"The opening was Steve Schick’s performance of Saariaho’s 1994 Six Japanese gardens collection. For the conclusion Nick Woodbury performed Barrière’s 2001 “Time Dusts.”
"Both of these pieces demanded virtuoso technique on the part of the soloists... a compelling spatial experience, which often appeared to involve nuanced exchanges between performer and synthesized content."
January 30, 2015
SF Gate reviews SFCMPS January 30th concert of Steve Reich’s Minimalist staple “Drumming” at the San Francisco Conservatory of music. “Drumming”, hovering around an hour in length, is built of four movements respectively featuring tuned bongos, marimbas, glockenspiels, and a combination of the three. The piece is based on one rhythm: dut dut dut…dut dut…dut…dut dut.
Friday, June 20th at 8pm
Headless Monkey Attack is an electronic music project created by Ryan Carter using coded musical systems, drums and rewired video game controllers to create next level beats that rewire your brain. On 6/20/14 at Cloud City in Williamsburg Brooklyn, Headless Monkey Attack will perform Latency in the System, music from the EP-length debut album.
Monday, March 24th SFCMP
San Francisco Contemporary Music Players will perform Brian Ferneyhough's complex work La Chute d' Icare (1988) at the YBCA Forum.
The concert begins at 8pm with a preconcert lecture at 7:15.
2/7 10pm Spectrum NYC
A late evening of solo's and duos by Patrick Higgins (guitar) and Nick Woodbury (percussion), deconstructing the Chamber presents original music that arises from the Classical music tradition, citing multiple musical influences and bending the genre as we know it. Also featuring performances by Iktus Percussion and flutist Hristina Blagoeva.
The Financial Times reviews Timber with the San Francisco Chamber Music Players.
"the resonances of these struck planks and the overtones create a rich sonic atmosphere that metallophones never could have provided. You find yourself alternately lulled and mesmerised."
The immortal Greek goddess of harmony and concord is named Harmonia, but in this instance the name suggests an infectious harmony, relentless and all consuming. This piece relies heavily on electronic manipulation of the human voice. In many instances it is manipulated past recognition.
"Woodbury creates cycles... that merge into a comprehensive, changing organism... It rings, continues, and has a further life in the mind of the listener. It becomes history... in a continual trajectory that could be influencing things as it floats further away from the instruments, speakers, or headphones."
"...repetitive patterns multiply and accelerate, swelling and fading in rapid succession, six-note melodies flicker out of nowhere."