Interspace
Choral + Electronic Music Intertwined
C3LA, in collaboration with electroacoustic music collective People Inside Electronics, presents INTERSPACE, a unique live-streamed concert experience combining new choral compositions and electronic music.
INTERSPACE is a live performance tailored to virtual delivery, with compositions designed to showcase the powerful beauty of latency, layers, loops, and textures. During the performance, C3LA and PIE will mingle pre-recorded elements with live vocals, on-the-fly audio processing, and even a bit of audience participation.
C3LA, in collaboration with electroacoustic music collective People Inside Electronics, presents INTERSPACE, a unique live-streamed concert experience combining new choral compositions and electronic music.
INTERSPACE is a live performance tailored to virtual delivery, with compositions designed to showcase the powerful beauty of latency, layers, loops, and textures. During the performance, C3LA and PIE will mingle pre-recorded elements with live vocals, on-the-fly audio processing, and even a bit of audience participation.
On time apart
composed by Marcus Carline
electronics programmed by Marcus Carline
electronics performed by Cristina Lord
electronics programmed by Marcus Carline
electronics performed by Cristina Lord
On Time Apart is a piece written in April of 2021, what, at time of writing, is hopefully the tail end of the pandemic in the United States. It was written to be performed telematically with electronic accompaniment and processing. In writing this, I'm exploring my own feelings of fatigue and burn out and isolation, but also of hope for a light at the end of the tunnel, and gratitude for the ability to reach people at a distance through technology. I also write this from the perspective of a chorister, who for a full year has been unable to make music in the same room as their fellows. There is something magical about singing in the same space as other humans, and a big part of that magic I miss is what happens before notes and between notes, the breathing together in the same motion. And so this piece starts with an invitation to the choir (and any audience) to breathe together, even if apart. -MC
Evidence to stay
composed by Saunder Choi
electronics by Isaac Schankler
video by Saunder Choi
spoken solo: Marcus Carline
electronics by Isaac Schankler
video by Saunder Choi
spoken solo: Marcus Carline
This composition for choir and spoken solo takes a dispassionate look at the blatant double standard to which immigrant artists are held when attempting to qualify for a Visa. Applicants must demonstrate “evidence to stay”; a list of personal and/or professional achievements that justify their request to remain in the United States. -SC
try to fit in the spaces together
composed by Vera Lugo and Marcus Carline
electronics programmed by Marcus Carline
graphics by Vera Lugo
electronics programmed by Marcus Carline
graphics by Vera Lugo
In try to fit in the spaces together, live singers respond playfully to pre-recorded musical questions and statements. These questions (“how close is too close?”) and statements (“If you take my hand, don’t let go. We can wash them when we get home”) explore the rapidly changing social landscapes of the COVID-19 pandemic, encouraging us to think about what intimacy and closeness look like and feel like after 14+ months of isolation and distance, and to find humor and joy in the process. -VL
one by one
composed by Jen Wang
video by Siobhán Dougall
solos: Drew Corey, Vera Lugo, and Molly Pease
video by Siobhán Dougall
solos: Drew Corey, Vera Lugo, and Molly Pease
I wrote One By One in the spring of 2021, over a year into the COVID-19 pandemic. During that year, I wrote no music; it seemed both impossible to respond to the world around me and impossible not to, both because of the scope of what has been happening, and the fact that it was, and is, still happening. -JW
For more about the composer, see jenwang.com.
the familiar spirit
composed by Isaac Schankler
text by Amaranth Borsuk
video by Isaac Schankler
text by Amaranth Borsuk
video by Isaac Schankler
The Familiar Spirit turns the first recorded instance of “spirit-rapping” communication into a series of poetic vignettes that explore the technologization, eroticization, and community-building role of the 19th-century medium. When Margaret and Catherine Fox rushed into their parents’ bedroom the night of March 31, 1848 claiming to have heard mysterious noises in the night, little did they know this prank would bring neighbors, strangers, and eventually a cadre of credulous celebrities from Frederick Douglass to Fenimore Cooper into their home and their lives. With the first knockings of the spirit called “Mr. Splitfoot,” this event launched the spiritualist movement.
Through permutation, iteration and wordplay, the text captures the echoes of those early knockings, while the score imagines the event as a bizarre religious ritual, with meditative drones, dense clustered textures, and percussive, propulsive chanting. -IS
Through permutation, iteration and wordplay, the text captures the echoes of those early knockings, while the score imagines the event as a bizarre religious ritual, with meditative drones, dense clustered textures, and percussive, propulsive chanting. -IS
For more about the composer, see isaacschankler.com.
buffering.
composed by Cristina Lord
electronics and video by Cristina Lord
solos: Drew Corey, Molly Pease, Kion Heidari
spoken cues: Shaye Swanson, Drew Corey, Jill Redding, Tony Moresi, Michael Chwe, and Morgan Woolsey
electronics and video by Cristina Lord
solos: Drew Corey, Molly Pease, Kion Heidari
spoken cues: Shaye Swanson, Drew Corey, Jill Redding, Tony Moresi, Michael Chwe, and Morgan Woolsey
buffering. is about the mixed feelings of expectation, boredom, frustration, and missing personal connection that is sometimes inherent in virtual communication. The formal structure is a gradual building of a conglomerate sound mass, split into two main sections (Section A and Section B), separated by a brief transition and concluded by a brief coda.
There is an accompanying electronic track, consisting of electronic sounds and processed, pre-recorded vocals. Over this, the choir will sing a layered series of loops and cells for the live performance. There will also be an accompanying video for the live performance. -CL
There is an accompanying electronic track, consisting of electronic sounds and processed, pre-recorded vocals. Over this, the choir will sing a layered series of loops and cells for the live performance. There will also be an accompanying video for the live performance. -CL
The metamorphosis
composed by Molly Pease and Cristina Lord
artwork by Molly Pease
electronics by Cristina Lord
web app programmed by Daniel Romero
solos:
Mother: Gabbi Coenen
Father: Marcus Carline
Sister: Molly Pease
artwork by Molly Pease
electronics by Cristina Lord
web app programmed by Daniel Romero
solos:
Mother: Gabbi Coenen
Father: Marcus Carline
Sister: Molly Pease
In this interactive, text-based narrative/musical game, an audience member will navigate their way through Franz Kafka’s tale of alienation, The Metamorphosis. Upon waking to discover they have been transformed into a bug, an audience member will be prompted to select narrative options on a “choose-your-own-adventure” style website. Each option selected will trigger a specific, pre-recorded vocal/electronic backing track, which will accompany live singers. The live music performed will depend on the choices made by the audience member “playing” through the game. -MP
