Replay is a new work for double bass to be premiered in Spring 2015 at two simultaneous concerts, one in New York (performed by James Ilgenfritz) and one in Los Angeles (performed by James Klopfleisch and Scott Worthington). If you would like to organize an additional performance, contact the composer at firstname.lastname@example.org.
About the Piece:
To play Replay, each performer must accompany a recording of every previous public performance of Replay, with rules governing how the performer reacts to the recording. Thus, the piece changes every time is performed, gradually transforming from a solo bass piece into a massive phantasmal ensemble.
The piece is inspired by, among other things, Super Meat Boy, a punishingly difficult video game that offers a “replay” feature allowing you to view all your attempts to complete a level simultaneously after you’ve beaten it. The resulting swarms of lives and deaths are often mesmerizing to watch, and there is an oddly musical quality to their ebb and flow. For me, this behavior also touched on something profound and strange about repetition and routine, and how little we understand about our own actions until we see them played back in front of us.
Bassist and composer James Ilgenfritz has worked in New York’s experimental music community for ten years, interacting with visual artists, improvisers, composers, and literary figures. As an improviser James has performed with Anthony Braxton, John Zorn, Elliott Sharp, Anthony Coleman, Jin Hi Kim, Jon Rose, Steve Swell, Nate Wooley, Jeremiah Cymerman, and Brian Chase. As an interpreter of notated music, he has also worked with composers Lukas Ligeti, JG Thirlwell, Annie Gosfield, Pauline Oliveros, Ted Hearne, David T. Little, Karin Rehnqvist, Duane Pitre, Kevin Norton, & Gordon Beeferman. He recently completed a tour of the Midwest and northeast with his jazz quartet MiND GAMeS (with Denman Maroney, Andrew Drury, Angelika Niescier). His debut solo recording ‘Compositions (Braxton) 2011’ features his distinctive solo bass interpretations of the music of Anthony Braxton, and was called “a considerable achievement of solo instrumentalism and an important demonstration of the possibilities open to the double bass in the early 21st century” by Avant Music News’s Dan Barbiero. Current projects include his longstanding Anagram Ensemble (which has morphed from jazz quartet to experimental big band to avant-garde theatrical chamber ensemble), Hypercolor (with Lukas Ligeti and Eyal Maoz), Red Triangle (with Chuck Bettis and Nonoko Yoshida), COLONIC YOUTH (with Dan Blake, Philip White, and Kevin Shea), The Curators (with Joe Hertenstein and Mikko Innanen) and Radiant Tongues (with Jason Ponce). In 2011 James was Artist In Residence at Issue Project Room, where he premiered his opera The Ticket That Exploded (based on the 1962 William S. Burroughs novel of the same name). He is coordinator of the WSB100 festival, New York City’s month-long celebration of the life and legacy of William S. Burroughs on the occasion of his 100th birthday. James Ilgenfritz holds degrees from University of Michigan & University of California San Diego, and is on faculty at Brooklyn College Preparatory Center & Brooklyn Conservatory.
James Klopfleisch is a composer, contrabassist, and experimental performer currently living in Los Angeles. His work lies on the fault line between music and performance/event, realizing itself somewhere between the framing of sound in time and the overlapping of musical context with the structures of colloquial observation habits. He is co-director of the wulf., a downtown experimental music venue, as well as a founding member of the Southland Ensemble, a collective focusing on music from the experimental tradition, particularly scores involving graphic and/or textual notation. He holds an M.F.A. from the California Institute of the Arts and has written for such ensembles as trio kobayashi, thingNY; performed/recorded with such artists as Michael Pisaro, Julia Holter, will.i.am, and The Dustbowl Revival; and has presented works at REDCAT, The Prague Quadrennial of Performance Design and Space, and MOCA.
Double bassist Scott Worthington (b. 1987) is active as a chamber musician, composer, and soloist. He has performed with a wide variety ensembles at festivals around the world such as the Chihuahua International Festival, June In Buffalo, the Lucerne Festival, and the Monterey and Montreal Jazz Festivals. While attending the Eastman School of Music, Worthington regularly performed with Musica Nova and Ossia New Music presenting concerts of 20th century music and premiering numerous works. From 2007-2009 he was invited to perform with the Lucerne Festival Academy working with conductor Pierre Boulez and members of Ensemble Intercontemporian. Desiring to expand the bass repertoire, Worthington frequently commissions works for solo bass and solo bass with electronics. He has premiered solos and concertos written for him by Robert Morris, Juan Trigos, and many of his peers. As a composer, Worthington’s music has been commissioned and performed around the United States by big bands, chamber ensembles, soloists, and computers. He completed his undergraduate studies in bass at Eastman with James VanDemark and is a graduate student at the UCSD studying with Mark Dresser.