Kalvos & Damian is both historical and new. Get the RSS feed for new content info on
Noizepunk & Das Krooner, interview transcripts, and K&D: In the House! More info.








Your Support
Support KandD with PayPal - fast, free, secure
Producers
Sponsors
MaltedMedia logo
MaltedMedia
Onion River Arts Council logo
Onion River
Arts Council
Argosy Foundation logo
Argosy
Foundation
Shigeru Kawai Piano Logo
Shigeru Kawai
Pianos
ASCAP logo
ASCAP
pair networks logo
pair Networks
WGDR Radio logo
WGDR
WCVT Radio logo
WCVT
WDEV Radio logo
WDEV
Gaudeamus Foundation logo
Gaudeamus
Foundation
Pogus Records logo
Pogus
OODiscs logo
OODiscs
Northfield Savings Bank logo
Northfield
Savings Bank
Trans-Video.Net logo
Trans-Video
Frog Peak Music logo
Frog Peak
Music
Seabird Studio
Seabird Studio
Underwriters
Don Corson
Matthew Fields
Steve Layton
Aggie Birdsong Smee
Contributors
Activist Music
Anonymous EM
Larry Austin
Jacques Bailhé
David Baird
Gary Barwin
Barbara Benary
Joseph Benzola
Susan Bettmann
Mike Bluett
Robert Bonotto
Moshe Budmor
Antonio Celaya
Ian Chuprun
Carson Cooman
Anthony Cornicello
Lorraine Day
Richard DeCosta
Dean Dierschow
Eleanor Dimoff
Emily Doolittle
David Dramm
David Drucker
Tom Duff
Mark Gibbons
Patricia Goodson
Patrick Grant
Carlos Haase
Daron Hagen
Greg Hall
Tom Hamilton
Jeff Harrington
Houghton-Mifflin Co.
Laurie Hollander
Hostetler Fund
Steve Jeffrey
John Kennedy
Anne La Berge
James Lowe
Susan Lyon
Josephine Maggio
Jeana Malachowski
Charlie Messing
Beata Moon
Timothy Nelson
Erik Nielsen
Juliet Kiri Palmer
Christopher Penrose
William Pfaff
Jean Piché
Dave & Sue Poitras
Robert D. Polansky
Steve Rathe
Janet Ressler
Belinda Reynolds
Alfredo Santos
Martin Schiff
Alex Shapiro
Brad Smith
Linda Catlin Smith
Kathy Supové
Mike Swinchoski
Tim Thompson
Jenny Undercofler
P. Kellach Waddle
Erling Wold
Randy Woolf
In-Kind
Michael Arnowitt
Stevie Balch
Bethany Church
The Blur of Insanity
Cabot Creamery
Canary Burton
Cate Farm
Christ Church
Comfort Inn
Econo Lodge
Grand Union
Grocery Outlet
Hilbert Pianos
Hunger Mountain Coop
LaGue Inn
Littlewood Farm
Mad River Media
Madtech
Nick Maggio
Mailboxes Etc.
Manghi Bread
Monteverdi    
Music School
Montpelier    
City Center
La Panciata
Play It Again Sam
Bennett Shapiro
Shaws Supermarkets
Squash Valley Produce
Tom Tafuto
Trinity Church
Unitarian Church
Videosyncracies
Volunteers
Lila Bennett
Susan Bettmann
Phil Bowman
Barbara Buckley
Annie Burrowes
Gabrielle Dietzel
Dan Koloski
Roy Levin
Craig Line
Jim Miller
Max Miller
James Pirie
David Robb
Bill Saunders
Merrie Shernock
Special Thanks
Michael Arnowitt
Eric Boyer
Barbara Buckley
Samuel Claiborne
Peter Clark
Gloria DeSousa
Gabrielle Dietzel
Matthew Fields
Tom Heasley
Henrietta Jordan
Allen Lendway
John Levin
Roy Levin
Pamela Massey
Charlie Morrow
Lynne Newcomb
Hunter Ochs
Susan Reid
Kathy Saunders
Claude Stone
Sandy Valentine
Telas Whitfield











Kalvos and Damian's New Music Bazaar Home Page Frequently Asked Questions About Kalvos and Damian Kalvos and Damian Archived Shows on Line, with Show Histories
Kalvos and Damian's New Music Bazaar Home Page Essays by Guest Composers and Show Introductions by David Gunn
Web Resources in New Music for Composers Composer and Performer Guests on the Kalvos and Damian Show
Web Resources and Home Pages by Composers Search the Kalvos and Damian Web Site
Playlists for All Kalvos and Damian's New Music Bazaar Shows WGDR-FM Home Page, Production Center of Kalvos and Damian
Sounds, Words, Sights on the Graffiti Page Consortium of Vermont Composers Home Page
Best of the Bazaar Sound Art Collages Consorting. the Vermont Composers Newsletter
Email and Postal Addresses for K and D Vermont Contemporary Music Ensemble Home Page


Kalvos & Damian Ought-One Festival

August 25-26, 2001

Review from the Village Voice


We Will, We Will Nonpop You

New Music Found Alive and Thriving at Kalvos and Damian’s Ought One Festival

By Kyle Gann

Loons in the Monastery

MONTPELIER -- Well, I've finally been to Woodstock. It was the Ought One festival in Montpelier, Vermont, billed as "the Woodstock of Nonpop," which, as you can imagine, compared to the original pop-music Woodstock about the way the lightning bug compares to lightning. I didn't get muddy, and no one took their clothes off that I knew about, but the enthusiasm about the music, if more quietly manifested, was nonetheless real. Ought One was the brainchild of Dennis Bathory-Kitsz and David Gunn, who, if you know your music circles, you'll recognize as the radio geniuses behind Kalvos and Damian, the most important Web site in new music, with an ASCAP award to attest to it (www.kalvos.org).

I went as an invited participant, so it would be unseemly for me to write a regular evaluative review. But among the composers who descended on the place were enough New Yorkers to give the gig local interest, and I can hardly resist commenting on an event that taught me more about new music in two days than my New York concertgoing has taught me in the last two years. Kalvos and Damian have a refreshing way of avoiding the big, mainstream names in new music (you won't find Reich or Corigliano at Kalvos.org) and finding instead hordes of interesting young and old composers you've never heard of. In Ought One they threw 120 composers at us in 48 hours, quantities sufficient to ensure the emergence of new trends. Local Vermonters were prominent, along with many New Yorkers and West Coasters, plus a sizable contingent from Cologne, both German and American expatriates.

For instance, the solo instrumental piece with interactive electronics was everywhere. This is not a new genre, but it has acquired a new, more listenable sophistication. It used to be that somebody would play a few notes and the computer would respond with random-sounding gestures. Now, in pieces like Manfred Stahnke's Malaita, played by pianist Jennifer Hymer, the piano incited its own similar orchestral accompaniment bouncing around the room; and in Bathory-Kitsz's RatGeyser, for an electronic marimba called a MalletKat, Michael Manion's virtuoso plinking was translated into a myriad of glissandos. Even more prevalent were composers associated with the Bonk festival in Tampa, Florida—especially Bonk's hyperactive cofounder, Eric Lyons, whose Godzilla-like output devoured entire sections of Ought One. Uninhibitedly theatrical flutist Margaret Lancaster played works by many such composers, including Paul Reller and Rob Constable. Large swaths of Bonk music revealed an emerging collective style: long, meandering streams of consciousness with frequent pop music/pop culture references thrown in. The title alone of Reller's In Praise of Buddy Hackett conveys the tone.

Along with dozens of young composers I'd never heard, there were New Yorkers whose work seems little heard in the city these days. Notably, the collaborative Chansons de Bilitis by Eve Beglarian and Phil Kline had a mellow pop loveliness; keep an ear out for its eventual New York premiere. The piece that turned me to jelly, though, was A cappella, by John McGuire, recently resident in New York after decades in Cologne. With impassioned expressiveness, soprano Beth Griffith sang syncopated vowel sounds over a sparkling electronic background, medieval but vibrant in its contrapuntal austerity. It compelled the kind of ecstasy that Arvo Part's music only vaguely suggests.

A cappella, it turns out, has been played in New York, but had slipped beneath my radar. That's the value of a festival like this: to create an atmosphere in which you have no idea what you'll hear next, and to bring together such diverse elements that new connections take place. We no longer have any equivalent in New York. You certainly won't find that feeling in Fred Sherry's smugly homogenous Great Day in Uptown festival. Ten years ago you would have found it on Bang on a Can, before they stripped down to the same dozen composers every year and became the Let 'Em Eat Cake festival. The last couple of years I had come to conclude that new music was truly in a lull, and that nothing new was turning up. Funny that I had to leave New York for sleepy little Montpelier to learn how mistaken I was.



Ought-One Festival Logo #1




























page counter