New music for percussion quartet at Princeton, Taplin Auditorium, 8pm.
This first book of preludes for this strange and beautiful instrument was performed by the fantastic So Percussion, May 1 2012. A second book will be performed by their students this July at the SO Summer Institute.
Much gratitude to Adam, Josh, Jason and Eric!
I had the fortune of being a Spotlight Artist at the 2011 Lucerne Festival Academy along with my longtime collaborators Brad and Doug Balliett and singer Alison Fletcher.
They brought us to work with students from the Lucerne conservatory and jazz school to put on two concerts. The first, Songs and Songes was a night of storytelling and songs that included my Babinagar, a new collection of songs based on Grimm’s tales and early Anglo-Saxon riddles, and our hip hop string quartet Fisherman and His Wife.
At the second concert, Eleventh Night, we performed the first live version of De Rerum and premiered our newest hip hop opera, Billy Budd.
The religious imagination – with its long memory, appetite for layering metaphors on metaphors, and genial ‘suspension of disbelief’ – often strikes me as more dazzling and profligate than the secular, ‘artistic’ imagination. Whereas the market-pressed artist today chases difference, the religious imagination pursues resonance, drawing on deep cultural memories and freely (re)mixing words, images, symbols and references to that end. This EP – my first experiment writing rhymes and rapping them – was a project of this kind of imagination. As I wrote this ‘history of the world (to c.2000BCE)’ I worked hard to layer each image on a resonant one from a distant source: the Biblical Wheels of Gagallin are imagined as the spinning circles that draw sine waves, sine waves as the regular crest-and-trough of farmland and irrigation channel, irrigation channels as formants in a tone. The result: my own personal mythic syncretism of folk cosmogonies, Lucretian materialism, fake Deleuze, Mesopotamian history, acoustics and, well, a hundred other things.
De Rerum (part 1: The Angle) from Elliot Cole on Vimeo.
I spent the fall of ’10 carrying around a thick stack of photocopied sonnets, taken almost at random from some august victorian anthology. When I had a slow moment, I’d pick one and try to find a decent poem inside it, blackout style. I cut my pile down to 14, transcribed the spoken rhythms of each, and used them as the trellis to hang these sounds. The music for numbers 5-8 is not yet complete. And — common confusion — “E.C.” is not me, but the anonymous Elizabethan author of the Emaricdulfe [mine is #7].
Selkie sprang from the imagination of soprano Misha Penton, the whirlwind force behind Houston’s Divergence Vocal Theater. She wrote a series of poems that weave Celtic folklore with her own impressions of the Pacific Northwest, and handed them off to me for the dark-and-stormy treatment.
We imagine that, at the end of Stravinsky’s opera, just before surrendering his sanity, Tom Rakewell experiences one burst of blinding clarity. Our Rake’s Progress telescopes that moment into a half-hour lucid dream, in which kaleidoscopic Tom confronts his past selves in a torrent of words – merciless self-recrimination, apocalyptic fantasies, furious debates, theatrical dialogues, twisted catechisms, cycles of sonnets, lays and villanelles.
The Metropolis Ensemble commissioned this live version for the 2011 MATA festival:
This was my second foray into the Greeks with playwright John Harvey; my first was as Iolaus in his production of Euripides’ Children of Herakles. John’s MO is to translate from the Greek but cut each line bone-deep, resulting in harrowing, if brittle, characters and speeches. With an army of colored pencils, I turned the script into an improv structure, and, working with two excellent improvisers, sculpted the score that ran throughout the play.
From the program note:
In 1967, Argentinean writer Jorge Luis Borges gave a series of lectures at Harvard. In them, he radiates his love for literature with a humility that models, for me, the goal of the creative life: the mastery that is ever in service of wonder.
Another Borges reader might point out several plausible parallels between this work and his — a certain terseness, the proximity of the fantastic and the banal, the flexibility of time, ephemera, multiplicities and mirrors, a fondness for antiquarian forms and undramatic endings, a certain resemblance, in the middle movement, to, perhaps, The Garden of Forking Paths. But, to be honest, one may count as many disjunctions, for these resemblances are as likely accident as design. His stories, seeping into my dreams, are not so much recipes as marinades.
I’ll leave you with my favorite passage from the prologue to his book In Praise of Darkness. Though he is writing about poetry, we might say the same of music:
“Poetry is no less mysterious than other elements of our orb. A lucky line here or there shouldn’t make us too proud, because it is the gift of Chance or Spirit; only the errors are our own. I hope that the reader will discover in my pages something worth remembering; in this world beauty is so common.”
Based on an Afghan folktale, Babinagar tells the story of a girl married to an enchanted snake-by-day man-by-night. Poisoned with suspicion by her jealous stepsisters, she breaks a promise to him and must go on a journey to redeem their love and, by sharing his suffering, break the enchantment. But, when she finally reaches him at the far end of the world, ‘happily ever after’ turns out to be — well, complicated.
From the press copy:
Evening begins to fall. Lamps are lit, a child walks outside with a saw, and two sisters in a broken-down house make a ham sandwich for their father who sits on a couch–tied and bagged. A small band of musicians chained in the dining room play waltzes, while birds at the windows watch and judge. Questions are asked. Stories told. But as light bulbs begin to fail, who will survive the night?
I led the band in the dining room and wrote the creaky, wizened score that ran underneath this macabre John Harvey dream. The Houston Press wrote: Elliot Cole’s astonishingly apt music, played live, is like listening to a quartet scored by Edgar Allan Poe. It’s the evening’s best surprise.
Regrettably unrecorded.
A travelogue in song of my month in Egypt in 2008.
Selections from various concerts given while I was an undergraduate.
Also, one video work:
I'm Elliot. I use music to combine and amplify my enthusiasms. My skills, methods and interests are constantly evolving, making each project different from the last. But whether I'm making dots on a page, listening through my hands on an instrument, writing verse or code, or nudging squares on a screen, I'm always in pursuit of three things:
elliot.c.cole at gmail dot com
I built this site on the shoulders of jPlayer, jCarousel, and wordpress. Other sites I've coded include igorballereau.com, tex-fab.net, and alicetai.com. Please write if I can help you with your project.
New music for percussion quartet at Princeton, Taplin Auditorium, 8pm.
New etudes for piano based on Ligeti and Liszt; part of my general examinations. Princeton, Taplin Auditorium, 8pm.
New pieces for string quintet at Princeton, Taplin Auditorium, 8pm.
New piece for electric guitar quartet Dither at Princeton, Taplin Auditorium, 8pm.
I’ll be performing De Rerum with the Chicago Composers Orchestra on Feb. 21st with full length explanatory super(duper)titles.
I’ll be in residence with Opera Cabal in January, workshopping it for small-ensemble performances at High Concept Labs and University of Chicago (Jan. 27, 28).
Flavio Virzi performs Sarabande for guitar, plattfon, Basel.
Evening of songs and storytelling, 89 Varet street, Brooklyn NY.
Improv night with the Princeton supergroup: Caroline Shaw, Andy Akiho, Dave Molk, Emi Nakamura, Gilad Cohen, Jeff Snyder, Jon Russell, Leila Adu, Quinn Collins and special guest Arturo Vidich. I’ll be debuting a new instrument I’ve been building in supercollider.
Full evening of new avant-hop with OH and large band from the Lucerne Jazz Conservatory for the final concert of the Lucerne Festival Academy [Switzerland]
New cycles of songs and stories by the OH as part of our residency at the Lucerne Festival Academy.
Misha Penton sings selections from Selkie, a Sea Tale at the Rothko Chapel in Houston, TX.
Together with the Metropolis Ensemble, we performed our Rake’s Progress on the MATA Festival.
I’ll be singing Collatinus and playing guitar and keyboard in Doug Balliett’s chamber-opera Lucretia at NYU.
The Fisherman and His Wife, with me as narrator and the Brentano Quartet at Princeton University.
The Fisherman and His Wife, The Rake’s Progress [workshop version], and Babinagar, with the Franklin Quartet and Kevin Sims at Columbia University’s Remixing Opera conference.