Thursday, April 16, 2015

'No Exit' Presents Electronic and Electro-Acoustic Works

Posted By on Thu, Apr 16, 2015 at 8:16 AM

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By Mike Telin

This weekend, Cleveland-based new music ensemble No Exit will present three concerts that showcase an eclectic mix of avant-garde electronic and electro-acoustic works. “This is a really exciting series,” No Exit’s artistic director Tim Beyer said during a telephone conversation. “We’re fortunate to have performers who are not only amazing ensemble players, but virtuosic soloists as well. And these pieces will allow each member of the ensemble to shine.”

The first performance is scheduled for Friday, April 17 at Heights Arts. The program will be repeated on Saturday, April 18 at SPACES and on Monday, April 20 at Cleveland State University’s Drinko Recital Hall. All concerts will begin at 8:00 pm.

Beyer thinks it’s important for No Exit to present a program of this kind. “In one form or another, electronics are part of the new music landscape. This program is interesting because of the many different ways each composer uses electronics.”

I asked Beyer to give some of his insights into the music.

“Andy Akiho’s 21 (2008) for marimba (Luke Rinderknecht) and cello (Nick Diodore) is a fun piece with a global feel. And Chris Goddard was one of the first composers whose music No Exit performed, so we’re happy to be doing his And Chase (2013) for violin (Cara Tweed) and viola (James Rhodes). It is a great piece where the nimble violin is being chased by the more bulky viola.”

Beyer said that Christopher Stark is a composer No Exit has been wanting to work with for a long time. Two-Handed Storytelling (2012) for piano (Nicholas Underhill) and electronics is the composer’s first electronic work. “Nick uses a foot pedal that triggers events. It’s not a rhythmically fixed part, although the timing of the electronic events does need to be correct. And Edmund Campion’s Losing Touch (1994) for percussion and electronics is just a very cool piece of music.”

Read the rest of the preview at

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