February 12th, 2013
Who: First Music – a Chamber Music Ensemble in Rochester, New York
See below for details! (Also, sneak previews at the Unitarian Services in the Morning – just like Palestrina!). Taming the Ox is a Graphic Score composition with Water Color Paintings by Stephen Rush.
Sunday February 17, 2013 at 7:30 pm
Ivan Trevino – composer and percussion
Rebecca Gilbert – flute
Melissa Matson – viola
Kathleen Murphy Kemp – cello
with Stephen Rush – composer and toys
Ivan Trevino: World premiere of Chamber Riffs for flute, viola, cello, and percussion
(commissioned for First Muse by Vicki and Richard Schwartz)
Stephen Rush: Taming the Ox for flute and other instruments
J S Bach: Gamba Sonata in G major (adapted for flute, viola, cello, and percussion)
Osvaldo Golijov: Mariel for cello and marimba
$10 general / $20 family / $5 student
First Unitarian Church, 220 Winton Road South, Rochester NY 14610
October 12th, 2012
This is a new project with me, Michael Gould (as sculptor/percussionist) and Henry Pollack, Nobel-Prize winning physicist.
We will present (see the poster below) a sonic sculpture with dripping ice and improvisation (on wonderful percussing instruments, trash from the Huron River, and MicroMoog) at Kerrytown Concert House, Ann Arbor, 8pm, October 25. The backdrop will be gorgeous (and gut wrenching) images of the melting polar ice-caps from Dr. Pollack’s trips to the North Pole.
CLICK HERE FOR THE POSTER: Earth Without Ice
September 11th, 2012
This work, commissioned by Quorum (a chamber ensemble), is a description in sound of the bucolic nature of fishing, and the excitement that grown men (also boys within!) experience catching a large walleye or bass. Dedicated to Allan Syrjala. Written for Cl/A.Sax/Bsn/Vln/Pf/Perc in 1995.
August 24th, 2011
(Published by C. Alan Publications)
Keith Hunter – San Jose St. performance (click here)
August 23rd, 2011
(Published by C. Alan Publications)
March 7th, 2011
I began “Short Stack” in the Fall of 2008 and finished before Thanksgiving. I felt a bit useless as a composer – “between commissions”, as it were. At various times in my career I’ve felt the urge to write something “just for myself”, and this was one of those times. I had just premiered my fourth opera, and most of my other work for the previous two years was either conceptual in nature (“Taming of the Ox”- an improvisational work for any number of players, responding to watercolors I had painted), electronic (the “Listening Music from the Age of the Crystal Moon Cone” album), or generative/algorithmic (“Gloria in 36 Ways” for choir, any duration, any order). While my work was getting wide recognition with repeat performances and good press in the US and abroad, I felt called to do something more-or-less traditional. As well, when I have written pieces “just for myself” the results have been pretty satisfying professionally (“Tuba Sonata”, “Possession” for orchestra), so I started thinking merely about sounds I liked, and people I was interested in playing those sounds.
Originally conceived as a multi-media installation work, including video and food for the audience with live eaters on stage (I’m dead serious), the work was deliberately scaled down to expose the musical materials for what they are and are not. The musical materials are more filtered than most of my music. There are no obvious attempts at tonal writing and there are no obvious colloquialisms. There is limited reference to so-called “Jazz harmony” or Carnatic (Indian) music; it is one of my most academic, as well as heartfelt, works to date. The piece does again quote the White-Throated Sparrow (heard much in all of my work), my argument for Michigan’s state bird, and the owner of a lovely “pitch-class set” or song.
The only vestige of the original intent of Short Stacks are the titles, which are dedicated based on their breakfast preference – in the order of the performance – to my mother, myself, my wife, and my oldest friend and fishing buddy, Greg (who’s Finnish-ness only partly justifies the cuisine of the last choice). Perhaps an ideal performance of Short Stacks would include live video projections of (the composer) eating, the smell (and sound) of the pancakes, and the music, of course. I hope the audience can accept this non-Gesamtkünstwerk version
of the piece, however.
May 15th, 2010
BUY MUSIC HERE:
Stephen Rush (piano/toys/retro-electronics)
Chris Peck (laptop/guitar)
Jon Moniaci (accordion/laptop)
We use music we find on the streets and in the forests and play it with our laptops. We play accordions, guitars, balloons, organs and pianos. Children’s toys. We play pretty music and we play noise. We care if you listen. We play for dancers and video and in the dark. We record in canoes, in swamps, and in studios. We perform in Europe, India and the U.S.
We invite you to listen.
We are 2 independent New York musicians who often work with dance and filmakers, and a college professor who does the same.
Come, join us in our sonic space.
(Exotic Bakery Glow, Chris Peck, Stephen Rush and Jon Moniaci)
(Foxes- Gagaku Wisdom – Stephen Rush and Chris Peck)
Jon Moniaci, Chris Peck, Stephen Rush (l to r)
Steve at the Movement Research Festival in New York with “Listening Music”
BACK COVER of the 1st album: