The Austin New Music Co-op celebrates their tenth anniversary with concerts tonight and tomorrow. Details here; Preview articles in the Austinist and Austin 360. I joined the co-op shortly after it began and enjoyed participating in many memorable events while in Austin.
In honor of 10 years of great co-op concerts, here’s a recording from the September 8, 2006 event featuring Fred Lonberg-Holm. This was the premiere of We Would Like to Take This Opportunity, a work for cello soloist with any three string instruments. The performers here are Fred Lonberg-Holm, cello solo; James Alexander, viola; Steve Bernal, cello; Travis Weller, violin.
Last November I spent a memorable, rainy afternoon at Travis Weller’s place performing a house concert as part of his Willow Street Concert Series. Nick Hennies wowed us with music for solo percussion including an entrancing performance of Alvin Lucier’s Silver Streetcar. I played music for fretless banjo, bent electronics and computer. Then Travis and I improvised two pieces with Travis playing his Owl, a custom-built piano wire lyre with electronics. Nick joined in for the last piece of the afternoon. The rain kept us company all along.
The Austin American-Statesman is running a month-long series on Austin’s other live music scene: classical music. The first installment mentions the usual establishment players (who, I should point out, do a better-than-usual job with adventurous programming than their national counterparts…). Also mentioned are some of my much-missed colleagues who are busy
“pushing the boundaries of what classical music can be and how it can be presented in the 21st century. Austin has a tribe of adventurous musicians – composer-performers like Graham Reynolds, Peter Stopschinski, P. Kellach Waddle and Travis Weller; ensemble leaders such as Michelle Schumann and Aurélien Petillot and groups such as the Tosca String Quartet, Audio Inversions and the Invincible Czars – that lead the charge, taking their newly composed classical music to nightclubs, collaborating with filmmakers, dancers and theater companies and otherwise finding ways to challenge the status quo of classical music performance.”