RECENT NEWS AND UPCOMING PROJECTS:
WAR OF THE WORLDS, a wild new
opera directed by Yuval Sharon, was comissioned by the Los Angeles Philharmonic, and premiered in November 2017 at Walt Disney Concert Hall and on the streets of L.A.
Read the reviews:
The New York Times Seth Colter Walls wrote about "Ms. Gosfield’s thrilling chamber orchestra writing"
The Los Angeles Times Mark Swed wrote "Stop reading and nab any seat you can find"
The New Yorker Alex Ross included it in his "notable performances of 2017" and wrote of "a vital, engaged new-music cohort, one unafraid of risk."
Annie Gosfield has been awarded a 2017 Guggenheim Fellowship
in music composition
Upcoming in 2018: Detroit Industry, inspired by Diego Rivera's iconic frescoes, performed by New Music Detroit at Detroit Institute of Arts
in the Rivera Courtyard; music based on the city of Athens, Greece, developed with an international group of composers; and a new work in celebration of MATA's 20th anniversary
Read an ARTIST'S STATEMENT
2017: Recordings by the Jasper String Quartet
and James Ilgenfritz
Recent releases by Kathleen Supove "The Debussy Effect"
Michael Nicolas, Billy Martin, the Agosto Foundation,
and Anthony De Mare's much lauded Liaisons CD on ECM
2016: New orchestral work for a Music Alive residency sponsored
by the League of American Orchestras performed by the
Chautauqua Symphony Orchestra and Felix Fan,
new work for the LA Philharmonic's Green Umbrella Series,
and a residency at the American Academy in Rome as the
Paul Fromm Composer in Residence
PROFILE AND REVIEW IN THE NEW YORK TIMES,
REVIEW IN THE LOS ANGELES TIMES
PROFILE BY VIVIEN SCHWEITZER
"Annie Gosfield, Scoring the Music of Machines"
"her high-energy, imaginative scores blend acoustic and electronic elements and have a propulsive, aggressive drive tempered by haunting, poetic and lyrical interludes."
A revealing in-depth profile and interview about Gosfield's past in factories, punk clubs, and the influence of found sources, improvisation, coffee, whiskey, technology and mortality.
MARK SWED REVIEW IN THE LOS ANGELES TIMES
Refracted Reflections and Telepathic Static, which was written for the Naughtons and ended the program, proved a delight. This time the sisters, who played the flashy 15-minute premiere impressively from memory, were terrific.
She had them going up and the down the keyboards merrily deconstructing jazz, Minimalist patterns and much else. Just sounds happily transformed, colliding and whooping it up.
CONCERT REVIEW BY CORINNA da FONSECA-WOLLHEIM
"Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her “21st-century avant noisy dream band,” she is able to conjure up a palette of saturated and heady hues." Read about performances by Gosfield, Michael Nicolas, Jennifer Choi, and Kathleen Supove.
Watch Videos of Lost Signals and Drifting Satellites
and Shattered Apparitions of the Western Wind
Read about an uproarious and dazzling performance of Annie Gosfield’s Electric Sweepers and Vacuum Creepers "That energy was fully unleashed in the Latin-tinged Rattling Beeps and Serging Sweeps for which Ms. Gosfield was joined by her 'avant-noise' band, and in the joyfully manic Depth Charge, in which a zombielike walking bass line is injected with ’70s funk."
Learn more about Gosfield's wild, noisy dance music with Billy Martin, Roger Kleier, Steven Bernstein, Briggan Krauss, and Brian Drye.
Watch videos of Electric Sweepers and Vacuum Creepers
and Rattling Beeps and Serging Sweeps
Read NOTES about the project
Annie Gosfield, whom the BBC called "A one woman Hadron collider" lives in New York City and works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. She composes for others and performs with her own band, taking her music on a path through festivals, factories, clubs, art spaces, and concert halls. Her most recent CD “Almost Truths and Open Deceptions” features a piece for piano and broken shortwave radio, a cello concerto, a 5-minute blast by her band, and music inspired by baseball and warped 78‘s. Her music has been performed worldwide at Warsaw Autumn, the Bang on a Can Marathon, MATA, MaerzMusik, the Venice Biennale, OtherMinds, Lincoln Center, The Stone, The Miller Theatre, Merkin Hall, and The Kitchen. Recent work includes compositions inspired by factory environments, jammed radio signals from WWII, and her grandparents’ immigrant experiences in New York City during the industrial revolution. Annie's discography includes four solo releases on the Tzadik label, and she often writes on the compositional process for the New York Times’ series “The Score.” She was a 2012 fellow at the American Academy in Berlin, held the Milhaud chair of composition at Mills College, and has taught at Princeton University and California Institute of the Arts.
Annie Gosfield uses the KONTAKT Sampler and thanks
Native Instruments for their support.
"ALMOST TRUTHS AND OPEN DECEPTIONS"
A cello concerto, warped 78's, machines, a broken
shortwave radio and more
Listen to excerpts and read about the CD here
Order the CD from Tzadik or from Amazon
Read a review of the CD in the New Yorker here
VIDEOS on the GOSFIELD CHANNEL featuring
Kathleen Supové, Billy Martin, Phantom Shakedown, EWA7,
JACK Quartet, Ecstatic Music, Music with Jammed Radios
CONCERT-LENGTH WORK FOR THE JACK QUARTET REVIEWED IN THE NEW YORK TIMES
link to review
SIX ARTICLES IN THE NY TIMES "OPINIONATOR"
The latest: Confessions of a Composeress
3 interviews with iconoclast composer PW SCHRECK
"A ceaselessly re-inventive composer, Gosfield mixes history, technology, and autobiography in work that oscillates vibrantly between past and future."
-Richard Gehr, The Village Voice
"New York's doyenne of gnarly sampled sounds"
Russell Platt, The New Yorker
"The music’s mood reflected the nature of radio jamming — abrasive, otherworldly and, at times, unexpectedly and eerily beautiful."
- Vivien Schweitzer, The New York Times
is a machineshop throwdown that could reduce angstridden
'industrial' poseurs to sobbing heaps."
David Sprague, The Village Voice
"With the electric-guitarist Roger Kleier and the percussionist Ches Smith, Ms. Gosfield closed with “EWA7”, an explosive extended work indebted to Varèse and Pink Floyd yet entirely her own in terms of originality and audacity."
Steve Smith, The New York Times
"Her music is unlike anything in the current European chamber spectrum, coupling zest and imaginative poetics with a warming textural glow underlying the spikiness."
Rob Young, The Wire
"A wonderful disc, beautifully
performed and produced. Perhaps more than any other composer of
her generation Gosfield has taken up the challenge of Edgard Varèse,
writing music which addresses forthrightly the aesthetic challenge
of mechanization, technology, and science."
Robert Carl, Fanfare,
reviewing the CD "Flying Sparks and Heavy Machinery"