EXTRADITION PLAYS CORNER: A Philip Corner Festival
$12 ($50 festival pass)
- Loren Chasse, percussion
- Matt Hannafin, percussion, psaltery, & voice
- Maxx Katz, percussion, flute, & voice
- Juniana Lanning, percussion & voice
- Caspar Sonnet, percussion & dobro guitar
- Branic Howard, guitar & percussion
- Annie Gilbert, trombone & voice
- Stephanie Lavon Trotter, voice
- Linda Austin, dance
- Danielle Ross, dance
Philip Corner — La Bella Infinita
Philip Corner — Sounds, Austere, for Elegant Rooms
Philip Corner — 3 for Phyllis for Some Things
Philip Corner — A Day in the Life (or a Moment) (or More)
From January 21 through February 18, 2023, Extradition will present EXTRADITION PLAYS CORNER, a five-concert festival exploring the work of seminal American experimental composer Philip Corner, held across five consecutive Saturdays.
When we get around to building a Boulevard of Experimental Music Heroes, Philip Corner will get a particularly large and well-placed statue. Born in the Bronx, New York, in 1933, he began composing as a teenager and went on to study with Henry Cowell, Olivier Messiaen, Otto Leuning, and Dorothy Taubman, as well as with Korean calligrapher Ki-sung Kim. He was a founding member of Fluxus with Yoko Ono, George Maciunas, Nam June Paik, and others; composer in residence with New York's Judson Dance Theater in 1962-64; co-founder of the Tone Roads ensemble with James Tenney and Malcolm Goldstein; co-founder of Gamelan Son of Lion with Barbara Benary and Daniel Goode; an inveterate performer of both his own and others’ works; and a longtime educator, teaching at Rutgers University, the New School, and elsewhere. Now 89 and a nearly 30-year resident of Reggio Emilia, Italy, he continues adding to his enormous body of work, which includes thousands of compositions created in a range of styles, including text, graphics, and traditional notation.
As a humble celebration, in January/February 2023 Extradition will present multiple concerts and events exploring 65 years of Corner's prolific creativity, from 1957 right up to the present day.
About Loren Chasse, percussion
About Matt Hannafin, percussion, psaltery, & voice
About Maxx Katz, percussion, flute, & voice
About Juniana Lanning, percussion & voice
About Caspar Sonnet, percussion & dobro guitar
About Branic Howard, guitar & percussion
About Linda Austin, dance
Linda Austin, co-founder & director of Performance Works NorthWest in Portland, Oregon, has been making dance and performance since 1983, often with a strong visual element and a commitment to commissioning original music. Her working process exploits and explores the body’s powers and limits, bringing each performer’s vulnerabilities and strengths, accidental awkwardness and elegance, into a web of relationships—intimate, playful, confrontational—with other bodies, objects, environment, sound and media. The resultant improvisational and/or highly choreographed works are non-linear, poetic, often laced with humor, deploying movement that often disrupts what is generally considered "dancerly."
https://pwnw-pdx.org/linda-austin-dance/About Danielle Ross, dance
Danielle Ross is a choreographer, performer, curator, and scholar originally from Portland, Oregon. She is on the board of the Creative Music Guild and co-founded Pure Surface, a monthly series combining video, poetry, and performance artists to create short length, collaborative works. In 2011, she co-founded the international dance newspaper FRONT, which has spanned five editions and included contributions from choreographers and curators, including Keith Hennessy, keyon gaskin, Dana Michel, SF MOMA's Frank Smiegel, and Sarah Shelton Mann. Her work has been supported by the Oregon Arts Commission, numerous Regional Arts and Culture Council project grants, residencies at Studio 2 and Portland Institute for Contemporary Arts' Resource Room, and PICA/Andy Warhol Foundation's Precipice Fund. Ross has choreographed and independently produced full length productions since 2010: Make the Air Thick (2010), To Remember is to Jump Around There (2012), Togetherness (2014), and Apparatus (2017). Apparatus looked at feedback looping in social and cultural identity and was performed at Disjecta Contemporary Art Center in July, 2017. Prior, Ross toured her short solo It’s Like This Out There, It’s Like This in Here to Minneapolis, Los Angeles, and the University of Nebraska, Lincoln. Her most recent work, You Are Not Alone, is in progress and has been performed in Chicago and Detroit. She has worked with choreographers Linda Austin, Bouchra Ouizguen, Zoe|Juniper, and Dawn Stoppiello. Currently, she is a graduate student in Northwestern’s Performance Studies PhD program. Her dissertation research looks at how artists turn to embodied performance to counter the erasure of gendered violence in Morocco, Nigeria, and Guatemala.
https://www.daniellerossperformance.com/