Recorded under the supervision of John Cage in 1991, and directed by Stephen Drury, with the Caluthumpian Consort: we recorded for Mode Records at Jordan Hall (New England Conservatory), Boston. Pianists include Alanna Battat, Guy Livingston (arrangement) and Joanna Kovitz…
the acme of demented modernism!
—The New York Herald
Ballet mécanique SOLO is an extraordinary work by composer George Antheil, arranged for solo piano and electronics by Guy Livingston and Paul Lehrman. It was commissioned by the SinusTon Festival in Magdeburg, Germany, and premièred in 2016. Further performances have been in Montréal, and at Tufts University and Brown University.
Minimum technical requirements: 8 channels of sound with 8 loudspeakers; amplified grand piano; projector/beamer; screen; stage lights; mixing board. We bring laptops, MOTUs, and the newly restored film, which is 4K digital.
“A pianist with a flair for modernism”The New York Times
Music and Architecture have been linked philosophically and physically since at least the time of the ancient Greeks. In today’s world, some of these connections have been forgotten, while others have only become possible with new technology. The world of virtual reality, digital audio, wifi, and miniaturized electronics are opening up a magnificent spectrum of options.
Guy Livingston studied music and architecture at Yale University. He is currently in residence at a former embassy in The Hague, designed by Bauhaus architect Marcel Breuer. His studio is on the 3rd floor of this cold-war brutalist monument. He uses the space to record his weekly podcasts, and to host a concert series, both under the name: “The Bug,” an ironic nod to the spies who worked in the building.
Livingston is creating a new performance for piano, video, and electronics, which explores the links between space and music: an immersive program of piano, video, and electronics. Featuring Music for Airports (Brian Eno), Guy’s solo arrangement of Canto Ostinato (Simeon ten Holt); The Great Gate of Kiev by Mussorgsky (piano arrangament); Debussy’s Sunken Cathedral; a Talking Heads cover (Burning Down the House); an opportunity for the audience to “play the building” using an app on their smartphones.
Audible Architecture (for the Bauhaus Centennial)
In concert, Guy’s trademark relaxed style, honed through years of podcasting and radio work, is used as a narrative tool to bring us back to his freshman year in college, and his first architecture class at Yale, with the legendary art historian Vincent Scully.
photos from classic and rediscovered Bauhaus films
Seated unconventionally, breaking the 4th wall, or even lying on the floor during Canto Ostinato, this concert is an experiential, immersive one for the audience; an eye and ear opener.
From there Livingston guides us through his summer measuring medieval temples in the Thar Desert, then to his years living on the left bank, overlooking Nôtre-Dame, and then on up to the Bauhaus and how it came to influence him personally.
with piano, video, and electronics (plus an interactive audience app)
An interactive, immersive experience for the audience…the format resembles a musical TedTalk: High energy, with unexpected insights presented in an entertaining manner.
The visuals and the program sequence are being developed in conjunction with an architectural/acoustics firm TBA.