"After a decade of wringing inspiration from observation, it is with great pleasure and some relief that I've returned (for awhile) to making pieces that address essentially formal procedures. This performance uses techniques of analog electronic synthesis to structure, phrase and pace the music, as well as to generate the actual sound material.
Revisited here is my crackpot theory - that art after Euclid has been in a constant state of decline. What can I imagine to be more perfect than the representation of circle, square and triangle? So while I try to reflect on the musical analogies, I strive to displace and subvert the inherent symmetry of that visualized ideal; music balanced by instability."
Thomas Buckner and Tom Hamilton have performed together in a myriad of circumstances since the early 1990s. Their past recordings include Act of Finding and Off-Hour Wait State. They also produce the Cooler in the Shade/Warmer by the Stove series of improvised music and intermedia at Lotus Music and Dance in New York.
Active in Swedish and international experimental music, literature and art since the beginning of the 1960's, Hanson has cultivated both instrumental, vocal and electro-acoustic music for performance on radio and television, for outdoor occasions and from the concert platform. His music has been performed in all the major international festivals for new music.
Hauser is a drummer and composer from Basel, Switzerland. He has developed his sound language in varied ways. From solo concerts, in diverse ensembles, through multi-media projects (theater dance film radio) and many recordings, he has contributed to the development of the drumset from a mere timekeeper to an instrument in its own right. "Hauser's work is uniquely impressive. The massive CD Solodrumming is an exhausting experience but affords the best available representation of his technical range. Those unfamiliar with his work might do better to start with Die Trommel and its remarkable percussion-choir partner, Die Welle.... The latter features tympani, cymbals and tam-tam in an extraordinary exploration of resonance that equals the best percussion pieces by "serious" composers like Xenakis. Almost needless to repeat, Hauser comes highly recommended, and shouldn't on any account be missed." Richard Cook & Brian Morton, Penguin Book Guide to Jazz on CD, LP & Cassette
New Circle Five
Monique Buzzarté, trombone Rosi Hertlein, violin and voice Susie Ibarra, percussion Pauline Oliveros, accordion Kristin Norderval, soprano Spanning three generations, New Circle Five is an acoustic improvising contemporary music ensemble. Diverse musical backgrounds result in unique twists as the five explore the one-time only sonic environment of collective creative improvisations. The New Circle Five grew from an invitation Susie extended to Pauline to join her for a duo concert; the duo concept quickly grew to a quintet and the resulting New Circle Five gave its premiere performance at the Tonic in New York City on April 3, 1999. Guests of New Circle Five have included Barbara Barg, spoken word, Abbie Conant, trombone, IONE, spoken word, Jackie Pickett, bass, and Leaf Miller, percussion.
Born at Cambridge, England, March 15, 1938, Higgins composes art, music, poetry, essays, etc. "Higgins is one of the best and most original interpreters of language writing today..." American Library Association Booklist, 5/15/77. "Dick Higgins could reasonably be called a Renaissance Man..." Alexandra Anderson, Village Voice, 3/12/79.
Born in Germany in 1956, Dietmar Hippler has impressive credentials as a composer and performer. He has written solo pieces, chamber music and orchestral music. Performing predominantly on trumpet and piano, he has appeared with the likes of improvisors Joelle Leandre and Tristan Honsinger, and collaborated with dancers, painters, mimes, writers and other performance artists active in Europe. Since its inception in 1991, his group, the Dietmar Hippler Ensemble, has recorded several albums, participated in major European festivals and broadcast productions. Information about his work and availability of scores/parts may be obtained by writing Deep Listening Publicatios.
Sarah Hopkins is a freelance Australian composer-performer with a background in classical and contemporary cello performance. She has been composing since 1976 in an expansive, pure musical style that resonates with the space and energy of the Australian landscape. Sarah composes solo ensemble and choral music of a holistic nature that draws upon the natural beauty of the cello, voice and whirly instruments (plastic tubes which play harmonics when spiraled overhead).
Earl Howard has been performing his compositions in the United States and Europe for the past thirty years. His recent compositions include music for live electronics, electronic tape music as well as music for electronics and instruments. Earl Howard's method of creating orchestrated sounds with electronics and adding live, improvisational performance creates a unique, densely layered composition that has been performed to enthusiastic audiences at Merkin Hall, the Whitney Museum, The Kitchen, Roulette, and Carnegie Recital Hall. His works have been performed and recorded by a number of musicians including Anthony Davis' recording of Particle W, for piano and tape and Gerry Hemingway's recording of D.R. for solo percussion. The recording, Pele's Tears on Random Acoustic represents ten years of his electronic music and he recorded Fire Song with hyperpianist, Denman Maroney for Erstwhile. In 1985 Ursula Oppens and Anthony Davis commissioned Mr. Howard to compose Monopole for two pianos and tape. The Parabola Arts Foundation commissioned Quarks for tape and the Episteme Ensemble.
Mr. Howard is also a virtuoso saxophonist and has developed an extended repertoire for the instrument including Cinco Centavos for solo saxophone and Naked Charm for saxophone and tape which was performed at the New Music America festival in Hartford, Connecticut. He has received Composer fellowships from the National Endowment for the Arts and the New York Foundation on the Arts. He has produced numerous soundtracks for some of the leading film and video artists including Nam June Paik, Mary Lucier, Rii Kanzaki, Bob Harris, and Bill Brand.
Jerry Hunt was born in Waco, Texas, in 1943, and died in Canton, Texas, in 1993. He attended the University of North Texas and worked as a pianist through 1969, performing in concerts of contemporary music. He described the focus of his work after 1978 as "the production of a series of interrelated electronic, mechanic and social sound-sight interactive transactional system performances, work with and for other performers, and ineractive participant array installations." "Blue" Gene Tyranny calls Hunt "one of the most original composers of our time.[who].made a concert into an occasion that re-creates music's role in divination of all countries and ages." Stephen Hicken refers to Hunt's "sound-worlds" as being "complex and immediately compelling." After listening to Hunt's Cantegral Segment 18 (1976), Paul Demarinis writes of feeling "transport[ed] to an imaginary geographical place where speaking winds blow across a landscape marked with symbols."
Brenda Hutchinson is a composer and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. Hutchinson encourages participants to experiment with sound, share stories, and make music. Brenda also improvises on a 9 1/2 foot tube with a gestural interface she designed. She has been an artist in residence at San Quentin Prison, Headlands Center for the Arts, Harvestworks, Exploratorium, Ucross and Djerassi. She is the recipient of the Gracie Allen Award from American Women in Radio and Television and has received support from the NEA, Lila Wallace, McKnight Foundation, and NYSCA and Meet the Composer among others. Recordings of her work are available through TELLUS, Deep Listening, O.O. DISCS, Frog Peak Music and Leonardo Music Magazine. Brenda will drive cross-country for any reason.