Composer and percussionist Aaron Siegel discusses his acoustic experimental work, raising questions about the relationship between composer and interpreter, spaces and contexts in which they interact. Unique instrumentation and experimental notation systems are discussed as Siegel and James Ilgenfritz read through a compositional sketch for glockenspiel and double bass that includes some extremely brief improvisational sections. Siegel refers to Padgett Powell’s book The Interrogative Mood, discussing his thoughts on the composer/interpreter relationship. Comparisons are also made with the wall boxes of Donald Judd and the wall drawings of Sol Lewitt, illustrating his philosophies on binary opposition and his method of conceiving of large-scale musical structures.
Aaron Siegel is a composer of acoustic experimental work that raises questions about the relationship between performers, audience members and the space they occupy together. His music has been performed by pianist Emily Manzo, Till by Turning, Mantra Percussion, Kyklos Ensemble, Iktus Percussion Quartet, Cadillac Moon, the Flux Quartet and the Aaron Siegel Ensemble. The first recording of the Aaron Siegel Ensemble, Every Morning, A History, was praised by Signal to Noise as being “representative of the flowering DIY chamber music scene in Brooklyn.” He performs regularly with his own ensemble as well as with the collaborative trio Memorize the Sky and the Anthony Braxton 12+1(tet). The Aaron Siegel Ensemble premiered Science is Only a Sometimes Friend for 8 glockenspiels and public participants in the East Meadow of Central Park as part of the 2009 Make Music New York Festival, a performance described by The New Yorker as “hypnotic clouds of chiming tones.” Recent ensemble performances have included Preparing the Past at Roulette in New York and a reprise of Science… at Issue Project Room in Brooklyn.
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Ten Thousand Hours 3: Aaron Siegel