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Juilliard's Center for Innovation in the Arts Presents Beyond the Machine 14.1 Featuring Terry Riley's "In C" and Beyond the Machine 14.2 Featuring "The Eye Ear Collaboration," March 26-29, 2014

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Six Free Performances Featuring Multimedia and Interdisciplinary Works

Start Date

Friday, February 28, 2014

Press Release Images

Edward Bilous
Edward Bilous
Beyond the Machine 13. 1 (March 2013) (Photo by Hiroyuki Ito)
Beyond the Machine 13. 1 (March 2013) (Photo by Hiroyuki Ito)

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Juilliard’s Center for Innovation in the Arts, under the direction of Edward Bilous, presents Beyond the Machine 14.1: a multimedia production of Terry Riley’s In C (2014) on the 50th anniversary of the work on Wednesday, March 26, 2014 (8 PM) and Thursday, March 27, 2014 (8 PM);  and Beyond the Machine 14.2: The Eye Ear Collaboration featuring four world premiere works by Juilliard composers, plus four original scores set to four short films on Friday, March 28, 2014 (8 PM) and Saturday, March 29, 2014 (2 PM, 6 PM and 8 PM) in Juilliard’s Willson Theater.

Beyond the Machine performances are FREE, but tickets are required. A limited number of tickets will be available only online beginning March 12 at www.juilliard.edu/beyondthemachine. Standby admission is not available for the performances. For further information, call the Janet and Leonard Kramer Box Office at Juilliard at (212) 769-7406 or go to www.juilliard.edu/beyondthemachine.

On Wednesday, March 26 and Thursday, March 27, Beyond the Machine 14.1 features a multimedia production of Terry Riley’s iconic work, In C, with dance, film, and interactive projection designs. In it, 53 short dance sequences were filmed to correspond with the 53 musical units from Riley’s work. These will be processed in real-time by a video performing artist, Brittany Vicars from Juilliard's Drama Division, and projected on multiple screens, allowing for an integrated experience. The Juilliard Electric Ensemble performs the score. Juilliard faculty member and dance historian Rachel Straus and choreographer Rebecca Lazier will introduce the event with a pre-performance talk about the history of the work and other adaptations. Edward Bilous, John Toth (video art), Esme Boyce (B.F.A. ’09, dance), Sarah Outhwaite (film), and William Fastenow (interactive technology) will share the stage after the concert to discuss their collaboration and the development of the Center’s innovative production.

On Friday, March 28 and Saturday, March 29, Beyond the Machine 14.2 features the world premiere of four new pieces created at the Center by three Juilliard composers, Elizabeth Derham, Sam Jones, and Molly Joyce. The program features Space to Shore, composed and performed by trumpeter Sam Jones; Lean Back and Release, composed by Molly Joyce and performed by violinist Chelsea Starbuck Smith; Strut, composed by Molly Joyce and performed by pianist Han Chen; and Agnus Dei, composed and performed by violinist Elizabeth Derham.

The Center has collaborated with three film schools that submitted four short films that were then scored by Juilliard musicians. The films submitted to Juilliard came from Eicar – The International Film and Television Film School in Paris, the Met Film School in London, and Florida State College of Motion Pictures. The four featured short films are: As the Days Went By, directed by Filipa Ruiz; Benny and Jack’s Flying Machine, directed by Krysten Resnick; Nightwatch, directed by Nicolai Belce-Kennedy; and Sound of Doubt, directed by Jordan Matthew Lewis. All the composers are current Juilliard students, and they worked directly with the film directors on creating their new scores. The original scores have been composed by Reuben Allen, Yuri Boguinia, Andrew Clausen, Jordan James, Sayo Kosugi, Katerina Kramarchuk, Gabriel Medina, Nathan Prillaman, Kenneth Rodriguez, and Kei Sugiyama.

Notes on the Four World Premiere Works

Space To Shore by Sam Jones was composed in December 2012. Mr. Jones provides this note: “The idea for this first electronic piece of mine is based around improvisation with the use of extended techniques for trumpet. These techniques include singing while playing, split tones (creating two or more pitches by manipulating the embouchure), the removal of slides to create new sounds, and many other effects. There are various sounds we encounter on a daily basis, such as the click of a basement door or an air conditioner starting up, and when I began to filter and change some of these sounds using a computer, I realized that very simple noises can be used as a foundation for a piece. In addition to a pre-recorded track of these ‘noises,’ which sound like waves rolling in or a signal bell, the rest of the piece uses live interaction processed by the computer, which subsequently creates ‘clones’ of the trumpet sound and leads to the introduction of new sound worlds.”

Lean Back and Release by Molly Joyce was commissioned by violinist Adrianna Mateo and was written in the winter of 2013 in New York City. Upon starting the work, Ms. Joyce writes: “I knew that I wanted to create a very gradual descent for the violin in range that drives the whole piece. I imagined the violinist gradually ‘leaning back’ and finally ‘releasing’ the distinct low register of the violin. Therefore, I also wrote two accompanying violin tracks in order to propel this descent. The two accompanying tracks were previously recorded by the violinist and subsequently processed electronically with delays and distortion.”

About the inspiration for her work, Strut, Ms. Joyce says: “When starting this piece, I was very influenced by electronic artists Mount Kimbie, Holy Other, and Balam Acab, and could not stop listening to them and seeking out their live shows. I specifically loved (and still love) Mount Kimbie and Holy Other’s use of repetitive patterns within their synth and organ sounds. Therefore, since this piece will eventually have an electronic track for the pianist to play with, I decided to use the idea of a slowly evolving organ sound that forms the basis for the piano material.” Strut was commissioned by pianist Han Chen and written in the fall of 2013 in New York City.

Elizabeth Derham provides this note on her piece, Agnus Dei: “The concept for Agnus Dei arose from my desire to incorporate the beauty of Renaissance counterpoint into the beauty of spectralism. Beginning with a piece from Tomás Luis de Victoria’s Missa Salve Regina but inspired by the sound-worlds of Gerard Grisey and Georg Friedrich Haas, this work seeks to explore the common ground but stretch the boundaries between two very different types of beauties. While the sinews of Renaissance lines move along at a steady pace, they are shattered continually by my arm movements until distorted beyond recognition. New pitches are wrested from within the original pitches; unknown, unrelated keys are explored, and the actual content of Victoria’s piece is sacrificed in favor of the never ending circle of sound which emerged from it. After all this occurs, there is a calming and make our way back to the original key, but transformed into a fuller, more celestial body as all the voices join in to complete the circle, and bring resolution to the piece.”

About the Artists

Han Chen (piano, Strut) was the winner of the 6th China International Piano Competition and was hailed by the New York Times as a pianist with "a graceful touch... rhythmic precision... hypnotic charm” (2012) and "sure, subtle touch," (2014). As a soloist, Han Chen has performed with orchestras throughout the United States and Asia, under leading conductors including Vladimir Ashkenazy among others. As an advocate for new music, he has performed works by John Cage, Pierre Boulez, and Charles Wuorinen, and he also commissioned works from the younger generation.

Elizabeth Derham (composer, violin, and voice, Agnus Dei) is pursuing her master of music degree in violin performance at Juilliard, studying with Joseph Lin and Naoko Tanaka. An avid performer of new music, she has worked with artists such as John Zorn, Mark Adamo, David Lang, Magnus Lindberg, and John Adams. Ms. Derham frequently enjoys playing with the New Juilliard Ensemble, AXIOM, and Ensemble Mise-En and has premiered numerous works by composers at Juilliard, Aspen, and  Fontainebleau, as well as works by freelance composers around New York City. Also an active choral soprano, Ms. Derham sings with the Schola Cantorum of St. Agnes, and C4. She is a featured soloist on C4's new album, Volume 1: Uncaged.

Sam Jones (trumpeter, composer, Space To Shore) is a student of Mark Gould (former co-principal trumpet, Metropolitan Opera) and Mari Kimura (violinist/composer) at Juilliard. He has been selected as one of four fellows to compose and perform interactive computer music at the 2014 Future Music Lab in Maine. Mr. Jones founded a brass quintet devoted to new music in 2012 called Syntax Ensemble. In 2013, he performed at the Helsinki Music Festival and the Lincoln Center Festival. Later that year, he and organist Janet Yieh gave the North American premiere of Italian composer Luca Lombardi’s Gilgul. Mr. Jones also performs on Baroque trumpet and studies with John Thiessen. He is from St. Petersburg, Florida, where he also performs as a substitute musician with The Florida Orchestra.

Molly Joyce (composer, Lean Back and Release and Strut) is a composer originally from Pittsburgh, Pennsylvania. Her music has been performed by notable ensembles including the Pittsburgh Symphony Orchestra conducted by Leonard Slatkin, the Milwaukee Symphony Orchestra, Decoda, and Contemporaneous. As a performer, she often performs on her vintage Magnus electric chord organ solo and on keyboard, performing with her band Fekta and venues such as DROM NYC. An active participant in other aspects of the music industry, Ms. Joyce is currently the digital content manager for both New Amsterdam Presents/Records and Roomful of Teeth. She also currently serves as an assistant to composer Missy Mazzoli, singer/songwriter Shara Worden of My Brightest Diamond, and jazz artist Darcy James Argue. She is currently pursuing a bachelor of music studying with Samuel Adler.

Chelsea Starbuck Smith (violin, Lean Back and Release) has performed as soloist, in recital, and in chamber music groups throughout the United States and abroad, including at Avery Fisher Hall, Alice Tully Hall, Weill Recital Hall at Carnegie Hall, Peter Jay Sharp Theater, and Paul and Morse recital halls at The Juilliard School, Sarasota Opera House, National Arts Centre in Ottawa, and the Palais de Fontainebleau in France. Ms. Smith is the first prize winner of the 2012 Eastern Connecticut Symphony Orchestra Instrumental Competition and performed the Tchaikovsky Violin Concerto with them in January 2013. In 2010, she also captured the first prizes at the Stamford Symphony Instrumental Scholarship Competition, Greater Bridgeport Symphony Carlson-Horn Competition for Young Instrumentalists, and Greenwich Symphony Dorothy Gluckmann Music Award Competition. Ms. Smith is currently in the bachelor of music program at Juilliard as a Juilliard Alumni Scholar, under the tutelage of
Sally Thomas.

About Beyond the Machine

Beyond the Machine is a multimedia performance environment that offers young musicians, actors, and dancers the opportunity to bring their creative ideas to life with digital technology. Programs feature collaborations with creative artists from around the world who share an interest in new technology and interdisciplinary work. Now in its 14th year, the festival has grown to include bi-annual performances of new music, and interdisciplinary and multimedia art.

Beyond the Machine has received critical acclaim from The New York Times, The Wall Street Journal, and Musical America for innovative programming.

Collectively, the actors, dancers, and musicians who perform in Beyond the Machine are the Juilliard Electric Ensemble. The Juilliard Electric Ensemble was created in 2003 to provide students from Juilliard’s Dance, Drama, and Music Divisions with the opportunity to work together to create and perform interdisciplinary work.

In past performances, the Juilliard Electric Ensemble has used interactive technology to expand the range of their instruments, control audio and visual elements with electronic tools, shape video and projection design in real-time, and interact with artists and computers around the world via the web.

Since its debut, the Juilliard Electric Ensemble has performed works by more than 50 composers including
Joan La Barbara, Kenji Bunch, Eric Chasalow, Sebastian Currier, Michelle DiBucci, Avner Dorman, Jonathan Harvey, Jocelyn Pook, Steve Reich, Neil Rolnick, Daniel Bernard Roumain, Karlheinz Stockhausen, Morton Subotnick, Alejandro Viñao, and Jacob Ter Veldhuis.

About Juilliard’s Center for Innovation in the Arts (formerly the Music Technology Center)

The Music Technology Center at Juilliard was created in 1993 to provide students with the opportunity to use digital technology in the creation and performance of new music. Since then the program has expanded to include a wide offering of classes in music production, film scoring, and performance technology available to students in the Music, Dance, and Drama Divisions.

In 2001 the Music Technology Center launched Beyond the Machine; A Festival of Electro-Acoustic and Interdisciplinary Art. Beyond the Machine is a 21st century performance environment that nurtures young artists who are interested in collaboration and exploring new ways of creating and performing.

With the inauguration of the Rosemary and Meredith Willson Theater in 2009, the Music Technology Center moved to a new, state-of-the-art facility that includes a Mix and Record Suite and a digital Playroom. The Willson Theater was designed with Music Technology Center events in mind and features interactive audio, lighting, and computer systems.

In 2012 the Music Technology Center was renamed the Center for Innovation in the Arts to reflect the growing opportunities for students in all divisions to collaborate on innovative projects. Together with the Willson Theater, the Center for Innovation in the Arts is the home for interdisciplinary (InterArts) and technology-driven activities at Juilliard.

About Edward Bilous, Director of Juilliard’s Center for Innovation in the Arts, Artistic Director for Beyond the Machine, and a member of Juilliard’s Faculty

Edward Bilous is a composer, artistic director, and educator.  His musical compositions feature works for film, stage, dance, and multimedia including Lucid Dreams written for the American Composers Orchestra, Night of the Dark Moon for Pilobolus Dance Theater, and Mission Eternity for Beyond the Machine festival at The Juilliard School. Mr. Bilous has collaborated on many projects that foster understanding and social awareness including the documentary films Scottsboro (2001 Academy Award nominee) and Portraits of Grief - A Tribute to the Victims of the September 11th Tragedy (New York Times Television) and Forgiveness (PBS with director Helen Whitney).  His TV credits include Saturday Night Live (NBC), and Carrier (PBS).

In recent years, Edward Bilous has turned his creative energy towards developing innovative multimedia experiences. BASETRACK is a concert-theater work that tells the stories of the one-eight marines in Afghanistan and their emotional journey home. Bilous recently joined the creative team of SACRED, a global-documentary event and multimedia concert produced by WNET-New York Public Television.

Mr. Bilous' commitment to education can be seen in his long association with The Juilliard School where he has led many of Juilliard’s most innovative programs. He has served on the National Endowment for the Arts panel for Learning In the Arts, and was the Senior Education Advisor in the creation of The Academy -- A Program of The Juilliard School, Carnegie Hall and the Weill Institute. Mr. Bilous began his career in arts education in 1979 as one of the first teaching-artists in the newly-formed Lincoln Center Institute and is a frequent speaker on the topics of creative intelligence and the arts in education.

Edward Bilous received a B.M from the Manhattan School of Music, composition studies with Charles Wuorinen, and a M.M. and D.M.A. from Juilliard, composition studies with Elliott Carter. He also studied composition with Krysztof Penderecki in Krakow and New Haven. He was the recipient of the William Schuman Scholars Chair 2012 at The Juilliard School, awarded to an artist who has made significant contribution to the field of arts education.

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PROGRAM LISTING:

Wednesday, March 26, 2014 (8 PM)

Thursday, March 27, 2014 (8 PM)

Juilliard’s Willson Theater

 

Beyond the Machine 14.1

Terry Riley’s In C (2014)

50th anniversary of the work

 

Friday, March 28, 2014 (8 PM)

Saturday, March 29, 2014 (2 PM, 6 PM, and 8 PM)

Juilliard’s Willson Theater

 

Beyond the Machine 14.2

The Eye Ear Collaboration

 

Featuring four world premiere works by Elizabeth Derham, Sam Jones, and Molly Joyce, and four original scores set to four short films by students from EICAR – The International Film and Television School in Paris, the Met Film School in London, and Florida State College of Motion Picture Arts

 

Beyond the Machine events are presented by the Juilliard Center for Innovation in the Arts.

Performances are FREE, but tickets are required. A limited number of tickets will be available only online beginning March 12 at www.juilliard.edu/beyondthemachine. Standby admission is not available for the performances. For further information, contact the Janet and Leonard Kramer Box Office at (212) 769-7406 or go to www.juilliard.edu/beyondthemachine.