This event is part of the Liminal States Series

ABOUT THE ARTISTLea Bertucci is an artist, composer and performer whose work describes relationships between acoustic phenomena and biological resonance. In addition to her longstanding practice with woodwind instruments, her work incorporates multichannel speaker arrays, radical methods of free improvisation and creative misuses of audio technology applied to field recording and sampling/collage techniques. She has performed extensively across the US and Europe with presenters such as The Museum of Modern Art New York, Blank Forms, Gagosian Gallery, Pioneer Works, The Kitchen, The Walker Museum, Tempo Reale in Florence, Muziekgebouw Amsterdam, Museo Reina Sofia Madrid, Sound of Stockholm Festival, ReWire Festival, Borderline Festival, and Unsound Festival Krakow.

Admission to this online event is Free / Pay What You Wish ($20 suggested). REGISTRATION IS REQUIRED. Please register at https://www.eventbrite.com/e/lea-bertucci-tickets-204669962367 A link will be sent to you the day of the event. The performance will start at 11:00pm Eastern Time and will run approximately 40 mins.

THE CURATORS OF THIS EVENT REQUIRE THAT EVERYONE IN ATTENDANCE SHOW PROOF OF VACCINATION AT THE DOOR. MASKING AND CONTACT TRACING ENFORCED. SEATING IS LIMITED FOR PURPOSES OF SOCIAL DISTANCING, ADVANCED REGISTRATION IS STRONGLY RECOMMENDED (Register at https://www.eventbrite.com/e/falsa-tickets-237856805107).

Falsa:

Falsa is a New York based Sufi music ensemble that began in Philadelphia in 2013 and has since established a strong following on the East Coast. The instrumentation of vocal, harmonium, electric bass VI, Spanish guitar, drum set, tabla, Carnatic violin, and trumpet brings traditional melodies into a modern context in a way that is at times meditative and, at others, explosive. The lyrical content comes from the likes of classic poets Amir Khusrau, Rumi and Hafez, who touched on something essential to human existence in their writings, something that becomes even more palpable to the audience as singer Umer Piracha offers brief, soulful translations between songs. The overall feeling of a Falsa performance is that of virtuosity and transcendence.

Umer Piracha on Vocals, accompanied by Siddharth Ashokkumar on Carnatic Violin, Tom Deis and Paul Arendt on Guitars/Harmonium, Adam Hershberger on Trumpet, Roshni Samlal on Tabla, and Greg Foran on Percussion.

Transcending cultural preconceptions and genre-specificity, the instrumentation of vocals, harmonium, electric bass VI, Spanish guitar, drum set, dhol, Carnatic violin, and trumpet brings traditional melodies into a contemporary context in a way that’s at times meditative and, at others, explosive. The lyrical content comes from the likes of classic poets Amir Khusrau, Rumi and Hafez, who touched on something essential to human existence in their writings, something that becomes even more palpable to the audience as singer Umer Piracha offers brief, soulful translations between songs during live performances of the recorded tracks.

links here: https://firemuseumpresents.com/events/falsa/ 

Admission is FREE

THE CURATORS OF THIS EVENT REQUIRE THAT EVERYONE IN ATTENDANCE SHOW PROOF OF VACCINATION AT THE DOOR. MASKING AND CONTACT TRACING ENFORCED. SEATING IS LIMITED FOR PURPOSES OF SOCIAL DISTANCING, ADVANCED REGISTRATION IS STRONGLY RECOMMENDED (Register at https://www.eventbrite.com/e/falsa-tickets-237856805107).

Bowerbird is pleased to present Franck Vigroux and Ulrich Krieger performing Dodécaèdre, a new piece for electronics and amplified-processed saxophone at The Rotunda. Made of tectonic tensions, beats, and electronic textures the new work is a very personal approach to sonic exploration. Opening the evening will be a solo set by Philadelphia-based multi-instrumentalist Julius Masri.

ABOUT THE ARTISTS

Ulrich Krieger is well known as a saxophone player in contemporary composed and free improvised music as well as a composer of chamber music and electronic music. His recent focus lies in the experimental fields and fringes of contemporary Pop culture: somewhere in the limbo between Noise and Heavy Metal, Ambient and Silence. His original compositions go back and forth between Just Intonation, Silent Music, Noise, Instrumental Electronic, often asking for elaborate amplification, and works in the limbo of Rock culture – not accepting stylistic boundaries. Krieger developed his own, often amplified style of saxophone playing, he calls ‘acoustic electronics’. He uses refined acoustic, quasi-electronic sounds, which then get processed, the saxophone often becoming more an ‘analogue sampler’ rather than a traditional finger-virtuoso instrument. By amplifying his instrument in various ways, he gets down to the ‘grains of the sounds’, changing their identity and structure from within.

Franck Vigroux is a multifaceted artist whose works range from experimental electronic music to modern composition and music theatre. Franck Vigroux‘s music is made of tectonic tensions, beats, electronic textures and a very personal approach to sonic exploration. He is equally prolific as a solo artist and as a collaborator, he has worked with musician such as Elliott Sharp, Mika Vainio, Reinhold Friedl, Ars Nova… Vigroux’s uniqueness comes from his artistic approach that integrates new media and performance arts. He designs transdisciplinary shows and audiovisual concerts, collaborating with visual artists such as Antoine Schmitt and Kurt d’Haeseleer.

Julius Masri is a Philadelphia based multi-instrumentalist, performer and composer for the city’s dance community at large. His music focuses on improvisatory methods and syncretic/ linguistic/ somatic exchanges within various musical languages including Jazz, Metal, AfroCuban, Experimental Noise, and Arabic music. Born in Tripoli, Lebanon, he moved to the States in 1990 and began studying with Philadelphia instructors Carl Mottola, Elaine Hoffman-Watts, and as an undergraduate at Bard College, with AACM’s Thurman Barker, Richard Teitelbaum, and Joan Tower. Julius plays drums, circuit modified Casio keyboards, Oud, Kamancheh (aka Rabab, Spike Fiddle), and various other instruments. In November 2021, Julius released the album “The Arabic Room” under the project name Mephisto Halabi, garnering international praise in music publications and websites including WIRE Magazine (Dec2021), PopMatters, Radio al-Harra, Foxy Digitalis, and many others.

This is an “in person” event. Bowerbird is requiring all those attending to show proof of COVID 19 vaccination status (vaccination card or legible photo on your smartphone, plus photo ID) and wear a mask during the entirety of the event. There will be no exceptions to this policy. Capacity will be limited – advanced registration is strongly encouraged. pay what you wish. Please register at https://www.eventbrite.com/e/franck-vigroux-ulrich-krieger-julius-masri-tickets-246821980187

March 2022 Bad Girls: All Grown Up with No Place Left to Go  Zoom ConferenceFriday,  April  8, 2022 7pm -10pm League of Extraordinary Men from Atlantic City - Alpha Regional ConventionMay 2022 - Whatever Happened to the Good Black Men live from Adelphi University - Long Island, NYJune 2022 - Salute to Father

This event is part of the Liminal States Series

ABOUT THE ARTISTParker Kitterman is a keyboardist, composer, conductor and collaborative musician. Since 2010 he has served as Director of Music and Organist at Christ Church, Philadelphia, where he oversaw the installation and dedication of a splendid new pipe organ, C.B. Fisk’s Op. 150. As soloist and accompanist, Parker has performed with a wide range of artists, including the International Contemporary Ensemble, the Chamber Orchestra of Philadelphia, and Singing City Choir. He holds degrees from Duke University, the Yale School of Music/Institute of Sacred Music, and the Brussels Conservatory, where he studied on a Fulbright Fellowship. A recent winner of the King’s Singers New Music Prize for his setting of Malcolm Guite’s poem “The Singing Bowl,” Kitterman is a composer with wide-ranging interests and influences. His writing is born out of a studied approach to improvisation, a literary sensitivity, and an ongoing commitment to providing fresh, relevant material for musicians and audiences alike. One large-scale work, Requiem for the Charleston Nine was described as “producing a seamless fabric in which plainchant, modern classical, and jazz styles not merely co-exist but come together to proffer a whole greater than the sum of their individual parts.” (Chestnut Hill Local)

Admission to this online event is Free / Pay What You Wish ($20 suggested). REGISTRATION IS REQUIRED. Please register at https://www.eventbrite.com/e/parker-kitterman-tickets-203251248957 A link will be sent to you the day of the event. The performance will start at 11:00pm Eastern Time and will run approximately 40 mins.