Playground Ensemble

Resist. Rebel. Rewrite. Stonewall’s 50th Anniversary

June 13 at ‘Invisible City’. 7:30pm
You will receive the address for the Invisible City show upon your ticket purchase. Tickets are available through Brown Paper Tickets here.

Celebrate Pride at the Playground Ensemble’s second annual Pride concert, at Invisible City, a stunning venue in the West Colfax neighborhood. The concert is on Thursday, June 13, 2019.  Doors open at 6:30 pm, the concert begins at 7:30 pm. The address will be provided when tickets are purchased.

The evening features four new works that examine queer history from personal perspectives, as well as visual art by Denver-based artist Adri Norris, of Afrotriangle Designs.  A reception with wine, beer, and non-alcoholic beverages, follows the performance.

Turkish composer and performer Egemen Kesikli strives to promote diversity in contemporary music, and his composition catalogue varies from large-orchestral pieces and concertos to alternative chamber works featuring traditional Turkish instruments and unconventional ensemble formations. Egemen’s music has been heard at festivals and venues across North America, Asia, Europe, and Australia, and has been featured on NPR and PBS, as well as on various public radios in Turkey and Austria. He received honors and recognition from ASCAP, Beethoven Club, and Minnesota Music Educators Association, among others.

Egemen currently holds the position of Instructor of Music Theory at Colorado State University. He has received his Doctorate of Musical Arts degree from the University of Colorado Boulder, Master’s from the University of Texas at Austin, and Bachelor’s from St. Olaf College. When he is not composing, performing, or teaching, Egemen enjoys cooking, improvising on his oud that was made by his beloved father, and watching cat videos with his partner.

Egemen’s piece The [Black]Outs is formally, visually, and behaviorally set to Steffan Triplett’s striking poem of the same name.

Madelyn Byrne is a Professor of Music at Palomar College, where she has been on the faculty since 2000. She is also an active composer of both acoustic and computer music. Some recent pieces include Sonata for Piano (composed for Shiau-uen Ding), The Decorah Eagle Violin Concerto (composed for Ulli Reiner and the Palomar Symphony Orchestra), In A Winter Landscape (for bass flute and computer, commissioned and recorded by Peter Sheridan for MOVE Records), Arrival (computer music with video art by Lily Glass, recorded to DVD for Everglade Records), and Northern Flight (for piano and computer, recorded by Peter Gach for Innova Records). Madelyn’s music has been presented in a variety of venues in Europe, Asia, Australia and North America. Some recent performances include The New York Composers Circle, San Diego New Music, The New York City Electroacoustic Music Festival, The Society of Composers, Inc. (National Conference), The International Computer Music Conference, The Australasian Computer Music Conference, College Music Society, and Electronic Music Midwest among others.

Madelyn completed her DMA in Composition at The Graduate Center in 1999. Her composition teachers include Charles Dodge, John Corigliano, and David Olan. The compositions for her dissertation were done while she was a guest composer at Columbia University’s Computer Music Center.

Madelyn’s Stormé celebrates the life of Stormé_DeLarverie, a long-time entertainer and activist who was present at the Stonewall uprising.

The creative output of Anthony R. Green (composer, performer, social justice) includes musical and visual creations, interpretations of original works or works in the repertoire, collaborations, educational outreach, and more. Behind all of his artistic endeavors are the ideals of equality and freedom. His music has been presented in over 20 countries by such notable soloists and ensembles as Gabriela Díaz, Wendy Richman, Ashleigh Gordon, Dame Evelyn Glennie, ALEA III, Sound Energy, The Fidelio Trio, The Playground Ensemble, Ossia New Music Ensemble, and Alarm Will Sound, to name a few. A 2018 McKnight Visiting Composer Fellow, his work has been recognized and supported by the American Composers Forum, New Music USA, the Argosy Foundation, Meet the Composer, and several residencies in the US and Europe. As a performer, he has appeared at venues across the US, as well as Cyprus, France, the Netherlands, the UK, Israel, Austria, Germany, Turkey, Switzerland, and South Korea, interpreting solo, chamber, and large ensemble works. For performances, he has worked with numerous student and emerging composers, as well as established composers such as Steve Reich, Renée C. Baker, and George Crumb. He is the associate artistic director and composer- in-residence of Boston- based Castle of our Skins, celebrating Black Artistry through Music.;

Legend has it that the Stonewall Riots started after Marsha P. Johnson threw a shot glass at a police officer, while exclaiming “I got my civil rights.” Utilizing a newly commissioned text by new renaissance artist Elizabeth A. Baker, Shot Glass (Saint Marsha – Pay It No Mind) attempts to paint a complete picture of Ms. Johnson, including her respected status, her rituals, and her bouts of mental instability. It is an honor for me to dig into the life of a beautiful person who fought and suffered for the comfort and dignity of LGBTQI+ people such as myself. This piece is definitely a posthumous thanks to this martyr, and I hope more of such works will be created and performed.

Wellington (they/them) is a sculptor of sound, artist of people, storyteller, healer, witch, activist, genderqueer shapeshifter, and lover, among other things. Avidly interdisciplinary, Wellington likes to combine music with other art mediums, be that spoken word, visual art, ritual performance, loud and fiery eye contact, otherworldly and melting trysts, or something else entirely. By May 2019, Wellington will have a BM in Music Composition and a BA in Psychology from University of Colorado – Boulder. They have studied with Daniel Kellogg, Carter Pann, John Drumheller, and Nathan Hall. Besides writing music, they enjoy writing poetry, harvesting stories, continual transformation, and unhinged-unfettered-unapologetic dance.

“when my body becomes the art” is a reflection of my process leading up to the decision to go on testosterone. It uses recordings of my voice from different months of T, reflecting on my experience of gender. The performative elements of the piece include different gender expressions, ripping up the letter from the therapist, taking off a binder, creating ritual space, and injecting myself with testosterone, ultimately showing how testosterone is an ongoing surrender to continual shapeshifting and self-love. The incorporation of my physical body in the piece demonstrates how the ritual of gender is enacted on my physicality. My body cannot be separated from the art. My body has very real implications for the way I experience the world. This is my way of survival. It is the creative way I make art out of my life.