For this residency at Prospect, Weber extends his practice into the landscape itself, treating the site not as a backdrop but as an active collaborator. Beginning in late spring and continuing through the summer into early fall, performances unfold across multiple locations on the grounds, moving fluidly through the property rather than following a fixed path—tracing relationships between wooded areas, open spaces, and the lake as the season shifts over time.

Each session takes place in a different location as the artist moves through the site, responding to the character of each environment. The work develops in real time,shaped by time spent listening and being present in each place. Rather than translatingthe landscape directly, the music is guided by its atmosphere—its sense of space, stillness, and movement.

The lake remains an important point of reference throughout the residency, with the work unfolding in relation to it. At times the performances move closer to the water’s edge; at others they settle further away, or remain somewhere in between. This shifting sense of distance becomes part of the structure of the work, shaping how each piece develops over time.

Underlying the project is an interest in how sound is experienced in space, and how attention moves within an environment. The physical arrangement of each performance is central to this: the artist performs with his back to the audience, with both performer and listeners oriented in the same direction, facing into the landscape. In this way, the performance draws from the tradition of a painter working outdoors—positioned within the scene, observing rather than presenting, and allowing the act of looking (and listening) to shape the work itself. Rather than presenting outward, the performance establishes a shared point of attention. Within this space, listeners are free to move, finding their own position as the sound and environment interact around them.

The residency culminates in a final performance in the fall that brings together material developed across these shifting locations and changing conditions. Rather than marking a fixed destination, this concluding work emerges from the accumulated relationship to the site over the course of the season. The location of this final performance remains open, determined through the process itself and where the work feels most at home.

This project approaches performance as a shared, site-responsive listening experience in which sound and landscape are experienced together, shaped by movement, attention, and presence over time.

Now, in its newest iteration, the property continues as a gathering place. It holds the memory of over a century of generations eating, dancing, and being in communion with one another and nature.

Now, in its newest iteration, the property continues as a gathering place. It holds the memory of over a century of generations eating, dancing, and being in communion with one another and nature.

Find him working on property these dates:

May 23-24
June 13 -14
June 27-28th
July 18-19th
August 15-16th
August 29-30th

Show September Date Still not yet decided.

Monte Weber (Metno) is a Hudson Valley, New York–based sound artist and multi-genre composer whose work drifts between the atmospheric and the immediate—spanning concert halls, black-box theaters, indie rock clubs, and immersive sound installations. His music is introspective, experimental, and deeply emotional, often shaped by the quiet presence of the natural world surrounding his home studio in Stephentown, NY.

Weber began his compositional studies under the mentorship of composer Marcos Balter, whose influence shaped his early musical language and led toWeber’s emergence into the contemporary new music scene. He later graduated from NYU Steinhardt, where he studied under legendary electronic artist MortonSubotnick and avant-garde vocal pioneer Joan La Barbara.

In 2016, he continued his research in computer music at IRCAM in Paris, where he developed Kontrol—a live composition instrument using tactile controllers and sensors that translate the body’s movement into sound.

Formerly an electronic music professor at Montclair State University, Weber now focuses on freelance composing, recording, and sound design, guided by an interest in texture, landscape, and narrative. His work has been commissioned and performed by members of the International Contemporary Ensemble, with performances at Lincoln Center (Mostly Mozart Festival) and National Sawdust. His music can be heard in concert venues, museums, bars, and galleries across the United States.

While his practice moves across disciplines, at its core is a commitment to intimate, immersive, and ambient sound. His compositions unfold through evolving sonic textures—tones that swirl, resonate, and transform in real time through generative processes performed on a custom modular synthesizer developed over years of study and experimentation. For Metno, composition is as much meditation as performance—an exploration off low state, presence, and emergence. Audiences are invited not only to listen, but to inhabit the unfolding process itself, sharing in a moment where sound and space converge to create a heightened acoustic environment.