Violinist-composer Cornelius “Neil” Dufallo is performing a solo concert at New York’s well-renowned Bargemusic on May 31st at 8 PM. This will be Neil’s first solo concert in the US since announcing his departure from ETHEL earlier this month.
The concert is the fourth installation of his “Journaling” series, and is also the official CD release party for his upcoming CD of the same title.
The concert will feature works by Dufallo himself, as well as music by JacobTV, Patrick Derivaz and many others.
Neil was interviewed by The Glass last month and talked about the series and this show in particular:
“I began the concert series ‘Journaling’ in 2009 to document my work with extraordinary living composers while also creating a repertoire of twenty-first century violin music. I collaborated with each of the represented composers between 1996 and the present, through my work in the Flux Quartet, Ne(x)tworks, and Ethel. With the exception of two collaborative pieces (by Corey Dargel and Patrick Derivaz) all of the pieces have been composed for either solo violin or violin + laptop computer. The next concert, ‘Journaling (Part Four)’ is coming up May 31 at Bargemusic. The composers for that show are JacobTV, Kinan Azmeh, Svjetlana Bukvich, Tim Hodgkinson, Paul Brantley, and Patrick Derivaz.”
The pieces promise to be as diverse as they are exciting and colorful.
Paul Brantley’s violon d’Ingres is being given a World Premiere at this concert. The composer has this description:
“As a composer weaned on Bach’s solo Cello Suites – with all their wondrous implied and actual polyphony – I have long been preoccupied with the expressive poly-rhythmic possibilities of a solo string instrument – actual and implied So when Neil asked me (at Ralph Farris’ birthday party) if I would compose a solo violin piece for his ‘Journaling’ series, I thought ‘here’s my chance’. I had just heard Neil brilliantly perform one of his impossibly difficult etudes, and so for the first time in my life, I was inspired to compose an overtly virtuosic piece – and a kind of one-man-poly-rhythmic-band for solo violin. But virtuosity suggests a kind of idealism – which is how I, in part, understand the witty expression “violon d’Ingres” (Ingres, the master-painter, tended to play his violin for people rather than unveiling his latest masterpiece). But unlike Man Ray’s famous photograph of the same name, my sense of idealism has both a front and a back.”
Svjetlana Bukvich talks about her work Before and After the Tekke:
“‘Before and After the Tekke’ is inspired by by Mesa Selimovic’s book about an 18th century dervish in Bosnia, my visit to an 18th century Tekke -dervish monastery – in Herzegovina at the kartsic Buna river spring, Bosnian Christian Orthodox and Islamic music idioms, and the sounds of New York City. The piece features tuning of my design woven with tempered intonation.
Strangely, if you travel to Bosnia and Herzegovina, you won’t find this music. It is dreamed up from sounds that I have once known and then forgotten.”
Journaling, Part Four
Thursday, May 31, 8 PM
Fulton Ferry Landing
Brooklyn, NY 11201