ambrosino with Jacqueline Gordon. Samuel Freeman Gallery is host to three simultaneous solo shows of sound and sculptural installation by David Schafer, David Galbraith, and a collaboration by Dewey Ambrosino & Jacqueline Kiyomi Gordon.

http://samuelfreeman.com/exhibitions/ambrosino-galbraith-gordon-schafer/

Performance Photo Credit Steven Hall.

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Live, unmastered recording: 

Studio 10
Brooklyn, NY
December 2, 2013

David Schafer performed the third in a trilogy of electronically processed Schoenberg compositions. This performance references Arnold Schoenberg’s “Verklarte Nachte” from 1899. Verklärte Nacht (Transfigured Night), Op. 4, is a string sextet in one movement; a composition inspired by Richard Dehmel’s poem of the same name along with Schoenberg’s strong feelings upon meeting his future wife Mathilde von Zemlinsky (the sister of his teacher Alexander von Zemlinsky). Dehmel’s poem describes a man and a woman walking through a dark forest on a moonlit night, wherein she reveals to her new lover that she bears the child of another man. The stages of the poem are mirrored throughout the composition, beginning with the sadness of the woman’s confession, a neutral interlude wherein he reflects upon the confession, and a finale, in which he forgives her and accepts the child as his own.

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An evening of six live noise performances by

DSE
Chelsea Rector
Shane Stritesky
Unica
Crowhurst
Witches of Malibu

David Schafer was invited by David Kordansky to perform and curate an evening of live noise entitled INTERSIST at the David Kordansky Gallery on Smiley Drive, Culver City.

In Sartre’s “Nausea”, the character Roquentin experiences an existential crisis that is referenced as interstitial. To coexist, resist, subsist, persist, obsist. To intersist – and live in between signification. Similar to Roquentin’s crisis, Jacques Atalli wrote in “Noise: A Political Economy of Music” to think of the idea of noise as the mutation of code, a carrier of death, but simultaneously a carrier of new information. “The absence of meaning is in this case the presence of all meaning”.

DSE live-processed Arnold Schoenberg’s work entitled “Erwartung”. Erwartung (translation: Expectation), Op. 17, 1909. A one-act 30 minute monodrama, an opera for a single soprano with orchestra, epitomizes Schoenberg’s early atonal style. The story is a psychological snapshot of the moment a woman comes across the dead body of her lover in the woods. Schoenberg’s description of Erwartung was as follows: “In Erwartung the aim is to represent in slow motion everything that occurs during a single second of maximum spiritual excitement, stretching it out to half an hour”.

Photo Credits Zaid Yousef and Kristina King

 

DSE INTERSIST

 

Maté 3 performance at Invisible Dog, Brooklyn, New York

DSE performed at Invisible Dog as part of the Maté Series 3 curated by Richard Garet. DSE performed a live processing of Arnold Schoenberg’s Peirrot Lunaire Op. 21 from 1912. Also performing during this series was Bob Bellarue and Alfredo Marin.

http://theinvisibledog.org/mate_series-3-descriptions-and-bios/

http://www.halfnormal.com/

http://www.conspicuouspropriety.com/

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