6 March 2010 - 10pm
at the
Ontological-Hysteric Incubator (131 E 10th St)
Koba / OZET Songbook
We present a spec-fi mystery with Soviet overtones
for seven musicians and three actors.
After the break, a rock band performs
official and unofficial selections from the OZET Songbook.
- performers include -
LeeAnne Hutchison, Steven Rattazzi
Darius Jones, Seth Meicht
Matt Bauder, Josh Sinton
Wil Smith, James Moore, Mike Pride
Scott Blumenthal, Aaron Meicht
two jazz shows
|
Seth Meicht and the Big Sound Ensemble
26 January 2010 - 10pm - The Stone
Matt Bauder - alto saxophone ; Seth Meicht - tenor saxophone
Charlie Evans - baritone saxophone ; Aaron Meicht - trumpet
Herb Robertson - trumpet ; Steve Swell - trombone
Adam Lane - bass ; Mike Pride - drums
|
The Seth Meicht Quartet
28 January 2010 - 10pm - Le Grand Dakar
Seth Meicht - tenor saxophone ; Aaron Meicht - trumpet
Adam Lane - bass ; Mike Pride - drums
|
|
|
|
|
Douglas Street Music Collective presents a NOWT@NITE concert
19 December 2009 - 8pm
295 Douglass St., Brooklyn
We are featuring new compositions by
David Kant,
Wil Smith,
and a new work of mine called
Fuck That Guy.
Amanda Tabor will join us on French Horn.
|
|
|
|
AB Duo + dancers
Jared Gradinger, Matan Zamir, Angela Schubot, Nicola Mascia.
Brendan and I are joined by four fantastic movers in an exciting new work at Jesus Club in Berlin
and on the same night is music by Werner Dafeldecker's group
Jesus Club
9 Dec 2009 - 20:00h
Maria am Ostbahnhof, Berlin:
An der Schillingbrucke
(side-entrance at the river terrace)
|
|
|
|
|
|
|
|
|
|
|
|
|
four concerts upcoming at the Stone - corner of avenue C and 2nd street |
|
|
|
|
Sunday
15 November 2009
10pm
Craig Shepard
Dan Joseph (guitar), Aaron Meicht (trumpet), Katie Porter (clarinet), Harvey Weissman (speaker).
We are presenting compositions and readings from Craig's book 'On Foot'. The book documents Craig's 250 mile walk across Switzerland. Every day he composed a new piece, wrote it down and performed it on the pocket trumpet at 6 pm. The compositions are fantastic and the whole concept of the work is very exciting to me.
|
Tuesday
17 November 2009
10pm
Travis Just
Travis Just (composition/electronics/ woodwinds/objects), Kara Feely (voice/recordings/objects), Devin Maxwell (percussion/inside piano), Aaron Meicht (trumpets), James Moore (guitar)
Travis is doing fantastic work. He and Kara created Object Collection which is one of the most envelope-pushing companies working in NYC. (Their last music/theater work 'Problem Radical(s)' was presented at PS122 this past year.) We are doing two pieces of Travis' at the Stone: 'I-Fraction (vox nihili)' and 'The only way to reform modern lettering is to abolish it'. |
Thursday
19 November 2009
8pm
the wulf in NYC
the wulf is a performance space in LA run by Eric km Clark and Mike Winter (and named for the late Harris Wulfson). I am participating in their giant 3-hour set (!) starting at 8pm in Harris' Live Score project and a piece by Laura Steenberge called 'Lucifer in the Shadow'.
|
Tuesday
24 November 2009
10pm
AB Duo +
Paula Matthusen and Jeremy Woodruff
Brendan Dougherty (drums, percussion, electronics), Aaron Meicht (trumpets, electronics), Paula Matthusen (laptop), Jeremy Woodruff (flutes)
Brendan and I are presenting some AB Duo music (always exciting). And then we will be joined by composer/performers Paula Matthusen and Jeremy Woodruff in improvisations and the premier of Jeremy's piece 'Becoming Music 3 - The Package Store'. |
a live concert to be recorded by
C.I.M.P. Records for a future release:
Seth Meicht and the Big Sound Ensemble
19 September 2009
Caplan Hall, Terra Building
University of the Arts
211 S. Broad St. 17th floor
Darius Jones - alto saxophone ; Seth Meicht - tenor saxophone ; Charlie Evans - baritone saxophone
Aaron Meicht - trumpet ; Herb Robertson - trumpet ; Steve Swell - trombone
Adam Lane - bass ; Mike Pride - drums
8pm - $10
Brown Grant
11 August 2009 at
The Tank - 9:30pm - $5
45th Street Theatre in Hell's Kitchen
354 W. 45th St.
(btwn 8th and 9th Ave.)
"If we copied a section, the patriotism in the Indian video, of employees of the truth. That interrupts very healthy.
Possibly the way to aid the use of a country (zone) is necessary in an extension of, often below the capital, the
Indian government. Successive controls vary also. They escape with the work inside according to the instruction
that finishes two presidents. Before 1848 the children of the escaped Taylor, the marine sender, select four years.
The expedition of the pilot program was impressive, around the marine sender of the negotiated party,"
Ulysses S. Grant said.
Matt Mitchell and I make this music as
Brown Grant.
Feely / Just / Matthusen / Meicht
21 July 2009 at
The Tank - 9:30pm - $5
45th Street Theatre in Hell's Kitchen
354 W. 45th St.
(btwn 8th and 9th Ave.)
Ensemble improvisations by
Kara Feely,
Travis Just,
Paula Matthusen, and me.
-----------------------------------------------------
Seth Meicht and the Big Sound Ensemble
24 July 2009 at the
Tea Lounge, Brooklyn - 9pm
Darius Jones - alto saxophone ;
Seth Meicht - tenor saxophone ; Alex Hamlin - baritone saxophone
Aaron Meicht - trumpet ; Jacob Wick - trumpet ; Steve Swell - trombone
Adam Lane - bass ; Mike Pride - drums
I have two shows on
Saturday 13 June 2009
Vision Festival - 2pm
Seth Meicht and the Big Sound Ensemble
Matt Bauder - alto saxophone
Seth Meicht - tenor saxophone
Charlie Evans - baritone saxophone
Aaron Meicht - trumpet
Jacob Wick - trumpet
Steve Swell - trombone
Adam Lane - bass
Mike Pride - drums
Roulette - 8:30pm
the music of
Paula Matthusen
Lots of her music will be featured
and I am playing on one of them.
A busy couple of months in the theater.
I wrote music for the following productions
(as always in collaboration with sound designer
Daniel Baker as the
Broken Chord Collective):
Instructions for Breathing by Caridad Svich (directed by Daniella Topol) at the Passage Theater in Trenton
The Wild Inside by Cusi Cram (directed by Jackson Gay) at Fordham University
10 Things To Do Before I Die by Zakiyyah Alexander (directed by Jackson Gay) at Second Stage Theatre
Night Sky by Susan Yankowitz (directed by Daniella Topol) at the Baruch Performing Arts Center
And I helped out on these productions:
The Good Negro at the Public Theater
Chasing Manet at Primary Stages
Sunday 29 March 2009 - 10:00pm
Coco 66
66 Greenpoint Ave.
Brooklyn New York
The Seth Meicht Quartet
Seth Meicht (saxophone)
Aaron Meicht (trumpet)
Adam Lane (bass)
Mike Pride (drums)
followed by the Andrew D'Angelo / Mike Pride Duo
LULLABY FROM THE FIRST GENERATION OF THE [YOUR SHIP NAME HERE] TO THE LAST
for slide show, two singers, audience
6 March 2009 at the
Object Collection Benefit Concert at
Listen/Space (195 Skillman Ave, Brooklyn, NY, 11211)
written and performed by Scott Blumenthal and Aaron Meicht
[continuing the Bernal Project...]
Sunday 15 February 2009 - 10:00pm
Scrapple Records European New Release Show
at Ausland
Lychnerstr. 60, 10437, Berlin
AB Duo
Aaron Meicht / Brendan Dougherty
featuring
Tunebooks by
Jeremy Woodruff
with
Chris Heenan, winds
Andrew Hamilton, violin
Ranjit Prasad, bass/e-bass
Kamila Marcinkowska, baroque bassoon
Jan Terstegen, e-guitar and fx
Martin Krause, percussion
Brian Mitchell, e-guitar
buy the new Scrapple Records
here
I am in Berlin in January as a featured performer in this exciting festival:
Politics of Ecstasy
It is hosted by Meg Stuart, Jeremy Wade, and Brendan Dougherty.
Performances take place at all three of the
HAU theaters in Kreuzberg.
I am specifically involved in four events that are part of the
Improv-Series.
23 Jan 2009 - Laughing & Silent Dinner
Music: Brendan Dougherty, Guido Hennebohl, Aaron Meicht
24 Jan 2009 - Task Factory
Dance: Ami Garmon, Jared Gradinger, Adam Linder, Stephanie Maher, Anja Muller, Anja Sielaff, Meg Stuart, Frank James Willens
Music: Greg Haines, Aaron Meicht, Jeremy Woodruff
Video: Andreas Deinert
Light: Jan Maertens
Costume: Nina Gundlach, Sasa Kovacevic
Set Design: Sophie-Therese Trenka-Dalton
27 Jan 2009 - Ron Athey's Auto da Fe
performance: Ron Athey, Alexandra von Bolz'n, Didi Bruckmayr
Music: Brendan Dougherty, Aaron Meicht
30/31 Jan 2009 - OURSONGISLONG
Dance: Jared Gradinger, Maria F. Scaroni, Meg Stuart
Music: Brendan Dougherty, Aaron Meicht
Monday 12 January 2009 - 7:30pm - $10
Vision/RUCMA series presents:
The Seth Meicht Quartet
Seth Meicht (saxophone)
Aaron Meicht (trumpet)
Adam Lane (bass)
Mike Pride (drums)
at
Yippie Cafe
9 Bleecker St (btwn Bowery and Elizabeth)
Thursday : 2 October 2008 : 8pm
I am doing a new work at the
SINTESI/dogpile festival at the Ontological-Hysteric Theater (131 E. 10th St. at 2nd Ave., NYC).
The new work is called
There's a distance at which control returns to us.
The piece will feature Scott Blumenthal, Seth Meicht, and me (and maybe some others). It is part of a great festival of cool 5-minute works October 2-4. Each night is $17 adults/$12 Students. Check out the link above for more info on the other people involved.
As a member of the
Broken Chord Collective I was composer
and music director for the currently running production of
Romeo and Juliet
at the Washington DC
Shakespeare Theater Company.
The production was directed by David Muse. Daniel Baker was the sound designer.
There is a lot of music in the production,
almost all of which is performed live by the actors in the company.
And, it is a fantastic production of the play!
Try to see it if you are in DC sometime before
10 October 2008.
Sunday : 31 August : 8pm
Brecht Forum
451 West Street (btwn Bank & Bethune Sts)
West Greenwich Village
Seth Meicht Quartet
Seth Meicht (tenor saxophone)
Aaron Meicht (trumpet)
Adam Lane (bass)
Mike Pride (drumset)
Listen/Space and Rattlestick New Music Series
MiniFest of Experimental Music
16 July 2008 at
Rattlestick Playwrights Theater (224 Waverly Place, New York, NY, 10014)
18 July 2008 at
Listen/Space (195 Skillman Ave, Brooklyn, NY, 11211)
these concerts start at 8pm and are FREE and open to the public
performers include : Devin Maxwell, Aaron Meicht, James Moore,
Katie Porter, Quentin Tolimieri, Harris Wulfson
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."
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
"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.
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
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
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
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.
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.
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
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
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.
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.
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
"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
"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
"...the self which had ceased to exist the day they stopped seeking it alone."
--William Gaddis, The Recognitions