nief-norf

contemporary chamber music [performance + composition + research]

NIEF-NORF at Big Ears Festival

We are thrilled and honored to be presenting three concerts at Big Ears Festival this year in Knoxville, TN, as well as organizing a very special performance of John Luther Adams' Inuksuit at the Ijams Nature Center, co-directed by Steven Schick and Nief-Norf Artistic Director Andrew Bliss!

We will be performing:

Our concerts will feature works by Judd Greenstein, Edgard Varèse, Anna Thorvaldsdottir, Steve Reich, Julia Wolfe, Alvin Lucier, Elliot Cole, Morton Feldman, and Big Ears 2016 Composer-in-Residence John Luther Adams.

For information regarding tickets and weekend passes, please visit the following link:
http://www.bigearsfestival.com/tickets/

Thanks to the generous support of Moxley Carmichael, the Big Ears grand finale performance of John Luther Adams' Inuksuit will be free and open to the public.

Be sure to check out the Big Ears 2016 Artist Mixtape, featuring Andy Bliss performing Nick Zammuto's Green Yellow Green Red, recorded by Evan Chapman of Four/Ten Media. The mixtape is free to download, but any tips received will benefit the Little Ears community outreach program.

Knoxville’s contemporary music organization Nief-Norf is thrilled to organize a performance of John Luther Adams’ epic, outdoor work Inuksuit (for 9-99 percussionists). Beginning at noon, Sunday, April 3 at the Ijams Nature Center, Inuksuit will offer a resounding addition to the 2016 Big Ears Festival. 

Composer-in-residence John Luther Adams’ Inuksuit is a massive, concert-length work, designed to be performed and experienced in the open air beyond the walls of a concert hall. Inspired by the Inuit stone structures of the same name, Inuksuit evokes a sense of place by calling upon the performers to shape the music around the physical space of its outdoor location, in effect creating a literal sonic landscape. The musicians will begin together at a central point at Knoxville's Ijams Nature Center before dispersing throughout the environment far and wide, at times separated by such distances that only faint echoes of sound may be heard by one another. As such, the piece is not meant to be passively witnessed from a fixed perspective; listeners shape their own musical experience by moving around the area, free to explore the bevy of timbres interacting with their own body and their surroundings. By walking through the environment, listeners often discover private musical moments that are irreducibly singular to each listener’s wandering path.

Inuksuit represents an integral step in the increasingly vast and expansive musical experiences Adams has crafted over many years. While the composer's preceding work was often inspired by or evocative of a pre-existing place or ecology, Inuksuit exists as its own musical ecosystem, each performance unique to each location in which it is performed. Its outdoor realization isn’t a novelty as much as it is a necessity, with its scope exceeding the capacity of an enclosed space in every way. The diverse array of percussion instruments, colorful timbres, and dense layers of rhythmic complexity interweave together, amassing dynamic extremes that range from the powerful and visceral to the subtle and microscopic. The resulting texture of Inuksuit continually evolves, facilitated by the distant performers listening and reacting not only to each other, but also responding to the landscape. In moments of stillness, the environment itself emerges from the aural texture as a gentle reminder that there is always more to be heard if we just listen with big ears.