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Intern Spotlight: Noel Holloway

It’s time for another Intern Spotlight! This week, we are featuring Noel Holloway. Noel interned with us for several weeks this summer. Thanks for everything, Noel, and best wishes for your final year at Eastman!

Where are you from?

Albany, NY. Going into my senior year at Eastman.

What is one thing about yourself that you’d want everyone to know?

I have 2 dog children (Moby and Pepper). I also have 2 cat children (Bandit and Martini). I am also gay, which is fun.

Give us a link to something about you.

This is a video of me that I sent in to qualify for the Taiwan International Percussion Convention: Marimba Solo section. I was 1 of 4 Americans who qualified for this out of 50 participants, aged 17-29. I’ve improved a lot since then with those pieces, but I am really proud that I was able to do all of this music in one take. I was halfway through my sophomore year at Eastman when I recorded this.

What are you up to these days?

Currently focusing on a healthy mindset associated with my own music. I used to have a unhealthy competitiveness vibe with myself and got pretty burned out from that, so this summer I have been working on just focusing on the passion I have to music and being comfortable with where I’m at as opposed to compared to others.

Once I return to school, I will be preparing for my senior recital and grad school auditions! I’m going to apply to Northwestern, Miami, Yale, and MSM.

ABOUT THE INTERNSHIP

When did you intern with TCP?

June 5 – July 13, 2018.

How did you connect with TCP?

I met Dave when he came to Eastman for an ALP (Arts Leadership Program) talk and reached out to him and then Sean.

Did you gain anything from the internship that you’d like to share?

Learning what the day-to-day workflow of an ensemble like this entails. It was super cool to learn about the balance between “normal desk work” and rehearsing was for them. Also talking with the guys about finding donors, booking, grant writing, and a general difference between their non-musical and musical work was really cool to learn about.

What else did you do while interning with TCP?

I worked with the studio manager Colin a lot on different studio projects and took inventory of their studio. I did a lot of things here and there helping out TCP in general.

Did you leave a legacy or mark on the organization that you’re particularly proud of?

Besides helping out with their inventory and helping out with various projects here and there, I do not think I did anything monumental to “leave a mark” on the group, but I definitely think I made an impression with all of the people in TCP and a lasting connection/ friendship there.

Favorite memory from the internship?

Favorite memory would be driving to Notre Dame with Colin; it was a great time and was really exciting to help set up and move all the gear for their residency. Helping out at their Constellation show was also really cool.

SILLY THINGS

A GIF or YouTube link that sums up your experience with TCP?

Couldn’t really find one, but this is a great video.

If you were a cartoon character, who would you be?

Him, from the Powerpuff Girls

A funny or embarrassing story from the internship? 

I was helping out with their show at Constellation, and was supposed to add more chairs in between to the audience since they were so full. I had never done anything like that before, so me and the other intern basically just clumped a bunch of chairs awkwardly in one of the aisles and only 2 people sat down (even though there were 10 chairs) because they were so awkwardly placed. Apparently we also blocked the exit which made the manager then had to fix since it was against fire code.


If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected]. AND…..

Percussionists and wood-slat players of all ages: be on the lookout for our next visit to Colin’s Corner, when Colin will reveal the secrets of TCP’s wood slat collection!

 

 

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Intern Spotlight: Henrique Batista

Hi everyone! We hope you are all enjoying the last bits of summer. It’s been a while, but we are happy to return to our Intern Spotlight series, this time with the wonderful Henrique Batista! Henrique worked with us during the 2017-18 season both at Notre Dame and in Chicago. Thank you for everything, Henrique!

Where are you from?

Santa Catarina, Brazil

What is one thing about yourself that you’d want everyone to know?

I love bread.

Give us a link to something about you.

Henriquembatista.com

Youtube.com/001hmb

Here’s a video of me playing Steven Mackey’s Micro-Concerto in April on my second DMA recital. 

What are you up to these days?

I am gearing up for the last year of my DMA at Bowling Green State University.

ABOUT THE INTERNSHIP

When did you intern with TCP?

My internship with TCP was during the Spring semester of 2018. During my time with TCP I had the opportunity of observing their activities on the road, watch them engage with numerous outreach and educational activities in and out of the city of Chicago, as well as watch them perform a number of times.

How did you connect with TCP?

My first contact with TCP was during a concert at the Toledo Museum of Art in 2017 at which I had the opportunity of playing one of the percussion parts on the Lou Harrison Organ Concerto. This took place as the result of an amazing collaboration between the Toledo Museum of Art, TCP, and Bowling Green State University. After the concert I approached Sean about the possibility of fulfilling my internship requirement for my DMA degree with the organization and over the course of the next couple of months we kept in touch.

Did you gain anything from the internship that you’d like to share?

Yes! I learned so much from my time with TCP. One thing that struck me the most is how engaging and diverse their educational programs are! It was very rewarding to see them engage with groups of different sizes, age ranges, and backgrounds. TCP’s impact as educators in their community is as compelling as their work as performers. It was also very rewarding to see aspects of what it takes to run a successful non-profit; from running board meetings, navigating logistics, and keeping a healthy stock of gaff tape.

What else did you do while interning with TCP?

During my internship I spent some time with Third Coast in South Bend, Indiana, Cleveland, Ohio, and Chicago, Illinois. This was the first time I spent a considerate amount of time in Chicago, and I enjoyed exploring the city, Chicago is amazing. The bulk of my internship took place during the semester, so I had to juggle skyping into classes, assignments, and getting ready for my second DMA recital. I checked out some concerts while I was in town, the Deagan factory, and good restaurants, there’s so much happening in Chicago!

Did you leave a legacy or mark on the organization that you’re particularly proud of?

I took Rob’s marimba resonator case to get fixed in Chicago and eventually found out that shoe repair places are ideal for marimba case repairs. The things you learn…

Favorite memory from the internship?

I have two favorite memories of my time with Third Coast. The first memory is when I got to sit in during their quarterly board meeting. It gave me a good perspective of how much thought and attention to detail goes into building a successful chamber group. It was also a testament to the incredible level of commitment everyone has to the organization. The first performance I got to watch of Paddle to the Sea in South Bend Indiana will also stick with me for a long time, What an amazing show!

SILLY THINGS

A GIF or YouTube link that sums up your experience with TCP?

If you were a cartoon character, who would you be?

Paul from Llamas with Hats


As you can see, an internship with Third Coast Percussion is a great learning opportunity and a fun adventure. If you’re interesting in learning more about an internship with Third Coast, please contact Sean Connors at [email protected].

 

 

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Third Coast Percussion does a Tiny Desk Concert!

Back in April, we were invited to perform the true pinnacle of music awesomeness: an NPR Music “Tiny Desk Concert.” So many amazing musicians have performed from this real live working desk (yes, someone actually works at it every day, and moves to another table when it’s concert time), and we were thrilled to join the ranks. The whole TCP team worked tirelessly to choose music that would fit in the tiny space, taping off a scale model of the desk in our studio and doing impromptu runs of the show while on tour. We even arranged some of our newest pieces for far more space-efficient instruments. We were all so stoked for this amazing experience, and we want to share more of it with you! Here are some memories and reflections from Sean, Peter, David, Rob, and Colin.

And check out the concert here!

 

      


What were the desk, office, and building like?

Rob: I felt like I was at nerd Mecca! I mean, I don’t put a lot of people or institutions on a pedestal, but I have a ton of respect for NPR. Knowing the level of discourse at which so much of our media engages, I cringe to think about what the American cultural landscape would look like without NPR. I was pretty giddy to be there.

Colin: The building is a really modern, clean design. Many of the desks in the massively open four-story newsroom were empty during our brief time inside, but the whole place still ran with a constant quiet hum of activity, seemingly poised to snap into frenzied action at the drop of a Tweet. It seems like a great place to work. I say that because everyone I encountered was in a good mood, and they have an incredible cafeteria with really healthy food.

The curb/ ramp going up to the loading dock stinks. I had to back our large box truck in at a ridiculous angle across the neighboring driveway to avoid bottoming out. I honestly don’t know how they deal with it on a daily basis.

Peter: Desk area was about as small as we were thinking it would be, but the surrounding area was much more open than I was anticipating.  Basically the entire floor of NPR was an open floor plan, which meant that everyone could see and hear what you were up to. We definitely felt like we were playing to all of NPR, not just a few people in an office.

What were your favorite objects in the office?

Rob: The tiny desk gong. Also the pillow of Carl Kasell’s head watching over us (RIP, Carl).

Colin: The music library (every box set of everything ever made). Discarded celebrity water bottles (Adele, ?uestlove, et al…).

Peter:  Chris Thile’s Birthday Cake, Natalie Merchant’s water bottle. 

   

Sean: DJ Otter Portrait (see photo), Superorganism blow-up sea creature, some bottle of water that I accidentally drank that somebody left there…yeesh.

David: The guest book was pretty sick. We only saw one “volume” of it, but our volume also had Dee Dee Bridgewater, Thundercat, and a bunch of other heavies.

 .   

What was your favorite part of the process?

David: Being surrounded by a bunch of interesting smart people who LOVE music.

Sean: Seeing Josh Rogosin who is the sound engineer for NPR in action was very very cool.  He worked super efficiently and made some things that we never thought were going to be heard sound amazing in the video with a very limited number of microphones. Bookcases and carpeted office floors aren’t known for helping the resonances of the low end of a marimba, but Josh worked his magic!

Colin: 1. Witnessing an historic/ amazing TCP performance from 4 feet away
2. Successfully backing in the truck without damaging the truck or the building.

Rob: Shortly before the performance when all of the NPR folks came in to watch the show on their lunch breaks. There’s a fun excitement in the air, and it was simultaneously a very casual environment and also pretty nerve-wracking, because these people make some of my favorite stuff!

Peter: Performing. There was a really fantastic energy from the NPR staff audience that made it a really exciting 15min. of music making.  

 

Did you learn any cool facts about the series?

Sean: That is is ACTUALLY Bob Boilen’s working desk.  He gets kicked out of there on a weekly basis!

Colin: They do 3-5 Tiny Desk Concerts a WEEK!!! During lunch break!!

David: They’ve done over 700 of these things!

 

Any cool insights that you can share?

David: The series started because Bob Boilen and a colleague were watching an artist at SXSW and they thought the sound wasn’t good and both said they’d rather just hear that artist live unamplified behind Bob’s desk. So they invited the artist and filmed it and that was the beginning.

Colin: The “Tiny Desk” is an actual workspace! People were working there when we arrived, and we had to move their paperwork and laptops off of their tiny desks to make room for our pipes and almglocken!

Sean: All the people there are sooooo cool, pleasant, and supportive. Josh and Bob came to our concert the next day at the Smithsonian, for example. Colin made the point that it felt like everyone there was at the absolute top of their field, but also happy to be there and working really hard.

What are some of your favorite other Tiny Desk concerts?

David: Noname, Anderson .Paak, St. Vincent, Jamila Woods, Superorganism, Common at the White House

Sean: TOOOO MANY TO NAME!!!! How can you not love Chance reading poetry and covering Stevie? or The Roots just doing anything?

I think I have 3 categories of favorite Tiny Desk concerts…

  1. Amazing concerts by friends and collaborators: Son Lux, Eighth Blackbird, Mucca Pazza
  2. Artists that I heard for the first time through Tiny Desk: Superorganism, Noname, T-Pain (embarrassed that I hadn’t before…)
  3. Groups that I already really liked but that I had never SEEN perform before watching them on Tiny Desk: Sylvan Esso, Rubblebucket, Chvrches….this is an especially cool aspect of the Tiny Desk series because it puts faces on a lot of the artists that I only really thought of as a theoretical entity   

Colin: The Roots, Chance The Rapper, Mucca Pazza

Peter:

Large bands: Sun Ra ArkestraNo BS Brass BandMucca Pazza

Chicago: Chance the RapperNonameGallant (w/ Saba)

Rob: 

Perfume Genius – it feels like what Tiny Desk should be, pared down and personal. There’s an almost-uncomfortable fragility and delicacy to this one, and it’s really powerful. Their usual recorded sound is much bigger/electronic/produced but I think they found a good sound on the other end of the spectrum too.

Roomful of Teeth – they just sound so awesome, and it’s amazing to hear all these sounds come from their faces in this sort of environment.

tUnE-yArDs – they’re one of absolute favorites. This is a much older tiny desk show from 2011, and it’s a little raw. Super fun. It’s great watching Merrill Garbus build up a whole bunch of layers with a loop pedal, and there are some nice surprises in here too.

Son Lux – I’m maybe a little partial, since we’ve done project with Ryan and know the other guys in the band a little bit from a festival we both played on a couple years ago, but I love the addition of the horn, and they still have such a vivid sound from the whole band in the office.

——–

Many thanks to NPR Music for having us at the Tiny Desk!

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Colin’s Corner: Third Coasters

Welcome back to Colin’s Corner, where our resident superhero and studio manager Colin Campbell takes you into his world of incredible craftsmanship to show off some of the instruments and works of art he creates for Third Coast. Colin has recently created some beautiful one-of-a-kind pieces for Third Coast, and they aren’t just gorgeous and functional: they are also punny.

The “third coasters” were actually reverse-engineered from an atrocious pun. Well, a double pun really. Third Coast Percussion needed some special gifts to thank some of our generous donors for their continued support. And then, inspiration struck. Why not make some “third coasters” for Third Coast to say, “Thanks for being a Third-Coaster?” A double pun! The total eclipse of puns! Now that we had the wordplay, the rest was easy…

Like what you hear, too? Check out our newest album Paddle to the Seaavailable on Cedille Records.

Check back soon for another visit to Colin’s Corner! Word on the street is he’s restoring some wicked cool metal anklung right now…but not for us. Alas.

See you soon!

 

 

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Announcing our 2018/19 Emerging Composers Partnership Collaborators

Please join us in congratulating Amanda Feery and Hunter Ewen, the composers selected for our 2018/19 Emerging Composers Partnership! We look forward to collaborating with both Amanda and Hunter to create new works by each, which will be premiered next season. Read more about these outstanding music-makers below and click their names above to hear some of their music.

We received 135 applications this year, representing a dozen countries across five continents, and over half were from first time applicants!  The remarkable variety and depth of creativity displayed by all of the proposals was truly inspiring, and we have no doubt that adventurous music in our field is alive and well! Thank you to everyone who submitted music and ideas this year.

The deadline for the next round of submissions to the Emerging Composers Partnership (projects to be completed in the 2019/20 season) will be October 31, 2018. 

Amanda Feery is a composer writing for acoustic, electronic and improvisatory forces. Much of her inspiration comes from literature, visual art, and folklore. She has written for orchestral, chamber and vocal ensembles, theatre, kinetic sculpture, and multimedia.
She currently divides her time between Ireland and Princeton, where she is completing a Phd in Composition, with a dissertation focussing on Kate Bush’s song cycle, The Ninth Wave.
Collaborators include RTÉ National Symphony Orchestra, Crash Ensemble, Chamber Choir Ireland, RTÉ ConTempo Quartet, Ensemble Mise-en, Dither, Bearthoven, Mivos Quartet, Quince Contemporary Vocal Ensemble, This is How we Fly, Orkest de Ereprijs, Lisa Moore, Amanda Gookin, Michelle O’Rourke, and Paul Roe.
She has participated as a composer fellow at The Performance Corporation’s Space Program, Ostrava Days Festival, SOUNDscape Festival, Bang on a Can Summer Festival, and the International Young Composers Meeting.
Future projects include works for Alarm Will Sound, Chatham Saxophone Quartet, and Robinson Panoramic Quartet.

Hunter Ewen (b. 1984) is a dramatic composer, educator, and multimedia designer. During the day, Dr. Ewen teaches strategies for digital creativity and programs AI composition software for Amper Music. At night, he composes, solders, choreographs, and writes solo and collaborative projects around the world. His works rail against the faded borders that separate art from science, music from sound, and meaning from meaninglessness. Ewen values frenzy. He buzzes and sneaks and desperately loves. His work is soothing, startling, virtuosic, and absurd. It grooves with dense, layered textures. It lusts for yowls and yips and wails and squeals. For screams that masquerade as art. For clamor and deviance. His compositions swing from chandeliers.

Ewen’s work has garnered awards and performances from SEAMUS, Punto y Raya, Ouroboros Review, The Playground Ensemble, Manchester New Music, CSU Fullerton, New Horizons Festival, MOXsonic, New Music Gathering, EMM, MTNA, Electroacoustic Barn Dance, Gamma UT, Studio 300, and his graphic scores were featured prominently in the Pulitzer Prize nominated book Armor, Amour by Amy Pence. Ewen’s work has been performed across North America, Europe, Australia, and Asia by groups like the Beethoven Academy Orchestra, Cairo Symphony, Silesian Philharmonic, Greater Cleveland Flute Society, Science on a Sphere, Frequent Flyers Aerial Dance, Alarm Will Sound, and by distinguished performers like Greg Banaszak, Lina Bahn, and Bill Mooney. Ewen is published by Ken Dorn, Alphonse LeDuc, Music Minus One, and Theodore Presser.

Third Coast Percussion’s Emerging Composers Partnership is made possible by Louise K. Smith and the Sargent Family Foundation.

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