Collide-O-Scope Music

Collide-O-Scope Music's debut album,"Eidos," is now available for purchase at BandCamp and CDBaby. The album features music by Yotam Haber, Jason Eckardt, Robert Morris, and COSM co-director Lou Bunk. The album showcases a number of works composed for the group, including two quintets: Yotam Haber's "Estro Poetico-Armonico II," commisioned by the group through the Fromm Foundation for New Music, and Lou Bunk's "Fortune." Both quintets draw from the music of antiquity, with Haber's re-composing music of Benedetto Marcello, and Bunk's re-composing music of Machaut. Another work of Bunk's on the album is his delicately evocative work for two pianos, "A Shadow On The White," performed here by co-Director Augustus Arnone and the eminent contemporary music champion, Marilyn Nonken. Also on the album are two works by Robert Morris, "Yugen" and "Foray," the latter of which was composed for Arnone in 2016. Finally, the album includes the darkly provocative "Rendition," for piano and bass clarinet, by Jason Eckardt. This album is released on the Hanging Bell Records label and is available for purchase: Bandcamp | Apple Music | Amazon Music

Collide-O-Scope Music performs music of Bailey, Finnissy, Geers, Schedel

Doug Geers: Arcade Mirages for Flute, Violin, Computer, and Movement (2022)
Christopher Bailey: Garden Of Love (2006)
Bailey: Depart -- Et retour à la bien-aimée (2023) (world premiere)
Margaret Schedel: Metanoia for Reeded Instrument and Interactive Sound (2023)
Michael Finnissy: North American Spirituals (1998)
Elebash Recital Hall at CUNY, 365 5th Ave, New York City

The Complete Well-Tempered Clavier II and Complete The History Of Photography In Sound, Concert II

JS Bach: Prelude And Fugue in D Major From WTC II
JS Bach: Prelude And Fugue in D Minor From WTC II
JS Bach: Prelude And Fugue in E Flat Major From WTC II
JS Bach: Prelude And Fugue in D Sharp Minor From WTC II
Michael Finnissy: North American Spirituals (1998)
Michael Finnissy: My parents' generation thought War meant something (1999)
TBA, New York City

Collide-O-Scope Music performs music of Carter, Sandresky, Link

Elliott Carter: Quintet for Piano And Winds (1991)
Elliott Carter: Sonata for Flute, Oboe, Cello, And Harpsichord
Elliott Carter: Piano Sonata (1945-46/82) (22 mins)
Elliott Carter: Esprit Rude/Esprit Doux for Flute and Clarinet (1985)
John Link: Shadow Traffic for Piano and Clarinet (1994/2024-25) (world premiere of additional movement)
Eleonor Sandresky: Presence for String and Wind Octet (2024-25) (world premiere)
TBA, New York City

Collide-O-Scope Music: Music of Harting, Geers, Sandresky, Martino

Julie Harting: Oh, llama de amor viva (1987) **world premiere
Doug Geers: Tremor Transducer (2004-2005)
Eleonor Sandresky: Absence (2021) **world premiere
Donald Martino: Notturno (1974)
Elebash Recital Hall at CUNY, 365 5th Ave, New York City

Collide-O-Scope Music: Music of Schoenberg, Berg, Babbitt, Bailey

Arnold Schoenberg: Das Buch Der Hängenden Gärten, Op. 15
Alban Berg: Vier Stücke for Clarinet and Piano, op. 5
Christopher Bailey: The Stuffed Ones
Milton Babbitt: Canonical Form
Milton Babbitt: Semi-Simple Variations
Milton Babbitt: Minute Waltz
Christ And St. Stephen's Church, 120 W69th St., New York City

The Complete Well-Tempered Clavier II and Complete The History Of Photography In Sound, Concert I

JS Bach: Prelude And Fugue in C Major From WTC II
JS Bach: Prelude And Fugue in C Minor From WTC II
JS Bach: Prelude And Fugue in C Sharp Major From WTC II
JS Bach: Prelude And Fugue in C Sharp Minor From WTC II
Michael Finnissy: Le Démon de L'Analogie réalité
Michael Finnissy: Le réveil de l'intraitable réalité
The Renee Weiler Concert Hall at Greenwich Music House, 46 Barrow St., New York City

Collide-O-Scope Music: Concert I

Robert Morris: Per Se(i) Grave and Giocoso for flute, Bb clarinet, piano, violin, viola, cello (2021)
Mikel Kuehn: Chimera for flute and piano (2017)
Julie Harting: “Quartet” for flute, violin, viola, and cello (2018)
Margaret Schedel: Union Of Workers (2023)
Milton Babbitt: Preludes, Interludes, and Postlude (1991)
Renee Weiler Concert Hall - Greenwich House, 46 Barrow St., New York City

Collide-O-Scope Music: Concert II

Chris Bailey: New Work for clarinet, piano, electronics (2023)
Doug Geers: New Work for clarinet, violin, cello, piano and electronics (2023)
John Jansen: New Work piano, flute, and cello (2023)
David Glaser: Aphorisms for solo cello (2021)
Jonathan Harvey: The Riot for flute, clarinet, and piano (1993)
Renee Weiler Concert Hall - Greenwich House, 46 Barrow St., New York City

The Well Tempered Clavier Book II & The History Of Photography In Sound — Concert 1, Augustus Arnone solo

JS Bach: Preludes and Fugues in C Major, C Minor, C# Major, C# Minor
Michael Finnissy: Le démon de l’analogie
Finnissy: Le réveil de l’intraitable réalité
Venue TBD, New York City

Collide-O-Scope Music: Twelfth Anniversary Gala Concert

Mikel Kuehn: Fünf Parabeln for Soprano and Chamber Ensemble (1993/2020)
Eleonor Sandresky: In Short (2014)
Julie Harting: Too Much At The Top (2016/22)
Felix Jarrar: New Work (2021) **World Premiere
Christopher Bailey: To Those Who Would Crush My Will (2008)
The National Opera Center, Marc Scorca Recital Hall, 330 7th Ave., New York City

Milton Babbitt:The Complete Songs For Female Voice And Piano, with Soprano Elizabeth Pearse

Three Theatrical Songs (1946)
The Widow’s Lament in Springtime (1951)
Du (1951)
Vision and Prayer (unfinished pno/voice version) (1954)
Sounds and Words (1960)
Phonemena (1969)
The Virginal Book (1988)
Pantuns (2000)
Now evening after evening for soprano and piano (2002)
Preludes, Interludes, and Postlude (1991)
Ben Boretz: ("what i could hear,....") (a passage for Roger Sessions) (1979)
Maurice Ravel: Gaspard De La Nuit (1908)
The National Opera Center, Marc Scorca Recital Hall, 330 7th Ave., New York City

Collide-O-Scope Music: Persistence Commissions Concert

A concert of ensemble works commissioned during the Covid pandemic lockdown. New music by Peri Mauer, Ben Zervigon, Gene Pritsker, and Christopher Buchenholz.
Christ And St. Stephen's Church, 120 W69th St., New York City

Collide-O-Scope Music Presents: Solo And Ensemble Works by Jonathan Harvey, Charles Wuorinen, Milton Babbitt

Jonathan Harvey: The Riot for flute/piccolo, bass clarinet, piano (1993)
Charles Wuorinen: Trio for flute, bass clarinet, piano (2008)
Jonathan Harvey: Vers for solo piano (2000)
Milton Babbitt: Three Compositions for piano (1947)
Brandon George, flute, Marianne Gythfeldt, clarinet, Augustus Arnone, piano
National Opera Center, Scorca Recital Hall, 330 7th Ave, New York City

Collide-O-Scope Music Video Podcast: Composing In The Technological Age

Join Artistic Director Augustus Arnone in conversation with composers Patricia Allesandrini, Chris Bailey, Margaret Schedel, Mikel Kuehn, and Doug Geers as they discuss numerous facets of the role played by emerging technologies in their careers and music. The discussions will center around topics such as specialized technology-oriented workflows, computer assisted composition, sound spatialization, robotics, numerous methods of sound design, and more. The program will also include discussion of and excerpts from specific works representing these composers artistic output through technological media. This program will be available as a video podcast via the Collide-O-Scope Music YouTube Channel.

April 10, 2021 Collide-O-Scope Music will present an evening of featuring solo and ensemble music by the illustrious British spectralist composer, Jonathan Harvey, as well as venerable American serialists Milton Babbitt and Charles Wuorinen. The performers for this concert are flutist Brandon George, clarinetist Marianne Gythfeldt, and pianist Augustus Arnone. The concert will be livestreamed from the National Opera Center's Scorca Recital Hall, in New Work City, and will be available as a video podcast, intertwining musical performances with artist profiles presenting the performers in casual conversation about their careers, personal stories, and musical influences and interests.

COSM continues its video podcast series with this special program presenting several composers discussing the role of technology in shaping their aesthetics, compositional styles, workflow, presentation platforms, and much more. Composers featured in this program include Chris Bailey, Patricia Allesandrini, Doug Geers, Mikel Kuehn, and Margaret Schedel. The program will be available via the Collide-O-Scope Music YouTube Channel.

At the outset of the initial Covid lockdown, with the future of public concerts being put on hold indefinitely, Collide-O-Scope Music Artistic Director Augustus Arnone wanted to design a project that would give composers and the ensemble members something to look forward to, and something to work towards through the period of quarantine and disruption to the musical community. A call for scores was announced, inviting composers to write a new ensemble work for the group, to be performed as part of a multi-day festival, a celebration of the persistence of creativity, and a re-gathering of a musical community, when the return to public concerts once again becomes possible. In late Spring of 2022, pending health and safety clearance, this project will be brought to fruition and the proposed works will be premiered over two nights in New York City. Composers whose works will be featured in this festival include: Peri Mauer, Ben Zervigon, Eleonor Sandresky, Daniel Newman-Lessler, Felix Jarrar, Sean Quinn, Gene Pritsker, and Chris Buchenholz

Augustus Arnone, Piano

Augustus Arnone is an adventurous pianist who has made a home at the edge of transcendental extremes in the modern repertory. His repertoire includes the complete solo piano works of Milton Babbitt, which he first performed in 2008, at Merkin Concert Hall, and then again in honor of the centenary of Babbitt's birth year in 2016 at Spectrum, both in New York City. Mr. Arnone has also performed Michael Finnissy's complete "The History Of Photography In Sound," as well works by John Cage, Iannis Xenakis, Roberto Sierra, Karlheinz Stockhausen, Frederic Rzewski, Elliott Carter, Luigi Nono, Jason Eckardt, and Donald Martino. Mr. Arnone is an ardent advocate of new music and has collaborated with many exciting composers active presently including Roberto Sierra, Robert Morris, Michael Finnissy, Jason Eckardt, Edmund Campion, Stephen Gorbos, Christopher Bailey, Yotam Haber, Spencer Topel, Jeff Snyder, Chris Arrel, Michael Klingbeil, and many more. Mr. Arnone received a doctorate in music from Cornell University, where he studied historical performance practice and early pianos.

Marianne Gythfeldt, Clarinet

Clarinetist Marianne Gythfeldt has distinguished herself in chamber music, orchestral and contemporary music performance on the international stage. Her professional chamber music career was launched when she won the Naumburg Chamber Music award in 1995 as a member of New Millennium Ensemble. Marianne is especially recognized in the fields of electro acoustic music, contemporary chamber music and performance education. She is equally at-home in traditional, contemporary and alternative genres as clarinetist of Talea Ensemble, Zephyros Winds, Collide-o-scope, and SEM Ensemble, and she has premiered many new works written for her. She is Associate Professor of clarinet and head of woodwinds at Brooklyn College, Conservatory of Music and she spent eight years as clarinet and chamber music professor at the University of Delaware where she won the Delaware Division of the Arts established artist award, producing a 4-piece commission project of electroacoustic pieces performed throughout the US and Korea. Ms. Gythfeldt has recorded with CBS Masterworks, CRI, Albany, Koch and Mode Records.

Christopher Bailey, Composer, Electronics

Born outside of Philadelphia, PA, Christopher Bailey turned to music composition in his late 'teens, and to electroacoustic composition during his studies at the Eastman School of Music, and later at Columbia University. He is currently based in Boston, and frequently participates in musical events in New York City. His music explores a variety of threads, including microtonality, acousmatic and concrete sounds & sound art, serialist junk sculpture, ornate musical details laid out in flat forms, and constrained improvisation. Composition for him has always been a personal, inward-looking endeavour, and his music tends to be about color, sound, fantasy, gesture and emotion. His recent solo albums Rain Infinity (2019, New Focus Recordings) and Harvest Kitchen (2020, Hanging Bell Records) feature chamber music, electronic and acousmatic works.

Doug Geers, Composer, Electronics

Douglas Geers is a composer who uses technology in nearly all his works, whether in the compositional process, as part of their sonic realization, or both. He has created concert music, installation works, and several large multimedia theater works. He also performs as an improviser, playing laptop and his own custom electronic instruments. Reviewers have described Geers’ music as "glitchy... keening... scrabbling... contemplative" (New York Times), "kaleidoscopic" (Washington Post), "fascinating...virtuosic...beautifully eerie" (Montpelier Times-Argus), "Powerful" (Neue Zuericher Zietung), "arresting... extraordinarily gratifying" (TheaterScene.net), and have praised its "virtuosic exuberance" (Computer Music Journal) and "shimmering electronic textures" (Village Voice.) Geers is a Professor of Music at Brooklyn College, a campus of the City University of New York (CUNY), where he is Director of the Center for Computer Music and the MFA program in Sonic Arts. He also serves on the Ph.D. composition faculty of the CUNY Graduate Center. Geers completed his DMA in Music Composition at Columbia University, where he studied with Tristan Murail, Fred Lerdahl, Brad Garton, and Jonathan D. Kramer.

Julie Harting, Composer

Julie Harting has been composing music since the early 1980’s. Her diverse body of compositions includes incidental music for a dadanewyork production of Jean Cocteau’s Les Maries de la Tour Eiffel, several orchestral pieces, three string quartets, songs, solo pieces and various chamber ensemble pieces. She has also experimented with quarter-tones composing Zephyr for quarter-tone flute and After Patmos, a quarter tone work for clarinet, trombone, violin, cello and narrator. Her tuba quartet Catacombs of Light premiered in Zagreb, Croatia at the ISCM World New Music Days 2011 played by the XL Tuba Quartet, and two of her extended solo pieces, Coagula for solo clarinet and hoc est corpus meum for solo violin have received national radio airplay in Texas, Colorado and New York. Her recent works include a solo viola piece she wrote in collaboration with visual artist Colleen Asper as part of "The Performing Pictures Workshop,” an artist/ performance residency at Pari Passu Art Gallery in Ridgewood, NY. Harting earned her M.A. and D.M.A in Music Composition from Columbia University, and holds a B.M. in Music Composition from Manhattan School of Music. She studied with Ursula Mamlok, Mario Davidovsky, George Edwards, David Rakowski, Jacques Monod and Harold Seletsky. She has previously taught at Columbia University, Seton Hall University and Touro College and currently teaches composition and theory privately, with a special emphasis on Schoenberg’s Theory of Harmony. She lives in New York City.

Margaret Schedel, Composer

With an interdisciplinary career blending classical training in cello and composition, sound/audio data research, and innovative computational arts education, Margaret Anne Schedel transcends the boundaries of disparate fields to produce integrated work at the nexus of computation and the arts. She has a diverse creative output with works spanning the interactive multimedia opera The King Listens, virtual reality experiences, sound art, video game scores, and compositions for a wide variety of classical instruments or custom controllers with interactive audio and video processing. She is internationally recognized for the creation and performance of ferociously interactive media and won the 2019 Pamela Z Innovation Award. Her solo CD, Signal through the Flames, will be released by Parma Records in2020. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle and Geoffrey Wright and improvisation with George Lewis and Mark Applebaum. Schedel is a joint author of Cambridge University Press's Electronic Music and recently edited an issue of Organised Sound on using electroacoustic terminology to describe pre-electric sound. Her work has been supported by the Presser Foundation, Centro Mexicano para laMúsica y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra, Ictus, reACT, Yarn|Wire and the Unheard-of//Ensemble. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data; she co-authored a paper published in Frontiers of Neuroscience on using familiar music to sonify the gaits of people with Parkinson's Disease. She serves as a regional editor for Organised Sound and is an editor for the open access journal Cogent Arts and Humanities. From 2009-2014 she helped run Devotion, a gallery in New York City focused on the intersection of art, science, new media, and design. As an Associate Professor of Music at Stony Brook University, she taught SUNY’s first Massive Open Online Course (MOOC) for Coursera, and formerly served as the director of the Consortium for Digital Arts Culture and Technology. Schedel currently serves as the co-director of computer music and leads the Making Sense of Data Workgroup at the Institute of Advanced Computational Science. She also teaches composition for new media at the Peabody Institute of the Johns Hopkins University. In her spare time, she curates exhibitions focusing on the intersection of art, science, new media, and sound while running www.arts.codes, a platform and artist collective celebrating art with computational underpinnings.

David Glaser, Composer

David Glaser studied at Hunter College, Queens College and Columbia University where he worked with Mario Davidovsky, George Edwards, Martin Boykan and Jack Beeson. He is the recipient of awards and commissions from the Fromm Foundation, the American Academy of Arts and Letters, Alice M. Ditson Fund, and has been fellow at the MacDowell Colony and the Wellesley Composers Conference. He has been composer-in-residence at the NewMusic@ECU Festival at East Carolina University and at the Utah Arts Festival in Salt Lake City, Utah. His music has been commissioned by the NewMusic@ECU festival for Christopher Grymes, Parthenia – a Consort of Viols, the New York New Music Ensemble, Judith Kellock, Susan Narucki, Linda Larson, the Cygnus Ensemble, No Exit, the Peconic Chamber Orchestra, the New Jersey Percussion Ensemble and Glaux, the new music ensemble of Temple University. He is Professor of Music at Stern College for Women of Yeshiva University in New York. A CD of his music Kinesis (TROY1343) is available on the Albany Records label and is available from Amazon.com.

John C.L. Jansen, Composer, Electronics, Multi-Instrumentalist

John C.L. Jansen is active as a composer, multi-instrumentalist, experimental luthier, author, recording engineer, and teacher of music theory, currently based in Takoma Park, Maryland. John’s compositions are influenced by a reverence of nature, a love of patterns, and the energy of rock music. His roots are in minimalism, instilled with the vitality of rock guitar and the tuning theories of Glenn Branca. He currently divides his time between writing chamber works for existing instruments and ensembles, and writing for original instruments and tuning systems he designs himself. John’s music has been performed by the Partch Quartet, the Grand Valley State University New Music Ensemble, chamber band Drive (J:), Decho Ensemble, and the violinist Todd Reynolds and saxophonist Jacob Swanson. John was a member of the Grand Valley State University New Music Ensemble from 2013-2015. Since then he has continued to make appearances with the ensemble. With the group he has appeared as sound engineer, composer, and documenter at the Strange Beautiful Music VI and VII new music marathons in Detroit MI, as well as three national parks tours: 2014, 2016, and 2018. In 2016 John co-founded Drive (J:), a chamber band founded in Fredonia, New York. With Drive (J:) John has appeared at the 2018 New Music Gathering in Boston, MA, and released places/spaces, their first studio album. The band has shifted away form live performance and has restructured as a collective of creative minds. As an instrument builder, John invented a 3rd bridge instrument called the tetrachord, a 9 ft amplified zither which allows the user to isolate string partials. He is also a builder of daxophones, a friction idiophone invented by Hans Reichel. In 2017/18, John worked with Bang On a Can to restore Glenn Branca’s Movement Within, for an ensemble of original instruments tuned to Branca’s seven-octave overtone tuning. He worked directly with the original instruments and samples to bring the work back to life, where it was performed live on WNYC’s New Sounds.