Alumni Alchemy: UW Alumni Composers & Guests

Please join University of Washington Alumni composers and friends for two consecutive evenings of electroacoustic music, video and performance. The program will be different on each night, and will include works by Linda Antas and her colleague from Montana State University Jason Bolte, Tom Baker, Sarah Bassingthwaighte, Donald Craig, Ryan M. Hare, Ben McAllister, Douglas Niemela, Joshua Parmenter, and Ewa Trębacz with Josiah Boothby (French horn).

Tonight’s program:

Ryan M. Hare
Glaurung for solo horn
Josiah Boothby – horn

Ryan M. Hare
Harkening for solo bassoon
Ryan M. Hare – bassoon

Linda Antas
Meru: Tracing Earth for flute and live electronics
Linda Antas – flute

Joshua Parmenter
new work for cello and live electronics
Josh Parmenter – cello

Jason Bolte
Jason Bolte – modular synthesizer with fixed media

Ben McAllister
Mandalas for 11 electric guitars
Ambrose Nortness, Jake Savin, Cassidy Williams, John Featherstone, Jacqui Gilroy, Joshua Kohl, Matt Wainwright,
Don Craig, Brian Heaney, Bob Crow, Eric Amrine – electric guitar

Alumni Alchemy: UW Alumni Composers & Guests

Please join University of Washington Alumni composers and friends for two consecutive evenings of electroacoustic music, video and performance. The program will be different on each night, and will include works by Linda Antas and her colleague from Montana State University Jason Bolte, Tom BakerSarah Bassingthwaighte, Donald Craig, Ryan M. Hare, Ben McAllister, Douglas Niemela, Joshua Parmenter, and Ewa Trębacz with Josiah Boothby (French horn).

Tonight’s program:

Tom Baker
amplified violin and cello with electronics
Ebony Miranda – cello
Lily Shababi – violin

Sarah Bassingthwaighte
Night of the Poets
for soprano, flute and guitar
Stacey Mastrian – soprano
Sarah Bassingthwaighte – flute
Mark Hilliard Wilson – guitar
(The Ecco Chamber Ensemble)

Donald Craig
Musings of a Geometer
video and sound solo performance

Ewa Trębacz
soprano and horn duo, surround sound and video
Maria Männistö – soprano
Josiah Boothby – horn

Donald Craig and Douglas Niemela
video and sound duo performance

Sound of Late

A phone, a stapler, an old shoe: our lives are built out of innumerable layers of everyday objects and moments. In an evening of electroacoustic chamber works, Sound of Late plays the music of composer Missy Mazzoli, including her transformative Magic with Everyday Objects. Local composers respond with their own interpretations that incorporate found objects, electronics, and acoustic instruments.

Gamelan Pacifica: Lou Harrison at 100 Years: The Seattle Connection

Gamelan Pacifica honors the centenary of the great American composer Lou Harrison, widely considered one of America’s most original musical innovators. This rare chance to experience a live performance of Harrison’s works for gamelan and percussion will feature Gamelan Pacifica, Pacific Rims Percussion Quartet, and special guests Jennifer Caine Provine (violin), Heather Bentley (viola), Paul Taub (flute), Bonnie Whiting (percussion), Maria Scherer Wilson, cello.

Featured pieces: Harrison’s Concerto for Violin and Percussion Orchestra and Threnody for Carlos Chavez for viola and gamelan.

Gamelan Pacifica celebrates a long history of involvement with Harrison and his music, dating back to 1980 when the group first gave a concert of his music for gamelan during his residency at Cornish College of the Arts. More recently, their recording Scenes from Cavafy (2010) includes premiere recordings of major works by Harrison, including Concerto for Piano and Javanese Gamelan and A Soedjatmoko Set. Their most recent recording, Nourishment (2015), includes Harrison’s Double Concerto for Violin, Cello and Gamelan.

Image: Lou Harrison, by Betty Freeman

Zachary Watkins: High Vibration Resonance

Bay Area composer Zachary James Watkins (half of the duo Black Spirituals) is joined by outstanding Seattle musicians – guitarists Tom Baker & Satchel Henneman, violinists Austin Larkin & Tari Nelson-Zagar, violist Heather Bentley, bassist Darth Nielsen, and trombonist Greg Powers – for an evening of compositions exploring site specificity and just intonation, among other things.

“This concert presents a collision of works written between 2004 and now. These compositions are interested in questions most of which I have yet to define. One clear concern is high vibration resonance. This can be understood any way you wish as each of the three words have complex meanings. For me this phrase represents an interest in imagining radical energy exchange / transformation. Composing relationships that have potential to excite, resonate, grow, energize.

Over time my output for new through-composed works has focused on site specificity, individuals, economy of resources. I often attempt single page scores and I always try to write for specific individuals and rooms if at all possible. Strategies designed to investigate high vibration resonance.

This concert will feature a premiere revision of for Andy scored for trombonist Andy Strain, myself performing cassette diffusion and battery powered electronics and the Marin Headlands Battery Townsley resonant frequencies. Weeks prior I was given access to the resonant underground WWII era Battery and identified room resonances by remixing experiments envisioned by composers such as Alvin Lucier. for Andy premiered on August 4th 2013 as part of the San Francisco Soundwave 6 Biennial. We were able to excite the space with sympathetic frequencies resulting in amplified room resonant echoes and rich harmonics.

Suite for String Quartet is my first substantial piece. Composed between 2004 -2006 and in continuous revision ever since employs a 16 tone harmonic tuning distributed among the four string instruments. This is my first piece to utilize a specific tuning based on the unique resonant frequencies of the performance space (in this case the Mills College Concert Hall Foyer) as well as live interactive computer synthesized multi-channel processing.

Finally the compositions Positively Right On for two electric guitars and Treatment No. III for double bass and violin written in Just Intonation. These pieces were written during a period when I was questioning dyads and duo formats. Both works explore an intimacy by placing emphasis on dynamic improvisation in collaboration with strict notation and a hyper sensitive intonation.

The entire program wishes to achieve a high vibration resonance.”

Presented by Nonsequitur.
Photo: Mark Mahaney

Seth Nehil + Cameron Shafii + RM Francis

Gift Tapes/DRAFT presents a night of experimental electronic music featuring Seth Nehil, RM Francis and Cameron Shafii – for the third installment of its 2017 program at the Chapel.

Seth Nehil (Portland) has released over 15 albums of experimental music and has performed internationally. In the last decade, he has produced sound for dance and theater, has written and directed original multimedia performance works and has created multichannel sound and video installations. Among other things, he is currently creating music for a retrospective exhibition by sculptor Bill Wills (August 2017), designing sound for the Hand2Mouth Theater production Psychic Utopia (November 2017) and composing for Linda Austin’s dance piece A World, A World (December 2017). Seth teaches courses in sound and video at the Pacific NW College of Art. Listen here.

RM Francis is a Seattle-based musician working with computer-generated sound in performance, installation and recordings. Drawing on a panoply of digital synthesis techniques, his work interrogates the boundaries of musical form and performance. Francis is also a member of the networked computer music ensemble Mesh Collaborative. His spring 2017 release, Hyperplastic Other, is published by Nada. Listen here.

Cameron Shafii (San Francisco) is an Iranian composer practicing generative and electroacoustic music. His compositions are inflected with a host of digital synthesis processes and are informed by aspects of acousmatic theory, particularly spectromorphology. His works do not impose any temporal scheme upon the listener – rejecting the semiotic operation of ‘engagement/disengagement’ in the discourse of A.J. Greimas. Rather, he presents an asymmetrical narrative that features hyperkinetic movement, tensions and complex sonorities. His works aim to explore a functional range of sounds from microscopic and minimal, to macro and maximal. Shafii has remixed, reprocessed and produced compositions for Anòmia and Farmacia901. Currently, he is working in conjunction with Chris Douglas (Scald Rougish, Dalglish) on a forthcoming collaborative release. He runs the Ge-stell label. Listen here.

Seattle Composers’ Salon

An evening of music and discussion with Seattle composers:

John Kammerer, new music for marimba and electronics

Jeremiah Lawson, Zombie Sonata Rags

Patrick O’Keefe, Morning Stroll for Saxophone Quartet

John Teske, vectorscores

The Seattle Composers’ Salon fosters the development, performance and appreciation of new music by regional composers and performers. At bi-monthly, informal presentations, the Salon features finished works, previews, and works in progress. Composers, performers, and audience members gather in a casual setting that allows for experimentation and discussion. Everyone is welcome!

Ask the Ages

Ask the Ages is a Seattle, Washington based avant-jazz band. Formed in 2010, the group includes: Greg Campbell (drums and percussion), Steven Bell (Vibraphone ), Brian Heaney (guitar), Kate Olson (sax/woodwinds) and John Seman (bass). Influences are Sonny Sharrock, Sun Ra, Alice Coltrane and Pharoah Sanders. This is their first gig in over a year. Expect special guests and new music.

Eveline Müller

Eveline Müller presents the reunion of her Klang Quintet, featuring James Drage (laptop/sound manipulations), Stuart McLeod (EEG brain waves), Carl Farrow (electronics/drums), Brad Hawkins (cello), and Eveline Müller (Boaeing, a collection of metal pieces). The Klang will take you on a journey through beautiful, ugly, loud, quiet, tense, and sparse sonic landscapes.

Opening up is the Klang Orchestra with a new 20-minute piece in works called Song of the Ice Flow, inspired by such and the sounds of ice in general. The orchestra features strings as “water instruments”, guitar, trumpet, electronics, field recordings, and the Boaeing as “forest instruments” and samplers as the ice itself.

Drone Cinema Film Festival

The Drone Cinema Film Festival, now in its third year, showcases cutting-edge, minimalist works of ethereal beauty that bring sonic drones into the visual realm. This year’s festival, whose theme is GOLD, takes place again Vrijplaats in Leiden, Netherlands, as well as at the Good Shepherd Center Chapel in Seattle.

Drone Cinema draws its inspiration from a wide range of sources, from the mid-century experimental films of Stan Brakhage and Jordan Belson, the hurdy-gurdy used in Early Music, the tambura of Indian music, to the minimalist drones of La Monte Young and Terry Riley and the recent film genre called Slow Cinema. Drone Cinema filmmakers offer their vision of what sonic drones look like.

Drone Cinema filmmakers transmute sonic drones into moving images. Festival founder Kim Cascone refers to Drone Cinema as “transcendigital” media – media conjured through active imagination instead of being driven by software.” A member of the audience at the first festival in Leiden commented: “Drone cinema is a lot like the visions I have in a flotation tank.”

This year’s entries:

Phillipe Neau Ormophosis
Mike Rooke In Absence of Music Theory
AUME As Above, So Below
Sequencial Haumea
Kat Cascone Thecosomata
Don Haugen The Black It Moves Between Them
Stewart Collinson & Andrea Szigetvári Newton’s Dream
Kris Force Psychomanteum

The evening opens with a live performance by Seattle drone masters: bitės.

Presented by Nonsequitur.