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Concerts by Composers: Guy Klucevsek
Works Performed or Excerpted:
1. “Excerpt from Triads” – Guy Klucevsek and Pauline Oliveros, accordions and Lou Paer, double bass
Guy Klucevsek
Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Anthony Braxton, Dave Douglas, Bill Frisell, Fred Frith, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, and John Zorn.
He is the recipient of a 2010 United States Artists Collins Fellowship, unrestricted $50,000 grants awarded annually to “outstanding American artists.”
He has premiered over 50 solo accordion pieces, including his own, as well as those he has commissioned from Mary Ellen Childs, William Duckworth, Fred Frith, Aaron Jay Kernis, Jerome Kitzke, Stephen Montague, Somei Satoh, Lois V Vierk, and John Zorn.
Performances include the Ten Days on the Island Festival (Tasmania), the Adelaide Festival (Australia), the Berlin Jazz Festival, Lincoln Center, Spoleto Festival/USA, BAM Next Wave Festival, Cotati Accordion Festival, San Antonio International Accordion Festival, Vienna International Accordion Festival, and the children’s television show “Mr. Rogers’ Neighborhood.”
His 1988 project, Polka From the Fringe, a collection of commissioned polkas by Fred Frith, Elliott Sharp, Bobby Previte, Carl Finch, et. al., toured around the world and was released on 2 cds on the eva label, and were named “best recordings 1992” on WNYC-FM’s “New Sounds” program.
In 1996, he founded Accordion Tribe, an international ensemble of composer/accordionists Otto Lechner (Austria), Maria Kalanemi (Finland), Lars Hollmer (Sweden), Bratko Bibic (Slovenia) and himself. They toured internationally from 1996-2009, are the subjects of Stefan Schwietert’s award-winning documentary film, “Accordion Tribe: Music Travels,” and released 3 cds on the Intuition (Germany) label.
His music theatre scores include “Chinoiserie” and “Obon” with Ping Chong and Company, “Hard Coal,” with the Bloomsburg Theatre Ensemble, “Industrious Angels” for Laurie McCants, “Cirque Lili” for French circus artist Jérôme Thomas, which has been performed over 250 times world-wide, always with live music, and his own piece, “Squeeze Play,” an evening of collaborations with Dan Hurlin, David Dorfman and Dan Froot, Claire Porter, and Mary Ellen Childs. He and Dan Hurlin were awarded, jointly, a BESSIE for, “The Heart of the Andes,” which has played the Henson International Puppetry Festival, The Barbican Center in London, and the Ten Days on the Island Festival, Tasmania.
Klucevsek has released over 20 recordings as soloist/leader on Tzadik, Winter & Winter, Starkland, Review, Intuition, CRI, and XI. Stereo Review cited his 1995 Starkland recording, “Transylvanian Softwear,” as a “Recording of Special Merit.”
He can be heard on John Williams’s orchestral scores for the Steven Spielberg films, “The Terminal,” "Munich," “Indiana Jones and the Kingdom of the Crystal Skull,” and “The Adventures of Tin-Tin,” and on A. R. Rahman’s score for “Welcome to People.”
Guy Klucevsek on the Experimental Intermedia Series
"I moved to New York in 1976. It was through attending concerts at XI that I first met Lois V Vierk, when I heard Malcolm Goldstein play her amazing piece, Crane of A Thousand Wings. On the way home, we shared a subway ride for a few stops, and I had the courage to ask her to write me a piece, which eventually became Manhattan Cascade, for 1 live and 3 taped accordions, a gigantic, virtuoso piece which became a staple of my and Lois's program for years. It was one place where we could always count on doing whatever kind of program we desired, from the most austere to the most outrageous, wherever the imagination led us. And in the most humble and innocuous looking of spaces, you could also always count on Phill Niblock having state of the art sound equipment, with some of the finest playback capability of anywhere in the city, and every concert beautifully record, so that we had a document of our work. And always the prepared meal waiting for the composer and performers in Phill's Kitchen accompanied by some rotgut wine, $2/bottle, at at time when that price could still get you a really BAD bottle of wine (unlike Trader Joe's). I heard so much wonderful music there. I got to play so many wonderful concerts there. It was, and remains, a National Living Treasure--Thank You Phill!" - Guy Klucevsek 2011
Guy Klucevsek in DRAM
More on Guy Klucevsek
It should be noted that, due to the condition of the original tape, the pitch wavers near the end of the program. This could not be fixed, but after checking with Guy Klucevsek we felt the piece was important enough to include in this state.
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