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Work Samples

Godly Chaos - Trailer

Short trailer of Godly Chaos, a fully realized performance production conceived and created by Adam Rosenblatt, and performed by QuaQuaQua. Premiered in April 2017 at the Baltimore Theatre Project, with subsequent performances as part of the 6th Annual Charm City Fringe Festival. Made possible thanks in part to a Rubys Artist Project Grant from GBCA. Full performance video can be found here: https://youtu.be/HFNMYTEGvpM

Situation 4: Vice Versa – François Sarhan

One of François Sarhan's theatrical "Situations," short works for one to three performers. As part of QuaQuaQua and individually, I have worked extensively with Sarhan in the US and Europe developing theatrical works like this that fall somewhere in between the disciplines of music and theater.

Situation 15: Freiheit und Macht – François Sarhan

One of François Sarhan's theatrical "Situations," short works for one to three performers. As part of QuaQuaQua and individually, I have worked extensively with Sarhan in the US and Europe developing theatrical works like this that fall somewhere in between the disciplines of music and theater.

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About Adam

Baltimore City

Baltimore-based percussionist and performer Adam Rosenblatt has a penchant for finding interesting and uncommon ways to present and perform contemporary music. He has a keen interest for growing an interdisciplinary performance practice, believing that a mix of media and art forms can speak more directly and powerfully to our current modern context. Adam frequently performs with the Ictus Ensemble in Brussels, Belgium, and is a founding member of QuaQuaQua, a new percussion trio which focuses on the... more

Godly Chaos

Godly Chaos is my first full length performance production. It is essentially a theatrical concert. I chose pieces of contemporary music that spoke either directly or indirectly to ideas of free will and determinism, and then I added staging, lighting design, projections, and other theatrical elements. The result is that each piece of music is a bit like a scene in a play, with the play having an overall theme or aesthetic idea instead of a narrative story line.

Godly Chaos premiered at the Baltimore Theatre Project in April of 2017, performed by QuaQuaQua and Jonny Allen. I then created a shorter solo version of the program which I performed as part of the 6th Charm City Fringe Festival in November 2017.

  • Godly Chaos - Between Fate and Freedom

    Live recording of a complete concert program conceived, directed, and designed by Adam Rosenblatt. All of the pieces in the program spoke to determinism or free will in some way, and occasionally the pieces were modified to increase this connection. Some of the works involve cutting-edge use of motion sensing and motion capture technologies to trigger live audio and video.

GHOST NOTES

GHOST NOTES was an interactive performance program for young audiences developed by the Ictus Ensemble in Brussels, Belgium in 2016. I was one of four performers in the program, and worked collaboratively with the artistic director of Ictus to develop the program. We toured GHOST NOTES to Brussels, Bruges, and Lille.

The program comprised different pieces of contemporary music, all with added choreography or gesture in some way.
I performed "Laplace Tiger" by Alexander Schubert. This piece was a solo for drumset, motion sensors, and electronics. I extended the piece to include an interactive game at the beginning and interactions with the audience throughout the piece.

More information at: https://www.ictus.be/ghost

  • Laplace Tiger - Alexander Schubert

    As part of a GHOST NOTES performance in Brussels, Belgium for schools. The motion sensors in the piece are made from modified Nintendo Wii controllers.

Sound and Body

Sound and Body was an interactive performance program for young audiences developed by the Ictus Ensemble in Brussels, Belgium for the 2013-14 concert season. I was one of six performers in the program, and worked collaboratively with the artistic director of Ictus to develop the program. We performed Sound and Body more than a dozen times mostly at various "Big Bang Festivals" around Europe, including performances in Brussels, Athens, Gent, and Lille.

The program comprised pieces of contemporary music which were all theatrical or used non-traditional instruments in some way. The works were:
"Home Work" by François Sarhan - A theatrical body percussion solo involving an interactive call and response game at the beginning
"Musique De Tables" by Thierry De Mey - A piece for three pairs of hands on amplified table tops
"i funerali dell'anarchico serantini" by Francesco Filidei - A piece for six performers seated at a long table
"Music for Pieces of Wood" by Steve Reich - A piece for five performers on 5 pairs of claves

More information at: https://www.ictus.be/project/sound-body

  • Home Work Athens.jpg

    From "Home Work" by François Sarhan. This opening piece on the Sound and Body program is a theatrical body percussion solo. For the program, I added an interactive call and response game at the beginning using the gestures and sounds of the piece.
  • Table Music Big Bang Athens.jpg

    Sound and Body also included "Musique de Tables" by Thierry De Mey, a piece for three pairs of hands playing on an amplified table.
  • Filidei Big Bang Athens.jpg

    The largest piece on the Sound and Body program was Francesco Filidei's very theatrical "I Funerali dell'anarchico Serantini." We developed an interactive game before this piece as well, introducing the different gestures and actions to the audience. When we performed the piece, the music was projected and scrolled above us as we played so the audience could feel invited to play along.
  • I Funerali Dell'Anarchico Serantini – Francesco Filidei

    One of the pieces in the Sound and Body program. Not visible in the video is a projection above the performers which has a graphic representation of the score scrolling along as the performers play the piece. Before the piece, there is an interactive game with the audience where the gestures and sounds of the piece are taught to the audience. They can then follow along with the performers and play the piece with them.

Ballet Mekanique

Ballet Mekanique was an interactive performance program for young audiences developed by the Ictus Ensemble in Brussels, Belgium for the 2014-15 concert season. I was one of six performers in the program, and worked collaboratively with the artistic director of Ictus to develop the program. We performed Ballet Mekanique more than a dozen times mostly at various "Big Bang Festivals" around Europe, including performances in Brussels, Lisbon, Antwerp, Gent, and Lille.

The program comprised pieces of contemporary music, including:
"No Music for EARchestra" by David Helbich - An interactive performance where the audience is guided by a leader to manipulate sounds coming into their ears using only their hands in different ways.

"Aphasia" by Mark Applebaum - A solo piece for hand gestures synchronized to a tape track. For Ballet Mekanique, this became a duo with me and a dancer. We kept the original hand gestures, but collaboratively developed another layer of choreography to the piece.

"I Funerali dell'anarchico Acciarito" by Mauro Lanza - A piece for six performers using a host of noise makers and experimental instruments developed in the 1920s.

"Letter Piece No. 1" by Matthew Shlomowitz - For this piece, the composer gives the structure, but the performers must choose the content that goes in that structure. For one half of the content, we used some of the gestures from "Aphasia" and for the other half, nonsense words taken from "Sonate in Urlauten" by Kurt Schwitters. This content was first taught to the audience by the performers, then everyone performed the piece together using a scrolling score that was projected.

More information at: https://www.ictus.be/mecanik
TV spot on one of the performances in Brussels (in Dutch): https://www.ketnet.be/karrewiet/24-oktober-2014-ballet-mekanique

  • Ballet Mekanique 3.jpeg

    From "Aphasia" by Mark Applebaum. The dancer and I would trade off performing the original hand gestures and the new layer of choreography we had developed. This made the piece seem like one person was always manipulating the other like a puppet through some kind of invisible machine.
  • Ballet Mekanique 4.jpeg

    "I Funerali dell'anarchico Acciarito" by Mauro Lanza. Among other noise makers like whistles, bird calls, and even whoopie cushions, this piece also called for the large "intonaromori" instruments. These were instruments invented in the 1920s by Italian futurist composers, and recently recreated from the original plans by an Italian instrument maker.
  • Ballet Mekanique

    Full performance of Ballet Mekanique in Antwerp, Belgium

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