Ben Hjertmann & I am Sitting in a Room
Tónleikar í Mengi fimmtudagskvöldið 16. mars 2017 með bandarísku tónlistarmönnunum Erik DeLuca og Ben Hjertmann.
Miðaverð: 2000 krónur.
Tónlistarmaðurinn Ben Hjertmann (sem búsettur er í Norður-Karólínu) kemur í fyrsta sinn fram á Íslandi. Tónlistarferill Ben Hjertmann er svo sannarlega litríkur en hann á sér ótal margar hliðar, sem þjóðlagamúsíkant og hipphoppari, sveimkemmdur raftónlistarmaður og höfundur skrifaðrar tónlistar sem pöntuð hefur verið og flutt af virtum sveitum vestanhafs á borð við ICE (International Contemporary Ensemble) og Spektral Quartet. Hjertmann er aðstoðarprófessor við Appalachian State University en hann lauk doktorsgráðu í tónlist frá Northwestern háskólanum árið 2013. Í Mengi flytur Ben Hjertmann eigin tónlist, sambland af seiðandi lagasmíðum og heillandi hljóðvefnaði.
kongmustdead.bandcamp.com/track/isle-of-apples
benhjertmann.bandcamp.com/track/i-introit-driftwood
soundcloud.com/benhjertmann/dont-dream
Erik DeLuca flytur tímamótaverkið I am Sitting in a Room frá árinu 1969 eftir Alvin Lucier en þetta er í annað sinn sem verkið er flutt á tónleikum á Íslandi, frumflutningur var í Hafnarhúsinu 2013. DeLuca er með doktorspróf í tónsmíðum og tölvunarfræði frá Háskólanum í Virginíu. Undanfarna mánuði hefur hann dvalið á Íslandi við rannsóknir þar sem hann hefur meðal annars tekið til skoðunar tvær innsetningar í íslensku landslagi: Áfanga eftir Richard Serra, sem standa úti í Viðey og Tvísöng, hljóðinnsetningu eftir Lukas Kühne á Seyðisfirði. Hann hefur sýnt og átt verk víða um heim, á virtum tónlistar- og listahátíðum og átt í nánu samstarfi við Alvin Lucier.
http://www.erikdeluca.com/
----
A concert with Ben Hjertmann and Erik DeLuca at Mengi
Erik DeLuca performs Alvin Lucier’s electronic music classic, I am Sitting in a Room (1969).
Hjertmann performs a haunting set of mysterious original songs & soundscapes with vocals that shift nimbly from beautiful melodies to unseen characters to alien multiphonics. Vocals are framed with ethereal keyboard tonalities & mesmerizing live electronic manipulations.
kongmustdead.bandcamp.com/track/isle-of-apples
benhjertmann.bandcamp.com/track/i-introit-driftwood
soundcloud.com/benhjertmann/dont-dream
----
About the artists:
Ben Hjertmann is a composer and vocalist based in Boone, North Carolina. He composes and sings with the avant-folk trio the Grant Wallace Band, and surrealist-pop band, Kong Must Dead. Ben has collaborated with numerous chamber groups including Quince Contemporary Vocal Ensemble, New Thread Saxophone Quartet, Friction Quartet, Spektral Quartet, Borromeo Quartet, Anubis Quartet, Callithumpian Consort, International Contemporary Ensemble (ICE), and many others. Ben's music has been featured at Resonant Bodies Festival, Fast Forward Austin, Midwest Band and Orchestra Clinics, the conference of the College Band Directors National Association, and the South by Southwest (NonClassical showcase). He has been a resident artist at 360 XOCHI QUETZAL, the MacDowell Colony, the Djerassi Resident Artists Program, and the Shell Lake Arts Center. He was a 2013 fellow at the Bang on a Can Summer Music Institute, and a 2011 fellow at the Other Minds Festival. His work appears on Spektral Quartet's debut album "Chambers", released by Parlour Tapes+, and pianist Nick Phillips "American Vernacular" album released on New Focus Records. In 2013 he released a self-produced album of chamber metal called Angelswort. Ben received his Doctor of Music in Composition degree from Northwestern University in 2013. His dissertation research focused on microtonal harmonic structures derived from sum & difference tones. Currently he teaches theory, electronic music, and composition at Appalachian State University.
---
Erik DeLuca received the PhD in Composition and Computer Technologies from the University of Virginia and is currently based in Reykjavík as an American-Scandinavian Foundation postdoctoral fellow affiliated with the Iceland Academy of the Arts. He is researching, and intervening with two popular eco-artworks in Iceland: Richard Serra’s “Áfangar” on Viðey Island and Lukas Kühne’s “Tvísöngur” in Seyðisfjörður. These site-specific interventions are theoretically grounded with a blend of environmental history, institutional critique, relational aesthetics, and archeoacoustics. Through a 12-channel public address system, ham radio transmissions, and field recording, these works lean toward self-critical environmental sonic art.