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9 May 2008 - 7pm - $10
Object Collection
Experimental Music Series
at the Ontological Theater (131 E 10th St)
A new section of my Bernal Project will be performed.
Bern : scenes 5-7
9 May 2008 - 7pm - $10
Object Collection
Experimental Music Series
at the Ontological Theater (131 E 10th St)
A new section of my Bernal Project will be performed.
Bern : scenes 5-7
scene 5.
"There is no doubt that a dog is loyal.
But does that mean we should emulate him?
After all, he is loyal to people, not to other dogs."
scene 6.
"It is the height of ingratitude if a sausage calls a pig a pig."
scene 7.
"When animals yawn, they have human faces."
"There is no doubt that a dog is loyal.
But does that mean we should emulate him?
After all, he is loyal to people, not to other dogs."
scene 6.
"It is the height of ingratitude if a sausage calls a pig a pig."
scene 7.
"When animals yawn, they have human faces."
featuring : Alex Barreto (speaking), Eric km Clark (violin), Kara Feely (speaking), Travis Just (alto saxophone/clarinet), Aaron Meicht (trumpet), Seth Meicht (tenor saxophone/clarinet), James Moore (electric guitar/acoustic guitar), Quentin Tolimieri (keyboards/chimes), Harris Wulfson (violin/acoustic guitar)
There are 3 evenings of music for this mini-festival:
May 8, 7pm : Eric Clark, Christoph Ogiermann, Craig Shepard
May 9, 7pm : Gisburg, Paula Matthusen, Aaron Meicht
May 10, 7pm : Turf Boon, Travis Just, Quentin Tolimieri
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There are 3 evenings of music for this mini-festival:
May 8, 7pm : Eric Clark, Christoph Ogiermann, Craig Shepard
May 9, 7pm : Gisburg, Paula Matthusen, Aaron Meicht
May 10, 7pm : Turf Boon, Travis Just, Quentin Tolimieri
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Friday 11 April - 8pm - $13
Seth Meicht and the Big Sound Ensemble
Matt Bauder - alto saxophone
Seth Meicht - tenor saxophone
Charlie Evans - baritone saxophone
Nate Wooley - trumpet
Aaron Meicht - trumpet
Steve Swell - trombone
Adam Lane - bass
Andrew Drury - drums
at The LaGuardia Performing Arts Center
31-10 Thomson Avenue, Long Island City (Queens)
Seth Meicht and the Big Sound Ensemble
Matt Bauder - alto saxophone
Seth Meicht - tenor saxophone
Charlie Evans - baritone saxophone
Nate Wooley - trumpet
Aaron Meicht - trumpet
Steve Swell - trombone
Adam Lane - bass
Andrew Drury - drums
at The LaGuardia Performing Arts Center
31-10 Thomson Avenue, Long Island City (Queens)
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"What has been going on update" for April 2008. On 18 February 2008 the fifth concert in the Rattlestick New Music Series included my Bernal Project (scene 8) and featured Eric km Clark, Seth Meicht, and Harris Wulfson. March 8th had me performing a work at the Diapason Gallery called Filling Vessels by Paula Matthusen. The last Rattlestick New Music Series concert was on March 10 and for that I played in my brother's Big Sound Ensemble. On March 28th I played with the Object Collection ensemble as part of the Experimental Music Series at the Ontological Theater. We did the music of Christian Kesten. On the 29th I performed The Brown Study by eldritch Priest at a conference at Stony Brook Manhattan. And finally, I am doing another Object Collection concert on April 5 that features music by Harris Wulfson. Also, from March 17-24 I participated in the Katharsis Theater workshop for an upcoming production of Monsieur de Pourceaugnac. It features my arrangments and re-compositions of the original score by Jean-Baptiste Lully.
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I am composing music for 3 theater productions in early 2008.
Sand
by Trista Baldwin
directed by Daniella Topol
at the Women's Project
February 1 - March 2
Lower Ninth
by Beau Willimon
directed by Danny Goldstein
at The Flea
February 14 - April 5
Vigil
by Morris Panych
directed by Stephen DiMenna
at the Westport Country Playhouse
February 26 - March 15
I am composing music for 3 theater productions in early 2008.
Sand
by Trista Baldwin
directed by Daniella Topol
at the Women's Project
February 1 - March 2
Lower Ninth
by Beau Willimon
directed by Danny Goldstein
at The Flea
February 14 - April 5
Vigil
by Morris Panych
directed by Stephen DiMenna
at the Westport Country Playhouse
February 26 - March 15
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On 14 January 2008 the Rattlestick New Music Series presents:
Matt Bauder
Day in Pictures Trio
Matt Bauder - saxophone, clarinet ; Shoko Nagai - keyboards ; Tomas Fujiwara - drums
Devin Maxwell
PH5
Wil Smith
Restless Drive for banjo and electronics ; Crushed for cello, voice and electronics
James Moore - banjo ; Jody Redhage - cello
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On 3 December 2007 the Rattlestick New Music Series presents:
Aaron Meicht
Bernal Project - scene 2
"The superman is a premature ideal, one that presupposes man."
for solo trumpet and computer
Eric km Clark's Hearing Deprivation Orchestra
Deprivation Music no.1 for as many musicians as possible
Deprivation Music no.3 for as many clarinets and saxophones as possible
exPAT (Deprivation Music no.4 / chorale) for as many electric guitars as possible
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I will be continuing as composer-in-residence for the 2007-2008 season of the Rattlestick New Music Series.
The second concert will be Monday 8 October. It is a great program!
Problem Radical(s): 2 - Kara Feely (text) & Travis Just (music)
featuring Travis Just (saxophones, clarinets, flute, harmonicas, samples, various objects), Jonathan Marmor (guitar pickups, harmonicas, various objects), Jeremy Woodruff (flute), Kara Feely (text), Daniel Kotter (live video)
3 Part Inventions for any solo treble flexible pitch instrument - Jeremy Woodruff
featuring Jeremy Woodruff (flute)
New Violin Pieces and Trombone Duel - Eric Shim
featuring John Elrod and Brandon Epperson (trombones), Christian Hebel (violin)
Bernal Formula for solo saxophone - Aaron Meicht
featuring Seth Meicht (tenor saxophone)
The are six concert dates scheduled for the series season are September 17, October 8, December 3, January 14, February 18 and March 10.
All concerts are $10 at 8pm at Rattlestick Theater : 224 Waverly Place, New York City.
On 14 January 2008 the Rattlestick New Music Series presents:
Matt Bauder
Day in Pictures Trio
Matt Bauder - saxophone, clarinet ; Shoko Nagai - keyboards ; Tomas Fujiwara - drums
Devin Maxwell
PH5
Wil Smith
Restless Drive for banjo and electronics ; Crushed for cello, voice and electronics
James Moore - banjo ; Jody Redhage - cello
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On 3 December 2007 the Rattlestick New Music Series presents:
Aaron Meicht
Bernal Project - scene 2
"The superman is a premature ideal, one that presupposes man."
for solo trumpet and computer
Eric km Clark's Hearing Deprivation Orchestra
Deprivation Music no.1 for as many musicians as possible
Deprivation Music no.3 for as many clarinets and saxophones as possible
exPAT (Deprivation Music no.4 / chorale) for as many electric guitars as possible
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I will be continuing as composer-in-residence for the 2007-2008 season of the Rattlestick New Music Series.
The second concert will be Monday 8 October. It is a great program!
Problem Radical(s): 2 - Kara Feely (text) & Travis Just (music)
featuring Travis Just (saxophones, clarinets, flute, harmonicas, samples, various objects), Jonathan Marmor (guitar pickups, harmonicas, various objects), Jeremy Woodruff (flute), Kara Feely (text), Daniel Kotter (live video)
3 Part Inventions for any solo treble flexible pitch instrument - Jeremy Woodruff
featuring Jeremy Woodruff (flute)
New Violin Pieces and Trombone Duel - Eric Shim
featuring John Elrod and Brandon Epperson (trombones), Christian Hebel (violin)
Bernal Formula for solo saxophone - Aaron Meicht
featuring Seth Meicht (tenor saxophone)
The are six concert dates scheduled for the series season are September 17, October 8, December 3, January 14, February 18 and March 10.
All concerts are $10 at 8pm at Rattlestick Theater : 224 Waverly Place, New York City.
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I will be composer-in-residence for the 2007-2008 season of the Rattlestick New Music Series.
The first concert will be Monday 17 September and will feature the Voice of the City Ensemble performing the music of Eric Shim and the AB Duo featuring Brendan Dougherty and me.
There are six concerts scheduled for the season. Other dates will be October 8, December 3, January 14, February 18 and March 10.
All concerts are $10 at 8pm at Rattlestick Theater : 224 Waverly Place, New York City.
The first concert will be Monday 17 September and will feature the Voice of the City Ensemble performing the music of Eric Shim and the AB Duo featuring Brendan Dougherty and me.
There are six concerts scheduled for the season. Other dates will be October 8, December 3, January 14, February 18 and March 10.
All concerts are $10 at 8pm at Rattlestick Theater : 224 Waverly Place, New York City.
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A return to Philadelphia with Brendan and Seth.
Monday 30 July : we will be playing as part of the Bowerbird series.
It is at the Community Education Center at 3500 Lancaster Avenue in Philadelphia
9:00pm - $5-$10 sliding scale
Brendan Dougherty, drums
Aaron Meicht, trumpet
Seth Meicht, saxophones
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There will be a public reading of a play I co-created
The Drama League Directors Project's
New Directors/New Works Program presents a reading of:
A LIVING HISTORY OF REVIVALISM AND SOCIALISM
AMONGST THE HARPIST COMMUNITY AT EMINENCE, INDIANA
Conceived and Created by Scott Blumenthal, Aaron Meicht and Henry Wishcamper
Friday, October 27th at 8pm and Sunday, October 29th at 1pm.
The Barrow Group Studios, 312 West 36th Street, Studio 6A.
Free.
A Living History follows the Community at Eminence, a fictional communistic religious society. The Community has survived from its heyday in the 1840s to the present day, although by the start of the play only two living members remain: Alfred and Priscilla, both of whom are in their 80s. Although they are both robust and independent, they are aware that they are beginning to fail. The society's finances have deteriorated to the point that they now face the imminent threat of foreclosure. The arrival of two outsiders sparks a heated confrontation over the future of the society, the legacy it will leave to history, and the best way for Alfred and Priscilla to spend the remaining years of their lives.
Featuring: Helen-Jean Arthur*, Wilbur Edwin Henry*, LeeAnne Hutchison*, Mitchell McGuire*
Set Design Consultation: Cameron Anderson
*Appears courtesy of Actors Equity Association
To RSVP, please call 212-244-9494 x1 and leave a message for Emily
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A return to Philadelphia with Brendan and Seth.
Monday 30 July : we will be playing as part of the Bowerbird series.
It is at the Community Education Center at 3500 Lancaster Avenue in Philadelphia
9:00pm - $5-$10 sliding scale
Brendan Dougherty, drums
Aaron Meicht, trumpet
Seth Meicht, saxophones
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Some events in July 2007.
I wrote music for a great play running at the Summer Play Festival (SPF) this week:
Lower Ninth by Beau Willimon, directed by Daniel Goldstein
running through July 15
Kirk Theater, Theater Row, 410 West 42nd Street
July 17 (Tuesday) Rattlestick Theater at 224 Waverly Place - 8pm
SELECTIONS FROM THE MUSICAL OKLAHOMA!
Kara Feely - vocals
Paula Matthusen - elec
Brendan Dougherty - drums
Travis Just - sax
Aaron Meicht - trumpet / elec
July 22 (Sunday) SHARE @ Reboot Bar at 37 Ave A - 7pm
IMPROVISED MUSIC with
Paula Matthusen - elec
Brendan Dougherty - elec
Lukas Ligeti - perc
Aaron Meicht - trumpet
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I wrote music for a great play running at the Summer Play Festival (SPF) this week:
Lower Ninth by Beau Willimon, directed by Daniel Goldstein
running through July 15
Kirk Theater, Theater Row, 410 West 42nd Street
July 17 (Tuesday) Rattlestick Theater at 224 Waverly Place - 8pm
SELECTIONS FROM THE MUSICAL OKLAHOMA!
Kara Feely - vocals
Paula Matthusen - elec
Brendan Dougherty - drums
Travis Just - sax
Aaron Meicht - trumpet / elec
July 22 (Sunday) SHARE @ Reboot Bar at 37 Ave A - 7pm
IMPROVISED MUSIC with
Paula Matthusen - elec
Brendan Dougherty - elec
Lukas Ligeti - perc
Aaron Meicht - trumpet
I recently wrote music for an off-broadway play
called Stay (written by Lucy Thurber and directed by Jackson Gay).
It is running at the Rattlestick Theater
The Artistic Director of Rattlestick has invited me to present an evening of my
music at their theater. I am very excited about the opportunity to present some
new compositions and improvisations in such a great space! Here is the info:
----------------
Music of Aaron Meicht -- Monday 16 April 2007 -- 8pm -- $10
at the Rattlestick Theater : 224 Waverly Place
----------------
Matt Bauder, woodwinds
Alex Hamlin, woodwinds
Aaron Meicht, trumpet
Seth Meicht, woodwinds
Matt Mitchell, computer
Valerie Morel, vocals
----------------
an Improvisation
(for trumpet, tenor saxophone, computers)
and a new composition, Shelley on War
(for 3 woodwind players, trumpet, computers, and vocals)
setting poems by Percy Bysshe Shelley.
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called Stay (written by Lucy Thurber and directed by Jackson Gay).
It is running at the Rattlestick Theater
The Artistic Director of Rattlestick has invited me to present an evening of my
music at their theater. I am very excited about the opportunity to present some
new compositions and improvisations in such a great space! Here is the info:
----------------
Music of Aaron Meicht -- Monday 16 April 2007 -- 8pm -- $10
at the Rattlestick Theater : 224 Waverly Place
----------------
Matt Bauder, woodwinds
Alex Hamlin, woodwinds
Aaron Meicht, trumpet
Seth Meicht, woodwinds
Matt Mitchell, computer
Valerie Morel, vocals
----------------
an Improvisation
(for trumpet, tenor saxophone, computers)
and a new composition, Shelley on War
(for 3 woodwind players, trumpet, computers, and vocals)
setting poems by Percy Bysshe Shelley.
A new composition of mine is included on the new record of my brother, Seth Meicht.
"The Enormous Room" is the last track on Illumine which was released on C.I.M.P. Records. Get it anywhere.
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"The Enormous Room" is the last track on Illumine which was released on C.I.M.P. Records. Get it anywhere.
There will be a public reading of a play I co-created
The Drama League Directors Project's
New Directors/New Works Program presents a reading of:
A LIVING HISTORY OF REVIVALISM AND SOCIALISM
AMONGST THE HARPIST COMMUNITY AT EMINENCE, INDIANA
Conceived and Created by Scott Blumenthal, Aaron Meicht and Henry Wishcamper
Friday, October 27th at 8pm and Sunday, October 29th at 1pm.
The Barrow Group Studios, 312 West 36th Street, Studio 6A.
Free.
A Living History follows the Community at Eminence, a fictional communistic religious society. The Community has survived from its heyday in the 1840s to the present day, although by the start of the play only two living members remain: Alfred and Priscilla, both of whom are in their 80s. Although they are both robust and independent, they are aware that they are beginning to fail. The society's finances have deteriorated to the point that they now face the imminent threat of foreclosure. The arrival of two outsiders sparks a heated confrontation over the future of the society, the legacy it will leave to history, and the best way for Alfred and Priscilla to spend the remaining years of their lives.
Featuring: Helen-Jean Arthur*, Wilbur Edwin Henry*, LeeAnne Hutchison*, Mitchell McGuire*
Set Design Consultation: Cameron Anderson
*Appears courtesy of Actors Equity Association
To RSVP, please call 212-244-9494 x1 and leave a message for Emily
---------------------------------------------------------------------------------------------
Check out the new Scrapple Records website.
There are excerpts of my work on this page : listen
---------------------------------------------------------------------------------------------
Pertinax
Let chaos storm!
Let cloud shapes swarm!
I wait for form.
--Robert Frost, Ten Mills
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"That mercy towards one set of creatures was cruelty towards another sickened his sense of harmony."
--Thomas Hardy, Jude the Obscure
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"Beethoven must have been a fool, with a prodigious talent for that sonorous pantomime which has such unlimited power over the sympathetic nervous system and which so faithfully conjures up the movements and checks, the rushes of enthusiasm and apparently groundless pregnant pauses--the soul's sombre knocking on the door, darkness and illumination in the nervous system--all that devilry which opens up illusory perspectives of thought, depths and wastelands more hollow, more solitary than nature itself. The creator is thought to know the secret of all the abysses produced by him. You have indeed to attribute to him all the boundless, exaggerated nonsense he creates. Is it necessary, for the sake of genius, to obey what is most stupid in oneself? Music makes you understand that emotions, like a way of speaking, can be exaggerated--that the disturbance can carry you away without limit--although any 'cause' may be limited. It turns them into 'things in themselves', creating shame, pride, desire, sadness as autonomous entities--treating anxiety or heavenly repose as though they were colours. But once you realize that understanding fails to follow these developments, you come to look on the workings of music as toxicological effects and deny these contortions any meaningful significance; just as you must deny any meaning to the physiognomic expressions the human face can be forced to make by applying electric currents. So on would be stupid to persist in attributing meaning and mystery to these powerful effects--which are more purgative than profound. Music--art of simulation."
--Paul Valery, Notebooks v.2
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"I have searched for doubt in all the arts, have found it there only disguised, furtive, breaking out during the entr'actes of inspiration, rising from slackened impulse; but I have given up searching for it--even in this form--in music; it cannot bloom there: ignorant of irony, music proceeds not from the pranks of the intellect but from the tender or vehement nuances of Naivete, stupidity of the sublime, heedlessness of the infinite... Wit having no equivalent in sound, we denigrate a musician by calling him intelligent. This attribute diminishes him and is not suitable in that languorous cosmogony where, like a blind god, he improvises on universe after another. If he were conscious of his gift, of his genius, he would succumb to pride; but he is not responsible for it; born in the oracle, he cannot understand himself. Let the sterile interpret him: he is not a critic, as God is not a theologian. Limit-case of unreality and the absolute, infinitely real fiction, a lie more authentic than the world, music loses its prestige as soon as, dry or morose, we dissociate ourselves from the Creation, and Bach himself seems no more than insipid rumors; this is the extreme point of our non-participation in things, of our coldness and our collapse. To jeer amid the sublime--sardonic victory of the subjective principle, and one which makes us members of the Devil's brood! Lost is the man who has no more tears for music, who lives now only by the memory of those he has shed: sterile lucidity will have vanquished ecstasy--which once created worlds."
--E.M. Cioran, A Short History of Decay
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"...the self which had ceased to exist the day they stopped seeking it alone."
--William Gaddis, The Recognitions
---------------------------------------------------------------------------------------------
Check out the new Scrapple Records website.
There are excerpts of my work on this page : listen
---------------------------------------------------------------------------------------------
Pertinax
Let chaos storm!
Let cloud shapes swarm!
I wait for form.
--Robert Frost, Ten Mills
---------------------------------------------------------------------------------------------
"That mercy towards one set of creatures was cruelty towards another sickened his sense of harmony."
--Thomas Hardy, Jude the Obscure
---------------------------------------------------------------------------------------------
"Beethoven must have been a fool, with a prodigious talent for that sonorous pantomime which has such unlimited power over the sympathetic nervous system and which so faithfully conjures up the movements and checks, the rushes of enthusiasm and apparently groundless pregnant pauses--the soul's sombre knocking on the door, darkness and illumination in the nervous system--all that devilry which opens up illusory perspectives of thought, depths and wastelands more hollow, more solitary than nature itself. The creator is thought to know the secret of all the abysses produced by him. You have indeed to attribute to him all the boundless, exaggerated nonsense he creates. Is it necessary, for the sake of genius, to obey what is most stupid in oneself? Music makes you understand that emotions, like a way of speaking, can be exaggerated--that the disturbance can carry you away without limit--although any 'cause' may be limited. It turns them into 'things in themselves', creating shame, pride, desire, sadness as autonomous entities--treating anxiety or heavenly repose as though they were colours. But once you realize that understanding fails to follow these developments, you come to look on the workings of music as toxicological effects and deny these contortions any meaningful significance; just as you must deny any meaning to the physiognomic expressions the human face can be forced to make by applying electric currents. So on would be stupid to persist in attributing meaning and mystery to these powerful effects--which are more purgative than profound. Music--art of simulation."
--Paul Valery, Notebooks v.2
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"I have searched for doubt in all the arts, have found it there only disguised, furtive, breaking out during the entr'actes of inspiration, rising from slackened impulse; but I have given up searching for it--even in this form--in music; it cannot bloom there: ignorant of irony, music proceeds not from the pranks of the intellect but from the tender or vehement nuances of Naivete, stupidity of the sublime, heedlessness of the infinite... Wit having no equivalent in sound, we denigrate a musician by calling him intelligent. This attribute diminishes him and is not suitable in that languorous cosmogony where, like a blind god, he improvises on universe after another. If he were conscious of his gift, of his genius, he would succumb to pride; but he is not responsible for it; born in the oracle, he cannot understand himself. Let the sterile interpret him: he is not a critic, as God is not a theologian. Limit-case of unreality and the absolute, infinitely real fiction, a lie more authentic than the world, music loses its prestige as soon as, dry or morose, we dissociate ourselves from the Creation, and Bach himself seems no more than insipid rumors; this is the extreme point of our non-participation in things, of our coldness and our collapse. To jeer amid the sublime--sardonic victory of the subjective principle, and one which makes us members of the Devil's brood! Lost is the man who has no more tears for music, who lives now only by the memory of those he has shed: sterile lucidity will have vanquished ecstasy--which once created worlds."
--E.M. Cioran, A Short History of Decay
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"...the self which had ceased to exist the day they stopped seeking it alone."
--William Gaddis, The Recognitions
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