ahhh, the end of my 13th Austin Chamber Music Center Summer Camp. The studets have a ridiculously short amount of time to compose and perform original compositions. They did great! Big love to all teachers everywhere, such a difficult job. It helps to have enthusiastic students though:)
Grageriart (Austin, TX) 9:00 pm, Sunday 7/16/17 @ Springdale Station Lana Lesley (synthesizer, voice) + Peter Stopschinksi (synthesizer, voice)
Grageriart is, in essence, a virtuosic music and voiceover shopping fantasy. Utilizing affirming dings, glitchy underscore, a wide variety of human and other voices, and audio logos, Lana Lesley and Peter Stopschinksi wrap everything you love about commercials and experimental music into a single surreal package. Lana Lesley is a founding member and the co-producing artistic director of the Austin ensemble-based, internationally acclaimed theater collective Rude Mechs. Peter Stopschinski has composed music and lyrics for a number of acclaimed plays, musicals, and films; he also provided string arrangements for Grupo Fantasma’s Grammy Award winning album El Existential. His own operas and musicals have been performed across the country at venues including the Arena Stage (DC), Playwrights Horizons (NYC), and Center Theatre Group’s Kirk Douglas Theater (LA).In recent years, Stopschinski has lead adventurous ensembles in the COTFG series, including Catalogue ofSpiders, Wank Tribe, and Massacre of Spring. He is also a longtime member of the experimental rock band Brown Whornet.Click here to listen to 50 albums of music from Stopschinski.Grageriart at Me Mer Mo in May 2017:
Buy An NMASS2017 Sunday Day Pass HERE
Buy An NMASS2017 Full Weekend Pass HERE
Rude Mechs – Not Every Mountain
This has been one of my all time favorite projects. Basically a long poem written by Kirk Lynn and read by a narrarator while an intricately choreographed construction project evolves in front of you all accompanied by a beautiful and intense electronic score. My Soundtrack to Not Every Mountain is on Spotify, YouTube, etc, but also for purchase here:
“The band that broke music” Wank Tribe will be recording a live album from shows played Monday nights in April and May at the Volstead Lounge as part of the amazing Me Mer Mo Monday nigh experimental music series run by Melissa Seely. Seriously some of the best most unique music in Austin can be seen at Me Mer Mo. Wank Tribe’s first album, External Braindrive, is power trio, electric guitar, electric piano, and drums. The live band will be synth, cello, drums, vocals, electric guitar, electric bass with heavy electronics. Can’t wait!
I will be co-hosting this fantastic and important annual event with Graham Reynolds:
Official promo video here (by Jeremy Bruch): WHO: Golden Hornet Composer Laboratory WHAT: Second Annual Young Composer Concert WHERE: The North Door, 501 Brushy St., Austin TX WHEN: Sunday, March 26th, 2017 at 2pm PERFORMED BY: Hear No Evil ensemble (The core ensemble will include special guest Charlie Magnone (piano), Rebekah Blackner (violin), James Burch (cello), Shih-Yen Chen (clarinet), Marley Eder (flute), and Cory Fica (percussion) HOSTED BY: Peter Stopschinski (Austin, TX) and Graham Reynolds COMPOSITIONS BY Austin-area high school students: Noah Simon, Draylen Mason, Sarah Jackson, Ayden Machajewski, Cole Gleason, Anton von Sehrwald, Maya Arroyo, Tiffany Hoxie, Ian Shaw, Cassidy Pena, Dylan Monahan, Radian Davishines PRODUCED BY: Graham Reynolds, David Lobel, Noah Simon, Cassie Shankman HOW MUCH: Free, with a suggested donation of $10 Special thanks to our sponsor Central Market for their support of this event. Golden Hornet Project, Inc is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department, as well as private and corporate donations and grant sources. For more information please visit www.goldenhornetproject.org
I was lucky to get to work with the extremely talented VR film maker Quba Michalski on this award winning film. Thank you Renè Pinnell and Kaleidoscope Film Festival. This text from Quba:
The world stands still Yet, my thoughts race forward -- Winner of Special Prize for Innovation in Storytelling at World VR Forum 2017, Ex\Static combines elements of theatrical stage design, light art, installation, and Quba Michalski’s unique vision for VR spaces, taking the viewer on a surreal journey through thoughts on art, society, culture and technology. Created in a spirit of free flow of concepts and ideas, the spaces of Ex\Static represent thoughts racing through the busy mind looking for patterns, connections and new meanings. The work itself is an expression of pure joy of moving forward and inherent refusal to remain static. Running time 3:13 Premiered March 2017 Directed by Quba Michalski Music Peter Stopschinski Animation Quba Michalski For more information: https://qubavr.com/portfolio/ex-static/
Honored to have been asked by Mia Chung to be the composer on her new music in process based in Korea during the Korean War. It’s going to be a long and enlightening journey and I am very excited to see what happens!
we will be staying and working at New Dramatists in New York City February 8-14 working working working…
I will be playing organ in this!
COTFG: Sulphuric Symphony with Don McGreevy
Don McGreevy’s TEMPORAL NATURE OF STABILITY by the SULPHURIC SYMPHONY
6:30pm Maria Chavez
7:00pm Thomas Echols
8:00pm Sulphuric Symphony: TNOS
Instrumentalists for this performance include: Daniel Mee, Rachel Fuhrer, Nick Lombardo, Steve Parker, Leila Henley, Alan Retamozo, Lauren Gurgiolo, Sonya Gonzales, Adam Hilton, Mohadev, Thomas Echols , Carrie Clark, Henna Chou, Eric Roach, Michelle Born Kahan, Anne Heller, Janie Cowan, Laura Dykes, Brent Fariss, Peter Stopschinski, Derrick Fore, Laura Brackney
The TEMPORAL NATURE of STABILITY is a post-minimalist symphonic piece composed for electric guitars and basses, acoustic upright basses, trombones, bass clarinet, organs, and percussion. Similar to Don’s previous “symphonettes”, TNOS is an experiment. Aside from intended tonalities and melodies, its results remain largely indeterminate. It is intended to impress upon listeners an awareness of our synthetic biologic imprint for succeeding generations.
The Chernobyl disaster, like all byproducts of industrial economies, technological advancements, and unbridled profiteering, does not loom large enough on our minds, but still wavers somewhere in our collective unconscious. This basic uncertainty is suggested by removing the meter from the music and using modified guitars, a familiar tool made unfamiliar using an alternate tuning. TNOS is here to serve as a mnemonic of imprudent solutions, rather than those that arise from a more thorough understanding of potential consequences.
TNOS is slow, brooding, and delicately heavy, reflecting the insidious contamination of the city of Pripyat while its citizens slept unaware and unwarned. The lack of tempo and oddly resounding guitars depict the weary, inexperienced nature of the Chernobyl plant’s engineers. This music is all encompassing and emotive and unconventionally intertwines minimalism and pop melodies.
Don McGreevy is a multi-instrumentalist, performer, and composer who lives in Seattle, Washington. He works extensively in many disciplines, including post-, orchestral-, psychedelic-, avant-, progressive-rock, traditional blues, and modern composition. Born and raised in Buffalo, NY, he studied piano and singing as a youngster. His father, Don, Sr., taught him drums and exposed him to performances as early as 4 years old. He is a founding member and composer for Genius Award nominees, the Master Musicians of Bukkake. Don also works as electric bassist with Doom/Drone pioneers, Earth. He has worked as touring drummer for Kinski and has appeared on recordings playing guitar. Alongside Milky Burgess, Don co-founded the Yada Yada Blues band who perform anachronistic interpretations of 60s and 70s Mississippi blues music. He has worked with Eyvind Kang, Wayne Horvitz, Trey Spruance, Randall Dunn, Danny Barnes, Bobby Previte, Wolves in the Throne Room, Stephen O’Malley, and many more. Don has been composing guitar symphonies with traditional acoustic accompaniment since the late 90s.
Ill be helping a Graham Reynolds host this really great and unique event:
A follow up to the highly successful and sold-out “String Quartet Smackdown” I and II from late 2012 and 2015, this is a bracketed NCAA basketball tournament style competition using original string quartet compositions submitted by composers and musicians worldwide. It’s like March Madness for the ears!
A jury of experts have selected sixteen of these compositions to move on to the “Smackdown” portion, where the audience will be directly involved in the decision process by texting a code to vote for their favorite piece, all performed by The Mother Falcon String Quartet, comprised of three members of the local orchestral band Mother Falcon (Olivia David, Lexi Cardenas, Clara Brill, and Diana Burgess). The winner of each round moves on in the tournament and the champion will receive a grand prize of $1,500, plus other items of recognition. Fun and engaging for the whole family!
Golden Hornet Project, Inc is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department, as well as private and corporate donations and grant sources. For more information please visit www.goldenhornetproject.org
The Big Quiet returns with something that’s never been done before… In collaboration with Kit and Ace and the Port Authority of NY, we’re taking over Santiago Calatrava’s new and stunning Oculus World Trade Center Transportation Hub. Reflecting the Oculus’s unique shape, we’re constructing 1000 seats in concentric circles for a massmeditation and sound experience, followed by a 360-degree string quartet, powerful vocalists, a surprise performance and live DJs. A simple technique will be shared for first time meditators and a portion of all ticket sales will support the H.E.A.R.T. 9/11 foundation.
This was pretty amazing. The MTA tried to shut it down but the Oculus people were into it so we did it flash-mob style with a few hundred meditators and armed soldiers in camoflaugeas well as anti-terrorism police wandering around. They were all very cool. Everyone loved it. Good times!
I get to write original music in a 1930’s jazz style for this production of Berthold Brecht’s play which parallels Adolf Hitler’s rise to power from street gangster to supreme government official. Directed by the fabulous David Long.
50 Albums. 492 Songs. 28.8 Hours of original music.
I proudly share all my styles with you, the hungry, judgy, music consuming public.
Totally immersed in this commission from Gertrude Opera in Melbourne, Austrailia: Re-orchestrate and edit the hell out of Verdi’s opera based on Shakespeare’s MacBeth.
McBeth could be your neighbour, the odd guy up the road with a McMansion and his own business...Mr & Mrs with an aptitude for glory led by an appetite for destruction...vandalised opulence...menacingly beautiful. Click for Gertrude Opera Website Gertrude Opera has commissioned a 're-imaging' of Verdi's score by US composer, Peter Stopschinski - orchestration for electric violin, electric guitar, trombone, double bass, keyboard and percussion - and will bring a 21st century aural sensibility to Verdi's sublime melodies. In our first co-production with Monk Parrots (NYC), a cast of 12 will present a 70minute version, sung in English. Set in fantasy modern Scotland where every day is All Hallow's Eve, in the Underground Cellar at Mitchelton winery, with Australia's most revered Verdi baritone, MICHAEL LEWIS OAM, in the title role. Artistic Director: LINDA THOMPSON Director/Designer: LUKE LEONARD (USA) Verdi 're-imagined' by Composer PETER STOPSCHINKSI (USA) Conductor: WARWICK STENGARDS
'THE SCOTTISH OPERA' VERDI/STOPSCHINSKI Violent themes - PG* All tickets $60
Its so much fun taking the red pencil to “the masters”. I don’t know why I put it in quotes. Those guys are pretty good and my love for MacBeth and the music Verdi wrote for it has come into full bloom. There is some amazing music in there plus: the re-orchestration includes electric guitar! Its totally messed up. I have about 2 months to complete the score. Its going quickly and I can’t wait for the premier in Melbourne in September. Thanks to director Luke Leonard and artistic director and Lady MacBeth Linda Thompson. Boom. international baby.
Bought my next door neighbor’s Roland EP-30 especially for this gig with Bois D’Arc by mastermind Eric Roach. I’m helping record and produce the new album and we have a killer band with Eric, Peter Stopschinski, Cameron Page, Sam Arnold. We totally Jam. Here is an album review from Reverb Nation:
Zirque Bois D’Arc – Things I Should’ve Done Better
display for my love of Austin progressive rock groups, including Opposite Day, proud farmer, and the Orchestra stop motion, it shows that they have no stop sign on which the State of Texas will go in the next to see which lie ahead. One of the guitarists who have just had my brilliant ears up is a guitarist named Zirque Bois D’arc. It is an alter ego name for Eric Roach. He has been performing in bands in the Austin area, such as: Lick Lick, Baby Got Bacteria, and the stylings of bluegrass The fencesitters. Eric itself occurs since the 1980s, with more than 100 live acts as Membership while n ‘there’s no sign of stopping for him everywhere as trucks powerfully and see where it will go next. What I should have done better is his first solo album. He recorded music and his compositions demoed four years ago in Los Angeles. And what you will hear is a dystopian universe set with Zirque hypnotic guitar improvisations. He brought along people like Sam Arnold (Opposite Day) on Bass Drummers David Hobizal (brother Eddy Hobizal), Pat Kennedy Chuck Fischer (invisible czars), Matt Kelly (Lick Lick) on Organ and pianist Peter Stopschinski. Not to mention a horn section and strings on the album. But let’s go directly to the music. The music itself is a haunting, surreal, avant-garde and experimental journey into the world that was once peaceful, transformed into hell. And the music of Eric defines the atmosphere of the place where he takes his guitar in these areas. There are 15 compositions on the album that just take me by surprise in the whole structure, nearly as whether he follows in the footsteps of Danny Elfman and Fred Frith (Henry Cow). I can hear some of Rock In Opposition sounds that looks as whether it was recorded in the mid-70s he nailed. On both tracks, player and Brilliant, is channeled improvisations and Fred Roger Trigaux (Univers Zero, Present) with Zappa touch to it. And it does not show everything, it is really showing its chops and it is freezing, which can be disturbing and sinister. Techniques and galloping percussion crescendo of David and Sam Hobizal bass goes into some amazing fretwork that has both a flavor and Jannick Top Jaco to it, shows the teamwork. gggggg has this wah psychedelic groove underwater funky with a quirky turn and zany while ASDF has a quiet movement with a bluesy section alarmingly brass before seguing in the deafening unexpected signatures a Hendrix-sk style that resembles Axis: Bold as Love -era on Flirt. experimental, electronic, classical and meet in full circle withNews. The strange synths, string section, and nightmarish just doing guitar licks my hair arms up where Stopchinski arranged for them Eric wants to see where the string head. Peter knows precisely where sounds with room-sk beauty to it and deafening intensity is believed. This is my fourth time listening to What I should have done better. And Eric Roach has really come into a circle that is now full. And I really had a blast enjoying this album with virtuosity, Crimson-sk, and the unexpected momentum that triggered this year and his new album, Songs approximately Russia I’ll delve into later . But his first album, is a intellect-blowing experience that has made me want to play more of the music of Eric. Irresistible, Complex, Experimental and Avant-Garde, early Ziroque Bois d’Arc is an adventurous and energetic.
LOLA has also commissioned a new opera from Peter Stopschinski and Kirk Lynn set to premier in Fall 2017!!!!!!!!!!!!!
So very pleased to get a second chance to perform Massacre of Spring (my percussion trio and piano arrangement and reconstruction of Stravinsky’s Rite of Spring) at NMASS festival this year. Thank you to Henna Chou and Melissa Seely. The band is incredible featuring Thomas Burritt – marimba, Chuck Fischer – drum kit, Cullen Faulk – vibes, glock, bass drum and Peter Stopschinski – piano. I have very few of my Vacation With Stravinsky graphic novels left which will be for sale at the show. I was reminded when I began revisiting this piece that I only arranged the first part of the Rite. Someday I need to do that second part. It starts with the Tatooine music from starwars.
8:00pm Thursday 6/23/2016
The Beachcomber Boys: A Reading by Playwright Myra Slotnick and Composer Peter Stopschinski
WHENFriday, April 22, 7pm
PRICEFree and open to the public
“The Beachcomber Boys” is a fictional tale of the historic true-life fraternity of painters and poets and novelists and playwrights who, since 1916, have gathered each and every Saturday night for an evening of rollicking good fun and certain debauchery, in a not-so-disclosed decrepit location, on a spit of sand jutting out to the sea, known as Provincetown, Massachusetts. The story, set in 1953, amidst the Hollywood Blacklist, touches upon the intersection of art, literature, fame and family, and the disappointment of failure, in work and love. Driven by this, seeming, male dominance, it is also propelled by the powerful force of the women who orbit and confound their lives; words are tossed and hearts are wrecked and the foghorn blows and the wind whips and the bells chime! And art is made. “The Beachcomber Boys” is an age-old fishing village “love storm” and, as such, has an emotional rip-tide, where some swim safe to shore…and others are pulled out to sea.
So stoked to be asked to compose music for this, the graduating play of graduate playwright Joanna Garner and Directed by the fantastic Alexandra Bassiakou Shaw. I had the pleasure of working with Joanna on her play 100 Heartbreaks which was a honky tonk musical. This is so different. Set mostly in Iran in the 1970’s this play explores social differences, love, and geographical displacement. I had a blast making the music and used the lovely voice of Erin Ivey on much of the soundtrack. The play runs April 15-April 23, 2016 in the Oscar G. Brockett theater. Check it out!
UPDATE: Our production got nominated for several Austin Critic’s Table awards (including Best Musical Director) and ended up in a tie for first place in Best Musical Production. Sweet!
Running through April 17, 2016
Tis the season of musicals for me right now. Among all the others I am also music directing and playing piano in the 1960’s Broadway underdog hit, She Loves Me book by Joe Masteroff, lyrics by Sheldon Harnick, music by Jerry Bock (Fiddler on the Roof) There is a lot of great things about this musical including a crazy-ass plot twist at the end of act one and some really well scored music. I had to create a 6 piece orchestra reduction from the original 12 piece version which was a ton of work but well worth it. The students are really excellent and we have 3 equity actors acting alongside the students in this production. Our fearless director is Nick Mayo and he has a super clear and passionate vision of this production. He has big Broadway cred and also starred in She Loves Me in high school at the age of 16 so has lots of great insight into the piece.
Click HERE to read an Austin American Statesman interview with Director Nick Mayo about the show
Running through May 15, 2016
They lead the kids all over the lovely grounds of Zach Scott (down near Town Lake) and the kids watch little performances and sing songs and dance. There is sweet video design by Stephanie Busing and awesome actors including children and adults. See Humpty Dumpty sitting on a wall and a great huge Caterpillar and Tweedle Dee and… you get the picture. Its totally cool and I wrote the music including a surf-punk tantrum song that Alice sings in the beginning that makes me so happy every single time.
I super loved collaborating with Katie Bender and Gabrielle Reisman from Underbelly and Nat Miller from Zach Scott’s Children’s Theater department. My first time at Zach Scott and this thing is really crazy and fun and aparently the kids are going crazy for it.
Erin Ivey has the most lovely voice both physically (expressed with her clear bell like sound) and her spiritual voice (expressed through her lyrics and vocal expression). I have heard her name around town but never had the pleasure of hearing her. Now, through Chuck Pinnell (film score composer and guitarist extraordinaire), I am proud to say i’m currently playing piano for her and we just had an really fantastic gig at the one of Austin’s loveliest venues. It also happened to be our first gig as a band!
Our band is amazing and we have a very cinematic sound. Every musician is killer and a pleasure to play with. Steve Schwelling – Drums, Chris Afflerbough – Upright Bass, Chuck Pinnell – Guitars, Peter Stopschinski – Piano, and of course Erin Ivey – Guitar/Mandolin
Music writer Jim Caluguri posted on social media right after the gig: They were subtlely fabulous and the 1st great local show of the year! Album coming soon…
Oh man, can I tell you how excited I am to get a new opera commission? Holy cow!!! LOLA Austin, a local opera company, has commissioned Kirk Lynn and I to compose a new opera for their 2017 season and I couldn’t be more excited.
Kirk and I are looking at the short fiction of O. Henry as a starting point. Things are just getting started and the possibilities are infinite!!!
Ritual of the Abduction from the Album and Artbook Vacation With Stravinsky or The Massacre of Spring. Tom Burritt – Marimba. Chuck Fischer – Drums, Vibes, Glock. Peter Stopschinski – Piano. Peter Stopschinski and Eric Roach – Recording.
Ok, let me just say The Calico Buffalo with music and lyrics by Peter Stopschinski and book and lyrics by E.J. Stapleton is the little musical that COULD!! Not only were we held over in our Off-Broadway production at the Pearl Theater but we were voted #1 Best In Fest of the New York Musicals Festival. It is impossible but out little sincere, big-hearted, family show with a message of love was the audiences favorite. The band was amazing led by the masterful Jesse Warkentin and the cast just brought the energy and the drama each night. Congrats to us and our entire cast, crew, and creative team!!!!
WHAT FOLLOWS IS THE OLDER PART OF THE POST:
SPECIAL NOTICE*****Calico Buffalo is being held over for an extra performance due to popular demand. Saturday July 18, 2015 at Noon at the Pearl Theater 410 W. 42nd Street Between 10th and 11th Avenue. One more chance to see the fantastic show!******
The new musical by E. J. Stapleton and Peter Stopschinski is finally getting it due!
5 Performances 42nd and Ninth Avenue in The Pearl Theater at Studio Row!
- Wednesday, July 8, 2015 at 8:00 pm
- Friday, July 10, 2015 at 9:00 pm
- Saturday, July 11, 2015 at 1:00 pm
- Sunday, July 12, 2015 at 4:00 pm
- Thursday, July 16, 2015 at 5:00 pm
It’s all part of the 2015 New York New Musical Theater Festival:
Here is the promo video made by NYMF:
Newest video from my Vacation With Stravinsky or The Massacre Of Spring album and picture book. Movement 4: Spring Rounds. Classic:) Tom Burritt – Marimba. Chuck Fischer – Drums and Vibes. Phillip White – Drums. Peter Stopschinski – Piano. Eric Roach and Peter Stopschinski – Recording.
More from my picture book and album Massacre of Spring or Vacation With Stravinsky. The incredibly insistent Augurs of Spring. Tom Burritt – Marimba. Chuck Fischer – Drums, Vibes, Glock. Peter Stopschinski – Piano. Peter Stopschinski and Eric Roach – Recording.
The Wank Tribe “Nose Cam”
Saturday November 15 @ 7:30PM
North Door 502 Brushy in Downtown Austin
Golden Hornet Project presents the official CD and Book release of my adaptation of Stravinsky’s The Rite of Spring and my book of drawings and anecdotes from Stravinsky’s and my imaginary vacation.
My new harp concerto “Rough Night w/Happy Ending” was premiered at the American Harp Society Conference last night. Peter Bay conducted members of the Louisiana Philharmonic and fabulous soloist Elaine Barber in a killer performance to close out the festival. Good time and good musicians!
Every year the arts critics in Austin come together and give awards for outstanding arts events and performances. This is called the Austin Critic’s Table Awards. This year I was a part of several arts events that received awards:
I am lucky to be a company member and composer for the internationally acclaimed theater company Rude Mechs who were inducted into the Austin Arts Hall Of Fame this year.
I love my friend, playwright Kirk Lynn, who wrote an amazing adaptation of Shakespeare’s King John which was directed by Madge Darlington. It was an all-star cast and crew and that play received two awards:
Jason Liebrecht, The Lieutenant of Inishmore/Fixing King John
Best Ensemble Performance:
Fixing King John, Rude Mechanicals
I played piano in a touring show by Daniel Alexander Jones and Bobby Halverson which won
Best Touring Show:
Jomama Jones: Radiate!, Salvage Vanguard Theater
My 501c3 with Graham Reynolds, Golden Hornet Project, had our biggest show ever for the opening festivities of Fusebox this year. We commissioned 8 composers to complete Mozart’s Requiem mass and collaborated with Texas Choral Consort , Convergence Ensemble, KMFA Classical Radio Austin, and Texas Performing Arts to present Mozart’s Requiem Undead which won much acclaim:
Best Choral Performance
Mozart Requiem Undead, Texas Choral Consort/Convergence/Golden Hornet Project
Cameron Beauchamp, Mozart Requiem Undead
BROWN WHöRNET is playing in Houston, New Orleans and Austin May 23-30th 2014. We’re playing two shows with the fantastic and unique double-guitar-blade-weilding-poetic-avant-swamp rockers CHURCHWOOD and once with Flying Balalaika Brothers and OMGWTFBBQ. We don’t play all that often but when we do we freakin’ tear shit up! Here is a nice little featurette:
Bizarre, frenetic, sometimes offensive, and always amazing, experimental rock collective Brown Whörnet has survived as long as it has on sheer grit and immense talent. The Austin eightpiece rocks out hardcore as effectively as they dismantle jazz, funk, klezmer, or anything else they get their eight sets of grubby hands on. The thinking man’s freakout session, their music leans as hard on Sun Ra as it does on Beefheart, as much Zappa as Minutemen. Chaos has ruled since their first show in 1993, and though the lineup has undergone changes over the course of the band’s decade-plus history, the sense of anything-goes and God-what’s-next has never left them. Currently composed of players with the monikers of Stin-G, RUNPMS, XSP, JimE, and Gaseous C, membership has evolved and revolved, including the likes of Juicy, AUNT J, MC Squeak, Chef Poonstick, Wolff, J, Oscar, and McKinney. Somewhere in there is Peter Stopschinski, composer, keyboardist, and a driving force behind this band and frequent collaborator with Golden Arm Trio’s Graham Reynolds. – Christopher Hess
Over 200 performers will come together Wednesday April 16, 2014 to present this new vision of Mozart’s Requiem Mass. This classic was left unfinished at Mozart’s death and now Golden Hornet Project has commission 10 unique composers to each complete a movement. Conducted by Brent Baldwin and performed by Texas Choral Consort, members of Convergence Vocal Ensemble, full orchestra, 4 percussionists, rock band, and electronics.
Composers: Graham Reynolds, Todd Reynolds, Glenn Kotche, Kate Moore, Justin Sherburn, DJ Spooky, Adrian Quesada, Caroline Shaw, Petra Hayden, and Peter Stopschinski.
AND ITS FREE OF CHARGE!!!!
come see what we’ve been working on for almost 4 years now. MOZART’s REQUIEM UNDEAD!!!!!!!!!!!!!!!!!!!!!!!!
Tomorrow (Wednesday) @ 6:30pm GOLDEN HORNET PROJECT will present our most ambitious project ever and its FREE!!!! Please come and check out this very cool concert. Mozart’s Requiem Mass re-composed by 10 composers: Graham Reynolds, Todd Reynolds, Glenn Kotche, Kate Moore, Justin Sherburn, DJ Spooky, Adrian Quesada, Caroline Shaw, Petra Hayden, and Peter Stopschinski. Conducted by Brent Baldwin and performed by Texas Choral Consort, members of Convergence Vocal Ensemble, orchestra, 4 percussionists, rock band, and electronics (nearly 200 performers!). Thank you to our co-presenters, Texas Choral Consort, Texas Performing Arts, Fusebox Festival and another heartfelt thank you to our generous friends and supporters. We’ve been working on this show for almost 4 years and it’s finally here!!!!
GOLDEN HORNET PROJECT PRESENTS:
MOZART’s REQUIEM UNDEAD
Wednesday April 16, 2014
French Legation Museum – 802 San Marcos Street Austin, TX 78702
For the comfort and ease of your arrival and experience, we want to share the following guidelines and information.
Gates Open: 5.30pm
Show starts at 6:30pm
NO RESERVATION REQUIRED
For safety and legal reasons, the following items are not permitted onto the grounds:
Chairs (including folding)
Animals (with the exception of service animals)
Coolers / Ice Chests
You are welcome to bring:
Water (in canteens)
A small blanket, mat or cushion to sit on
Food contained in over the shoulder bags/backpack
Street Parking is available surrounding the French Legation Museum on 7th, 6th and 5th Streets. Most street parking is available before 11pm without a permit. Please check street signs.
Paid Lots are available under the I-35 overpass at 7th Street. The lots are free before 7pm and $7 after. You may want to prepay if you are parking before 7pm, so you don’t have to leave the grounds during the concert.
Bicycle racks will be available outside the walls of the grounds on San Marcos Street.
Drop Off Zone – If you catch a cab or have someone drop you off at the grounds, they will be able to do so immediately opposite the Main Gate at 802 San Marcos Street.
Please use the parking lot located at the intersection of East 9th Street and Embassy Drive for wheelchair access to the brick paths. The grounds are wheelchair accessible and all walkways are hard surfaced. There will be accessible seating at the event. If you need assistance, volunteers are available to direct you.
FOOD & BEVERAGES
There will be food vendors on site including Kerlin BBQ and Crepe Crazy (savory, sweet and vegetarian crepe options). There will also be a full cash bar and an ATM.
I wrote the music for this fun and crazy game about dental hygiene!
WHO: Invincible Czars, Golden Hornet Project
WHAT: “The Invincible Czars Play Graham Reynolds and Peter Stopschinski” (GHP fundraiser & Invincible Czars EP release)
WHERE: Spiderhouse Ballroom 2908 Fruth St. Austin TX 78705 (Chapel Stage)
TICKETS: sliding scale $10-25 (all ticket sales go to GHP)
AGE RESTRICTIONS: all-ages
THE INVINCIBLE CZARS TO PERFORM AND RELEASE THEIR INTERPRETATIONS OF WORKS BY TWO OF AUSTIN’S FAVORITE COMPOSERS, GRAHAM REYNOLDS AND PETER STOPSCHINSKI, AT A FUNDRAISER FOR THE GOLDEN HORNET PROJECT.
AUSTIN, TX – among their many projects and incarnations, Austin’sInvincible Czars have become known for Czarifying/Austinizing their favorite works by composers such as Tchaikovsky, Ravel, Mussorgsky and others. Now Austin’s emperors of eclecticism have set their sights on two of the city’s own composers –Graham Reynolds and Peter Stopschinski.
Reynolds and Stopschinski are arguably the most popular a composers in Austin. Both have ever growing catalogs of material ranging in scope from rock songs to dance/theater works. Their list of collaborators includes virtually every cutting-edge arts organization in Austin and several outside the state and the curate SxSW “Non-Classical” showcase each year bringing in names like Gabriel Prokofiev.
This show will be a fundraiser for theGolden Hornet Project, a 501 (c) 3 non-profit created by Reynolds and Stopschinski in 2001. Currently, the organization has received a matching grant of $20,000 from the Knaster Family Trust, which means every dollar donated will essentially be doubled. This matching grant will help to fund several current and future projects including GHP’s biggest effort yet; “MOZART: REQUIEM UNDEAD” which will be the kick-off event to the 2014 Fusebox Festival and features commissions from composers such as Glenn Kotche (Wilco), Caroline Shaw (Pulitzer Prize winner), DJ Spooky and many others…not to mention a 25 piece band and 200 person chorus!
The Invincible Czars collaborated with guest drummer Chuck Fischer(Mistress Stephanie, HCMS Band, The Robertsons, Foot Patrol, GHP) to record two pieces by each composer and will release a 4 ½ -song EP entitled The Invincible Czars Play Reynolds and Stopschinski Vol. 1at the show. The recording features founder/guitarist Josh Robinsdoubling on bass guitar and is the band’s most driving, rocking effort in years bringing more of their punk and metal influences like The Jesus Lizard and The Melvins back to the forefront. Winds mistress Leila Henley and violin-guy Phil Davidsonmake Reynolds and Stopschinski’s melodies sparkle like diamonds on top of Fischer/Robins’ bedrock.
As an added bonus, Mother Falconbassist Dusty Rhodes will join The Invincible Czars for this live performance.
Unbelievable that these sports heroes from the past and present will come together to support Kirk Lynn and my new opera about Bum Phillips on March 20, 2014 in New York City at La Mama experimental theater. Here is a link to more information:
It’s been almost 4 years since we came up with the idea. And now it’s all set to happen April 16, 2014. With our amazing partners Texas Choral Consort, Fusebox Festival, and Texas Performing Arts, we are pleased to present our biggest show. And it’s free of charge!
Golden Hornet Project has commissioned 10 unique composers to finish Mozart’s final incomplete masterpiece: The Requiem mass in D minor. We are proud to present adaptations by Glenn Kotche, Caroline Shaw, DJ spooky, Petra Haden, Kate Moore, Adrian Quesada, Justin Sherburn, Todd Reynolds, and of course Graham Reynolds and myself. For more information click the link below:
We are rehearsing at La Mama almost every day now preparing for our big opening on March 13. We have a preview show on March 12 which happens to be my birthday. I can’t think of a better birthday present thab to premier this amazing opera by Kirk Lynn and myself! Everybody on the team is amazing. Luke Leonard has really outdone himself and bringing us altogether. Charlotte Griffin is coming up with some unique choreography which looks really cool. The cast and the rest of the production team are all doing a fantastic job. It’s my pleasure to be part of this top notch production!
PETER STOPSCHINSKI and MOTHER FALCON each perform sets and then join forces to present PETER STOPSCHINSKI’s RE-WRITE OF THE RITE OF SPRING. I will have a limited number of advance copies of my new Rite of Spring Re-write CD available for sale.
I spent my spring break coming up with solo piano adaptations of each movement of the first part of Igor Stravinsky’s Rite of Spring. Eric Roach helped me record all of these and I intended to make a small run of CD’s of this solo piano adaptation of the Rite of Spring.
In the summer I had the opportunity to arrange the first 25 minutes for percussion ensemble featuring Chuck Fischer, Tom Burritt, Owen Weaver and Graham Reynolds at a percussion ensemble concert presented by Golden Hornet Project.
In the meantime friends of mine, Van and Kelli Hoisington, offered to help fund a CD of that percussion version so I ended up arranging the entire first part for percussion ensemble and producing a CD of that version.
The band MOTHER FALCON then commissioned me, through their manager John Reide, to arrange 25minutes of my Rite of Spring Re-write for their huge band which has violins, cellos, bass, drums, accordion, bassoon, multiple saxes and trumpets and guitars and I’m playing piano. Its going to be massive and I’ll have my new Rite of Spring Re-write CD’s on sale. Yes!
Central Texas’ Alt(ernative)-Cunt(ry) sensation, CHABLIS, has released two new 45’s and we will play a lovely little holiday show with the Ron Titter Band, Blitzen and Churchwood at the Carousel Lounge Saturday, December 17th at 10pm. FREE SHOW!!!
Golden Hornet Project’s big summer event. We just tied the Miro String Quartet for BEST CHAMBER MUSIC PERFORMANCE in Austin’s Critic’s Table Awards with our STRING QUARTET SMACKDOWN concert with the Tosca String Quartet and now we are moving on to the heavy hitting drums. This is our 8th or 9th all-percussion show and more and more people come out each time. Last year it was packed and everyone was getting into the percussive madness. This year it is at the Off Shoot.
My good friend and great pianist, Willis G. Miller, and I will bring his Kinda Blue/Goldberg Variations Original Piano Sample Pak and play Well Tempered Klavier, Rite of Spring, and improvise in EXTREME different tunings.
Last week I went to hang out with my friend Willis G. Miller at his place in Hyde Park where I got a demonstration of his newly purchased sample pak or the piano that Bill Evans played on Kinda Blue which also happens to be the piano that Glenn Gould played on his 50’s Goldberg Variations recording. I’m sure many amazing pianists played it over the years. He was playing Bach’s Well Tempered Klavier and had created some settings for different tunings that Bach may have used. We went on to create random tuning schemes that became more and more extreme, some notes tuned as much as an octave from its original pitch. We’d take turns creating a new tuning then we’d improvise in C major and it would sound completely amazing. You’d play the note C on the keyboard but hear an F quarter sharp an octave and a fourth above that C. D would be F# and E would be middle C etc. Sometimes we’d get tunings where C would become D but D would stay D and E would also sound like D so the C major scale would sound D-D-D-F-G-A-B. You get the picture.