Stay Logged In On This Trusted Device James Ilgenfritz

• James Ilgenfritz (b. 1978): Almostness:
• 1 Almostness 19:41
• Trust Fall:
• 2 Trust Fall 11:50
• Apophenia V:
• 3 Apophenia V: A 01:29
• 4 Apophenia V: B 01:44
• 5 Apophenia V: C 02:28
• 6 Apophenia V: D 02:28
• 7 Apophenia V: E 02:30
• 8 Apophenia V: F 02:43
• 9 Apophenia V: G 03:17
• 10 Apophenia V: H 03:02
• Subject-Object-Abject:
• 11 Subject-Object-Abject 12:02
• Total Runtime 01:03:14

Info zu Stay Logged In On This Trusted Device

This is a work for solo contrabass in Just Intonation scordatura, augmented by live interactive electronic sound and the Autonomous Mechanical Instrument Array (AMIA), a family of mechanical six “characters” who respond to data transmitted via Mari Kimura’s MUGICTM motion sensor. That data is distributed to the six mechanical instruments, and throughout the performance the AMIA will move in response.

The validity of Almostness as a piece of art is contingent on the idea that the bass techniques, the AMIA, and the real-time temporally modulated electronic sounds are engaged in a cyclical loop, existing specifically to reference each other in a continuous simulacrum: a copy with no original. Mari Kimura’s MUGICTM motion sensor tracks the movement of the bow hand, emphasizing the threshold between stillness and motion. The patience and attention necessitate a contemplation of mindfulness. The result is that the piece always engages a series of gravitational forces: electronic sounds initiated through stillness, and sounds initiated through stasis.

Apophenia V: Outmoded Large Crumbling Oval Lime-Green Midwestern Plastic-Frame Reading Glasses (2019) for Ghost Ensemble

The term apophenia describes humans’ tendency to perceive patterns within randomness. The Apophenia series is a set of compositions that explores the potential for a group of musicians to create a coherent narrative from a set of discrete fragments of information. These fragments should be ordered differently in each performance, necessitating different solutions to the problem of creating this continuous narrative.

For Apophenia V, the subtitle Outmoded Large Crumbling Oval Lime-Green Midwestern Plastic-Frame Reading Glasses refers to the order in which English language speakers combine adjectives: opinion-size-age-shape-color-origin-material-purpose. The work is a feature for harp and contrabass, and is structured so that their operations mirror the order in which adjectives appear in a sentence. While the eight pages of composed material should be played in a different order each at each performance, the harpist and bass soloist have a set of improvisation strategies that should be followed in the same order each time, regardless of the order in which the composed material is played.

Trust Fall (2018) for New Thread Quartet

Trust Fall organizes discrete sound-worlds into a series of scenes that inform each other and ultimately form a network of interwoven approaches to gesturality. Like moss or ivy, the ideas grow together and provide a feeling of continuous intuitive invention. Just as with a very flowing and interactive conversation, the ideas segue smoothly, but continue to move towards or away from primary thematic material.

Sections focus on particular saxophone techniques, such as slap tongue, multiphonics, glissando, or different types of air sounds. Whether the result favors calm or surprise, motion or stillness, sonority or noise, the piece flows forward through these ideas in a conversational way (with requisite pauses for reflection).

New Thread Quartet was extremely generous with their time and insight in the development of this piece, offering giant gobs of insight into the most efficient way to communicate the ideas in the piece. So the development was as conversational as the music is intended to feel, and the material is infused with the ideas and conversational nature of how the material developed.

Subject-Object-Abject (2021) For Hypercube

This work is a reflection on the self and the other, and the liminal space in between: What is the self, what is not the self, and the ambiguous discomfort associated with the uncertainty that surrounds matters that do not comfortably fit into the self-other binary. This ambiguity is what we often call the "uncanny valley." The concept of the abject refers to these representations of the self that are rejected. One might contemplate a hall of mirrors, where we see distorted representations of ourselves. The challenge is in distinguishing those distortions that come from the environment and those that originate in our own consciousness.

James Ilgenfritz, double bass (track 1)

New Thread Quartet: (track 2)
Geoffrey Landman, soprano saxophone
Kristen McKeon, alto saxophone
Erin Rogers, tenor saxophone
Zach Herchen, baritone saxophone

Ghost Ensemble: (tracks 3-10)
Ben Richter, accordion
Breana Gilcher, oboe
Margaret Lancaster, flute
Chris Nappi, percussion
Lucia Stavros, harp
Cassia Streb, viola
Jennifer Bewerse, cello
James Ilgenfritz, double bass
Scott Worthington, double bass
Carl Bettendorf, conductor

Hypercube: (track 11)
Erin Rogers, saxophones
Jay Sorce, electric guitar
Andrea Lodge, piano, accordion
Chris Graham, percussion

James Ilgenfritz
Composer and bassist James Ilgenfritz is recognized in the New Yorker for his “characteristic magnanimity” and his “invaluable contributions to New York’s new-music community." His 2019 album You Scream A Rapid Language collects recent chamber works, and features Pauline Kim Harris, Conrad Harris, William Winant, Thomas Buckner, Kathleen Supové, Margaret Lancaster, and Joseph Kubera, and was noted in The Wire for its "glint of mischief" and ability to "foreground the performative and gestural elements of music making."

James presented residencies at John Zorn’s The Stone in 2015 and 2017. In 2019 James performed in Anthony Braxton’s Composer Portrait concert at Columbia University’s Miller Theater (with Either/Or and the JACK Quartet), and premiered his second opera, I Looked At The Eclipse. Recent projects include his trio Hypercolor (released on John Zorn’s record label Tzadik with Lukas Ligeti & Eyal Maoz) and his recent solo CD Origami Cosmos (featuring works by Annie Gosfield, Miya Masaoka, Elliott Sharp, & JG Thirlwell). In June 2018 James presented his second residency at John Zorn’s venue The Stone, with premieres for the Momenta Quartet, flutist Margaret Lancaster, The New Thread Saxophone Quartet, and the Kathleen Supové/James Moore/Jennifer Choi trio, as well as solo bass works by John King, Anthony Donofrio, and Lucie Vitkova.

James has performed throughout the US, Canada, the Czech Republic, Germany, Hungary, Indonesia, Italy, Poland, and Switzerland. James’s notable performances include work with composer/improvisers Pauline Oliveros, Roscoe Mitchell, Rufus Reid, Anthony Braxton, “Blue” Gene Tyranny, and many others. James has received grants from New Music USA and American Composers Forum. He holds degrees from University of Michigan and University of California San Diego. James began New York’s first Suzuki Bass program at Brooklyn Conservatory of Music in 2011, and continued there until 2019, when he left to pursue a PhD in music composition at University of California Irvine. James splits his time between Brooklyn, NY and southern California.

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