Wolf’s Gallery Presents A Stunning Exhibition that Flaunts Cleveland Culture
One of the truly amazing venues that No Exit has performed in is Wolfs Gallery. It is a rather unique and special place filled with some extraordinary art. In the coming weeks, the gallery will present an exhibition which places in the limelight an important part of this city’s artistic legacy, The Cleveland School artists. Here’s a little about that:
This stunning display of over 150 works of art and design was conceived as a celebration of the Cleveland School and their important role within our city’s longstanding tradition of artistic excellence. As a not-for-profit exhibition, Cleveland: A Cultural Center is the first of its kind for WOLFS. The vast majority of exhibited works have been graciously loaned from private collections.
Cleveland: A Cultural Center will be on view at WOLFS from July 12th through August 31st, 2018. For more information visit The Wolf’s Gallery Website
No Exit Records Christopher Goddard’s “trope (en)trop” for Their Upcoming Album
This summer marks the beginning of No Exit’s first major recording project; an album of some of our favorite pieces written for the group. During our first session we recorded Christopher Stark’s beautiful and evocative “By the Sea”, and here are some stills from our recording of Christopher Goddard’s “trope (en)trop” at Cleveland State University with Grammy winning engineer David Yost.
We can’t wait to share more information as this exciting album project continues throughout the year!
From ClevelandClassical.com – No Exit: a clarinet and five flutes at Appletree Books on June 15
By Jarrett Hoffman
Clarinetist Gunnar Owen Hirthe + flutist Hong-Da Chin = quite the duo.
Combining Chinese traditional music with contemporary repertoire, their upcoming concert — presented by No Exit on Friday, June 15 at 7:00 pm at Appletree Books — will include three duets (one of them by Hong-Da), six solo works, and six instruments (the two likely suspects, in addition to four Chinese flutes).
Let’s start with the bookends of the program. Giacinto Scelsi’s Ko-Lho and David Liptak’s Duo meld together the sounds of the clarinet and Western flute to fascinating effect, treating the instruments almost like conjoined twins.
Hearing an all-Scelsi program at Bowling Green State University is what first drew Hirthe to that composer. “I was really struck by how simple and powerful his music is,” the No Exit clarinetist, Flint Institute of Music faculty member, and BGSU doctoral candidate said during a recent telephone conversation.
How does Hirthe deal with the challenging multiphonics in Ko-Lho? “So much of it is how you use your air and shape your mouth. That way of playing isn’t conducive to ‘good’ clarinet playing — you have to give up a few things in order to do it well.”
Though similar to the Scelsi, Liptak’s Duo really occupies a different universe. “I think it brings in that traditional flute-clarinet world, but it’s also something that people aren’t necessarily used to hearing,” Hirthe said.
Listen to even ten seconds of Ken Ueno’s solo clarinet work I screamed at the sea until nodes swelled up, then my voice became the resonant noise of the sea, and the title will start to make sense.
“With pieces like that, I always find that you just have to let yourself go,” Hirthe said. “Again, don’t think about ‘good’ clarinet playing. Don’t think about the sound — just get yourself into the piece: what does it mean to be in front of the ocean and experience that loudness but also oneness?”
Kerrith Livengood originally wrote Show as a solo for tenor saxophone, and Hirthe planned to play a version for bass clarinet at New Music On the Point last summer. But some of the work’s technical demands — plus the wacky weather at the festival taking a toll on Hirthe’s bass — led him to premiere the clarinet version instead, which he’ll play again on Friday.
I phoned Hong-Da Chin to talk about the other alluring side of this program: the solos for Chinese flute, plus his own duo. An accomplished composer (Young and Emerging Composer Award at NEOSonicFest) and flutist (having appeared at Carnegie and Alice Tully Halls), he recently graduated from Bowling Green’s DMA program, and will join the faculty at Western Illinois University as Assistant Professor in Music Theory/Composition this fall.
We began our conversation by discussing the traditional New Shepherd Song, which “describes the vastness of the prairie in inner Mongolia,” he said. Listen for the imitations of horses galloping and neighing.
He’ll play that work on the dizi, a bamboo flute that is played transversely (horizontally). The instrument has six finger holes and no keys, so chromatic playing requires “half-hole” fingerings, where the player covers a hole only partially.
“One advantage is that you are able to play glisses very easily, unlike the Western flute,” Hong-Da said. “The disadvantage is that you need to have very good ears to play chromaticism in tune. Everything is a half-hole, and sometimes it’s not exactly half — you just have to listen to it, like with the recorder.”
Two other keyless, bamboo flutes are the xiao (which he’ll play for The Remaining Snow in the Cold River) and the bawu (for The Fisherman’s Song). The ancestor of the shakuhachi, the xiao is played vertically like a recorder, and has a mouthpiece shaped like the letter U.
The mouthpiece of the bawu, on the other hand, is a piece of reed like that of a mouth organ, such as a harmonica. “You have to cover the entire mouthpiece, and then when you blow air into it, the reed will vibrate,” Hong-Da said. Both the bawu and the xun, which Hong-Da described as the Chinese ocarina, can only play a single octave. “The xun is made of clay and looks like an egg with eight finger holes,” the flutist said.
The sound of the xun resembles a human voice, making it a compelling match for Three Variations at Gate Yang, an ancient farewell tune about leaving China through that gate. “There was no guarantee you would be back because it was very dangerous out there — you had the desert, and the tribes that were hostile against the Chinese,” Hong-Da said.
We closed our conversation discussing his duo One Gallon of Tears, which premiered last month at the University of Maryland in its original version for two Western flutes.
“It’s written in memory of the 239 victims of Malaysian Airlines flight MH370, which went missing on March 8, 2014,” Hong-Da said, recalling the figures without hesitation. “The plane still hasn’t been found. And since I’m Malaysian, this incident means a lot to me. It was a dark day for Malaysians, and for the Chinese and everyone else on the plane.” The piece is made up of microtonal, descending figures. “Those lines are like tears flowing down one’s cheek,” the composer said.
Article originally published on ClevelandClassical.com on June 12, 2018.
The full article can be found – Here
A Glimpse of No Exit’s Duo Concert of Contemporary Repertoire and Traditional Chinese Music
Our upcoming concert, featuring the duo of No Exit’s clarinetist Gunnar Owen Hirthe and virtuoso flutist and composer Hong-Da Chin, is certain to be an exciting and engaging evening of music. Though most of our audience are familiar with the types of contemporary repertoire we present, it is exciting to point out that Hong-Da will be presenting traditional Chinese music in addition to 21st century literature.
For a taste of Hong-Da’s amazing virtuosity on traditional instruments, here is a video of Hong-Da performing his piece “A Withered Sunflower with Uneven Legs” for Chinese Flute and 14 Musicians with the CCM Orchestra at the Cincinnati College Conservatory of Music.
Be sure to join Gunnar and Hong-Da at Appletree Books on Friday, June 15 at 7 PM for an engrossing performance full of surprises.
From ClevelandClassical.com – No Exit’s Nicholas Underhill: solo piano at Heights Arts (June 2)
By Alice Koeninger
Nicholas Underhill’s solo piano recital at Heights Arts on Saturday, June 2 featured a complex program by 20th- and 21st-century composers who seemed to be attempting to dismantle tonality. A member of No Exit, Underhill played eight compositions that he worked on for over a year. The concert was part of the ensemble’s summer series.
The gallery setting was small and intimate, with the piano situated in front of the art as if on display. This casual atmosphere gave the music a more accessible feeling despite its cerebral nature — almost as if it could be purchased and taken home like the art on the surrounding walls.
The modern quality of the concert was felt not only in the music but in the setting and the fact that Underhill was playing from an iPad. The pianist made the audience feel involved as he informed us about every selection — though it wasn’t difficult to hear common elements of dissonance, arhythmic phrases, and atonal masses of notes throughout. He said that the program included some of his favorite works: Copland’s Piano Variations (1930), and selections from Gary Philo’s Five Impromptus (2016) and David Leisner’s Labyrinths II (2009).
Underhill began with The Dark Net, one of his own pieces from 2016. Before taking the bench, he described the work as “vampire music,” meant to be “dark and mysterious” as the title suggests. It begins with spiraling, swirling notes, anchored by a few warm chords. Underhill’s phrases were evenly accented, remaining at a fairly steady tempo and resonant volume throughout. Amidst the whirl of notes a theme emerges, twirling up the keyboard to rest on two high notes that end the piece.
Next was Iannis Xenakis’ Mists (1980), which Underhill described as “one of the most intellectually complicated pieces written” because of the complex grid used to compose it. As the title says, the work is meant to evoke mists rolling across the water in an impressionistic manner similar to that of Ravel. While the harsh notes rapidly scrambling up the keyboard demand attention, they were at times too bright to feel like a haze. However, the rolling lines have a purposefully random quality that draws the listener in and holds one’s interest for all 12 minutes of the piece.
Though the evening was not meant for easy listening, Underhill did sprinkle some more melodic and agreeable compositions into the program to disrupt the maniacal atonality of works such as Wild Men’s Dance (1913) by Leo Ornstein. Underhill described Morton Feldman’s Piano Piece (1956) as getting a fortune cookie when you were expecting a four-course meal at a Chinese restaurant. The metaphor, although not complimentary towards Feldman, was accurate in depicting the hesitant notes and deliberate pauses that made it feel like an amuse-bouche easing the audience back into listening.
Frederic Rzewski’s Winnsboro Cotton Mill Blues (1979) is meant as a tribute to the working class, as demonstrated in the rapid low notes, reminiscent of a machine, becoming thicker in texture as notes are added. A four-chord blues progression becomes more prominent as the piece goes on, but then dissolves into loud chords. Underhill kept the underlying rhythm steady despite its fast repetition, and his hand crossings added to the drama. The physical exertion required to perform the work was evident when he stood up to bow, breathing heavily.
Underhill ended the evening with a bright, humorous encore “in honor of my kitty cat, Nibbles.” Kitten on the Keys by Zez Confrey showcased his talent, his appreciation of ragtime, and his sense of humor all at once. The energy during the second half of the concert was infectious, and the audience clearly enjoyed the encore, as well as the evening as a whole.
Article originally published on ClevelandClassical.com on June 4, 2018.
The full article can be found – Here
From ClevelandClassical.com – No Exit and Patchwork to become “partners in crime”
By Mike Telin
On Friday, April 27 at SPACES, the adventuresome new music ensemble No Exit and the pioneering saxophone and drum set duo Patchwork (left) will celebrate spring with an evening of premieres. The concert will include works by Derrik Balogh, Victoria Cheah, Osnat Netzer, Christopher Stark, and Evan Ziporyn. The program will be repeated on Monday, April 30 at Cleveland State University’s Drinko Auditorium and on Saturday, May 5 at Heights Arts. All three concerts begin at 8:00 pm and are free of charge.
“We’re excited to be able to premiere Christopher Stark’s Ved sjøen (‘By the Sea’),” No Exit artistic director Timothy Beyer said by telephone. “It’s an evocative rumination inspired by the time he recently spent living in Norway. He’s phenomenal and in my mind, one of those composers that everyone should know. I met Chris many years ago when we were both composers in residence at a festival in Salt Lake City. We hit it off, and we’re honored and pleased that he wrote something for us.”
Beyer said No Exit will also be reviving one of the first pieces that the group commissioned, Derrik Balogh’s “gorgeous and immersive” string trio, Fantasie: si tu veux. “We loved it back then and have been wanting to have a chance to do it again. Derek is a Cleveland State alum and he currently works at American Greetings composing music for their cards.”
Also featured will be two pieces by clarinetist/composer Evan Ziporyn: Tsmindao Ghmerto, a work which calls on the musician to play clarinet while simultaneously singing, and Four Impersonations, which incorporates elements of Balinese, Japanese, and East African music.
Beyer added that Victoria Cheah’s We waited for each other on aim “creates a curious and compelling soundscape for the listener to inhabit.”
The director said that No Exit is happy to be “partners in crime,” with Patchwork (Noa Even, saxophone, and Stephen Klunk, drum set). Patchwork will give the world premiere of Israeli-born composer Osnat Netzer’s Zwang und Zweifel, which Beyer described as “a visceral, internal world of conflict and chaos.”
In her composer notes, Netzer writes:
In a separate interview, Noa Even said that Plunk had performed a marimba work by Netzer during his undergraduate studies at BGSU. “Then we met her at a saxophone conference in 2012. She’s based in Boston and teaches at a few schools, including Harvard. It’s funny because she knew my dad, who sings with a group of Israelis every couple of weeks — Osnat played piano for them. So it’s a strange Boston/Israeli connection.”
Even said that since that meeting, she and Plunk kept the composer in mind as someone they’d want to work with in the future. “Osnat came to Cleveland last summer and worked with us for three days, which was an ideal situation because she wanted Steve and I to find the sounds that we like to create. She basically had a sketch of the piece by the time that she left. It’s nine and a half minutes and full of complex rhythmic changes — Stephen made a click track for us to practice with because it is very complicated getting in and out of the rhythms. But there are also sections that are either quiet and intimate, or chaotic. We think people will like it.”
Article originally published on ClevelandClassical.com on April 24, 2018.
The full article can be found – Here
From ClevelandClassical.com – NEOSonicFest 2018 to present five concerts April 5 through 11
By Mike Telin,
Since 2014, the Grammy Award-winning Cleveland Chamber Symphony has sponsored NEOSonicFest, a festival of new music performed by musicians from Northeast Ohio and beyond. The 2018 festival will run from April 5 through 11 (see below for concert dates and times).
Clarinetist Carol Robinson and trumpeter Nate Wooley will kick things off by performing selections from Éliane Radigue’s Occam Ocean on April 5 at MOCA. The composer describes her work as “an ongoing acoustic work with influences ranging from electromagnetic waves, to William of Ockham’s philosophies, to science fiction mythologies.”
The always creative No Exit will return to the Festival on April 6 at Heights Arts. The ensemble was founded by composer Timothy Beyer as an outlet for the commissioning and performance of contemporary avant-garde concert music. No Exit is committed to promoting the works of living composers, particularly the music of young and emerging artists who haven’t yet received either the opportunities or exposure of their better-known counterparts. (Works by Leo Ornstein, Ty Emerson, Per Nørgård, James Praznik, Andrew Rindfleisch & Tristan Murail).
On April 7 at 7:00 pm at the Bop Stop, Keith Fitch and his outstanding CIM New Music Ensemble will make their first appearance on the Festival. The program will feature David Rakowski’s Breakdown and Préludes for Piano, Stephen Hartke’s Oh Them Rats Is Mean In My Kitchen, and Fitch’s The Range of Light.
Also returning to the Festival is the Cleveland Composers Guild. On April 8 at Judson Manor, the venerable organization will team up with the Syndicate for the New Arts for a program titled “Small Pieces | Big Impressions,” featuring seven-minute compositions by Guild members to be performed by violinist Dana Johnson, cellist Wesley Hornpetrie, and pianist Annie Jeng. The program will include Jennifer Connor’s Sevenwaters, Colin Holter’s red river of the north, Jeffrey Quick’s Piano Trio II, “Experience,” Ryan Charles Ramer’s I Have Wasted This Life And Would Waste Any Other, Robert Rollin’s Rhapsody on Themes by Rachmaninoff, Fuga, Dolores White’s Trio Tango, James Wilding’s Preludes, and Jiří Trtík’s Improvisation No. 30 (After Kandinsky).
The Festival will wrap up on April 11 when conductor Steven Smith leads the Cleveland Chamber Symphony in the annual Young and Emerging Composers Concert at BW’s Gamble Auditorium. As always, the concert will highlight music by the area’s top student composers. This year’s roster includes Nabil Abad (Baldwin Wallace University), Emilio José González (Bowling Green University), Jiří Trtík (Cleveland Institute of Music), Davison Yon (Cleveland State University), Benjamin Grove (Kent State University), Soomin Kim (Oberlin Conservatory), Samuel Ryan Silverman (Cuyahoga Community College), and Cody Ray (University of Akron).
NEOSonic Festival performances are free unless otherwise noted.
Thursday, April 5 at 7:30 pm
Carol Robinson, clarinet and Nate Wooley, trumpet
Music by Éliane Radigue
Museum of Contemporary Art Cleveland (MOCA)
11400 Euclid Avenue, Cleveland
Purchase tickets here
Friday, April 6 at 8:00 pm
Program to be announced
Heights Arts, 2175 Lee Avenue, Cleveland Heights
Saturday, April 7 at 7:00 pm
Cleveland Institute of Music New Music Ensemble, Keith Fitch director
Music by David Rakowski, Stephen Hartke, and Keith Fitch
Bop Stop, 2920 Detroit Avenue, Cleveland
Sunday, April 8 at 7:00 pm
Cleveland Composers Guild and the Syndicate for the New Arts
Music by Jennifer Connor, Colin Holter, Jeffrey Quick, Ryan Charles Ramer, Robert Rollin, Dolores White, James Wilding, and Jiří Trtík
Judson Manor, 1890 East 107th Street, Cleveland
Wednesday April 11 at 7:00 pm
Cleveland Chamber Symphony, Steven Smith director
Young and Emerging Composers Concert
Music by Nabil Abad, Emilio José González, Jiří Trtík, Davison Yon, Benjamin Grove, Soomin Kim, Samuel Ryan Silverman, and Cody Ray
Gamble Auditorium, 96 Front Street, Berea
Article originally published on ClevelandClassical.com on March 27, 2018.
The full article can be found – Here
Cleveland Orchestra Trumpet Virtuoso Jack Sutte Joins No Exit for Trumpet Fanfares at NEOSonicFest
For our performances as part of NEOSonicFest V on April 6th and 8th we are proud to be presenting a special set of trumpet fanfares composed by Cleveland composers Andrew Rindfleisch and James Praznik. To help us realize these pieces, No Exit is joined by special guest trumpet virtuosi Scott McKee, one of our frequent collaborators, and Jack Sutte, second trumpet of The Cleveland Orchestra.
Here is Jack’s bio from the Cleveland Orchestra website:
Jack Sutte joined The Cleveland Orchestra as second trumpet in 1999. Prior to his Cleveland appointment, he was the principal trumpet in the Bergen Philharmonic Orchestra in Norway. A native of Oconomowoc, Wisconsin, he attended the Curtis Institute of Music in Philadelphia, where he earned a bachelor of music degree, and the Juilliard School in New York City, where he earned a master of music degree. He studied with Frank Kaderabek at Curtis, Raymond Mase at Juilliard, and Chris Gekker at the Aspen Festival. Mr. Sutte has performed as soloist with The Cleveland Orchestra with principal trumpet Michael Sachs, as well as with the Milwaukee Symphony Orchestra, the New World Symphony, and the Haddonfield Symphony. He made his international solo debut in Argentina in 1995. Mr. Sutte is a lecturer of trumpet at the Baldwin Wallace University Conservatory of Music, and has taught at the Oberlin College Conservatory of Music.
Mr. Sutte lives in Euclid, Ohio, with his wife, Audra Zarlenga, their children, Maya and Louis, and four dogs. His hobbies include running, cycling, and multisport racing.
This is a not to be missed performance by Cleveland’s premier contemporary music ensemble.
From ClevelandClassical.com – No Exit and Zeitgeist at SPACES (January 14)
By Mike Telin
No Exit kicked off the new year with a series of concerts that also marked the contemporary music group’s third collaboration with the excellent St. Paul-based ensemble Zeitgeist. I attended the performance on Sunday, January 14 at SPACES.
Receiving its world premiere, Nicholas Underhill’s No Exit for Zeitgeist was written to celebrate the collaboration between the two ensembles. Underhill took full advantage of the forces at his disposal — violin, viola, cello, flute, two clarinets, two keyboards, and three percussionists. Based on a single scale, a hybrid of Mixolydian and Harmonic minor, the work also “makes indirect references to pieces by Kaija Saariaho and Andy Rindfleisch, as well as other solo pieces I have heard played in our concerts,” Underhill writes in his composer notes.
It begins with a scale spread over multiple octaves that continually grows into an intense, pulsating chord. A celestial middle section is highlighted by haunting solos for the viola and violin, giving way to an extended percussion cadenza before ending with a loud, short chord. Conductor James Praznik led a tight performance of the rhythmically complex work.
Twin-Cities-based composer Joshua Musikantow’s Tzimtzum also received its world premiere. Introducing the work, Musikantow said the title is Hebrew for “contraction,” a concept in the Lurianic Kabbalah that states that in order for God to create a space for lesser spiritual and physical planes to exist, God must contract, or conceal his/herself.
Based on a fifteen-note scale with nine fixed tones and six microtones, the hypnotic work is a study in shifting timbers. No Exit’s violinist Cara Tweed, violist James Rhodes, cellist Nicholas Diodore, flutist Sean Gabriel, bass clarinetist Gunnar Owen Hirthe, pianist Nicholas Underhill, and percussionist Luke Rinderknecht gave the seven-minute piece a captivating performance.
Commissioned by Zeitgeist, Cambodian-American composer Chinary Ung’s Spiral XIV “Nimitta” is grounded in the traditions of Khmer Pinpeat — the ceremonial music of Cambodia — and Balinese Gamelan. The subtitle “Nimitta” is a Pali word meaning a sign or image that is received through meditation. Ung makes use of “heterophony,” a single, constant melody that is embellished simultaneously by other voices. Zeitgeist’s clarinetist Pat O’Keefe, pianist Nicola Melville, and percussionists Heather Barringer and Patti Cudd gave a dramatic reading of the brilliantly crafted, intense work.
Eric M. C. Gonzalez’s Found Again, Secure in Migration is a three-movement work that comments on “monumental life transitions.” The former Clevelander explained that he and his significant other had recently relocated to St. Paul. The first movement, “A Recent Distant Past,” is about the reliability of home and reminiscing on separation. “A Forward Moving Pilgrimage” is about the sense of wonder that is brought on by new opportunities, while “Fortunate Companions” is about knowing where you came from and knowing where you are headed. Gonzalez weaves a variety of musical styles throughout the mercurial work, including walking bass-lines and boogie-woogie licks. O’Keefe, Melville, and Barringer brought every mood change to life.
Written for piano and any combination of additional instruments, Bill Ryan’s Blurred begins with repeated notes in the piano. As instruments are added the piece blossoms into a colorful soundscape and gradually diminishes until the repeated piano notes quietly fade away. The piece is mesmerizing and members of both ensembles sounded terrific together.
Article originally published on ClevelandClassical.com on January 24, 2018.
The full article can be found – Here
From ClevelandClassical.com – No Exit and Zeitgeist continue their collaboration this weekend
By Mike Telin
“We’re starting off the new year with a bang,” No Exit artistic director Tim Beyer said during a telephone conversation. This weekend No Exit will continue their collaboration with the St. Paul-based new music ensemble Zeitgeist. “The two ensembles will once again be sharing a stage in a series of concerts that is sure to be an unforgettable musical experience.” The series kicks off on Friday, January 12 with a 7:00 pm concert at Wolfs Gallery. The ensembles will perform at 8:00 pm on Saturday the 13th at Heights Arts and at 12:00 pm on Sunday the 14th at SPACES.
“This is our first time at Wolfs Gallery and they’re pulling out all the stops. Hors d’oeuvres will be served at 6:30 pm and there will also be valet parking,” Beyer said. “It will be nice to introduce people to Wolfs’ extraordinary space and exquisite collection of paintings and sculpture while enjoying an intimate evening of music. We love playing at Heights Arts and SPACES, so this is going to be an incredible series of concerts. As always, the performances are free and open to the public.”
Beyer said that their collaboration has become ever more meaningful since No Exit and Zeitgeist began working together three years ago. “We’ve been to St. Paul three times — the last was back in October of 2017 — and this is the second joint concert in Cleveland. Over time concerts have included not just improvisation, but new pieces by composers from St. Paul and Cleveland that were written for both ensembles.”
Due to space considerations, Friday’s performance at Wolfs Gallery will feature music for smaller ensembles. The concert will include the world premiere of Tzimtzum by Twin Cities composer, author, and percussionist Joshua Musikantow. The work’s title is Hebrew for “contraction,” a concept in the Lurianic Kabbalah that states that in order for God to create a space for lesser spiritual and physical planes to exist, God must contract, or conceal his/herself.
“Joshua’s music has been performed in concerts and festivals in England, France, Sweden, the Czech Republic, and across the United States,” Beyer said. “I met him many years ago when we were both studying in Prague.” The concert will also include a new work by Colin Holter. “Colin is interesting to our collaboration in that he is from St. Paul but living and teaching in Cleveland. He wrote this piece for Zeitgeist for our October concerts, so this is a Cleveland premiere. Suburb is about his move from St. Paul to Cleveland.” Works by Bohuslav Martinů, Lou Harrison, Jennifer Higdon, and Billie Holiday and Arthur Herzog Jr. will also be included.
Saturday’s and Sunday’s program will feature works for larger ensembles, including the world premiere of No Exit for Zeitgeist, by No Exit pianist and composer Nicholas Underhill, as well as the Cleveland premiere of Eric Gonzalez’s Found Again, Secure in Migration. “Eric lived and worked in Cleveland for a long time but has recently moved to St. Paul. He wrote the piece for our collaboration.”
A work suggested by Zeitgeist is Spiral XIV “Nimitta” by Chinary Ung, a Cambodian-American composer who teaches at the University of California San Diego. “His music is wonderful and immersive — something you experience rather than merely listen to. He uses a lot of traditional music that includes the Khmer Pinpeat and Balinese Gamelan.” The program will be rounded out by Michigan-based composer Bill Ryan’s Blurred and Joshua Musikantow’s Tzimtzum.
Article originally published on ClevelandClassical.com on January 9, 2018.
The full article can be found – Here
From ClevelandClassical.com – No Exit at SPACES Gallery (Sept. 30)
By Mike Telin
The inventive new music ensemble No Exit launched their ninth concert season with three identical concerts featuring world premieres by Ohio composers. I attended the September 30 performance at the acoustically pleasing SPACES Gallery. The evening was defined by works that creatively explored the use of layered rhythms, ranging from the violent to the enchanting, that were deftly performed by the seven-member ensemble.
The first premiere was Michael Rene Torres’ …his existence a flux… (2017). Inspired by an excerpt from philosopher and Roman emperor Marcus Aurelius’ book Meditations, the work opens with long-ringing notes in the glockenspiel, later joined by the piano, that transform into slow-pulsating tones as players are added. The mesmerizing chords grow in volume as they are interrupted by loud instrumental shrieks from the ensemble. Long chords return, fluctuating syncopations in the piano and glockenspiel meditatively floating above. Flutist Sean Gabriel, clarinetist Gunnar Owen Hirthe, violinist Cara Tweed, cellist Nicholas Diodore, pianist Nicholas Underhill, and percussionist Luke Rinderknecht performed expertly, bringing the work’s inner turmoil to life.
Tweed and Diodore were joined by violist James Rhodes for premiere number two, Nasim Khorassani’s Growth (2017). The work depicts the story of a musical cell formed by the tones B, C, D, and E-flat which gradually grows over nine minutes. Trills, sharp accents, and subtle waves of sound that reflect the young composer’s Iranian roots are skillfully woven together, creating a hazy color palette. The performers, cued by Hirthe, played with poise.
The full ensemble was onstage for the evening’s final premiere, Matthew Ivic’s Septet (2017). During the eleven-minute work, Ivic uses tone clusters that slowly unfold — compact music becomes fragmented and fragmented music becomes unified. Opening with long chords punctuated by a snare drum roll and woodblock, a virtuosic wailing clarinet line leads into a soft march section. This music ebbs and flows in style between neo-classical and Americana, as the instruments exchange solo passages. Eventually the beguiling theme builds into a full-blown march which is suddenly halted by booming stomps in the percussion. Long chords emerge as triangle taps bring everything to a tranquil conclusion. The enjoyable piece was given an excellent performance that captured both the menacing and calming nature of the work.
Alexsander G. Brusentev’s In Mourning, for solo flute, provided the perfect platform for Sean Gabriel to show his prowess in performing extended techniques — the un-barred, introspective work contains roughly fifteen of them. The gripping piece is a solemn meditation, perhaps about a deceased pet, that is rudely interrupted by poltergeists — sultry straight-tone melodic passages countered by whistle tones, flutter tonguing, key slaps, and humming. Gabriel understands how to convey this music to the audience, which he held in rapt attention from beginning to end.
Clarinetist Gunnar Owen Hirthe possesses a phenomenal technique and a natural ability to make the thorniest passages sound easy. Both qualities were evident during his riveting playing of Eric Mandat’s Tricolor Capers. A clarinetist himself, Mandat is known for composing experimental works for the instrument. Capers, a three-movement work played without pause, is filled with multiphonics and fast leaps from the lowest to highest register, with just enough chromaticism to keep it interesting. Hirthe’s dark, woody sound was ominous during the opening “Portent,” his soft passages brutally interrupted by loud wails. Simple oscillating motives build during “Sway,” and gradually move into the wild, exciting “Bop.”
What made the evening so attractive was the variety of styles and the compactness of each work. Nothing was longer than eleven minutes.
Article originally published on ClevelandClassical.com on October 5, 2017.
The full article can be found – Here
Sad News About Ladislav Kubik
It is with a heavy heart and great sadness that I report that Ladislav Kubik has died. He was an extraordinary composer, an extraordinary person……. truly larger than life. We extend our deepest felt sympathies to his family and those close to him. He was a remarkable human being.
No Exit had planned for their 2018-2019 season to present a series of concerts – comprised entirely of Ladislav’s work – that would serve as a celebration of this great living composer. Ladislav wrote a new piece for us – which we just received a few weeks ago – to be premiered during this series of concerts. We plan to still move forward with this program although it is heartbreaking that the context of these concerts has changed.
If you are not already familiar with Ladislav’s work, I would encourage you to go online, seek out his music and discover his brilliance for yourself.
You will be so dearly missed Ladia.
From ClevelandClassical.com – No Exit opens season with three premieres by Ohio composers
By Mike Telin
The inventive new music ensemble No Exit will launch their ninth concert season with a free concert on Saturday, September 23 at 8:00 pm at Heights Arts. Staying true to the ensemble’s mission, the program will feature three premieres by Ohio composers.
“We’ve always had a keen interest and deep commitment to commissioning and premiering new works by composers working and living in our area,” No Exit’s Artistic Director Timothy Beyer said during a telephone conversation. “There are so many artists in our neck of the woods who are creating interesting and worthwhile music. Cleveland — and for that matter, Ohio — has something special going on in this regard.”
The program will be repeated on September 29 at Cleveland State University’s Drinko Hall and on the 30th at SPACES Gallery. Both performances begin at 8:00 pm and are free of charge.
New works by Cleveland residents include Matthew Ivic’s Septet, and Iranian-born composer Nasim Khorassani’s Growth for string trio. Also seeing its world premiere will be …his existence a flux… by Columbus-based saxophonist and composer Michael Rene Torres.
“All three of our world premiere pieces are really amazing,” Beyer said. “This is the third time that No Exit has commissioned a work from Matt Ivic, and he always brings something original to the table.”
Beyer described Nasim Khorassani as “an extraordinary young lady who is currently a composition student at Cleveland State. We performed a piece of hers in a workshop and were so impressed that we wanted to have her write something for us.”
Beyer noted that No Exit has played music by Michael Rene Torres in the past. “Our clarinetist, Gunnar Owen Hirthe, performed his Voices of Contempt for solo clarinet during last year’s NEOSonicFest. I think that he’s a remarkable composer, and his new work is really powerful.”
Also included on the program will be music by Saint Paul, Minnesota-based composer Alex Brusentsev. “Alex wrote an evocative piece for solo flute called In Mourning. We were introduced to Alex’s music through the exchange program that we’ve been doing for the last few years with Saint Paul new music ensemble Zeitgeist. The partnership with them has been a rewarding experience that has borne a lot of fruit, not the least of which is getting to know some great composers from Minnesota like Alex.”
The program will be rounded out with the music of clarinetist and composer Eric Mandat. “Tricolor Capers is a rather virtuosic piece, the kind that our clarinetist Gunnar has a special talent for bringing to life,” Beyer said, adding that Mandat is known for composing forward-thinking, often experimental pieces for the clarinet. “His work has helped to flesh out a lot of the extended techniques that are used on the instrument.” Beyer added that all five works share a commonality of layered rhythms, ranging from the violent to the mesmerizing.
These concerts are just the beginning of what promises to be a remarkable season for No Exit, Beyer said. “We have so many extraordinary things planned, including more commissioned pieces that will see their world premieres.” In October No Exit will return to St. Paul to perform a series of concerts with Zeitgeist, and in January both ensembles will perform in Cleveland.
Other season highlights include the revival of their Trio Concert format, featuring violinist Cara Tweed, clarinetist Gunnar Owen Hirthe, and percussionist Luke Rinderknecht. The April series will include a collaboration with saxophone-percussion duo Patchwork.
Article originally published on ClevelandClassical.com on September 19, 2017.
The full article can be found – Here
Nicholas Diodore Concludes Summer Recital Series at The Happy Dog at the Euclid Tavern (Aug.23) and The Bop Stop (Aug.27)
With only two concert engagements remaining before the summer ends, No Exit’s virtuoso cellist Nick Diodore is ready to conclude his series of summer recitals with some truly memorable performances. The cello presents so many rich sonic possibilities for composers in the 20th century, and Nick’s recital repertoire represents some of the most impactful and demanding pieces ever written for the instrument; ranging from Kaija Saariaho’s exuberant explorations of the cello’s entire sonic character, Andrew Rindfleisch’s focused yet musical exploration on a single sonority or Timothy Beyer’s use of the cello to embody physical maladies.
Be sure to join No Exit and Nick for two free shows starting at 8 p.m. on Wednesday, August 23rd at The Happy Dog at the Euclid Tavern and starting at 7 p.m. Saturday, August 27th at The Bop Stop.
These recitals are definitely a unique musical experience not to be missed.
From ClevelandClassical.com – No Exit at Bop Stop: “Homage to Eric Dolphy” (May 27)
By Joshua Rosner
Recently declared “the hippest haunt on the Cuyahoga” by New York Magazine, the Bop Stop was abuzz for No Exit’s “Homage to Eric Dolphy.” No Exit is no stranger to inventive, new programs. But especially intriguing on Saturday night, May 27 was that this outstanding new music ensemble added to its ranks a trio of talented local jazz musicians: Bobby Selvaggio (alto saxophone), Scott McKee (trumpet/flugelhorn), and Dustin May (drum set).
“Hat and Beard,” from Dolphy’s seminal album Out to Lunch, was heard in an arrangement by Andrew Rindfleisch, who reimagined the piece for string trio (violinist Cara Tweed, violist, James Rhodes, and cellist Nick Diadore), trumpet, alto saxophone, and drum set.
May began with a medium-tempo swing, and the rest of the ensemble entered with a sharp, sudden pop. Diadore took the role of bass, locking in stunningly with May, while Tweed and Selvaggio played the melody with a beautiful blend. Soon the room was filled with trills from trumpet and high strings, and Rindfleisch’s arrangement became a vessel for Selvaggio’s improvisations. Thanks to Dustin May, this contemporary ensemble was swinging.
After Tweed left the stage, Luke Rinderknecht (vibraphone) and Gunnar Owen Hirthe (bass clarinet) joined the ensemble for Selvaggio’s arrangement of Serene. As he writes in the program notes, here the saxophonist’s fascination with avant-garde musicians playing “pretty straight-ahead” songs was apparent. The arrangement featured Rhodes and Rinderknecht improvising over backgrounds written in a way that they, too, could be determined in the moment.
With Tweed back in the mix and the composer at the piano, Paul Epstein’s Looking for Eric immediately set up a chaotic conversation among the musicians before settling into a bass figure between the left hand of the pianist and Hirthe. This was the first moment in the evening that sounded like fully-fledged jazz minus a bass player — the traditional big band sax soli was distributed between winds and strings before Selvaggio, McKee, and Epstein all took solos.
Selvaggio’s arrangement of Out There begins as a ballad derived from Dolphy’s melody for string trio and saxophone, then the entire ensemble improvises together before returning to the melody in unison.
The first half concluded with Tim Beyer’s Elegy for saxophone, bass clarinet, trumpet, vibraphone, and cello, conducted by James Praznik. The most traditional chamber piece on the program, Elegy begins with cacophony as a Dolphy-esque line is passed around the ensemble. While Hirthe blasted out an impression of a didgeridoo, Praznik left the stage. The ensemble continued with a collective improvisation, finishing with a flurry of key clicks and McKee flicking the bell of his trumpet — one of the most sonically satisfying moments of the evening.
After intermission, Hirthe performed Roger Janotta’s direct transcription of Dolphy’s live solo performance of Billie Holiday’s and Arthur Herzog, Jr.’s God Bless the Child. Hirthe made the arpeggios and his entire instrument seem effortless.
Greg D’Allesio’s Late Lunch is a collage of themes from Out to Lunch with lovely orchestration, including an especially memorable blend of vibraphone, bass clarinet, and viola.
Selvaggio’s arrangement of Truth featured lush backgrounds from bass clarinet, flugelhorn, and viola. The saxophonist soared as the improviser Cleveland has come to adore. His arrangement was reminiscent of the Third Stream greats (like Gunther Schuller) and even ended with a Picardy third (minor piece of classical music ending on a major chord).
Closing out the program was Praznik’s Iron Manic, a restructuring of Dolphy’s Iron Man. Taking the bare essence of that work, Praznik, who played piano for the performance, gives the ensemble a set of instructions to follow — almost a road map. Featuring large-scale improvisations, sustained strings, and an incredible drum solo from May, the piece delivered on the manic energy it promised.
A fine line exists between appropriating jazz into classical music and paying homage to a musician whose work defies genre. In this case, No Exit paid elegant tribute to Dolphy, balancing the notes he played with why Dolphy played them. One can only hope that No Exit and other ensembles in Cleveland continue to wrestle with this challenges — and, more importantly, that they are as successful as Saturday evening’s homage to Eric Dolphy.
Article originally published on ClevelandClassical.com on May 31, 2017.
The full article can be found – Here
From Cleveland.com – Cellist Nicholas Diodore aims to crush cello pigeonhole with modern recital series (preview)
By Zachary Lewis, The Plain Dealer
CLEVELAND, Ohio – Think you know how the cello sounds? Think again.
Better yet, attend one of the solo concerts cellist Nicholas Diodore has planned this spring and summer, beginning Saturday at Heights Arts. Do that, and never again will you regard the cello as a simple source of warm depth.
“We tend to kind of pigeonhole the cello as dark and brooding,” said Diodore, a member of the Cleveland-based new music ensemble No Exit. “But it isn’t that way at all.”
Sure, the cello is great for Bach, Brahms and Dvorak. Some might even say the instrument was built for that music.
But that’s not the view Diodore holds. For him and many others, the cello has kept up with the times and remains a vital and powerful medium for the music of the 20th and 21st centuries.
Yes, it can sing, soar and wax uncommonly romantic. But it can also screech, howl and haunt in a way no other acoustic instrument can. Just as modern composers pushed the limits of the orchestra, so too have artists found new ways of making the cello speak.
“The thing most people say to me after concerts is they had no idea the cello could sound like that,” Diodore said.
Here’s a revealing fact: The oldest work on Diodore’s program hails from 1976, the year cellist Mstislav Rostropovich commissioned 12 solo flights on the name Sacher (the notes E-flat, A, C, B, E and D), in honor of Paul Sacher, the late, great champion of new music.
One day, Diodore hopes to perform them all. For the time being, this Saturday, he’s focusing on four, each of them as different as can be: “Sacher Variations” by Witold Lutoslawski, “Les mots sont alles” by Luciano Berio, Punena No. 2 by Alberto Ginastera and “Trois strophes,” by Henri Dutilleux.
“The melody that comes from that [name], it doesn’t settle,” Diodore said. “The amount of variations they were able to get out of it is unbelievable.”
That’s not all Diodore has in store for his audiences (the second planned performance is 7 p.m. Friday, June 30 at Appletree Books in Cleveland Heights; more are TBA). In addition to the Sacher commissions, the cellist also intends to feature “Spins and Spells” by Finnish titan Kaija Saariaho and two works by Cleveland-based composers: “Afflictions,” by his No Exit colleague Timothy Beyer, and “Quiet Music” by Andrew Rindfleisch.
Not your typical recital, in other words. Then again, “typical” is a relative term. For Diodore, who grew up on the cutting edge of music, a series of modern solos is all in a few days’ work.
“It’s an ambitious program, but it’s also right in my wheelhouse,” Diodore said. “I’ve always been around that creative process. It’s kind of what I do.”
Cellist Nick Diodore
When: 7 p.m. Saturday, May 6.
Where: Heights Arts, 2175 Lee Road, Cleveland Heights.
Tickets: Free. Go to heightsarts.org or call 216-371-3457.
Article originally published on Cleveland.com on May 2, 2017.
The full article can be found – Here
From ClevelandClassical.com – No Exit brings Eric Dolphy back for three concerts in April and May
By Mike Telin
When NoExit celebrated jazz great Eric Dolphy back in 2012, the Ensemble’s artistic director Timothy Beyer said that although Dolphy is best known for his contributions in the jazz world, his music transcends that idiom. “His is a unique voice in American music, one that defies categorization.” On Saturday, April 29 at 8:00 pm at Heights Arts, NoExit will present the first of three concerts that will once again pay tribute to Eric Dolphy. The program will be repeated on May 13 at SPACES and on May 27 at The Bop Stop.
“When we did that first series of concerts dedicated to Dolphy we were just dipping our toe in the water,” Beyer said during a recent conversation. “But this program not only takes a deeper look at his music, it emphasizes his living legacy.” The concerts will include Dolphy’s Hat and Beard, arranged by Andrew Rindfleisch, Serene and Out There, arranged by Bobby Selvaggio, and a collage of Dolphy’s music titled Late Lunch, arranged by Greg D’Alessio, as well as the premieres of original works by Paul Epstein, Timothy Beyer, and James Praznik.
In addition to NoExit’s regular personnel — violinist Cara Tweed, violist James Rhodes, cellist Nicholas Diodore, pianist Nicholas Underhill, flutist Sean Gabriel, clarinetist Gunnar Owen Hirthe, and percussionist Luke Rinderknecht — the concert will feature special guests: drummer Dustin May, trumpeter Scott McKee, and saxophonist Bobby Selvaggio.
“Eric Dolphy is a singular presence in the music world,” Beyer said. “The more I’ve been thinking about and listening to Dolphy’s music, the clearer it becomes that he wasn’t just ahead of his time, but he was truly of another place. He’s often associated with jazz, and for good reason, but ultimately that was his launching point to something else. That’s why I think his music is as much akin to avant-garde classical music as it is to jazz.”
Prior to the 2012 performances, we spoke to alto saxophonist, composer, arranger, and educator Bobby Selvaggio and asked him to give his thoughts on cross-genre collaborations.
“I wanted to do something a little different for this project, so I arranged Dolphy’s Out There more like a Bartók string quartet where the alto sax is treated as a second violin. But this idea of collaborating across musical styles is happening more and more. It’s something that I have talked to Nick and Cara about in the past, and it’s something they have been thinking about as well. Although there have been crossover attempts where jazz musicians were doing classical type things for years — all the way back to the 40’s and 50’s — this idea of having everyone join together is really important in this day and age. A leading reason behind this NoExit project was to arrange pieces that would require improvisation. It’s been exciting to do that with classical musicians. Improvisation is not just a jazz thing, it’s important to music in general.”
Article originally published on ClevelandClassical.com on April 28, 2017.
The full article can be found – Here
A Taste of No Exit’s Upcoming Tribute to Jazz Luminary Eric Dolphy.
In Spring 2012, No Exit dedicate a concert to the works of legendary jazz musician Eric Dolphy. It was our first concert incorporating jazz in to our repertoire, and we had a blast. In fact, it was such much fun that we are expanding on our previous offerings and doing it all again April 29th (Heights Arts), May 13th (SPACES) and May 28th (The Bop Stop). Here is a sneak peek at one of the returning tunes, Andrew Rindfleisch’s arrangement of Dolphy’s “Hat and Beard” from the 1964 album “Out to Lunch”.
From ClevelandClassical.com – NEOSonicFest presents contemporary music over a ten-day period (March 17-26)
By Mike Telin
No Exit’s Friday, March 24 program at Heights Arts opened with Ryan Gallagher’s Night Falls Fast for viola and percussion. The work begins as though the two performers are working at cross-purposes, later evolving into a single unit. Violist James Rhodes and percussionist Luke Rinderknecht were magnificent.
Gunnar Owen Hirthe brought an abundance of life to the world premiere performance of Michael Rene Torres’s Voices of Contempt for solo clarinet. Traveling from the lowest to the highest range of the instrument, Hirthe played with nimble technique. The sometimes angry-sounding work ends with a final screech before fading into silence.
Matthew Ivic’s Piano Quartet No. 1 is defined by long sustained lines and intermittent rhythmic blasts. Violinist Cara Tweed, violist James Rhodes, cellist Nicholas Diodore, and pianist Nicholas Underhill gave a convincing reading of this anxious work.
The evening also featured an outstanding performance of Bohuslav Martinů’s Duo No. 2 for Violin and Cello by Tweed and Diodore, while alto flutist Sean Gabriel found all the wit and whimsy in Donald Erb’s Music for Mother Bear.
Article originally published on ClevelandClassical.com on April 11, 2017.
The full article can be found – Here
From ClevelandClassical.com – NEOSonicFest continues with four new music concerts this week
By Mike Telin
NEOSonicFest 2017 continues this week with four concerts that celebrate the breadth of Cleveland’s new music scene.
The festival will feature a performance by No Exit on Friday, March 24 at 8:00 pm at Heights Arts. “It will be a great concert. These are some of our favorite pieces in our repertoire, and it’s nice to be able to perform them again,” artistic director Timothy Beyer said during a recent conversation.
The program will include Ryan Gallagher’s Night Falls Fast for viola and percussion. “Ryan grew up in Cleveland, and one of his first pieces was part of CCS’s Young and Emerging Composers concerts, which is where I first met him,” Beyer said. “I’ve always been impressed with his music.”
Another composer Beyer first met through the Young and Emerging program is Matthew Ivic. “His Piano Quartet No. 1 is one of two pieces we’ve commissioned from him, and we’ve always loved it. We first performed it during our second season, and it’s nice to be able to bring it back.”
Columbus-based saxophonist and composer Michael Rene Torres’s Voices of Contempt for solo bass clarinet will receive its world premiere at the concert. “We were introduced to his music through our clarinetist, Gunnar Owen Hirthe, and we hope to play more of his music in the future.”
The evening will also feature Bohuslav Martinů’s Duo No. 2 for Violin and Cello and Donald Erb’s Music for Mother Bear. “I never had the opportunity to really get to know Donald Erb,” Beyer said. “Obviously, he loomed larger than life in the Cleveland new music scene. He was an inventive and original composer, and it’s great to include this piece on the program.”
Excerpted from an article originally published on ClevelandClassical.com on March 21, 2017.
The full article can be found – Here
From ClevelandClassical.com – No Exit: a conversation with composer Emily Koh
By Mike Telin
Composers never know how and when they will find inspiration for a new work. For Emily Koh it was during a visit to a museum. “I was walking around the Museum of Fine Arts in Boston, and a painting by Esphyr Slobodkina caught my attention,” Koh said during a recent telephone conversation. “Her pieces are abstract, colorful, and angular — all the things I find interesting, not only in music, but in art and sculpture as well.”
On Saturday, February 4 at 8:00 at SPACES Gallery, No Exit will present the world premiere of Emily Koh’s esphyr, performed by violinist Cara Tweed, pianist Nicholas Underhill, and percussionist Luke Rinderknecht. The concert will also include Lou Harrison’s Suite for Solo Piano (tribute to Arnold Schoenberg), Christopher Deane’s Mourning Dove Sonnet for vibraphone, Nicholas Underhill’s Habanera for violin, and George Antheil’s Violin Sonata No. 2. The program will be repeated on Monday, February 6 at Cleveland State University’s Drinko Auditorium, and on Saturday, February 11 at Heights Arts. Both concerts begin at 8:00 pm.
Koh began working on esphyr by sketching some of her musical ideas using brightly colored writing utensils. “The piece is not written in graphic notation, but the map was full of straight lines and angular movements,” she said.
Born in 1986, Koh is the recipient of awards from ASCAP, Prix D’Été, and PARMA. She has received commissions from the Barlow Endowment for Music Composition, Composers Conference at Wellesley College, Singapore Symphony Orchestra, and Left Coast Chamber Ensemble, and has been awarded grants from New Music USA, Women’s Philharmonic Advocacy, and Artistic Excellence (Paul Abisheganaden Grant). A graduate of the Yong Siew Toh Conservatory of Music, NUS, and the Peabody Institute at Johns Hopkins University, Koh is currently a Ph.D. candidate in Music Composition and Theory at Brandeis University.
Koh has found her success as a composer surprising. “I always thought of myself as going to conservatory to become an orchestral bass player. In high school, I had one composition class which made me think that maybe I should consider writing music. When I applied to college I also sent in a composition application, so I guess you could say the rest was history.”
Even with her busy schedule in North America, Emily Koh finds the time to stay in touch with her family in Singapore. “I visit my parents and grandparents as often as possible,” she said. “I’ve also had a lot of performances of my pieces there, which I am very thankful for. The fact that people are interested in hearing my music is very humbling.”
Originally Published on ClevelandClassical.com January 30, 2017.
No Exit Composer Portrait: Emily Koh
For No Exit’s upcoming February concert series, which will feature violinist Cara Tweed, pianist Nicholas Underhill and percussionist Luke Rinderknecht, we are excited to present a newly commissioned work by extraordinary composer Emily Koh. Emily’s work, which can be characterized for both its recognizably musical character and its re-imagining of instrumental texture, has been performed all over the world by ensembles such as the Singapore Symphony, the Left Coast Chamber Ensemble, the New England Philharmonic and the participants of the 2015 Singapore International Violin Competition.
Emily’s new work “Esphyr”, for violin, percussion and piano, is an intense look at how textures can grow out of an instrument with a fixed tuning and be transformed in to a far more robust texture through micro-tonal inflections on the violin and spectral accents in the percussion.
For now, enjoy a similarly colorful work by Emily “cis-[flux]”, recorded by the Boston based sinfonietta “[sound icon]”, which uses the same ingenious textures as “Esphyr”, but spread across an entire chamber orchestra.
From ClevelandClassical.com – No Exit and Zeitgeist at New SPACES (Jan. 15)
by Daniel Hathaway
Zeitgeist, the new music ensemble from St. Paul, Minnesota, hosted their Cleveland colleagues, No Exit, in concerts in the Twin Cities last fall. No Exit returned the favor last weekend, joining Zeitgeist for three concerts at the Happy Dog Euclid Tavern, Heights Arts, and SPACES. We caught some of the pieces on their joint playlist at SPACES’ new location in Hingetown on Sunday, January 15, where the musicians presented several sets between noon and 5:00 pm.
The ambiance was completely informal. A double row of chairs was set up in the main gallery, but most of the audience either stood around the perimeter or circulated between rooms. Titles were only sporadically announced, and at times it was difficult to know if musicians were warming up, testing equipment, or if a piece had actually started.
The audience was obviously a mix of visual art fans and new music followers. The former were a chatty crowd, even when seated, the latter intent on hearing what was going on and not averse to shushing their more garrulous fellow travelers. Still, the laid-back atmosphere made it easy for the curious to dip an ear into music that was often both new and strange. And there was enough visual content to hold the attention of those who may be more stimulated by images than sounds.
Like most No Exit performances, this one featured a fascinating variety of styles and media. We walked in halfway through the first performance of Mark Applebaum’s The Metaphysics of Notation, in which the whole group of instrumentalists performed a graphic score projected on the back wall. In the program notes, No Exit associate director James Praznik writes that the piece “seeks to deconstruct and reinterpret the way in which musicians are trained to respond to certain symbols and then, by placing these symbols in a series of abstract collages, force a group of players to improvise and audibly bend their understanding of music in front of you, the audience.”
While made up of a vast catalogue of familiar symbols, the collages are complex and sometimes mystifying. Needless to say, the musicians’ reactions were as varied as individual interpretations of Rorschach images, and the collective texture could never be the same twice — as we heard in a second performance an hour or so later. Did the piece go on a bit too long? Perhaps, but there was a lot to watch and listen to.
A second multimedia work was James Praznik’s film Almost a New Man, originally performed by No Exit in 2011 with live cello, but now recomposed for bass clarinet and percussion (Zeitgeist’s Pat O’Keefe and Heather Barringer). Praznik shot the 17-minute film in addition to writing the live music to go with it.
The narrative is inscrutable, and some of the images disturbing. A man on a beach (Derrik Balogh) confronts a figure whose head is swathed in gauze. Cut to a filthy washroom sink into which the man spits up blood and later extracts a vinyl record from under the water. Gauze man drowns beach man in a bathtub, but both return for another encounter on the shore. And there’s more. The live music on Sunday was more sporadic than on the film, but no less chilling, and expertly played.
Per Bloland’s Shadows of the Electric Moon, a rare, virtuoso piece for upside-down snare drum, featured Zeitgeist’s Patti Cudd in league with a Mac laptop and a sound exciter. Eighty-some cues found Cudd using sticks and antique cymbals to conjure sounds from every part of the drum and its stand. Her virtuosic performance was equally riveting to watch and to listen to.
The two most accessible pieces we caught on Sunday were Marc Mellits’ Black and Pat O’Keefe’s Hello, Cleveland! Praznik writes in the program notes that “one of the greatest expressive qualities of ‘American Minimalism’ is its ability to clearly project a message of unfiltered excitement and joy during a performance.” That’s precisely what bass clarinetists Gunnar Owen Hirthe of No Exit and Pat O’Keefe of Zeitgeist accomplished during their dazzling encounter in Black. Chasing each other at daring time intervals, they ran through a whole roster of musical styles — breathlessly, though they seemed scarcely winded at the finish line.
O’Keefe’s piece, inspired by the Frank Gehry building at Case Western Reserve University, begins with lush textures, then turns foot-tappingly jazzy. Earning its Hello, Cleveland! inscription, it brought smiles to the faces of the onlookers.
Among other very positive impressions to be formed on Sunday: the acoustics of SPACES’ new digs are just as favorable to music as the old gallery space down the street. More performances to come, we hope.
Originally Published on ClevelandClassical.com January 17, 2017.
From ClevelandClassical.com – Zeitgeist to join No Exit for three Cleveland concerts
by Mike Telin
“Groups like ours appeal to the most adventurous of listeners,” Zeitgeist percussionist Heather Barringer said during a recent Skype conversation. “They’re people who enjoy listening to something that hasn’t been listened to before.”
Beginning on Friday, January 13 at 7:30 pm at Happy Dog at the Euclid Tavern, the St. Paul, Minnesota-based new music ensemble will join forces with Cleveland’s own No Exit for three free concerts featuring experimental music that explores the possibilities of multimedia, improvisation, and electroacoustics. Performances continue through Sunday. See below for a complete list of programs, times, and locations.
“These concerts are going to be really amazing, and each program is a little different,” No Exit artistic director Timothy Beyer wrote in an email. “These Cleveland concerts are the second leg of our multi-city collaboration. The first part of this season’s ensemble exchange program took place in St. Paul in the fall, and now Zeitgeist will be in Cleveland to return the favor.” The collaboration grew out of the two ensembles’ shared goal to bring greater national visibility to composers and performing artists who make their homes in the Midwest.
Founded in 1977 at Macalester College, Zeitgeist began as a loose collective of seven to ten musicians, but has since evolved into a quartet of two percussionists, a woodwind player, and a pianist.
Heather Barringer, who joined the group in 1990, said that the two groups have been friends since they were first introduced to each other through Cleveland State University composition professor Andrew Rindfleisch. “Andy was aware of our group and brought us to Cleveland many years ago, and that was when we first got to know Tim,” Barringer said.
Now in its second year, the collaboration has expanded to include the commissioning of new compositions. “During this series of concerts, No Exit will be performing a work they commissioned from Ann Millikan, a St. Paul composer they met last year,” Barringer said. “For Zeitgeist’s part, we’re going to be playing music by No Exit composers Tim Beyer and James Praznik.”
As the commissioning project grows, Barringer said she hopes they will commission works around shared topics such as the two areas’ relationship to the Great Lakes. “We want to create music that highlights the contrasts and similarities between St. Paul and Cleveland.”
Given that today’s composers are inspired by a such a range of sources, I asked Heather Barringer how she characterizes the music performed by ensembles like Zeitgeist and No Exit. “It is hard to describe, but I usually use the words ‘newly created music.’ There is an incredible amount of musical variety out there — from music that is completely electronic, to music that sounds very pop-oriented, to that which does not stray very far from classical.”
Originally Published on ClevelandClassical.com January 10, 2017.
No Exit Welcomes St.Paul Based Ensemble Zeitgeist for a Weekend of Music Making
We are very excited to announce our upcoming series of concerts which will serve as the second leg of our multi-city collaboration with the amazing Zeitgeist! The first part of this season’s ensemble exchange program took place in St. Paul, Minnesota where Zeitgeist hails from. Now Zeitgeist will be in Cleveland to return the favor! We have three concerts scheduled – 1/13 at the Happy Dog at the Euclid Tavern, 1/14 at Heights Arts and on 1/15 a day long ‘open house’ concert at the new SPACES.
No Exit and Zeitgeist will be presenting a weekend of avant-garde music, performing both as individual ensembles and collectively to bring to you an experience which will run the gamut of experimental sounds including pieces which explore the realms of multimedia, improvisatory and electroacoustic music. Each concert will feature a different program so please check out each individual event invitation to see what we’ll be performing.
Featured on the program(s) are a few pieces which were written for (or otherwise are seeing their premiere) this series of concerts including Ann Millikan’s experiment in ‘chance’ music “Streams”, Timothy Beyer’s otherworldly “Shtetl”, Janika Vanderveide’s multimedia exploration of reality “This World is Maya” and a profound reimagining of James Praznik’s film/live music creation “Almost a New Man”.
You can find out more about Zeitgeist by visiting their Facebook page or by going to zeitgeistnewmusic.org
James Praznik’s Almost a New Man Re-imagined for Zeitgeist
Composer, filmmaker and No Exit’s associate director James Praznik created a unique piece for the ensemble, entitled Almost a New Man, which was premiered in April of 2011. James created both a film and a musical element (which was performed live and in real-time by No Exit’s cellist Nick Diodore), the result being an extraordinary and spellbinding work of art.
For No Exit’s upcoming series of concerts with Zeitgeist (which will take place in St.Paul, Minnesota November 10-13), James has re-imagined his multimedia masterpiece by composing entirely new music for it which will be performed by Zeitgeist’s clarinetist Pat O’Keefe and percussionist Heather Barringer. We plan on presenting Almost a New Man again this January when Zeitgeist comes to Cleveland to perform with No Exit.
Please enjoy the original version of James Praznik’s Almost a New Man…..
From ClevelandClassical.com – (Review) No Exit: “Sonic Landscapes” at Heights Arts (Oct. 8)
by Mike Telin
For their latest series of concerts, the first-rate new music ensemble No Exit presented “Sonic Landscapes,” a program of six appealing works that explored the variety of ways composers use timbre, texture, and rhythm to create vivid imagery with sound. I was part of the capacity audience who attended the October 8 performance at Heights Arts.
Short, jabbing rhythmic patterns interjected into long melodic lines are the defining features of Danish composer Per Nørgård’s Spell (1973), which opened the concert. Like a trio of chameleons, clarinetist Gunnar Owen Hirthe, cellist Nicholas Diodore, and pianist Nicholas Underhill deftly changed musical colors with each of the work’s short motifs.
The mark of a great composer of miniatures is the ability to create a complete musical arc within a three- to four-minute period, and the late Stephen Paulus knew exactly how to do that. Performing three movements from his Seven Miniatures (1989), Diodore, violinist Cara Tweed, and violist James Rhodes nimbly brought the jazzy “Caprice,” to life. The Trio evoked the stark, cold Nordic winter during “Lament,” and tossed off the quicksilver lines of the ending “Toccata” with flair.
The evening included three world premieres, the first of which was Cleveland State University faculty composer Greg D’Alessio’s Secret Lives of Birds (2016), for solo flutes and electronics. The work is beautifully constructed and inventively interweaves recorded bird songs and lyrical flute passages with live acoustic melodies. Performing on c and alto flutes, Sean Gabriel, for whom the piece was written, brought a graceful warmth to the alluring writing. A nice aspect of the piece is D’Alessio’s resistance to using a barrage of extended techniques in his flute writing, only a few flutter tongues are added here and there for ornamentation, allowing the listener to bask in the serenity of the music.
Born in Taiwan in 1995, Yuan-Keng Ling is currently studying composition at Brandeis University. A very brief, lighthearted work, Out of…// (2016), is centered around a single musical gesture with humorous riffs exchanged between the instruments around it. Here, percussionist Luke Rinderknecht joined Hirthe, Rhodes, and Underhill in a performance that articulated all that the music had to say.
The third premiere was Malaysian-born Hong-Da Chin’s Perpetuity (2016) for solo bass clarinet. Commissioned and performed by Gunnar Owen Hirthe, the work utilizes the entire range of the instrument, including some arresting harmonics in the high register. Throughout, Hirthe repeatedly demonstrated his technical prowess, as well as his stunning breath control. But in the end, Perpetuity indeed like something that was lasting forever.
Except for a slow “Americana-sounding” middle section, Jefferson Friedman’s 78 (2006), is ten minutes’ worth of rhythmic pulsating sound that creates the illusion of two trains on a fast track to collision. Friedman’s imaginative inclusion of blues chords, syncopations, and constant modulating harmonies keep the hyper-active work exciting. Rinderknecht led Gabriel, Hirthe, Tweed, Diodore, and Underhill in an impressive display of pin-point precision, bringing the evening to a wonderful conclusion.
Originally published on ClevelandClassical.com November 3, 2016.
From clevelandscene.com: Whether for Contemporary or Old Music, Two Artists Find Cleveland a Great Place to Live and Work
By Mike Telin
Cleveland provides fertile ground for artists who have grown up or gone to school here and later decided to make the city their home and a place for creating their artistic identities.
Just to choose two examples, composer and new music advocate Timothy Beyer, and Baroque oboist Debra Nagy have chosen to settle here — rather than move to the coasts — and each has established an ensemble that both represent their individual artistic missions and contribute to the cultural life of Cleveland.
“Music was always part of me,” native Clevelander and No Exit artistic director Timothy Beyer said, “although when I was a kid I never thought I would be a composer in the classical music sense. I was sure I would compose, but I thought it would be in the rock or jazz genres.”
Beyer, who spent most of his pre-adult life in the Heights, said that like a lot of kids, he began studying music at a young age, and played in a number of bands with friends.
“In the 1990s I formed a Jamaican Jazz band called Pressure Drop,” Beyer recalled. “We toured, recorded a record, and were featured on a few compilation CDs. It was a great way to spend my 20s, although it wasn’t something I saw myself doing forever.”
When Beyer began to find the Pressure Drop’s music to be too limiting for his expanding musical ideas, he started to think seriously about pursuing a career in classical music, a genre he had enjoyed all of his life. “Because the band was touring and playing a lot of gigs, I enrolled at Lakeland Community College. That was the easiest way to fit in my studies, and it seemed like a good way to get an education.”
After Lakeland, Beyer decided to totally immerse himself in his classical music studies. He enrolled at Cleveland State University and studied composition with Andrew Rindfleisch and Greg D’Alessio. “Both of them were wonderful teachers and the school provided me with the best set of circumstances I could ask for,” Beyer said. “Some college students are trying to find themselves, but because I was older, I had a very clear idea of what I wanted to do. I just needed to find the tools and the means to get there, and Andy and Greg were big forces in my life.”
Beyer earned bachelor’s and master’s degrees in composition while beginning to create new music groups. “All composition students look to their peers to perform their music. During my last year as a student, I officially formed No Exit with pianist and composer Nick Underhill, violinist Cara Tweed, violist Tom Bowling, and cellist Nicholas Diodore. After I graduated in 2009, we became a professional ensemble. Composer James Praznik, and our art director, Matt Shaffer, have also been involved with the group since the beginning.”
Beyer noted that forming an ensemble was essential to the development of his career. “Musicians, and especially composers, need to be entrepreneurial,” he said. “It becomes clear very quickly that if you want any chance of having a life in this business, you have to create your own opportunities. And I find that I’m much happier doing it this way.”
Did they think about the role that No Exit could play in the musical life of Cleveland when they formed the group? “We did, and not to sound too full of myself, we planned out a course from the beginning and we’ve stuck with it. We’ve been very lucky that so far it’s paid off. We knew it would take some time to build an audience that would support groups like us. We needed to develop relationships with venues that fit the music we play, and places whose audiences were already somewhat aware of new music. That way, we’d have a chance of getting people in there even if they didn’t know us.”
Since the group’s founding, No Exit has performed regularly at Cleveland State University, where they are an ensemble in residence, as well as at SPACES Gallery, and Heights Arts.
Over time, No Exit has increasingly made collaborations an important part of their programming philosophy. “As I’ve grown older, I see less of a separation between artistic mediums,” Beyer said, “and over the past few years we’ve sought out collaborators who blur those lines. We’ve also brought in some great musicians from all over the country. This also ties into the idea of creating a culture for what we do. Cleveland has a lot of great new music groups aside from us, but it is beneficial to bring in people who I feel are the best at what they do. And the audiences have been responded positively.”
Beyer takes great pride in the fact that No Exit has had only one personnel change since 2009, when violist James Rhodes replaced Tom Bowling a couple of years ago. “Everyone has a good time making music together, and they want to get it right. There has been an astounding level of dedication to the ensemble, and all of the members have dedicated to make their homes in Cleveland. They’ve had opportunities in other places, but have chosen to stay because they want to be here.”
How does Beyer spend his time in the city when he’s not working? “I could talk about Cleveland all day,” he said with a laugh. “I’ve always been a local history buff, and there’s a plethora of interesting buildings and neighborhoods in this city. I do go to the Art Museum on a regular basis, and I like going to the police museum and some of the lesser-known cemeteries. And now that there are many great restaurants in Cleveland, I do take advantage of them. My folks were very hip on Zack Bruell’s restaurants, so I grew up eating at them. I still think they’re as good as it gets, but I do enjoy all of the great ethnic food as well.”
Excerpt originally published on clevelandscene.com: September 28, 2016
From clevelandclassical.com: No Exit to play three “Sonic Landscape” concerts on September 29 and October 1 & 8
by Mike Telin
“We live in an era where composers are constantly re-imagining and re-contextualizing how sound can be used in their work,” No Exit artistic director Timothy Beyer said during a recent telephone conversation. “And the music featured on our upcoming series of concerts will explore the different ways that composers can use sound to really paint a picture.”
On Thursday, September 29 at Cleveland State University’s Drinko Auditorium, Saturday, October 1 at SPACES, and Saturday, October 8 at Heights Arts, No Exit will present “Sonic Landscapes.” The program will include music by Per Nørgård, Stephen Paulus, Jefferson Friedman, Hong-Da Chin, Greg D’Alessio, and Yuan-Keng Ling. All performances are at 8:00 pm.
“In addition to having a strong connection to nature, most of the pieces featured on these concerts focus on timbre, texture, and rhythm,” Beyer said. “While these elements are present in all music, the idea of using them as the primary means of expression is very cool. It almost challenges the listener to hear these pieces more as one may experience an abstract painting. So I suppose this is where the notion of ʻsonic landscapesʼ or ʻsonic painting,ʼ if you will, came from.”
Beyer described Per Nørgård’s Spell for clarinet, cello, and piano as fugacious and captivating. “Nørgård’s music doesn’t get the attention it deserves, and I’m surprised by that. I know you hear this kind of fluffy language applied to a lot of pieces, but Spell is a great showpiece that really is a journey from beginning to end.”
When asked about Stephen Paulusʼs Seven Miniatures, Beyer said that in his mind, they are the perfect embodiment of what miniatures should be. “Paulus knows how to approach the form. He knows how to minimize the materials and ideas, and he knows how to bring out that special something that is so wonderfully evocative and moving.”
Beyer is happy to able to include Jefferson Friedmanʼs 78 on the program, a work he compared to a freight train. “A lot of composers bring rock music or other popular forms of music into the classical arena, and I think that Jefferson does it in the best way I have ever heard. It doesn’t sound like pop or rock, but you can clearly hear those styles in it.”
Continuing a long No Exit tradition, world premieres will play a key role in the program. Greg D’Alessio’s The Secret Lives of Birds for flute and electronics is built around field recordings of bird songs. “Greg has inventively manipulated those songs. Besides the flute that will be played live, he also recorded some flute sounds and has manipulated those as well. It’s the kind of writing that Greg does best.”
Hong-Da Chin’s Perpetuity was commissioned by No Exit clarinetist Gunnar Owen Hirthe. “Gunnar has worked with Hong-Da in the past and liked his music very much. The way he uses sounds fits the program’s title perfectly. It’s a colorful piece with a lot of rhythmic texture.
“Yuan-Keng Ling is a student at Brandeis University. I would not go so far as to call his Out of…// ‘spectral music,’ but it is in that camp. It’s very nuanced and impeccably put together. Both Chin and Ling are very talented young composers who have a lot to say and are definitely speaking in their own voices.”
Published on ClevelandClassical.com September 27, 2016.
From coolcleveland.com: NO EXIT New Music Ensemble Paints a Picture with New Contemporary Classical Art Music Program
Thu 9/29 @ 8PM
Sat 10/1 @ 8PM
Sat 10/8 @ 8PM
For the better part of the last decade, Cleveland’s NO EXIT New Music Ensemble has been pushing the boundaries of contemporary classical art music.
Now, NO EXIT returns with a new program of experimental music exploring the manner in which composers use sound to paint a picture. Free performances of compositions by Per Nørgård, Stephen Paulus and Jefferson Friedman, as well as new works by Hong-Da Chin, Greg D’Alessio and Yuan-Keng Ling are scheduled for Thu 9/29 @ 8pm at Cleveland State University’s Drinko Auditorium, Sat 10/1 @ 8pm SPACES and Sat 10/8 @ 8pm at Heights Arts.
CoolCleveland talked to NO EXIT artistic director/composer Tim Beyer about the unique septet, which this year will be performing more than 20 shows.
What’s the history behind NO EXIT?
Our first concert was in 2009. The original group was a piano quartet. These were all people I knew through my affiliation with Cleveland State. Since then, we’ve expanded the lineup to include a percussionist, a clarinetist and a flutist, as well as a supporting staff. The vision has always been focused on bringing this sort of avant-garde music to Cleveland and presenting a far wider plethora of what’s out there. It’s not a criticism, but we were all generally unsatisfied with what we were able to find in our area. A lot of the new music being played was the same sort of thing. And it’s a big world out there. We also had a desire to promote the works of young and emerging composers, people who hadn’t really had a lot of opportunities to get their music out there. So it was an opportunity to create our own opportunities as musicians, composers and also pass those opportunities on to other people. To date, we’ve commissioned over 70 pieces of music. That’s a big part of what we do. We also do residencies and workshops to further that aim.
Can you elaborate on the type of music and compositions that define the NO EXIT sensibility?
There are so many extraordinary people out there who have a very unique and singular voice. They really are sort of their own compass in what they’re doing, and a lot of that was not being represented. At least that’s what we saw. What we were seeing was music that represented the middle, and there’s a lot more taking place on either side.
It seems as though NO EXIT is attracted to esoteric or adventurous material.
It’s a lot of things. Our concept is we are into things that at times may be esoteric but are avant-garde, on the vanguard in some way or another. A few years ago, we did a program of Raymond Scott’s work. He was a very interesting, unique iconoclast of the jazz world. No one has done anything like him before or since. So we brought in a lot of other jazz musicians to supplement the group. And then on the other end of the spectrum, we may do a concert of people doing very interesting and vanguard things to multimedia or electronics work. And then we might do people who just write for a string quartet but they’re working in new and different ways to use sound and write pieces. So it’s not one thing we do. It’s more of an overarching philosophy that we look for composers that we feel are avant-garde and are very much working off their own compass.
Who have you found enjoys a NO EXIT concert?
At the beginning, we felt if we were going to see any level of success here you need to help create a culture for it. A lot of people won’t go to Severance Hall but they would go to SPACES. So what we found is a lot of different people. And there really isn’t a type. Also, it depends on shows. Like when we did the Raymond Scott thing, we got a lot of jazz people who may not come to the rest of our concerts. Last year we did a tribute to Erik Satie, so there were people there who had an interest in Satie. But generally speaking, the audience has been growing and we found people in Cleveland have been amazingly receptive.
It seems as though it’s safe to say if you’re into classical music or more esoteric contemporary styles, at the very least NO EXIT provides an entertaining evening of music.
People don’t walk away unhappy, regardless. And I think a lot of people really enjoy it. Usually when one goes to a see a concert, we put ourselves in a certain mode. We kind of understand what a concert-going experience is, whether it’s a rock concert or going to the orchestra or whatever. But I think when people get into this space and hear what we’re doing, it sort of challenges them to experience the music in a very different way. Most people find that very rewarding in one sense or another. And ironically, I think most of our audience is not the traditional sense classical people. In fact, I think classical people tend to stay away from things like this. They’d rather hear Beethoven or Mahler. Which is great. It’s incredible music so there’s not as much as a cross pollination as one might think.
Originally published on coolcleveland.com
‘Sonic Landscapes’ Composer Portrait: Yuan-Keng Ling
For our fall concert series ‘Sonic Landscapes’, No Exit is presenting music which seeks to create a ‘sonic environment’, one in which fully immerses the listener in the experience….music that you can really smell, touch and taste. To this end, we have carefully selected pieces that focus on color and texture, music that strives to evoke elements usually reserved for the visual arts. One of the composers we asked to participate in this project is Yuan-Keng “Ernest” Ling, whose work is subtly dramatic and imbued with organicism.
Ernest is also well versed in popular music, having a rock band in his native Taiwan. I believe this sort of “having a foot in two worlds” artist can always surprise an audience with whatever they create, as is most certainly the case with Yuan-Keng Ling. We’d like to share a piece of his that takes a very different approach than what you will hear on our fall program. Enjoy!
No Exit Welcomes Our Newest Member, Clarinetist Gunnar Owen Hirthe
No Exit is happy to announce the addition of Gunnar Owen Hirthe to the ensemble’s line-up. Gunnar thrilled us with his inspired performances during his stint as a special guest artist when he appeared on No Exit’s last series of concerts (April 2016).
Gunnar Owen Hirthe hails from Green Bay, Wisconsin and is currently studying new music for clarinet at Bowling Green State University’s Doctoral Program in Contemporary Music. This distinguished program is focused on the artistic specialization of music from the 20th and 21st centuries. Gunnar has worked extensively with experimental, avant-garde and electronic music.
We are proud to have him be a part of No Exit!