Concerts, galleries, lectures, master classes and residencies
All or part of a concert program dedicated to the performance of the music of guest composer Austin can be selected and prepared in cooperation with the concert producer/director and the performer(s)/ensemble. Performance materials are available from Austin's publishers.
All or part of a program of solo computer music compositions (on CD, ADAT or laptop computer) presented with an optimum sound diffusion system can be dedicated to the performance of the music of guest composer Austin, selected and prepared in cooperation with the gallery producer. A 60- to-90-minute gallery could be presented, for example, in two iterations, between which Austin would present a related 45-minute talk, "Composing for the Solo Computer Music Medium." For example, the first iteration of a 60-minute gallery could begin at 3 p.m., where three to five pieces could be performed, this followed by the 45-minute Austin talk at 4:15, this, in turn, followed by the second iteration of the 60-minute gallery. The audience could attend at either 3 or 4:15 and hear all. Performance materials are available from the publishers.
Lecture-discussions, with recorded excerpts and illustrations, can be presented on the following topics:
"Larry Austin: An Overview of Recent Works
from the Universe Symphony to Adagio: Convolutions on a Theme by Mozart"
(Duration: 1 to 2 hours with discussion)
Describing and illustrating his compositional method, aesthetic, and techniques, Austin presents an overview of his compositions for orchestra, soloists, chamber ensemble, and solo computer music since 1993. With emphasis on his extant works available on compact disc and/or ADAT (see Selected Works), these compositions include Universe Symphony (1993), ¡Rompido! (1993), Variations...beyond Pierrot (1993-95), BluesAx (1995-96), Shin-Edo: CityscapeSet (1994-96), as well as recent octophonic, ADAT/computer works Djuro's Tree (1997), Tárogató! (1998), Ottuplo! (1998-2000), Williams [re]Mix[ed] (1997-2000), Threnos (2001-2002),Tableaux: Convolutions on a Theme (2003-4), and Adagio: Convolutions on a Theme by Mozart (2004-5)..
* * * * *
"The Realization and First Complete Performances of Charles Ives's Universe Symphony:
A Synthesis of Compositional Processes"
(Duration: 1 hour with excerpts; 2 hours with excerpts, discussion, and a complete hearing)
Austin completed his realization of Charles Ives's Universe Symphony (1911-51) on January 30, 1993. This lecture presents a discussion of the nature of Ives's sketches for his Universe Symphony and the author's approach to what have become the first complete performances (1994, Cincinnati; 1995, Warsaw; 1998, Saarbrucken; 2000, Cologne) and compact disc recordings (Centaur, 1994; col legno, 2000) of the work. Austin's analysis and interpretation of the extant sketch pages is presented, with the manuscripts central to his realization seen and heard as illustrations. Austin explicates his method in transcribing and interpreting Ives's sketches: to realize and complete both Ives's explicit and implicit compositional, formal, and aesthetic plans and materials for the symphony. He explains the intent of his realization and completion of Ives's US, ideally to be experienced and appreciated in performance as Charles Ives's musical creation..."composed out" by Larry Austin...a "synthesis of compositional processes."
* * * * *
John Cage's Williams Mix (1951-53):
The Restoration and New Realizations of and Variations on the First Octophonic, Surround-Sound Tape Composition
Williams [re]Mix[ed]* (1997-2000), for octophonic computer music system,
based on John Cage's Williams Mix (1951-53), for eight magnetic tapes
The Theme Restored
Six Short Variations
A-city sounds, B-country sounds,
C-electronic sounds, D-manually produced sounds,
E-wind produced sounds, F-small sounds
The Nth Realization
*Commissioned by the International Institute for Electroacoustic Music, Bourges, France,
with sponsorship and support from the John Cage Trust and Peters Edition
(Duration: 2 hours with illustrated examples, discussion, and a complete hearing)
Austin discusses his three-year project (1997-2000) to restore John Cage's seminal Williams Mix (1951-53), for eight magnetic tapes. In the process, Austin analyzed in detail Cage's methods of using the ancient Chinese Book of Changes, the I-Ching, for all compositional decisions, leading to Austin's new realizations of and variations on the work, Williams [re]Mix[ed]. This work culminated with Austin's design of the protocols for the Williams [re]Mix[er], an extensive UNIX/Linux-based, interactive composition program implemented by composer-programmer Michael Thompson.
Austin meets with composition students in groups or individually, reviewing and offering critiques on finished pieces, works-in-progress, and compositional approaches and techniques. Austin draws on four decades of teaching composition, exemplified in his acclaimed text, Learning to Compose: Modes, Materials, and Models of Musical Invention (1989).
Austin welcomes the opportunity to be engaged for extended residencies as a composer, computer music practitioner, teacher, and lecturer. Such a residency could also involve a commissioned work for Austin to compose during his stay, working on the piece, for example, in the sponsor's computer music studios. The residency could also involve any or all of the above presentations, such as concerts, lectures, and master classes/lessons. Residencies could range in length from one week to several months to a year.
Fees for presentations are negotiated. The amount is pro-rated according to 1) the number and type of presentations, 2) the number of days/weeks/months involved in the visit, and 3) whether the presentation is part of an Austin presentation tour, where en route travel mitigates the expense per engagement. Typically, a one-day en route visit would range from $300 to $1,000; a two-day visit from $750 to $1,250; and a three-day visit, from $1,000 to $1,500. Longer visits or extended residencies are negotiated individually.
To discuss and arrange engagements, please call, fax, email or write
Larry Austin Music
10205 Murray S. Johnson St.
Denton, TX 76207 USA