Boxes

Influenced by the work of artist Joseph Cornell, writer Vladimir Nabokov, and philosopher Walter Benjamin; Guy Livingston has been building self-contained boxes for several decades, but very slowly. Most of these are evanescent, and only exist long enough to be filmed and then recycled. One was sent to Paris and did not come back. And one is going to the moon.

Frequently these boxes use a multimedia approach, as with his one-minute videos. The music for each of these miniature films is by a different composer. The videos were designed and produced in Den Haag by Guy Livingston and “Newt Hinton”. They were filmed in Amsterdam. All the boxes incorporate movement in addition to the musical soundtrack; the potential energy of inanimate objects is explored in a playful or sinister way. Balls roll back and forth inexplicably; wood is consumed by violent drilling; objects burst into flame; and old-fashioned turntable begins to smoke as it plays a mysterious record…

video by Guy Livingston/Newt Hinton. music by Art Jarvinen, performed by Guy Livingston

Video by Guy Livingston/Newt Hinton. Soundtrack by Oliver Schneller.


Ballet Mécanique SOLO

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.

World première of Ballet mécanique SOLO, at the SinusTON Festival in Germany.

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.

GUY LIVINGSTON performing Ballet mécanique at Tufts University

Tears at The Happy Hour

I sit in one of the dives on 52nd Street… (WH Auden)

Love. Lust. Longing. Loss. Libido. These are some of the themes that run through this evening of songs by Pulitzer and Grammy award-winning composer William Bolcom (1938-). In his desire to break the barrier between “serious” and popular music, Bolcom blurs the lines between cabaret, classical, music theatre and even country music in his setting of texts by Auden, e.e. cummings, Shakespeare and his long-time collaborator Arnold Weinstein. The result is a body of work which reveals a darkly humorous, sardonic world view.  

US première: Baruch College Performing Arts Center welcomes soprano Rayanne Dupuis and pianist Guy Livingston, who are proud to present the North American première of William Bolcom’s “Poèmes libres de droits”, a new song cycle written for them, on poems by Guillaume Apollinaire: a wistful, surrealist tip of the hat to Bolcom’s formative Paris years.

Amor by William Bolcom, words by Arnold Weinstein; performed by Guy Livingston and Rayanne Dupuis (live in Paris)

Soprano Rayanne Dupuis and pianist Guy Livingston present love, lust, longing and loss at the cabaret. 


…and coming in 2021: a new show from Guy and Rayanne: “L’amour…et autres bêtises”

Teaser for “Tears at the Happy Hour” duo… music of Kurt Weill, William Bolcom, Leonard Bernstein, and Marc Blitzstein.

Through the music of Kurt Weill, Marc Blitzstein, Leonard Bernstein, and William Bolcom, they take us on a poignant, darkly humourous journey through the highs and lows (and dismal bottoms) of relationships. The songs are presented in their original language (French, German, English). directed by Sébastien Davis. This show is currently in development.

Don’t Panic: 60 Seconds

“a feast for the eye and for the ear” — Radio 4, Holland

4 degrees above zero

Sixty Videos, Sixty Composers, Sixty World Premieres by and for Guy Livingston

GUY LIVINGSTON recording ARTICHOKE SILENCE by Tsulke Hürn

“What if 60 composers from 18 countries each wrote 60 seconds for solo piano?” Don’t Panic! Livingston handles the show with an expert vison and masterful storytelling skills. Anecdotes of composers and mishaps are mixed with insight into the very nature of time.

Featured on the front page of the New York Times, in Le Monde, and on National Public Radio’s Weekend Edition.

Ruby, music by David Dramm;
film by Menno Otten
Little Angel, music by Peter Klatzow;
film by Juan de Graaf
Last Minute Tango, music by Frank J. Oteri; film by Thijs Schreuder
The Piece that Anton Webern Wrote, music by Anders Jallen;
film by Nelleke Koop

“A great performance, visually and musically”
— NRC Handelsblad

Interview on National Public Radio
Music by Marek Zebrowski, performed by Guy Livingston

Music and Architecture

“A pianist with a flair for modernism”  

The New York Times 
Brunelleschi’s famous Duomo in Florence – full of musical proportions

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. 

Guy Livingston in Marcel Breuer’s brilliant cold-war library – a concrete and mahagony cube from 1955.

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.

in front of the ex-embassy

The visuals and the program sequence are being developed in conjunction with an architectural/acoustics firm TBA.


Dada at the Movies ii (new show for the centenary!)

What is Dada?

On July 8, 1923, the Parisian Dadaists organized the most famous Dada event ever. Everybody who was anybody was on the program that night: a play by Tristan Tzara, films by Man Ray and Hans Richter, live music by George Antheil, Erik Satie, and Darius Milhaud. During the show, a riot broke out amongst the rival Dada factions, and the poet Paul Eluard was thrown off the stage, breaking his arm. The gendarmes were summoned, and the Dada Soirée was memorialized as one of the great Parisian art scandals of all time. Inspired by the extraordinary artists who participated that night, pianist Guy Livingston has re-created the music and rediscovered the films, bringing us back to 1923 for his updated one-man show, Dada at the Movies.

Join audiences from all over Europe, Canada, and the US, who have delighted in Guy’s whirlwind, virtuoso, and comic performance.

DADA AT THE MOVIES: an introductory teaser


DADA AT THE MOVIES: Trailer by Torsten Porstmann.

The stage is dark, except for a spotlight illuminating a bicycle wheel from below (homage to Marcel Duchamp), which turns slowly, casting an ominous shadow onto the ceiling. The films are accompanied by live piano music, performed by Guy Livingston, who frequently interrupts with Dada manifesti, poetry, and even the sale of Dada ice-cream (it’s made of tissue paper), but only for those who have the special Dada-dollars.

That darned cat

Ketzel the Cat

now she’s back in the news: Read the marvelous Children’s Book!

Ketzel on the keys (artist’s impression)

“A kitten’s stroll down a keyboard leads to a celebrated one-minute composition in this charming portrait of a remarkable true friendship.”

Moshe Cotel was a composer who lived in a noisy building on a noisy street in a noisy city. But Moshe didn’t mind. Everything he heard was music to his ears. One day, while out for a walk, he heard a small, sad sound that he’d never heard before. It was a tiny kitten! “Come on, little Ketzel,” Moshe said, “I will take you home and we will make beautiful music together.” And they did–in a most surprising way. Inspired by a true story, Lesléa Newman and Amy June Bates craft an engaging tale of a creative man and the beloved cat who brings unexpected sweet notes his way.

Review by Booklist Review Starred Review
Composer Moshe Cotel lives in a noisy building in the middle of a noisy street in the middle of a noisy city, but everything is music to his ears. One day, he hears a new noise: a frightened kitten mewling. He names her Ketzel Yiddish for cat and takes her home, where she spends happy hours listening to Moshe playing piano. An announcement of the Paris New Music Review’s contest arrives in the mail, calling for compositions of 60 seconds or less. Moshe finds this impossible until Ketzel creeps across the piano keys and plays a lovely tune with a clear beginning, middle, and end. And it’s only 21 seconds long! Piece for Piano: Four Paws, by Ketzel Cotel, wins special mention in the contest. When Moshe and Ketzel appear for its debut, no one believes she wrote it, but Four Paws becomes famous, even earning her $19.72 in royalties. Based on a true incident, this delightfully told story is unlikely and adorable in equal parts. Bates’ watercolor, gouache, and pencil illustrations feature an unanthropomorphic kitty whose inquisitive and quizzical nature will be familiar to all cat owners. The author’s note offers all the answers readers will want. An absolute charmer!
Cooper, Ilene
Copyright 2015 Booklist, Copyright (c) American Library Association. Used with permission.

Morris (‘Moshe’) Kotel, composer and cat lover

Review by School Library Journal
Musicians and cat lovers alike will enjoy this charming picture book based on a true story. Moshe Cotel, a young composer, lives alone in a busy, noisy city, but “Everything he heard was music to his ears.” One day he discovers Ketzel, a tiny, black-and-white kitten, on the street. He holds her tenderly to his chest and declares, “I will take you home, and we will make beautiful music together,” prophetic words, to say the least. When Moshe receives a letter from the Paris New Music Review about a contest to write a composition of 60 seconds or less, try as he might, he is at a loss. Then, Ketzel creeps across the keyboard, inadvertently accomplishing what the composer could not. “Moshe grabbed a pencil and jotted down exactly what he’d heard.. `Your composition has a clear beginning, middle, and end, is full of heart, and takes exactly 21 seconds to play. Ketzel, you’re a genius!'” The feline’s “Piece for Piano: Four Paws” wins an honorable mention, and its furry composer actually attends a performance. The watercolor, gouache, and pencil illustrations depict a busy city, a sympathetic bearded musician, and a simply adorable protagonist. VERDICT: A delightful read.
–Barbara Auerbach, New York City Public Schools © Copyright 2015. Library Journals LLC.

Publisher’s Weekly Review
Here’s a lovely tale of cross-species affection and creativity, based on a true story (recounted in an afterword). While seeking inspiration in the busy streets of New York City, a composer and pianist named Moshe Cotel finds and adopts a stray kitten, bestowing it with the Yiddish name Ketzel (for “kitten”). Ketzel proves more than a companion: when Moshe needs an entry for a music competition restricted to pieces no longer than one minute, the kitten steps in and composes a piece by walking across the keys (Moshe dubs it “Piece for Piano: Four Paws” and gives her full credit). Newman’s great affection for her subject is evident, yet she never crosses into cutesiness or sentimentality; her reportorial tone is a perfect match for her down-to-earth, generous hero. Bates, working in hues of parchment and gold, produces some wonderfully warm vignettes, pushing the graceful realism of her watercolor, gouache, and pencil drawings just enough to add a glint of magic to a story that’s already one of a kind.
Ages 5-8.
© Copyright PWxyz, LLC. All rights reserved.

AUTHOR
Lesléa Newman is the author of more than sixty books for readers of all ages, including The Best Cat in the World, illustrated by Ronald Himler, and Hachiko Waits, illustrated by Machiyo Kodaira, and October Mourning, a Stonewall Honor Book. She lives in Holyoke, Massachusetts.

ILLUSTRATOR
Amy June Bates has illustrated more than forty books for children, including Waiting for the Magic by Patricia MacLachlan and The Dog Who Belonged to No One by Amy Hest. Her work has been honored by the Society of Illustrators. She lives in Carlisle, Pennsylvania.

The New York Times Original Article (1997)

November 10, 1997, Monday Late Edition – Final

Chronicle
By JAMES BARRON

She is not in Mr. Rorem’s league, but, Ketzel, a 3-year-old cat, is a prize-winning composer.

Ketzel belongs to MORRIS MOSHE COTEL, the chairman of the composition department at the Peabody Conservatory. He entered something the six-toed cat dashed off on the piano in the Paris New Music Review One Minute Competition, which is open to pieces of no more than 60 seconds. Not even Chopin’s ”Minute Waltz” would qualify — Arthur Rubinstein needed 1:48 to zip through it, said Guy Livingstone, one of the judges.

As for Ketzel, the judges gave her a special mention.

”We got stranger stuff, believe it or not,” Mr. Livingstone said.

Ketzel’s prize-winning piece began when she pounced on Mr. Cotel’s piano while he was playing a prelude and fugue from ”The Well-Tempered Clavier” by Bach. She landed in the treble and appeared to be stalking an invisible mouse in the bass. ”I stopped playing and grabbed a pencil and manuscript paper,” Mr. Cotel said. ”Writing quickly, I was able to capture the descending pattern of her paws on the keys. I put it in a pile of manuscripts and forgot about it.”

Until he saw a mention of the competition. ”We gave the piece serious consideration because it was quite well written,” Mr. Livingstone said. ”It reminded us of Anton Webern. If Webern had had a cat, this is what Webern’s cat would have written.”

The New York Times Obituary (2011)

Noted Composer, Who Leapt Into Atonality, Meows Her Last
By JAMES BARRON

Ketzel, who won a prize for piano composition in 1997 and went on to be featured in a book, “The World of Women in Classical Music,” died Wednesday in Manhattan. She was 19 and lived on the Upper West Side.

Ketzel was a black-and-white cat.

That would explain why, like many other musicians — Midori, Liberace, Mantovani and Madonna, for example — Ketzel went by only one name, except when the occasional royalty check came in. The first, for $19.72, was for a performance in Rotterdam. The check was made out to “Ketzel Cotel.”

“We thought, how are we going to cash this?” recalled her owner, Aliya Cheskis-Cotel. “Luckily, at the bank, they knew my husband and knew our credit was good, and they allowed us to cash it. We told Ketzel we could buy a lot of yummy cat food for $19.72.”

Ms. Cheskis-Cotel’s husband, who died in 2008, was Morris Moshe Cotel, who retired as chairman of the composition department at the Peabody Conservatory in 2000 and became a rabbi. “He said she was his best student and her fame surpassed his,” Ms. Cheskis-Cotel said.

Ketzel (“cat” in Yiddish) was a one-hit wonder among composers — she never wrote another piece. And her career was launched only because she launched herself onto the keyboard of Professor Cotel’s Baldwin grand one morning in 1996.

He was playing a prelude and fugue from “The Well-Tempered Clavier” by Bach, as he did every morning — he worked his way through a different prelude and fugue each day, as a kind of warmup exercise.

On the morning in question, Ketzel leapt onto the piano, landing in the treble. She worked her way down to the bass. Professor Cotel was startled, but grabbed a pencil and started transcribing. He was impressed by the “structural elegance” of what he heard, Ms. Cheskis-Cotel said. “He said, ‘This piece has a beginning, a middle and an end. How can this be? It’s written by a cat.’”

It was a model of brevity, shorter than Leroy Anderson’s “Waltzing Cat” or Zez Confrey’s “Kitten on the Keys.” But Professor Cotel set it aside — until he received an announcement seeking entries for the Paris New Music Review’s One-Minute Competition, open to pieces no more than 60 seconds long. “He said, ‘I don’t have anything that’s less than 60 seconds and my students don’t,’” Ms. Cheskis-Cotel recalled, ” ‘but I’ll send in the piece by the cat.’”

Professor Cotel explained the composer’s identity in the entry, but the judges were not told that; they were shown only the music. They awarded “Piece for Piano, Four Paws” a special mention.

“We gave the piece serious consideration because it was quite well written,” Guy Livingston, co-founder and editor of the review, said in 1997. “It reminded us of Anton Webern. If Webern had a cat, this is what Webern’s cat would have written.”

That led to an exchange of letters between Professor Cotel and the Webern biographer Allen Forte. Along the way, Professor Cotel said he realized that Ketzel’s “exquisite atonal miniature” used only 10 pitches of the chromatic scale. “The two missing pitches are G natural and B-flat” — the opening notes of Domenico Scarlatti’s famous Fugue in G minor, known as the “Cat’s Fugue.”

Ketzel’s piece had its concert premiere at Peabody in 1998 and was later performed in Europe and heard on public radio. And once it was performed at the Museum of the City of New York, with the composer in attendance.

“I said, ‘I’m bringing Ketzel to the performance,’ ” Ms. Cheskis-Cotel recalled. “They said, ‘No, you’re not.’ ”

But she did.

Ketzel’s composition was the next-to-last piece on a two-hour program. Ketzel sat quietly in her carrier in a back row as the big moment approached.

“Finally, when it was time for her piece to be performed,” Ms. Cheskis-Cotel said, “the pianist announced, ‘The next piece, believe it or not, was written by Ketzel the Cat.’ From the back of the hall, Ketzel went, ‘Yeeeowww.’ The people were on the floor, but of course she knew her name.”

This post has been revised to reflect the following correction:

Correction: July 26, 2011

An article last Tuesday about the death of Ketzel, the cat who wrote a piano composition, misspelled the surname of a founder of the Paris New Music Review and misstated his role in its One Minute Competition, which gave Ketzel’s piece a special mention. It was Guy Livingston, not Livingstone, who co-founded and edited the review. But while he oversaw the contest, he was not one of the judges. The errors also appeared on Nov. 10, 1997, in a brief article about Ketzel.

Take me out to the ballgame

performing the baseball piece at Lincoln Center (that was a while ago!)

The Baseball Story

“It’s a piece about risk,” said Livingston. “You can’t drop the ball.”
Sports Illustrated


This is the first line of Annie Gosfield’s composition for Guy Livingston, premiered at the New York Public Library at Lincoln Center in 1997. The score calls for 2 baseballs, and was written as part of a program conceived by Livingston called “Ten Thoughts on the Five Boroughs.” This brilliant composition exists in two versions: the original which lasts about 5 minutes, and includes a baseball mitt to perform the final pounding clusters; and a short, high-octane 1-minute version which was recorded by Livingston as part of his “Don’t Panic” program, premiered in Amsterdam.

The article from Sports Illustrated