tag:blogger.com,1999:blog-67277876636522755222024-02-18T18:26:39.005-08:00Gravity WaveA CD label curated by Michael Pisaro (now Michael Pisaro-Liu)Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-6727787663652275522.post-37420271126115576172019-02-11T21:41:00.000-08:002019-02-11T21:41:23.887-08:00Michael Pisaro - Nature Denatured and Found Again (5CD box set) is now available<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiggBnFt7kDYGn9RYvIWlBaZTSrv2VeTcX1Pg5tNODJzVAHcadYXDeZw0KmBreLLw7n9PPSFz8h3aJMhwIqRSJfXa-gSxNTj1rnphALbsMSEY6TKJlqjManiltGoVgeGASgzkbGSNO3XuXK/s1600/GW_NDaFA_package1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1290" data-original-width="995" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiggBnFt7kDYGn9RYvIWlBaZTSrv2VeTcX1Pg5tNODJzVAHcadYXDeZw0KmBreLLw7n9PPSFz8h3aJMhwIqRSJfXa-gSxNTj1rnphALbsMSEY6TKJlqjManiltGoVgeGASgzkbGSNO3XuXK/s640/GW_NDaFA_package1.jpg" width="493" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Michael Pisaro's 'Nature Denatured and Found Again'</b> (gw016-020) (5CD box set) is officially released on February 7. Now available on <a href="https://michaelpisaro.bandcamp.com/album/nature-denatured-and-found-again">Bandcamp</a>. We accept direct orders at erstrecs (at) gmail.com </span><span style="font-family: Georgia, 'Times New Roman', serif;">($60 plus shipping fee)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The five discs come in an oversized box with cover art by Marcus Kaiser and Yuko Zama. The box set also includes a 24-page full-color booklet containing additional photos by Joachim Eckl, Marcus Kaiser, Emmanuelle Waeckerle, and Michael Pisaro, and liner notes by Michael Pisaro and Joachim Eckl. Limited edition of 500. </span></div>
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2115098704/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://michaelpisaro.bandcamp.com/album/nature-denatured-and-found-again">Nature Denatured and Found Again by Michael Pisaro</a></iframe><br />
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<span style="background-color: white; color: #363636; line-height: 15px;"><b><span style="font-family: Georgia, Times New Roman, serif;">Disc 1: Fissures in Green (2011) </span></b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">1.1 Rain at the Station </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">1.2 Still Life with Cicadas, Waterfall and Radu </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">1.3 Silent Prayer </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">1.4 Langhalsen </span><br style="background-color: white; color: #363636; line-height: 15px;" /><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;"><b>Disc 2: Pathsplitter (Yellow-Red) (2012) </b></span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">2.1 Canon a2 </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">2.2 Canon a3 </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">2.3 Canon a4 </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">2.4 Canon a5 </span><br style="background-color: white; color: #363636; line-height: 15px;" /><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;"><b>Disc 3: Landscape in Black and Grey (2013) </b></span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">3.1 The Chords of the Grosse Mühl </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">3.2 Six-Part Panorama </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">3.3</span><span class="bcTruncateMore" style="background-color: white; color: #363636; line-height: 15px;"> Building a World<br />3.4 The Disappearance of a World<br /><br /><b>Disc 4: White Light Under the Door (2014) </b></span></span><br />
<span class="bcTruncateMore" style="background-color: white; color: #363636; line-height: 15px;"><span style="font-family: Georgia, Times New Roman, serif;"><br />4.1 Electricity<br />4.2 Heat<br />4.3 Light<br />4.4 Gas<br /><br /><b>Disc 5: Hellgrün (Small New World) (2015) </b></span></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><span class="bcTruncateMore" style="background-color: white; color: #363636; line-height: 15px;"><br />5.1 Malachite<br />5.2 Bird Warnings<br />5.3 The River is a Green-Brown God<br />5.4 Emerald Twilight<br /><br />Each disc has four 12-minute tracks, each of which is followed by 12 seconds of silence.<br /><br />The total duration of each disc is 48’48”.</span><span style="background-color: white; color: #363636; line-height: 15px;"> </span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; color: #363636; line-height: 15px;">--------------</span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;"><b>Musicians </b></span><br style="background-color: white; color: #363636; line-height: 15px;" /><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">Antoine Beuger (flute) </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">Jürg Frey (clarinet) </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">Marcus Kaiser (cello) </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">Radu Malfatti (trombone) </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">André Möller (electric guitar) </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">Kathryn Gleasman Pisaro (oboe/english horn) </span><br style="background-color: white; color: #363636; line-height: 15px;" /><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">composition, field recording, sine tones, noise, mixing, mastering by Michael Pisaro </span><br style="background-color: white; color: #363636; line-height: 15px;" /><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">based on the ‘flussaufwärtstreiben’ project </span><br style="background-color: white; color: #363636; line-height: 15px;" /><span style="background-color: white; color: #363636; line-height: 15px;">created by Joachim Eckl, Marcus Kaiser and Michael Pisaro </span></span>Yuko Zamahttp://www.blogger.com/profile/14250250973917890417noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-54464821360741216262018-11-20T12:48:00.000-08:002018-11-20T12:48:58.168-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbIdminI2m6RGbTJWLQ45xDJ5M9RSP2quHGybxnvIFU95m2dYApZ5iRyiUchEu3k4UldJYRKcDtkRtNp5atBQYhPXTJrkrRaJmx1Ikec0_QyTV18RDT0M_8lFzPBk7gvactnBJfkrimJsk/s1600/GW016_BOX_LID_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1225" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbIdminI2m6RGbTJWLQ45xDJ5M9RSP2quHGybxnvIFU95m2dYApZ5iRyiUchEu3k4UldJYRKcDtkRtNp5atBQYhPXTJrkrRaJmx1Ikec0_QyTV18RDT0M_8lFzPBk7gvactnBJfkrimJsk/s640/GW016_BOX_LID_1.jpg" width="470" /></a></div>
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<span style="font-family: arial, helvetica, sans-serif;">We are happy to reveal the final cover design of Michael Pisaro - Nature Denatured and Found Again (GW 016-020), to be released in Feb or March 2019.</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">CD 1: Fissures in Green (2011)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">CD 2: Pathsplitter (Yellow-Red) (2012) </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">CD 3: Landscape in Black and Grey (2013) </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">CD 4: White Light Under the Door (2014) </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">CD 5: Hellgrün (Small New World) (2015) </span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Antoine Beuger (flute)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Jürg Frey (clarinet)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Marcus Kaiser (cello)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Radu Malfatti (trombone)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">André Möller (electric guitar)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Kathryn Gleasman Pisaro (oboe/english horn)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">based on the ‘flussaufwärtstreiben’ project created by Joachim Eckl, Marcus Kaiser and Michael Pisaro</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">box cover photos by Marcus Kaiser (pipeline) and Joachim Eckl (landscape)</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">box cover design by Marcus Kaiser and Yuko Zama</span></div>
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<span style="font-family: arial, helvetica, sans-serif;">Each disc will be 48 minutes long.</span></div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-56734472271408691372018-10-29T13:33:00.001-07:002018-10-29T13:35:02.009-07:00Nature Denatured and Found Again (GW 016-020)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1P8GuKFGMnFOR_cc9p2-ggBJFvY8DEcrk39qTctanPPbQ7brA1xbjQq30P3m1o7tAjHPuRGftUbvEXd5inx8G61-ehpE8wrYVLkZqwkT1-QxH1QuAKdUf3K5t9S1vCr7z2zDp0BFof5t/s1600/Flussphoto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="612" data-original-width="792" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1P8GuKFGMnFOR_cc9p2-ggBJFvY8DEcrk39qTctanPPbQ7brA1xbjQq30P3m1o7tAjHPuRGftUbvEXd5inx8G61-ehpE8wrYVLkZqwkT1-QxH1QuAKdUf3K5t9S1vCr7z2zDp0BFof5t/s640/Flussphoto.jpg" width="640" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">In early 2019, Gravity Wave will release a 5CD box set titled 'Nature Denatured and Found Again' (GW 016-020).</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">The piece is derived from field recordings made along the Grosse Mühl River, Neufelden, Austria, from 2011 to 2015 (during the flussaufwärts project created by Joachim Eckl, Marcus Kaiser and Michael Pisaro). Alongside the recordings of the river as it flows down from Neufelden to the Danube, are performances by Antoine Beuger, Jürg Frey, Marcus Kaiser, Radu Malfatti, André Möller, and Kathryn Pisaro. Pisaro has been working on the piece since 2011 and we are very happy to have it finally see the light of day.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Disc 1: Fissures in Green (2011)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Disc 2: Pathsplitter (Yellow-Red) (2012)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Disc 3: Landscape in Black and Grey (2013)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Disc 4: White Light Under the Door (2014)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Disc 5: Hellgrün (Small New World) (2015)</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Each disc will be 48 minutes long.</span><br />
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Yuko Zamahttp://www.blogger.com/profile/14250250973917890417noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-71218214625939416032018-06-14T11:03:00.000-07:002018-06-15T18:37:07.773-07:00<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large;"><b>European Tour, June-July, 2018</b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">There are several events coming up in Europe, from the last part of June until the end of July that I thought I would post here, in case friends in those places would like the information.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">June 22, Dundalk, Ireland. (<a href="http://www.louthcms.org/the-book-of-hours/">http://www.louthcms.org/the-book-of-hours/</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">As part of the two-day festival "The Book of Hours," presented by the Louth Contemporary Music Society, Gothic Voices will premiere my new piece for four voices "wind & silence" along with performing "Lucretius Counterpoint" (2007) (accompanied by Séverine Ballon, Helen Bledsoe and Carol Robinson). The whole festival looks great! There are also works by CalArts colleagues Karen Tanaka and Wolfgang von Schweinitz. I will play as part of the group doing Gavin Bryars' classic "Jesus Blood Never Failed Me Yet."</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">June 27-28, Cafe OTO, London. (<a href="https://www.cafeoto.co.uk/events/michael-pisaro-two-day-residency/">https://www.cafeoto.co.uk/events/michael-pisaro-two-day-residency/</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Two days at Cafe OTO with solo pieces and a duo performance with Graham Lambkin on the 27th. On the 28th, a quartet with Angharad Davies, Sarah Hughes, Tisha Mukarji and myself have assembled a program of recent works, including "Something about the rain (two dialogues for four people)", "half-sleep beings" and "for Stela."</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">June 30, Aux Temps du Corps, 10 Rue de l'Échiquier, Paris, 75010, 8:30 pm (<a href="https://www.facebook.com/events/2165294973497322/">https://www.facebook.com/events/2165294973497322/</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">A concert of pieces from the "harmony series" with <span style="background-color: white; color: #1d2129;">Félicie Bazelaire (contrabass), Deborah Walker (cello) and Cyprien Busolini</span><span style="background-color: white; color: #1d2129;"> (viola).</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwQA0HwwUzvdrDjmNxqhIAQnBWWqK5WNmmeAOyd47EV9dCev7jzfF7_K4YisdqhVWN5GQzOVN1bg6gie5MDioLK4d9EbdNvj2rN3Nqn430fRzARikK3LyipoE73LFWNZ0MpA1piMdbdnM/s1600/r9+ex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1340" data-original-width="1600" height="335" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwQA0HwwUzvdrDjmNxqhIAQnBWWqK5WNmmeAOyd47EV9dCev7jzfF7_K4YisdqhVWN5GQzOVN1bg6gie5MDioLK4d9EbdNvj2rN3Nqn430fRzARikK3LyipoE73LFWNZ0MpA1piMdbdnM/s400/r9+ex.jpg" width="400" /></a></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">July 3, La Malterie, Lille, France (<a href="http://muzzix.info/Le-Grand-Orchestre-de-Muzzix-835?lang=fr">http://muzzix.info/Le-Grand-Orchestre-de-Muzzix-835?lang=fr</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Le Grande Orchestre de Muzzix will give the premiere of a new orchestra piece, "Haeckel's Radiolarians" commissioned for this group.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">July 5, Klang im Dach, Munich, Germany (<a href="http://www.kunst-im-bau.org/dachklang.html">http://www.kunst-im-bau.org/dachklang.html</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Rasha Ragab, Christoph Nicolaus and I will premiere a new piece I've written for the occasion, "Athena, Aristotle, Helen" for three performers. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">July 9-16, Composers-meet-Composers, Heim-Art, Neufelden, Austria (<a href="https://www.wandelweiser.de/composers_meet_composers/">https://www.wandelweiser.de/composers_meet_composers/</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Mentoring and concerts with Antoine Beuger, Joachim Eckl, Radu Malfatti and Emmanuelle Waeckerle – and guests Aaron Breilyn, Frederik Donche, Jameson Feakes, Josten Myburgh and Florencia Sgandurra. </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">July 17-19, Recontres Internationales de la Création Musicale, Abbaye de Sylvanès, Ayeron, France </span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">(</span><a href="http://www.gmea.net/evenement/rencontres-internationales-de-la-creation-musicale-83" style="font-family: Georgia, "Times New Roman", serif;">http://www.gmea.net/evenement/rencontres-internationales-de-la-creation-musicale-83</a><span style="font-family: "georgia" , "times new roman" , serif;">)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Organized by GMEA, I will join the other guests, Peter Ablinger, Pascale Berthelot, Pascale Criton, Éliane Radigue (TBC) and Thomas Tilly for public discussions and conferences.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;">July 24-July 29, Klangraum 2018 "Day-to-Day", Düsseldorf, Germany (<a href="https://www.wandelweiser.de/_concert-series/klangraum_2018_I.html">https://www.wandelweiser.de/_concert-series/klangraum_2018_I.html</a>)</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">A rotating series of eight daily events, including amongst many other things, an ongoing reading of John Ashbery's Litany by Antoine Beuger and myself, and a version of Krapp's Last Tape, produced Joep Dorren.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeH82IPDUt-PN32ZL_3aSyhN-B-Yn8Xh06KSmO8OLZCkb7BECy2UOI1owTo2LMCBS_pMgdYFnusAlNI7yjiVMAIEucOMEvTBD8U1UBXhl7ysPLdgCHr0kMSdl1kwh7TvVRR3uZT8beN4I/s1600/The+Book+of+light+06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1153" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeH82IPDUt-PN32ZL_3aSyhN-B-Yn8Xh06KSmO8OLZCkb7BECy2UOI1owTo2LMCBS_pMgdYFnusAlNI7yjiVMAIEucOMEvTBD8U1UBXhl7ysPLdgCHr0kMSdl1kwh7TvVRR3uZT8beN4I/s640/The+Book+of+light+06.jpg" width="444" /></a></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<br />
<br />Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-78723303240175322412017-12-21T10:29:00.000-08:002019-02-11T21:48:15.935-08:00Étant donnés (GW 014) / Shades of Eternal Night (GW 015) <div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "georgia" , "times new roman" , serif; font-size: large;">Gravity Wave 2018</span></b><span style="font-family: "baskerville";"><o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOhax1Akd_hAQorZzxfeJH5AsEPGXn9Gi_jshyphenhyphenjl-XmyMgq5KISwmJpXnSwt7RJAEzoWp_NG9eS00LaZzcS2Se6zfYaiv2wfaLRfgBz5Cu-K1e_M1KgflMXBnqebMluHuhp8sCZNYPv-I/s1600/Island+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOhax1Akd_hAQorZzxfeJH5AsEPGXn9Gi_jshyphenhyphenjl-XmyMgq5KISwmJpXnSwt7RJAEzoWp_NG9eS00LaZzcS2Se6zfYaiv2wfaLRfgBz5Cu-K1e_M1KgflMXBnqebMluHuhp8sCZNYPv-I/s640/Island+1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Photo of the eastern shore of Syros by Michael Pisaro)</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;">After a hiatus of
about three years, Gravity Wave will swing back into action in 2018 with three
releases (containing seven discs total).<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUTaSRVzW6b-hb1NmqfPfbJvqa0xThUPsW93v4tUMnTLoplkxyNLex2YucHTm6FqLay5ejqSyk8o7r5lMgDk9mzPxlrjCvBJPp8fjjwZK0TjUWLUK4lWZ8SceCQ7mNJ9JxryMM-e1Cztw/s1600/duchamp_2010_10_300dpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1053" data-original-width="1600" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUTaSRVzW6b-hb1NmqfPfbJvqa0xThUPsW93v4tUMnTLoplkxyNLex2YucHTm6FqLay5ejqSyk8o7r5lMgDk9mzPxlrjCvBJPp8fjjwZK0TjUWLUK4lWZ8SceCQ7mNJ9JxryMM-e1Cztw/s640/duchamp_2010_10_300dpi.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Photo of <i>Étant donnés</i>, Marcel Duchamp, exterior, by Yuko Zama)</td></tr>
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<o:p><span style="font-family: "georgia" , "times new roman" , serif;"> </span></o:p><i style="font-family: Georgia, "Times New Roman", serif;">Étant donnés</i><span style="font-family: "georgia" , "times new roman" , serif;"> (GW 014) is a six-track disc based almost entirely on samples.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">1. give me your sines
(2’44)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">2. rounds most pinched,
most arched (10’00)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">3. bass never smiles
(4’04)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">4. sympathy for 11
(11’00)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">5. escape from new
chords (6’24)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">6. shosty riot (5’34)<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE4QdsHi3wQpV5u4yeUZ2EYGS1kFv4Grsxq_st-z3CVx0xIVm-rUGQLFZAUeVUMwlrmnPRGdIF6HnVY2nUDiyxE34YBhbOVbBTB5oztJZ_2vQhB40RBRq2va5cGMAm4GY6Kk-lQfNRX44/s1600/twombly_2010_6_300dpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1055" data-original-width="1600" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE4QdsHi3wQpV5u4yeUZ2EYGS1kFv4Grsxq_st-z3CVx0xIVm-rUGQLFZAUeVUMwlrmnPRGdIF6HnVY2nUDiyxE34YBhbOVbBTB5oztJZ_2vQhB40RBRq2va5cGMAm4GY6Kk-lQfNRX44/s640/twombly_2010_6_300dpi.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Photo of <i>Fifty Days at Iliam</i>, Cy Twombly, by Yuko Zama)</td></tr>
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<o:p><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></o:p></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i style="mso-bidi-font-style: normal;">Shades of Eternal Night</i> (GW 015) is largely derived from piano
recordings by Reinier van Houdt. It contains several field recordings made on
Syros (Greece) as well. The piece is in three sections as follows:<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">I. Ghosts of the Site (7'00)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">II. Event Storm (20'00)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">III. The Poem of Names (17'00)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Both of these will be released
early in 2018.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ruA_B9h_Pk-6MYTCyCLt3y7nZTyNt9Js0Qaz_HHLwEc4k3_BivJEhFOGHTD96wdDoSfNUsrBnpUD74FyRpehF1C8f3lWZuqMsOY4h8Rfvg58c7HcgK6AC_qGN8XLb_GNeiJB3yh6gwk/s1600/Kastri+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ruA_B9h_Pk-6MYTCyCLt3y7nZTyNt9Js0Qaz_HHLwEc4k3_BivJEhFOGHTD96wdDoSfNUsrBnpUD74FyRpehF1C8f3lWZuqMsOY4h8Rfvg58c7HcgK6AC_qGN8XLb_GNeiJB3yh6gwk/s640/Kastri+1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Photo of the ancient fortress of Kastri, on Syros, by Michael Pisaro)</td></tr>
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<o:p><span style="font-family: "georgia" , "times new roman" , serif;">————</span></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-KJLJPAu_jujL1exPhCsF1nmBEhdUMev0q6rpFE4PcIbBeCPMyI1wkHzEnZKhOtCSrNt-lUIsBB6x5tb7vm2SfVbn0obRYvaV-9Vuhh7E8k8MwXVBgEN0jQylOmKGc29GC34l6PHg9DE/s1600/3.4+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-KJLJPAu_jujL1exPhCsF1nmBEhdUMev0q6rpFE4PcIbBeCPMyI1wkHzEnZKhOtCSrNt-lUIsBB6x5tb7vm2SfVbn0obRYvaV-9Vuhh7E8k8MwXVBgEN0jQylOmKGc29GC34l6PHg9DE/s640/3.4+copy.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Along the Grosse Mühl, Austria. Photo by Michael Pisaro)</td></tr>
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<o:p><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></o:p></div>
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<o:p><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></o:p></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Before the end
of the year, the label will release a 5-disc box set titled <i style="mso-bidi-font-style: normal;">Nature Denatured and Found Again</i> (GW
016-020)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The piece is derived
from field recordings made along the Grosse Mühl River, Neufelden, Austria,
from 2011 to 2015 (during the <i style="mso-bidi-font-style: normal;">flussaufwärts</i>
project created by Joachim Eckl, Marcus Kaiser and myself). Alongside the
recordings of the river as it flows down from Neufelden to the Danube, are
performances by Antoine Beuger, Jürg Frey, Marcus Kaiser, Radu Malfatti, André
Möller, and Kathryn Pisaro. I’ve been working on the piece since 2011 and will
be very happy to have it finally see the light of day.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Disc 1: Fissures in Green
(2011)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Disc 2:<span style="mso-spacerun: yes;"> </span>Pathsplitter (Yellow-Red) (2012)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Disc 3: Landscape in
Black and Grey (2013)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Disc 4: White Light
Under the Door<span style="mso-spacerun: yes;"> </span>(2014)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Disc 5: Hellgrün
(Small New World) (2015)<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Each disc will be 72
minutes long.<o:p></o:p></span></div>
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<span style="font-family: "baskerville";"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwn7gZE9_JjShUL5Lsi99I8w4v81EHX5xGC5o9kzh7KPil8vfqbOnyw7VcYMrXJRXaHp-kucVjYZdsK-g1aTJLVKDKdvYuHQMLwC6DJMzLQHp5P0Y200bLrYV5okzlTYjSazYoS1nwJY/s1600/station+6+with+jurg+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwn7gZE9_JjShUL5Lsi99I8w4v81EHX5xGC5o9kzh7KPil8vfqbOnyw7VcYMrXJRXaHp-kucVjYZdsK-g1aTJLVKDKdvYuHQMLwC6DJMzLQHp5P0Y200bLrYV5okzlTYjSazYoS1nwJY/s640/station+6+with+jurg+copy.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Jürg Frey playing during Flussaufwärts in 2011. Photo by Emmanuelle Waeckerle)</td></tr>
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</o:p></span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-84139572966898458042016-04-24T10:18:00.000-07:002016-05-07T03:53:08.075-07:00Michael Pisaro European Tour (May 2016)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMOPEK2SRQuPKruC9rP4Zpk8LfLh2AAFK-02gRapOavL7XJFrJ9pl17k7SrJXTeb_5NppsMnOEhmir0TlQn0zBpTxkP4-CojLyct5iCocNtUkoXkkMm7iFJfO3v9lNuOGmyhk-2I6y5AU/s1600/FHE10+detail2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMOPEK2SRQuPKruC9rP4Zpk8LfLh2AAFK-02gRapOavL7XJFrJ9pl17k7SrJXTeb_5NppsMnOEhmir0TlQn0zBpTxkP4-CojLyct5iCocNtUkoXkkMm7iFJfO3v9lNuOGmyhk-2I6y5AU/s640/FHE10+detail2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail from score for <i>fields have ears (10).</i></td></tr>
</tbody></table>
<br />
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<br /></div>
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<b><span style="font-size: 11pt;"><span style="color: purple; font-family: "georgia" , "times new roman" , serif;">Glasgow</span></span></b><br />
<b><span style="font-size: 11pt;"><span style="color: purple; font-family: "georgia" , "times new roman" , serif;"><br /></span></span></b>
<span style="font-family: "baskerville"; font-size: 11pt;">Tectonics
Glasgow 2016 Festival, Hosted by the BBC Scottish Symphony Orchestra</span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">City
Halls and Old Fruitmarket, Glasgow, UK<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Sunday,
May 8, 16:45, Grand Hall</b><o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Premiere
of <i>Lucretius Melody</i> for soprano,
viola, two guitars and electronics (35’). Based on
the fourth book of Lucretius’ <i>de rerum
natura</i> (and the fourth of six pieces in a series based on that work). <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Jessika
Kenney, soprano, Eyvind Kang, viola, Neil Davidson and Michael Pisaro, guitars<o:p></o:p></span></div>
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<br /></div>
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<a href="http://www.tectonicsfestival.com/glasgow/schedule/lucretius-melody-by-michael-pisaro"><span style="font-family: "baskerville"; font-size: 11.0pt;">http://www.tectonicsfestival.com/glasgow/schedule/lucretius-melody-by-michael-pisaro</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Sunday,
May 8, 18:15, Grand Hall</b><o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Premiere
of <i>fields have ears (10) (constellation,
monarch, canyon) </i>for piano and orchestra (25’), also features works by Alvin Curran and Alwynne
Pritchard.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">John
Tilbury, piano, BBC Scottish Symphony Orchestra, Ilan Volkov, conductor<o:p></o:p></span></div>
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<br /></div>
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<a href="http://www.tectonicsfestival.com/glasgow/schedule/bbc-scottish-symphony-orchestra-2"><span style="font-family: "baskerville"; font-size: 11.0pt;">http://www.tectonicsfestival.com/glasgow/schedule/bbc-scottish-symphony-orchestra-2</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">On
May 7, I will be playing Annea Lockwood’s <i>Jitterbug</i>,
along with Eyvind Kang, Jessika Kinney and John Tilbury, (16:30, Grand Hall)<o:p></o:p></span></div>
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<a href="http://www.tectonicsfestival.com/glasgow/schedule/"><span style="font-family: "baskerville"; font-size: 11.0pt;">http://www.tectonicsfestival.com/glasgow/schedule/</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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<b><span style="font-size: 11pt;"><span style="color: purple; font-family: "georgia" , "times new roman" , serif;">Recording at Césaré near Reims,
France </span></span></b></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">With Stéphane Garin
(percussion) and Didier Aschour (guitar).<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">We
will be recording two pieces for guitar, percussion and electronics for the Paris-based label Potlatch: <i>Hearing
Metal (4) (Birds in Space)</i> (2010/2011) and <i>Grounded Cloud</i> (2015). <o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<b><span style="font-size: 11pt;"><span style="color: purple; font-family: "georgia" , "times new roman" , serif;">Paris</span></span></b></div>
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<br /></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Concert
at Instants Chavirés, May 13, 21:00 (9pm)</b><o:p></o:p></span></div>
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<a href="http://www.instantschavires.com/"><span style="font-family: "baskerville"; font-size: 11.0pt; text-decoration: none;">Les Instants
Chavirés</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"> 7, rue Richard-Lenoir 93100 Montreuil<o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: "baskerville"; font-size: 11.0pt;">Hearing Metal 4 (Birds in
Space) </span></i><span style="font-family: "baskerville"; font-size: 11.0pt;">and <i>Grounded Cloud</i> <o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Didier
Aschour, guitar<o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Stéphane
Garin, percussion<o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Michael
Pisaro, electronics<o:p></o:p></span></div>
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<br /></div>
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<a href="http://www.instantschavires.com/michael-pisaro-didier-aschour-stephane-garindafne-vicente-sandoval/"><span style="font-family: "baskerville"; font-size: 11.0pt;">http://www.instantschavires.com/michael-pisaro-didier-aschour-stephane-garindafne-vicente-sandoval/</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Workshops and Concertsat Tabakalera, May 14 and 15</b><o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: normal;">Centro
Internacional de Cultura Contemporánea<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><span style="font-family: "baskerville"; font-size: 11.0pt;">Plaza de las cigarreras, 1, </span><span style="font-family: "baskerville"; font-size: 11pt;">20012. Donostia / San Sebastián</span></span><br />
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<span style="font-size: 15px;"><span style="font-family: "georgia" , "georgia" , serif;">With Stéphane Garin and Dider Aschour</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: normal;"><a href="http://www.tabakalera.eu/es/michael-pisaro-conferencia-y-concierto">http://www.tabakalera.eu/es/michael-pisaro-conferencia-y-concierto</a></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: normal;"><a href="http://www.tabakalera.eu/es/michael-pisaro-taller-y-concierto">http://www.tabakalera.eu/es/michael-pisaro-taller-y-concierto</a></span></span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;"><br /></span></span>
<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: normal;">The
concerts will include <i>Hearing Metal (4), Grounded Cloud </i>and
<i>melody, silence (1)</i> for guitar</span></span></span></div>
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<b><span style="font-size: 11pt;"><span style="color: purple; font-family: "georgia" , "times new roman" , serif;">Haan (near Düsseldorf), Germany</span></span></b></div>
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<b><span style="font-family: "baskerville"; font-size: 11.0pt;">May
19, 20:00, Concert with Antoine Beuger at the </span><span style="font-family: "baskerville"; font-size: 11.0pt;"><span style="font-family: "baskerville";"><span style="font-size: 11pt;">Atelier </span></span><span style="font-family: "baskerville";"><span style="font-size: 15px;">im</span></span><span style="font-family: "baskerville";"><span style="font-size: 11pt;"> Hof, </span></span></span></b><span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Wilhelmstraße 21, 42781 Haan</b><o:p></o:p></span></div>
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<span style="font-family: "\22 baskerville\22 "; font-size: 15px;">Music and texts by John Ashbery, Antoine Beuger, Jürg Frey, Alex Mah, Michael Pisaro and Christian Wolff.</span><br />
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<a href="http://www.wandelweiser.de/_kalender/calendar.html" target="_blank"><span style="font-family: "georgia" , "times new roman" , serif;">http://www.wandelweiser.de/_kalender/calendar.html</span></a><br />
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>May
22, Maze Festival, Splendor, Amsterdam</b><o:p></o:p></span></div>
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<a href="https://www.google.nl/maps/place/Nieuwe+Uilenburgerstraat+116,+1011+LX+Amsterdam/@52.3698988,4.9032996,17z/data=!3m1!4b1!4m2!3m1!1s0x47c609bc38eb60e9:0x9c2398837a69d5c5"><span style="color: black; font-family: "baskerville"; font-size: 11.0pt; text-decoration: none;">Nieuwe Uilenburgerstraat 116</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;">, 1011 LX,
Amsterdam<o:p></o:p></span></div>
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<span style="font-family: "\22 baskerville\22 "; font-size: 15px;">19:30:<i> Here 2/3</i>, Dante Boon and Reinier van Houdt, pianos</span><br />
<span style="font-family: "baskerville"; font-size: 11.0pt;">20:00:
Preconcert talk with Michael Pisaro and Samuel Vriezen<o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">20:30:
MAZE plays Michael Pisaro (<i>festhalten,
loslassen)</i> and Yannis Kyriakides (</span><span style="color: #343434; font-family: "baskerville"; font-size: 11.0pt;"><i>Oneirocriticon</i>)</span><span style="font-family: "baskerville"; font-size: 11.0pt;"> <i><o:p></o:p></i></span></div>
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<a href="https://splendoramsterdam.com/maze-festival/?lang=en"><span style="font-family: "baskerville"; font-size: 11.0pt;">https://splendoramsterdam.com/maze-festival/?lang=en</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<b><span style="font-size: 11pt;"><span style="color: purple; font-family: "georgia" , "times new roman" , serif;">Bologna</span></span></b></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Angelica
Festival, May 25, 21:30, </b></span><span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Centro di Ricerca Musicale, Teatro San Leonardo,
Bologna</b><o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Music of Michael Pisaro<o:p></o:p></span></div>
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<i><span style="font-family: "baskerville"; font-size: 11.0pt;">entre-moments:
constellations & the earth and the sky </span></i><span style="font-family: "baskerville"; font-size: 11.0pt;">(2005)<o:p></o:p></span></div>
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<i><span style="font-family: "baskerville"; font-size: 11.0pt;">White
Metal (Grey Series No. 2)</span></i><span style="font-family: "baskerville"; font-size: 11.0pt;"> (2012/13)<o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">Performed by Reinier van Houdt (piano, electronics)
and Michael Pisaro (electronics)<o:p></o:p></span></div>
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<a href="http://www.aaa-angelica.com/aaa/angelica-pisaro-van-houdt"><span style="font-family: "baskerville"; font-size: 11.0pt;">http://www.aaa-angelica.com/aaa/angelica-pisaro-van-houdt</span></a><span style="font-family: "baskerville"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;">May
27, recording for erstwhile records with Keith Rowe at APO-33.<o:p></o:p></span></div>
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<span style="font-family: "baskerville"; font-size: 11.0pt;"><b>May
28, 20:30, </b></span><span style="font-family: "baskerville"; font-size: 11.0pt;"><b>Plateforme Intermédia, La Fabrique,
2 boulevard Léon Bureau, Nantes</b><o:p></o:p></span></div>
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Michael Pisaro</span></div>
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<a href="http://apo33.org/index.php/fr/2016/05/28/onsemble-keith-rowe-michael-pisaro/"><span style="font-family: "baskerville"; font-size: 11.0pt;">http://apo33.org/index.php/fr/2016/05/28/onsemble-keith-rowe-michael</span><span style="font-family: "baskerville";">-pisaro/</span></a><span style="font-family: "baskerville";"><o:p></o:p></span></div>
<!--EndFragment-->Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-37133052395025873772015-07-27T22:53:00.000-07:002017-12-19T14:46:19.513-08:00Forthcoming, 2015/16 (Pisaro projects including releases from other labels)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja6NrmlZZeJSWbUresi2NCMv-31fkIDX5fsqX0QiM4FkR2ebagRls9ynhOFFRF0lEGDdBOF3oXeT5AIf164p09GVg9p5r16R_l71zNegpSdKe3CPjy8slIhTjacYHFXlK8uAAfEapvFDw/s1600/twomb.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja6NrmlZZeJSWbUresi2NCMv-31fkIDX5fsqX0QiM4FkR2ebagRls9ynhOFFRF0lEGDdBOF3oXeT5AIf164p09GVg9p5r16R_l71zNegpSdKe3CPjy8slIhTjacYHFXlK8uAAfEapvFDw/s400/twomb.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail from Cy Twombly's "The fire that consumes all before it" (FIFTY DAYS AT ILLIUM)</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;">It has been quite a
while since this blog has been updated, so we thought it might be nice to
provide an overview of the releases I’m working on, until the end
of 2016.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">A mist is a collection of points</i></b><b style="mso-bidi-font-weight: normal;"> (New
World Records), October 2015<o:p></o:p></b></span></h3>
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<span style="font-family: "georgia" , "times new roman" , serif;">A three movement, hour
long trio for piano, percussion and sine tones, composed in 2014/2015 and
premiered by Phillip Bush, Greg Stuart and myself at the Columbia Museum of Art
(South Carolina) in February, 2015.<span style="mso-spacerun: yes;"> </span>It
was recorded in Columbia at the University of South Carolina School of Music,
shortly thereafter (with Jeff Francis, engineer and Joe Panzner, mastering
engineer). <o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Here’s a text I wrote
about the piece:<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>A
mist is a collection of points – but every mist has a context. There are the
individual droplets, but then there are the forces that hold them in suspension
and with enough proximity that we recognize coherence. Inside the mist there
might be places where it seems to disappear altogether, where it becomes
atomized and separate, even though, from a distance away one is still in the
midst (of the mist). There might also be places where the mist becomes so dense
that is more like a wall. We live in a kind of mist as well, in a world where
there is neither absolute clarity nor absolute opacity. There are only degrees
or intensities of these. <o:p></o:p></i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i>This
is the situation that I hoped, with the help of Greg Stuart and Phillip Bush,
to create, in various ways in this piece. Each of the three parts presents a
distinct kind of mist and each part has one moment of change or temporary
clarity, where the mist either disappears (Part I), reappears (Part II) or
changes character (Part III). (Sometimes it occurs to the mist that it has no
foundation.) The constitution of each mist state is a different music, but
there is (musically speaking) also a kind of continuity from one state to the
next, as if one had come back to the same location, but one hour (or one day)
later.</i><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoOO4Flf4o0F80M5tAepg3IIWT7syRG6lN3-5Fml6njYFxBDcBCtSjYZw4jFIDgi7FovSychpGfoe8xuh39li5wdC9-4ajbzRgHS6jh7ZJibO_Wo3TAedRxloZ7zHq31ddTutKmM-XXM8/s1600/PB_MP_GS_bw+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoOO4Flf4o0F80M5tAepg3IIWT7syRG6lN3-5Fml6njYFxBDcBCtSjYZw4jFIDgi7FovSychpGfoe8xuh39li5wdC9-4ajbzRgHS6jh7ZJibO_Wo3TAedRxloZ7zHq31ddTutKmM-XXM8/s400/PB_MP_GS_bw+copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Phillip Bush, Michael Pisaro and Greg Stuart at the "Mist" sessions.</td></tr>
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<span style="font-size: x-small;"><br /></span><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><b style="mso-bidi-font-weight: normal;">Duo with Christian Wolff (erstwhile), March 2016</b></span></h3>
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<span style="font-family: "georgia" , "times new roman" , serif;">In November of last
year, while I was teaching at Harvard University for the Fall Semester, I
invited Christian Wolff (who studied and taught Classics and Comparative
Literature at Harvard from the early 50’s to the early 70’s) for a short
residency. We took advantage of his visit to record in historic Paine Hall, with
Christian on prepared piano and me on electric guitar. Christian’s playing is
really impressive, radical in structure (like many of his recently composed
pieces), but evoking some ghosts from his musical past, that must surely still
haunt Cambridge. The disc will consist of two pieces of 28’10” each.<o:p></o:p></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRyzgTgsMBzPL1bbVOfGT04xwSBWQ9wLndJbqxJagrNVDr4iTzDbJJ4gp0Kijyrg2bTuGOP6pOem6u5hcHShjt2Oh1Qb0iKTnP2ZNYqfZXEnUPLOjNfHtjxvrxXTrgo9NwuZGXyCoO2Ag/s1600/Wolff+set-up.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRyzgTgsMBzPL1bbVOfGT04xwSBWQ9wLndJbqxJagrNVDr4iTzDbJJ4gp0Kijyrg2bTuGOP6pOem6u5hcHShjt2Oh1Qb0iKTnP2ZNYqfZXEnUPLOjNfHtjxvrxXTrgo9NwuZGXyCoO2Ag/s400/Wolff+set-up.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A glimpse of Christian's piano preparations for the Harvard session.</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Piano (performed by Reinier van Houdt)</i></b><b style="mso-bidi-font-weight: normal;"> (ErstClass) September, 2016<o:p></o:p></b></span></h3>
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<span style="font-family: "georgia" , "times new roman" , serif;">In May/June the amazing Rotterdam-based pianist Reinier van Houdt came to Los Angeles and we spent two weeks recording material for a 3-disc retrospective of my music for solo piano.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">The oldest piece recorded was <i style="mso-bidi-font-style: normal;">Akasa</i>, for a mixture of piano harmonics and normal playing, written in 1994. The most recent work is <i style="mso-bidi-font-style: normal;">Green Hour, Grey Future</i>, a 73-minute piece for piano and electronics written for Reinier in 2014/15. (This will be the entire third CD of the set.) Also included in the set will be <i style="mso-bidi-font-style: normal;">fade </i>(2000), <i style="mso-bidi-font-style: normal;">the earth, the sky</i> (2005/6), <i style="mso-bidi-font-style: normal;">fields have ears (2)</i> (2008/9), <i style="mso-bidi-font-style: normal;">Les Jours, Mon Aubépine</i> (2012) and several shorter pieces. We explored a huge range of recording techniques in the making of the set, in line with the works recorded and with experiments Reinier has carried out in his own practice over the past 30 years.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfsSbYfA55myL_SG7tGDypGeUFXcNMlg44wz-KtpvIufNQkoLxpVpKhyphenhyphen9ZWDPGPZYrQnWtAi5droVBhx2HkcqJD48igDJ76xC2eUuOrf_nLN4bQAhFNGa1IIyrJ8cXAca2j4ScL2uwruc/s1600/reinier.me.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfsSbYfA55myL_SG7tGDypGeUFXcNMlg44wz-KtpvIufNQkoLxpVpKhyphenhyphen9ZWDPGPZYrQnWtAi5droVBhx2HkcqJD48igDJ76xC2eUuOrf_nLN4bQAhFNGa1IIyrJ8cXAca2j4ScL2uwruc/s400/reinier.me.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">Reinier van Houdt with a local field recordist (Valencia, CA)<br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><b style="mso-bidi-font-weight: normal;">Gravity Wave 014 and 015, early 2017</b></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4OGydXi0P0DqN-nt6c_s-XmLfKgTH0bOXvz73-H7j8jSWxX_pGs9T3QVHAbgeZ2aDVGLvIEdHLeZrTqV83BzB_xwdQCQJCEUK0ZiepO6PPB2hnQbyP8WyGU8pGlOnUi4TNFwYDQuo_nM/s1600/e%25CC%2581tant.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4OGydXi0P0DqN-nt6c_s-XmLfKgTH0bOXvz73-H7j8jSWxX_pGs9T3QVHAbgeZ2aDVGLvIEdHLeZrTqV83BzB_xwdQCQJCEUK0ZiepO6PPB2hnQbyP8WyGU8pGlOnUi4TNFwYDQuo_nM/s400/e%25CC%2581tant.jpg" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail from <i>Étant donnés</i> (Marcel Duchamp)</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;">Gravity Wave is taking
a break this year, after the release of the 3-disc <i style="mso-bidi-font-style: normal;">Continuum Unbound</i> in November of 2014. But we will be back with two
new releases in early 2017. Both pieces are dedicated to masterworks I encountered
for the first time on a single trip to the Philadelphia Museum of Art in
January of 2013.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i style="mso-bidi-font-style: normal;">Étant donnés</i> (GW 014) is formulated as a response t0 Marcel Duchamp’s work of
the same name (his final, long secret and still controversial installation).
The CD will consist almost entirely of musical found objects.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i style="mso-bidi-font-style: normal;">Shades of Eternal Night</i> (GW 015) takes its title from one of the
paintings of Cy Twombly’s symbolic re-telling of <i style="mso-bidi-font-style: normal;">The Iliad</i> in his <i style="mso-bidi-font-style: normal;">FIFTY DAYS
AT ILIAM</i>.<span style="mso-spacerun: yes;"> </span>The backbone of this
piece is a series of chords which Reinier van Houdt recorded (from
a sketch I gave him) during the <i>E</i><i style="mso-bidi-font-style: normal;">rstClass</i>
sessions.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZiIOxHjKz20-STDtDh7JBv2Xh30VKAYx47OMCjsrGnG-RlxmG_MyFKotejOK_majnl7JVUNu7b9XUKXJQeFPkNt-jmYcE0GShwdZPueSIEkD-MGPW2z7DzLFhzPrY_0aP2_Df_cT_lbQ/s1600/shades.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZiIOxHjKz20-STDtDh7JBv2Xh30VKAYx47OMCjsrGnG-RlxmG_MyFKotejOK_majnl7JVUNu7b9XUKXJQeFPkNt-jmYcE0GShwdZPueSIEkD-MGPW2z7DzLFhzPrY_0aP2_Df_cT_lbQ/s400/shades.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Shades of Eternal Night" from FIFTY DAYS AT ILIAM</td></tr>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-72327117471641498232014-10-02T11:49:00.001-07:002014-10-02T11:52:37.797-07:00Le nouveau (Gravity Wave) est arrivé<span style="font-size: large;">It's here.</span><br />
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<br />Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-10223938767323991222014-09-09T14:35:00.000-07:002014-09-09T17:49:49.137-07:00Early October<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">The release of the next Gravity Wave project, <i>Continuum Unbound</i>, is imminent: we expect it will be ready to ship by the beginning of October. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">It is a box with three discs – 3 hours and 36 minutes of music total – and our biggest project to date. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">In addition to the box, each disc has its own cover, and there is a booklet with score excerpts, photographs and extensive liner notes. (Scroll down to the previous entry, if you are interested in the musical contents. I'll just add that the contributions from Greg Stuart, Patrick Farmer, Joe Panzner and Toshiya Tsunoda, </span><span style="font-family: Georgia, 'Times New Roman', serif;">were incredible.) </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">We're very excited to get this out, but it is expensive to produce, so pre-orders would be very welcome. (This can be done using the button for the box on the right side panel.) Thanks to everyone who has already pre-ordered and for the support of the label in general.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">I've reproduced the box cover above, and the three CD covers below. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Box cover collage and the photos for 011 and 012 are by Greg Stuart. The photo for 013 is by myself (Michael Pisaro). Yuko Zama designed the whole set. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"></span><br />
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-38462218585800380132014-05-26T13:51:00.000-07:002014-09-01T07:07:59.489-07:00Continuum Unbound, Fall 2014<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">In the Fall of 2014,
Gravity Wave will release three CDs comprising the new work <i>Continuum Unbound</i>, the largest project
we have undertaken with the label. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">It is a piece in three
separate parts, each 72 minutes long, each one disc.</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDnOCEjbIfDW9qKsd6cxEhpYvAvm-eVIzL4P4Swqr57Qj0u8X6-cx0fgHsga7vmnFQDYjokw7h3ETzrh1iEoykbX0DrKMNFwxf48hgp2rqBVO0mibOjqgwNftuRn3Ysx4prVNJ6qVK40/s1600/DSC_0331.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDnOCEjbIfDW9qKsd6cxEhpYvAvm-eVIzL4P4Swqr57Qj0u8X6-cx0fgHsga7vmnFQDYjokw7h3ETzrh1iEoykbX0DrKMNFwxf48hgp2rqBVO0mibOjqgwNftuRn3Ysx4prVNJ6qVK40/s1600/DSC_0331.JPG" height="426" width="640" /></a></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;">Kingsnake Grey</i> is a field recording of sundown in
the Congaree National Park in South Carolina. The beautiful and erratic sonic
transformation that occurred over the 72 minutes was the model for the other
two pieces. (GW 011)<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;">Congaree Nomads</i> takes as its basis 24 three-minute recordings
Greg Stuart and I made in the park, along Cedar Creek and the Kingsnake, the Weston Lake and the River trails. It is a “nomadic” series that moves very gradually from
the Creek to the Congaree River. Instrumental “fogs” (harmonies made by Pisaro and Stuart) overlay the field recordings. (GW 012)<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i style="mso-bidi-font-style: normal;">Anabasis</i> is a composition in 72 parts for five musicians, loosely based on
four kinds of materials: Sand, Wind, Tone and Wave. The musicians featured on
this recording (in addition to Pisaro and Stuart) will be Patrick Farmer, Joe
Panzner and Toshiya Tsunoda. (GW 013)<o:p></o:p></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<i style="font-family: Georgia, 'Times New Roman', serif;">Continuum Unbound</i><span style="font-family: Georgia, 'Times New Roman', serif;">, as the title implies, attempts to hear how
the apparent continuum of the sounding world is actually a series of states
that are as fragile and discontinuous as they are solid and connected. (Discrete
continuity is one of the ways we have of understanding contingency.)</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">The three discs will be
available in a box (along with a printed essay).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIdwLZUOWnunUHLO88y0xt3pulDkxJzX3eSBNWyUPA-DM44bpS0DKvUq3g_jrarDBmJoqEQ4QMB3NFLeEA4oiCUqX0mePRFFHIma4Prh0yatPz1s7EKalYDwGVpH6wiPgFjN4_Rh2JzfU/s1600/3.JPG" imageanchor="1" style="font-family: Georgia, 'Times New Roman', serif; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIdwLZUOWnunUHLO88y0xt3pulDkxJzX3eSBNWyUPA-DM44bpS0DKvUq3g_jrarDBmJoqEQ4QMB3NFLeEA4oiCUqX0mePRFFHIma4Prh0yatPz1s7EKalYDwGVpH6wiPgFjN4_Rh2JzfU/s1600/3.JPG" height="478" width="640" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">(Photos are by Greg Stuart and Michael Pisaro)</span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-77800492118741206042013-11-12T12:26:00.001-08:002013-11-12T12:26:25.216-08:00Closed Categories in Cartesian Worlds (GW 010)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV26q7rv_9jFpMIW7hUHtlKPnjkv0gaZWpqVP4Pd_MVbiqXhrtCQ1CQE2vk97igQ16X7Fl_Bx-aKwsLYUFm1RgvvQGvWMMpUVYZm5Png7YrHO8QpKNnlMyz97pnMUL8UlMWbtNFqbMi6I/s1600/gw010_package1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV26q7rv_9jFpMIW7hUHtlKPnjkv0gaZWpqVP4Pd_MVbiqXhrtCQ1CQE2vk97igQ16X7Fl_Bx-aKwsLYUFm1RgvvQGvWMMpUVYZm5Png7YrHO8QpKNnlMyz97pnMUL8UlMWbtNFqbMi6I/s640/gw010_package1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h3>
Design (and photo) by Yuko Zama</h3>
</td></tr>
</tbody></table>
<br />
<span style="font-family: Georgia, 'Times New Roman', serif;">We are very happy to announce the release of GW 010, a 72-minute CD version of </span><i style="font-family: Georgia, 'Times New Roman', serif;">Closed Categories in Cartesian Worlds</i><span style="font-family: Georgia, 'Times New Roman', serif;">, for crotales and sine tones (composed by Michael Pisaro, performed by Greg Stuart, mastered by Michael Pisaro and Joe Panzner). Those interested in more info and sound examples can look below. The disc also comes with extensive notes and a reproduction of a page of the score. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">From the notes:</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">"This record
consists of four crotales, each bowed for 16 minutes. Against each crotale I
have placed sine tones, one after another, for four minutes each (four for each
crotale note). The score gives 10 possibilities for each crotale (over the two
octave range of the instrument there are 250 possibilities). Greg selected four
instruments, and then sent me the recordings. I took some time to select and scale the
volume of the sine tones, work with the stereo balance and mix each
crotale/tone combination in a slightly different way.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">What
emerges from the vast possible selection is four connected pieces, working
their way up in range, each having a distinct profile, structured perhaps with
a distant echo of a four movement symphony."<o:p></o:p></span></div>
<!--EndFragment--><br />
<span style="font-family: Georgia, Times New Roman, serif;">Ordering, as always, can be accomplished with the widget on the right column of this blog.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIjMlx5bjAl4aAL1D74ArW_l-I0Iv80m9U5q7hd5vGHdTEH3fzNMcj_Q4bpU06iAX4JY8ClFLCi0Y88SLw5OyHlD9jYr73ufr4pay4rfs6Y7eB_SNPwqRxhJZ_WbDDmhFE0eNputlpET4/s1600/detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIjMlx5bjAl4aAL1D74ArW_l-I0Iv80m9U5q7hd5vGHdTEH3fzNMcj_Q4bpU06iAX4JY8ClFLCi0Y88SLw5OyHlD9jYr73ufr4pay4rfs6Y7eB_SNPwqRxhJZ_WbDDmhFE0eNputlpET4/s640/detail.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h3>
Detail from the score.</h3>
</td></tr>
</tbody></table>
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-62134720331176182732013-10-28T18:35:00.001-07:002013-11-12T12:26:43.445-08:00GW 010: excerpt and pre-order<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif83qBMgQIgEHqIQGpsuu3srqXTTfUYKb1wn5zPhO_BIhwGjkHz_hTrYImXEIVaJMIcu-PhQaRqk6NehJdPQIuM82ubCVg4iXmrIElUq9VAjKN1PuIXKliipBxM8giJn0KsG3tN0M9ObA/s1600/CCiCW-sound.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif83qBMgQIgEHqIQGpsuu3srqXTTfUYKb1wn5zPhO_BIhwGjkHz_hTrYImXEIVaJMIcu-PhQaRqk6NehJdPQIuM82ubCVg4iXmrIElUq9VAjKN1PuIXKliipBxM8giJn0KsG3tN0M9ObA/s640/CCiCW-sound.jpg" /></a></div>
<br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Below I've posted a SoundCloud link to an excerpt from Part 1 of the disc, about four minutes of the eighteen minute section. The image above (which is that of the excerpt) might give you some idea of what you are in for.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/117542691&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe><br />
<br />
<br />
<span style="font-family: Georgia, Times New Roman, serif;">Greg Stuart, crotales</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Michael Pisaro, sine tones (and composition)</span>Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-69410989984953725472013-10-01T08:38:00.003-07:002013-11-12T12:30:05.294-08:00GW010 Is Getting Closer<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62pZK9JDnrZYzVZ6-BX4jWRSi3WKTfURc4FN67z2XA7CgzZVcm_gATrc0_H2oizpgwIzG0JXXxJFLTTJ23emVhkQOd2EIbs4gjFjabyzLLpU660TQvoVbGsfOhkPQDWx5pWjFUSMqZo8/s1600/GW010_OUTSIDE_L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh62pZK9JDnrZYzVZ6-BX4jWRSi3WKTfURc4FN67z2XA7CgzZVcm_gATrc0_H2oizpgwIzG0JXXxJFLTTJ23emVhkQOd2EIbs4gjFjabyzLLpU660TQvoVbGsfOhkPQDWx5pWjFUSMqZo8/s640/GW010_OUTSIDE_L.jpg" width="640" /></a></div>
<br />
<br />
<span style="font-family: Georgia, Times New Roman, serif;">Happy to post Yuko Zama's cover for Gravity Wave 010 (Closed Categories in Cartesian Worlds). </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">The 72-minute CD should be out by mid-November. </span>Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-47918065897125653932013-08-06T14:33:00.001-07:002013-10-19T15:46:59.543-07:00Announcing GW 010<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7yvBD40uOFGykdf516x9hSd94NZoStVGuht3l4UpDOmOMwIc8Vy_kUZLePX1mArFLsCHN7i4DPXKWkRht3U2F-XEhJlI8NV-uXpjoFJde98zfny-5pMVYziwaazh_F1E0Zbcmol5E0xY/s1600/IMG_5283.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7yvBD40uOFGykdf516x9hSd94NZoStVGuht3l4UpDOmOMwIc8Vy_kUZLePX1mArFLsCHN7i4DPXKWkRht3U2F-XEhJlI8NV-uXpjoFJde98zfny-5pMVYziwaazh_F1E0Zbcmol5E0xY/s640/IMG_5283.JPG" width="640" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The next Gravity Wave
disc (GW 010) will be a recording of <i>Closed
Categories in Cartesian Worlds</i> for crotales and sine tones.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The piece was written
at the request of Greg Stuart in 2011/12. (Greg plays the crotales with the subtlety of a
bowed string instrument.)<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The premise is simple:
a crotale is played for sixteen minutes, and one by one, four sine tones in the
same register are placed against the sound of the crotales (with some variance
of dynamics). <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">What results is not
simple. This is music that sounds differently every time the listener moves their
head or moves around their room. Also, the resultant “extra” (i.e.,
combination) tones evolve and change with each
pairing.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The possible
relationships here are so numerous and unpredictable, that the score created
ten versions (i.e., ten different sets of sine tones) for each of the 25
crotales of the two octave range. That is, there are 250 possible 16-minute
pieces. For the disc we selected four pieces, with as wide a range of effect
and affect as we could find. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The physics of the
crotale are very interesting, since like all metal instruments, its actual
motion is relatively chaotic. It is <i>not</i>
the absolutely stable and regular sound that it appears to be, but has
fluctuating character, perhaps a bit like the reflected glare of any shiny
object. This might be the best analogy for what the sine tones
accomplish: each provides a singular mirror (with a distinct tint) to the ongoing sonic relationship between performer and object. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Release should be mid-November.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">(Photos of the crotales are by Sarah Williams.)</span></div>
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<!--EndFragment-->Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-53344241178296492013-01-18T09:35:00.000-08:002013-01-21T18:48:06.001-08:00Voice Shattering Stones (GW008 and GW009 now available) <i style="font-family: Georgia, 'Times New Roman', serif;">The Middle of Life (Die ganze Zeit)</i><span style="font-family: Georgia, 'Times New Roman', serif;"> and </span><i style="font-family: Georgia, 'Times New Roman', serif;">The Punishment of the Tribe by its Elders</i><span style="font-family: Georgia, 'Times New Roman', serif;"> are now both available from </span><a href="http://www.erstwhilerecords.com/distro.html" style="font-family: Georgia, 'Times New Roman', serif;" target="_blank">erstdist</a><span style="font-family: Georgia, 'Times New Roman', serif;">.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<br />
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<span style="font-family: Georgia, Times New Roman, serif; margin-left: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2cugBCYbxzUlQseIDrA3cjBQ7Nt87yzEp6lDRjGTNK73qkYU3BVVS8IBK5j_bFb5R1keNeApSYTn3sRR83AVD5SFuSVXZF1WIhlavajgOaaDmeWXTVLE7QhD4ctO75FmPdcKvyjeEtf8/s1600/Die+Ganze.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2cugBCYbxzUlQseIDrA3cjBQ7Nt87yzEp6lDRjGTNK73qkYU3BVVS8IBK5j_bFb5R1keNeApSYTn3sRR83AVD5SFuSVXZF1WIhlavajgOaaDmeWXTVLE7QhD4ctO75FmPdcKvyjeEtf8/s400/Die+Ganze.jpg" width="305" /></a></span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">I will be posting translations of all the texts Oswald Egger reads in </span><i style="font-family: Georgia, 'Times New Roman', serif;">The Middle of Life (Die ganze Zeit). </i><span style="font-family: Georgia, 'Times New Roman', serif;">But as that might take a while to complete, I thought I would provide one from the first passage heard in the piece, just to give some idea of what it's like. This comes from Egger's 2010 book </span><i style="font-family: Georgia, 'Times New Roman', serif;">Die ganze Zeit</i><span style="font-family: Georgia, 'Times New Roman', serif;">:</span></div>
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="color: #1a1718;"><i>Wie geht es mir? Halte ich inne und schaue nach
innen? Sage ich »gut«? Oder: »es geht«? Und bin umgänglich oder imstande,
umgehend zu sein, unumgänglich soundso, so geht es und soundso nicht, mir
nicht, dir nicht, ich habe keinen Umgang, mehr geht ja nicht, weil nichts mehr
geht. </i>Rien du rien.<i> Ist keinen Umgang haben unumgänglich? Ich habe keine
Zeit </i>dafür<i>, und ich nehme mir nicht die Zeit </i>dazu<i>. Ich kann
sagen, was ich will, solang ich denke, daß ich spreche, genügt es.</i></span><span style="font-style: italic;"><o:p></o:p></span></span></div>
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<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBA8Us_pRNoDgc9XuPnuXy7sW3-2brLR_N8DPBis8JOKTtdAz32bP5kZ8gq4O_5Rse8YFQ9Dp5rsGFPVWuxNylguVovHWAatTSTcBLjE1pvKAepZ8h1Ei6m6LUs3N7xvki6YdlsOCXbRo/s1600/Die+ganze2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBA8Us_pRNoDgc9XuPnuXy7sW3-2brLR_N8DPBis8JOKTtdAz32bP5kZ8gq4O_5Rse8YFQ9Dp5rsGFPVWuxNylguVovHWAatTSTcBLjE1pvKAepZ8h1Ei6m6LUs3N7xvki6YdlsOCXbRo/s320/Die+ganze2.jpg" width="268" /></span></a><span style="font-family: Georgia, Times New Roman, serif;"><i><span style="color: #1a1718; mso-bidi-font-size: 12.0pt;">Die Innenwände der »Gänze« bilden gleichsam eine
Menge von Landschaftsskizzen, deren verwickelte Aventüren aus einem Guß
entstanden sein wollen. Die gleichen Areale, oder beinahe die gleichen, sind
stets von neuen und aus verschiedenen Richtungen her angepaßt, wie angegossen,
immer neue Bilder entwerfend, für deren Grund plus Figuren große, durch Singen
und Stimme zerspringende Steinchen verwendet werden, worin arealflächige
Fenster und Felder, in welche die das Muster zusammenbildenden Kieselstücke
exakt verkittet in Vertiefungen und caréts eingebeetet scheinten,
hineingepuzzelt oszillieren: die ganze Zeit ist eigentlich nur eine
Inkrustation bunter Steine, aber mehr als arktisches Trikot als ein trojanisches
passim-passepartout.</span></i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif; mso-bidi-font-size: 12.0pt;">How
am I? </span><span style="font-family: Georgia, 'Times New Roman', serif;">Shall I pause and look inward? Do I say “good”? Or: “it’s going
fine”? And am social or capable of circulation, unsociable thisandthat, it’s
like </span><i style="font-family: Georgia, 'Times New Roman', serif;">so</i><span style="font-family: Georgia, 'Times New Roman', serif;"> and not like soandso, not
for me, not for you, I have no contact, it doesn’t work for me, because nothing
works. </span><i style="font-family: Georgia, 'Times New Roman', serif;">Rien du rien</i><span style="font-family: Georgia, 'Times New Roman', serif;">. Is it
anti-social to have no contact? I have no time </span><i style="font-family: Georgia, 'Times New Roman', serif;">for that</i><span style="font-family: Georgia, 'Times New Roman', serif;">, and don't </span><i style="font-family: Georgia, 'Times New Roman', serif;">make</i><span style="font-family: Georgia, 'Times New Roman', serif;">
the time for it, I can say whatever I want, it's enough, so long as I think that I speak.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; mso-bidi-font-size: 12.0pt;">The
inner walls of the “whole” form at once a set of landscape sketches whose intricate
adventures must have come from a cast. The same areas, or almost the same, are constantly
adapted from new and various directions, poured into a mold, always new images
outlined, for their ground plus figures, large, to be utilized with the help of
singing and voice shattering stones, where area surface windows and fields, in
which those that form the pattern pebble pieces puttied exact depressions and <i><span style="color: #1a1718;">carets</span></i><span style="color: #1a1718; mso-bidi-font-style: italic;"> appeared embedded, puzzle-piece oscillating:</span> the whole time is
really only an incrustation of colored stones, but more like an arctic jersey
than a Trojan <i>passim-passepartout</i>.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfgBY9m87DfU6XadezBweRtArD1vxzk8NncXywV7eT-qQLM8r735nv-3dtiAcVo0dTU2EHGIOJmGByYOg4Al9udVlNS_bJkqDvvKT8PuhRAMOQeU5LS0COSvWlWctLE_ZBbUevMCeUml4/s1600/die+ganze3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfgBY9m87DfU6XadezBweRtArD1vxzk8NncXywV7eT-qQLM8r735nv-3dtiAcVo0dTU2EHGIOJmGByYOg4Al9udVlNS_bJkqDvvKT8PuhRAMOQeU5LS0COSvWlWctLE_ZBbUevMCeUml4/s400/die+ganze3.jpg" width="400" /></span></a></div>
<span style="font-family: Georgia, Times New Roman, serif; mso-bidi-font-size: 12.0pt;">Here are the credits for both discs:</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">GW 008:</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i>The Middle of Life (Die ganze Zeit)</i> </b>(2011/2012)
(47’20”)</span></div>
<div class="MsoNormal" style="margin-bottom: 12pt;">
<span style="font-family: Georgia, Times New Roman, serif;">Michael Pisaro: composition, recording, piano, electronics, mixing, mastering </span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Oswald Egger: poetry, reading
</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">Julia Holter: voice, composition</span></div>
<span style="font-family: Georgia, Times New Roman, serif;">Speakers (in order of first appearance):</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Taku Sugimoto (Japanese and English)</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Kristín Haraldsdottír (Icelandic and English) </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Kunsu Shim (Korean)
</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Graham Lambkin (English)
</span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">Didier Aschour (French)
</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Lucie Vitková (Czech and English) </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Julia Holter (English) </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">The speakers are reading translations of the first sentence from Oswald Egger’s <i>Diskrete Stetigkeit, Poesie und Mathematik</i> (edition unseld, Suhrkamp Verlag, 2008): “Mitten im Leben fand ich mich wieder wie in einem Wald (ohne Weg).” Snippets of a home recording by <b>Graham Lambkin</b> are heard throughout this section. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><b>Oswald Egger</b> was recorded on 16 July 2012 in the fields outside of his residence in Hombroich, Germany. He is reading passages selected by Pisaro from <i>Die ganze Zeit </i>(Suhrkamp Verlag, 2010). The illustrations by Oswald Egger also come from this text. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Two field recordings made in Neufelden, Austria during the second year of <i>flussaufwärtstreiben </i>are used. The first, fading in at around 6’00”, was recorded on 2 July 2012, on the banks of the Grosse Mühl river near a small rapids. The second, fading in from about 24’20” was recorded on 4 July 2012, about 500 meters further down the river. <b>Antoine Beuger</b> was playing the flute. An excerpt of Michael Pisaro’s <i>Ascending Series (5.2),</i> performed by the Dog Star Orchestra, is heard intermittently throughout this section. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">An excerpt from <b>Julia Holter</b>’s <i>For One or More Voices</i> for piano (performed by Michael Pisaro), is heard from 42’22” until the end, and is used with permission of the author. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Cover Illustrations by <b>Oswald Egger</b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Design: <b>Yuko Zama</b></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">GW 009:</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><b><i>The Punishment of the Tribe by its Elders </i></b> (2012) (57’20”) </span><br />
<i><span style="font-family: Georgia, Times New Roman, serif;"><br /></span></i><span style="font-family: Georgia, Times New Roman, serif;"><i>to Jon Abbey</i></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Michael Pisaro: guitar, bass, percussion, radio, electronics, recording, mixing </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Mastered by <b>Joe Panzner </b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">The field recording beginning at around 8’00” was made in Neufelden, Austria in the roof studio at the Station. Thanks to <b>Joachim Eckl</b> for providing the space and for much else. </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Cover Photo: Michael Pisaro </span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Design: <b>Yuko Zama </b></span><br />
<br />
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<!--EndFragment-->Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-66188884651586210062012-12-21T11:51:00.000-08:002012-12-21T13:32:18.127-08:00A year-end gift from Gravity Wave<span style="font-family: Georgia, Times New Roman, serif;">Thanks to all who have supported this label over the past two years. I would not have allowed myself to dream that there would be as much interest in it as there has been. It is thanks to this that we are able to keep going.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">As a small year-end thanks, I'm posting this recording of a concert at the <a href="http://www.e-complice.de/" target="_blank">complice</a> gallery in Berlin on July 13, 2012 (recorded by Johnny Chang). Two pieces <i>hinwandeln (zwischen himmel und erd)</i> and <i>Transparent City (2) </i>were performed in alternation and without breaks by Johnny Chang, violin, Koen Nutters, contrabass, Gary Schultz, sine tones and myself, classical guitar. <i>hinwandeln </i>is a trio - and for each of the four times it appears, we rotated amongst the musicians (i.e., a different group of three players each time). <i>Transparent City (2)</i> is a set of instructions for how to play live instruments with a playback of recordings from the <i>Transparent City</i> discs (Edition Wandelweiser). Johnny, Koen and Gary play very subtly along with the Los Angeles field recordings and sine tones which form the basis of the playback. The small gallery space of complice was somehow a beautiful acoustic for this kind of performance.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Normally I think live recordings just serve as a document: interesting, but with a certain sense of "you had to be there." This one, from among many, is for me a bit more than a document.</span><br />
<br />
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F52829867&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
<br />
<br />
<span style="font-family: Georgia, Times New Roman, serif;">We are getting ready for the two new releases some time in January (they are now at the printers) and will be back with you all then. </span>Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-60155130492549574062012-12-13T18:18:00.000-08:002012-12-13T18:48:49.598-08:00Cover art for 008 and 009<span style="font-family: Georgia, Times New Roman, serif;">We have finalized Yuko Zama's designs for <b><i>The Middle of Life (Die ganze Zeit) </i>(GW 008)</b> and <b><i>The Punishment of the Tribe by its Elders </i>(GW 009)</b> so I thought I would post them here. Excited to get these out into the world. If all goes well they will be available by mid-January, 2013.</span><br />
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com2tag:blogger.com,1999:blog-6727787663652275522.post-51794743862428599512012-08-30T14:34:00.000-07:002012-12-05T21:38:45.518-08:00Announcing GW 008 and GW 009<!--[if gte mso 9]><xml>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVZBuv4URatFi1pBkOtg9xJTv-n8csT7Muxz5ra3op3rPPcKIzpNwadaP80g6GofzN5YtxuXeQwn6gnxontsQ7zJAbF7bRSXErrhgtbbegFPht2_jrp5_I6GIQ931qCFFLGgpROaHAzis/s1600/Egger1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVZBuv4URatFi1pBkOtg9xJTv-n8csT7Muxz5ra3op3rPPcKIzpNwadaP80g6GofzN5YtxuXeQwn6gnxontsQ7zJAbF7bRSXErrhgtbbegFPht2_jrp5_I6GIQ931qCFFLGgpROaHAzis/s400/Egger1.jpg" title="" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>A drawing by Oswald Egger from <i>Die ganze Zeit</i></b></span></td></tr>
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<span style="font-family: "Times New Roman";"><br /></span></div>
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<span style="font-family: "Times New Roman";">We would like to
announce the next two releases, hopefully out by the middle of January.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";"><b>GW 008</b> will be a
new piece called <b><i>The</i> </b><i><b>Middle of Life (Die ganze Zeit)</b>.</i> It is a
chain of sound situations that links the poetry of <a href="http://de.wikipedia.org/wiki/Oswald_Egger" target="_blank">Oswald Egger</a> (in field recordings of Egger speaking, made at his
residence in Hombroich, Germany), the voice of <a href="http://en.wikipedia.org/wiki/Julia_Holter" target="_blank">Julia Holter</a> (singing my <i><a href="http://en.wikipedia.org/wiki/De_rerum_natura" target="_blank">Lucretius </a>Monody</i>), and me
playing piano (including sections from a solo piano piece written by
Julia) — plus a few surprises.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">The title
contains a reference to two works by Egger. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">First:<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman";"><b>Mitten im Leben fand ich mich wieder wie
in einem Wald (ohne Weg).</b></span></i></div>
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<i><span style="font-family: "Times New Roman";">In the middle of life I found myself
again in a forest (with no path). <o:p></o:p></span></i></div>
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<br /></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<i><span style="font-family: "Times New Roman";"> </span></i><span style="font-family: 'Times New Roman';">From <i>Diskrete
Stetigkeit: Poesie und Mathematik </i>(Edition Unseld, Suhrkamp, 2008)<o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman";">Die ganze Zeit</span></i><span style="font-family: "Times New Roman";"> is the title of Egger’s monumental (742
page) poem of 2010 (also from <a href="http://www.suhrkamp.de/buecher/die_ganze_zeit-oswald_egger_42133.html" target="_blank">Suhrkamp</a>). It’s about nothing and everything, but
as I read it, it has to do with the irreconcilability of the whole and parts of
time (leading to, in my view, the impossibility of time).<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtGyS_Ns2MFyjdt_x_iP091rseyHqItBO1jtXF7x6FUvUC2XjBCqhhneJS3z0Bk2l99X1zgfywER2-ayJJJo01oGiwOqCNbB5gqTIb2zS_FdnwNBVJZX8Nt6SaT_KGcKfpl-G9BD_BBJU/s1600/mallarme-poe-sonnet.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtGyS_Ns2MFyjdt_x_iP091rseyHqItBO1jtXF7x6FUvUC2XjBCqhhneJS3z0Bk2l99X1zgfywER2-ayJJJo01oGiwOqCNbB5gqTIb2zS_FdnwNBVJZX8Nt6SaT_KGcKfpl-G9BD_BBJU/s400/mallarme-poe-sonnet.png" width="400" /></span></a></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><b>GW 009 </b>will be
another new work, <b><i>The Punishment of the
Tribe by its Elders</i>.</b><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The material for
this piece was initially recorded for <i>The
Middle of Life</i>, but as it developed I began to feel that its darker, more
foreboding character did not fit. The pieces are still somehow paired in my
mind (like light and dark branches of the same tree). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In Hombroich,
when recording Oswald, we somehow landed on the idea that his work is of a different
(maybe opposite) poetic strain than that of (another favorite of mine) Stéphane
Mallarmé. Returning home and combing back through Mallarmé, I landed again on
this famous line from “Le Tombeau d’Edgar Poe” (The Tomb of Edgar Poe): <o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman";"><b>Eux, comme un vil sursaut d’hydre oyant
jadis l’ange <o:p></o:p></b></span></i></div>
<div class="MsoNormal">
<i><span style="font-family: "Times New Roman";"><b>Donner un sens plus pur aux mots de la
tribu</b></span></i><span style="font-family: "Times New Roman";"> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">(in my rough
translation, with some help from T.S. Eliot)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<i><span style="font-family: "Times New Roman";">They, like the vile start of the hydra
hearing the angel long ago<o:p></o:p></span></i></div>
<div class="MsoNormal">
<i><span style="font-family: "Times New Roman";">Purify the language of the tribe </span></i><span style="font-family: "Times New Roman";">(or more literally: <i>giving a purer meaning to the words of the tribe</i>)<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">and on this one:<o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman";"><b>Calme bloc ici-bas chu d’un désastre
obscure</b></span></i></div>
<div class="MsoNormal">
<i><span style="font-family: "Times New Roman";">Calm block fallen from an obscure
disaster </span></i><span style="font-family: "Times New Roman";">(also from the
<i>Tombeau</i>)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times New Roman;">(Poe: the messenger of an obscure
disaster whose consequences are with us still.)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">This piece
consists of electronics, low frequency hums, percussion, bass and electric
guitar, disguised samples (from Black Sabbath and the Rolling Stones, among others) and
field recordings, aligned with two very low sine tones.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9CUIydXTe-IaIyKeS9trwkmB8uRPO8uFYYMXzTRWGzw77kXvp41h8RcpEdLJ6OctQj8K7h2J_WvmNHsw6BYMY13Jd9Oq0voPTDrsmrXzgF6V1jSOcwJhvDml1JHw5t2AyPxm_fDqTMXg/s1600/hombroich.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9CUIydXTe-IaIyKeS9trwkmB8uRPO8uFYYMXzTRWGzw77kXvp41h8RcpEdLJ6OctQj8K7h2J_WvmNHsw6BYMY13Jd9Oq0voPTDrsmrXzgF6V1jSOcwJhvDml1JHw5t2AyPxm_fDqTMXg/s400/hombroich.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: small;"><b>A view from one of the buildings at Hombroich (near Neuss, Germany)</b></span></td></tr>
</tbody></table>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Thanks to
everyone for the support of the label–this has allowed us to continue to
release music.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";"><br /></span></div>
<!--EndFragment-->Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-19603454166917303402012-08-15T11:21:00.000-07:002012-09-01T12:47:35.747-07:00Hearing Metal series<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFU3LnhKlSCsWe3hoS1UzjsLmFZ9FInvv9vT3jib9rHX5jWMCyDQfoqoRIqp_guHjqcnH8REgytb09NNqwQKD0w_hXYepLXCD4J_1JRoA6SUiNINzpHctJ1nHT19lK-LQa42LtR32ICx8/s1600/Hearing+Metal+3.p16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFU3LnhKlSCsWe3hoS1UzjsLmFZ9FInvv9vT3jib9rHX5jWMCyDQfoqoRIqp_guHjqcnH8REgytb09NNqwQKD0w_hXYepLXCD4J_1JRoA6SUiNINzpHctJ1nHT19lK-LQa42LtR32ICx8/s640/Hearing+Metal+3.p16.jpg" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Page 16 of the score to <i>Hearing Metal 3</i></span></td></tr>
</tbody></table>
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<span style="font-size: x-small;"><br />
</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">In a
previous post, I wrote that the driving force behind the <i>fields have ears</i> series was extensive listening (that is, listening
outwards along expanding lines, the way I think we do in a “field”). In the <i>Hearing Metal</i> series the listening is <i>intensive</i>: by this I mean hearing “into” physical material, where by means of sound it proceeds to unfold into facets.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The
series began with Greg Stuart’s suggestion that I consider writing a piece for the
60-inch tam-tam required for a performance of Karlheinz Stockhausen’s <i>Mikrophonie</i> <i>I</i>. (Stuart was at that time involved in preparing that piece for a
performance in San Diego.) Greg had discovered that the range of sounds
produced by this huge instrument was vastly multiplied by “close-recording”
with the microphone. (<i>Mikrophonie</i> for
all its brilliance just amplifies the sounds. Greg found that with the
microphone one could hear more detailed and complex sounds than one
could with the ear alone, i.e., that one could make sounds in a completely different manner when the microphone was being used.) He sent me a few brief recordings of the instrument
and they were fascinating enough to suggest that the physical/sonic properties
were worth exploring in detail.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">As
can sometimes happen to me when struck by an unfathomable sound, this
most basic question suddenly arose: “What is a sound?” There’s never one answer; maybe it’s not even
important to answer. But each of the four compositions of the <i>Hearing Metal</i> series was written under
the influence of this question. Each is an attempt to enter into the space of
one or more instruments, and then to <i>expand</i>
that space, to hear an inner geography of the range of sounds chosen. Any sound,
even the simplest, is already (ontologically) multiple. But the multiplicity
requires a succession of events to be heard: by extending, repeating, adding
and subtracting, one begins to experience the sound more like a verb than like
a noun. Sound is revealed through a concatenation of actions that follow a
particular <i>logic</i> (in this case, that
logic is the composition). <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"> <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">My
sense was that each instrument or group also conjured a range of affects unique
to it; as if the physical material itself could, with a little compositional mediation,
be transmuted into an expression of something like the “feeling of the material.”
(This is why reference is made with each work to the sculpture of Constantin
Brâncuși.)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The
four pieces in the series, all for metal percussion with sine tones (and occasionally
other sounds and instruments) generally move upwards through the registers of
metal percussion as the instruments themselves get smaller. The subtitles are
from works by Brâncuși. All the recordings were made by Greg Stuart and myself.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><i><b>Hearing Metal 1</b></i>, 2009 (Edition Wandelweiser 0902,
63’42”). A collection of three pieces for the 60-inch tam-tam plus sine tones
(“Sleeping Muse”, “The Endless Column”, “Sculpture for the Blind”).<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">The
sound of the tam-tam when bowed or lightly struck is a composite chord with
many (maybe hundreds of) elements. But it behaves unpredictably: one has very
little control over which elements of the “chord” will appear and in which
arrangement. These pieces create (in three different ways) opportunities to
hear the elements of this source chord again and again. Similar to the method of
my <i>Transparent City </i>pieces, the sine
tones are used to locate facets of the geography of the sound that might
otherwise remain hidden or unheard.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;"><i><b>Hearing Metal 2 (La table du
silence)</b></i>,
2010/2011 (Gravity Wave 005, 62’00”). Low to mid-range percussion, with a few
higher instruments (almglocken, bell plates, brake drums, chimes, metal objects
with contact microphones, cymbals, glockenspiel, gongs, steel drums, tam-tams,
vibraphone); radio, electric and bass guitar, sine tones, samples and field
recording.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">A
vastly expanded palette was used to represent what I thought of as a “silence.”
As a memorial, Brâncuși’s sculpture turns an absence into a substance. This
parallels my own view that silence is dense–because it is likely our best way
in music to experience <i>contingency</i>.
Contingency is (among other things) the hidden succession of things that
creates any present. I think we have to understand this succession as basically
unreadable: infinitely layered, chaotic. But we can <i>sense</i> it. I used 80 simultaneous tracks of recordings of the
instruments that Greg had played to create this silence. The guide
for how to deal with the 40 minutes of sound (i.e., the central part of the
piece) is given below.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpcwQr0RF21kX8iljqjy-ea60-gkGI8lM482w5ytVSnJB8xebjYWwJoyL04omoW5Tkvbd00LLJ74mYBXlfY1TfN9Y_SggSYgocKuTp7f_TfdUKTXDkvCIJ1uMoH6_rLbEz01PI0-Z06cU/s1600/hm2chart2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img alt="" border="0" height="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpcwQr0RF21kX8iljqjy-ea60-gkGI8lM482w5ytVSnJB8xebjYWwJoyL04omoW5Tkvbd00LLJ74mYBXlfY1TfN9Y_SggSYgocKuTp7f_TfdUKTXDkvCIJ1uMoH6_rLbEz01PI0-Z06cU/s640/hm2chart2.jpg" title="" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;">A chart from the score to <i>Hearing Metal 2</i></span></td></tr>
</tbody></table>
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<span style="font-family: Georgia, Times New Roman, serif;">Groupings
of the sounds were created according to the parameters of “pitch”, “noise”,
“mixtures” and “semi-pitched” and then crossfaded up and down (using a maypole-like
structure to indicate the relative balance of the tracks). In practice the
balancing was much more nuanced (with individual tracks moving up and down <i>within</i> each category), but I think one
can still hear the succession.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I
didn’t think one could begin this piece with this monolithic music, and so took
my cue from the fact that <i>La table du
silence</i> is situated outdoors: an invitation to see this silence as somehow
framed by field recording. In the long first part of the piece, the recordings
move essentially from the ocean to the interior, following the path of a river,
perhaps hearing (or imagining) incidental sounds of radio and music on the way.
The recordings themselves come from various places (in Big Sur, Austria and
Germany) and include samples of radio test tones and stations (fading in and
out the way they do when one walks through the hills) and transformed samples
of my son John playing organ (perhaps one passes the ruins of a cathedral?). There’s
a relatively short excerpt at the end (after the central section) of a stream
in Germany, early in the morning as the birds start to sing. The feeling is (to
me) meant to suggest that one comes upon this silence in the midst of a
solitary walk.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><b>Hearing Metal 3 (Prometheus,
1911)</b></i>,
2010/2011 (Gravity Wave 006, 45’20”). Sixteen suspended cymbals (bowed and with
“gravity excitation”) and sine tones.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The
ensemble for this piece was suggested by Greg Stuart, and I immediately went
for it. The image of 16 suspended cymbals was really striking (even before one
heard anything). <o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-g0ZNMnncdVpnX-ItO_gikiHQTcM-2vU-SwTD67v5j_zYIb4s6UfelTRwQRZqQhGjSFh33AQ92MSGDn_-p3dGeQxF2EFAbz9MgMif_LFmjBxV-Oowta_USQVbxV1T2VSXkXNUWI3qO9w/s1600/pisaro.cymbals.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-g0ZNMnncdVpnX-ItO_gikiHQTcM-2vU-SwTD67v5j_zYIb4s6UfelTRwQRZqQhGjSFh33AQ92MSGDn_-p3dGeQxF2EFAbz9MgMif_LFmjBxV-Oowta_USQVbxV1T2VSXkXNUWI3qO9w/s400/pisaro.cymbals.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia, Times New Roman, serif; font-size: small;">16 suspended cymbals (with the composer)</span></td></tr>
</tbody></table>
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<span style="font-family: Georgia, Times New Roman, serif;">After
writing <i>fields have ears (4) </i>I wanted
to work again with the idea of <i>change</i>.
In this case the basic change that takes place over the 45 minutes is from the
vibration of a solid (i.e., the cymbal bowed) to a kind of physical
“evaporation” as the mode of excitation changes to gravity (beans, rice and
then finally, millet falling on the cymbals). Like <i>ricefall</i> and some of the pieces from the <i>fields have ears</i> series, the ground is laid out as a grid prepared
with other surfaces (including tile, metal, wood, paper, ceramic, dry leaves
and even four drums in the center), which can be heard as the various grains
fall from the cymbals. The ground comes to the fore in the center of the piece
(when “the beans begin to fall”) and gradually disappears as the grain changes
(in several stages and combinations) to the very light millet. The sine tones
accompany, and at times instigate the change.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i>Hearing Metal 2</i> and <i>Hearing Metal 3</i> were planned to work both separately and together.
The structural movement from heavy to light and the placement of the silences
are stronger when the two pieces are heard together. The moment when gravity
starts in <i>Hearing Metal 3</i> is a larger-scale
transformation when heard in the 107 minute context of the two works together.
(If you have the discs and the patience, give it a try!)<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEZ0l2GjcuBaPZmqTklAMLPLZ5oxGwNXsSRPzvMs9y3Ra9x1jZbmwynLGBugtG3Wy8Xrn7ve0Cn9LUG-sjZlXTmtxvhLUkLqfvGRyeomUjbKT6BLXAwJEKWSIU7_tcwBcoXI-x8oOmiS8/s1600/HM3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEZ0l2GjcuBaPZmqTklAMLPLZ5oxGwNXsSRPzvMs9y3Ra9x1jZbmwynLGBugtG3Wy8Xrn7ve0Cn9LUG-sjZlXTmtxvhLUkLqfvGRyeomUjbKT6BLXAwJEKWSIU7_tcwBcoXI-x8oOmiS8/s400/HM3.jpg" width="400" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><b>Hearing Metal 4
(Birds in Space)</b>, </i>2010/2011
(unreleased, 25’00”). Glockenspiel, electric guitar, sine tones and samples (of
glockenspiel, energy chimes and crotales).<i><o:p></o:p></i></span></div>
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<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif;">As a
kind of coda to the large-scale dimensions of the first three members of the
series, I wrote <i>Hearing Metal 4</i> as a
piece that Greg and I could play live. Greg had suggested that I consider Brâncuși’s
<i>Bird in Space </i>as a reference and this
fit perfectly in the trajectory of the previous two parts of the series
(essentially completing the transformation from ground to air). </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">This piece
moves up the notes of a high A major scale, using each tone of the scale as the
starting point for an expanding and contracting shape, made with layered
glockenspiel, crotales and sine tones, and etched into the surrounding silence.</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Hearing Metal 4 (excerpt)</span></div>
<span style="font-family: Georgia, Times New Roman, serif;"><iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F56417576&show_artwork=true" width="100%"></iframe>
</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><br />
My
deepest thanks to Greg Stuart. It probably goes without saying at this point
that none of these works would have been remotely possible without his artistry
and the ridiculous amount of work he puts into them.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">We
(Greg and I) would like to acknowledge the support of Antoine Beuger, Jon
Abbey, and Yuko Zama in the release of the recordings. (It probably also goes
without saying that the discs of the first three are available from <a href="http://www.erstwhilerecords.com/distro.html" target="_blank">erstdist</a>.)</span><span style="font-family: Baskerville; font-size: 11pt;"><o:p></o:p></span></div>
Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-8295083204916454432012-03-19T23:54:00.007-07:002012-08-22T21:27:29.292-07:00Some thoughts on the "fields have ears" series (and a few remarks on the current Gravity Wave release)<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: arial; font-size: 100%;"><br /></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The German saying runs something like this:</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black;">Das Feld hat Augen, der Wald hat Ohren.</span></i></b><b><i style="mso-bidi-font-style: normal;"><span style="color: black;"><o:p></o:p></span></i></b></span><br />
<span class="Apple-style-span" style="font-size: 100%;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: Georgia, Times New Roman, serif;"><br /></span></i></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><b><i style="mso-bidi-font-style: normal;"><span style="color: black;"><o:p> </o:p></span></i></b><i style="mso-bidi-font-style: normal;">(Fields have eyes, forests have ears.)</i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;"><br /></i></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">When I first heard this cryptic sentence (a “Sprichwort” in German) from poet Oswald Egger, I understood that it had to do with the fundamental difference between sight and sound. But I thought: fields must (also) have ears. (And: whose?)</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><o:p> </o:p>The series of pieces named <i style="mso-bidi-font-style: normal;">fields have ears</i> represent my attempts to come to compositional terms with different notions of “fields”: how we hear them, how they might hear themselves, and what there is to hear.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">My idea of the field is a grid (pictured).</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5721870508486795618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq9kKxD1fXUaDaAqi7YQGHJGkAwLHTK8jJ6egBpN7HiY51yS_NTMDDuQBmDUX3-SHlS8aKqv61-cvmZlWvUdDAY7mTl9YmD-tu1XxJXNvcT2TOjBHIKYtkFRzJ2susG7hnUh4cKDradSs/s400/eyes.fit.jpg" style="cursor: pointer; display: block; height: 357px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: justify; width: 400px;" /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">I find the implication that there are “ears” everywhere, at every point in a world, a fascinating concept, even if it is rather hard to imagine. It implies that <i style="mso-bidi-font-style: normal;">position</i> might be more important than <i style="mso-bidi-font-style: normal;">time</i> in hearing; and that the sounding configuration of a world can be understood (differently) from an infinite number of points. It says that what is audible to any one person is unique, but at the same time contiguous (and therefore directly related) to what is audible to others. <span style="mso-spacerun: yes;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">So the series is about creating (or rather, imagining) configurations of sounds in a “field.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">At the moment the series consists of eight works:</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(1) for solo piano with four channel playback (which has field recordings, sine tones and noise). 20’ (2008) (recorded on <i style="mso-bidi-font-style: normal;">another timbre</i> 037 by Philip Thomas)<o:p></o:p></span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(2) for solo piano and four performers (playing sine tones and noise) 32’ (or more) (2008/9)</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(3a/b) two different versions for five performers. Both have piano, contrabass, electronics and objects. (3a) adds field recordings and (3b), violin. 30’ (3a: 2009, 3b: 2010)</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(4) for an ensemble of at least four musicians. 27’40” (2009) (recorded on <i style="mso-bidi-font-style: normal;">another timbre</i> by Philip Thomas, Dominic Lash, Patrick Farmer, Sarah Hughes and the Edges Ensemble)</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(5) for flute, bass clarinet, percussion, violoncello and piano. 33’30” (subtitled “vapor”) (2009/2010)</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(6) for solo guitar and electronics (including field recordings, sine tones, samples and noise) 56’ (2010-2011)</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(7) for five musicians, four loudspeakers and a grid. 25’ (2010)</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">(8) for 80 performers: 57 with radios, and 23 with beans falling on various objects. 10’ (2010) </span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">It would take a much longer article to go into the details of each piece, but I will try to sketch out the general areas of interest. The series progresses, point by point, through a set of compositional questions. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Initially, I had wanted to situate an “ear” (a musician playing a piano) in the midst of a field (represented by the four speakers in the corners of the room). In <i style="mso-bidi-font-style: normal;">fields have ears (1)</i>, the pianist is asked to place sounds <i style="mso-bidi-font-style: normal;">below</i>, <i style="mso-bidi-font-style: normal;">within</i> and<i style="mso-bidi-font-style: normal;"> just above</i> the levels of the environment I provided (which put versions of the same location in each speaker, mixed with an ascending scale of sine tones and a series of white noises at formal junctures). In <i style="mso-bidi-font-style: normal;">fields have ears (2)</i> the field recordings were replaced by live performers (playing sine tones and noises) in the four corners–but with the piano still in the middle. In both cases the “where” of a sound was at least as important as the “when” of a sound.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">With <i style="mso-bidi-font-style: normal;">fields have ears (3a/b)</i> and <i style="mso-bidi-font-style: normal;">fields have ears (4)</i>, something new entered the series: the idea of <i style="mso-bidi-font-style: normal;">change</i>. Fields change over time, listening changes our relationship to the field. Both pieces tried to create gradual changes within what would be recognized as the same field (or world).</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">fields have ears (5)</i> crystallized another feature of the evolving series: the tendency of pitch elements to rise just slightly above the noise (to be, in the terms of this piece, the “condensation” of the vapor of noise). </span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">fields have ears (6)</i> was the first piece in the series to flesh out the four corners of the first two with a full-fledged grid (of 8 by 8 sounds in time). Since, in fact this was the last completed, I will say more about it at the end.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">fields have ears (7)</i> took this “virtual” grid of (6) and set it up on stage, as a set of 25 (5 x 5) squares – with loudspeakers in the four corners and performers moving between the stations of the grid on stage.<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">fields have ears (8)</i> vastly enlarged this stage grid (to 80 units), but simplified the sound producing mechanisms so that virtually any performer could feel they were in the midst of a field <i style="mso-bidi-font-style: normal;">with ears</i>.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The experience of the series has given me a deeper awareness of the <i style="mso-bidi-font-style: normal;">configuration</i> of sound: spatial, harmonic, contingent, layered. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The largest, longest and most difficult piece of the series is the one recently released on Gravity Wave: <i style="mso-bidi-font-style: normal;">fields have ears (6)</i>. For reasons that I discuss in the notes to the disc itself, the piece kept growing with each performance. It began with me laying out, in score form, a grid of bars in which tones and chords for the guitar could be “planted.” At the root, this was some kind of harmonic scheme (something like a long, complex, <i style="mso-bidi-font-style: normal;">passacaglia</i>). I wanted to reinforce the roots of the harmony, and thus created a series of sine tones to go along with the guitar chords. <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">However, in successive performances, as I kept adding elements, I began to appreciate how, in a field, one never actually sees the roots. That is, the growth somehow implies roots without making them visible. I wanted to create the sense of something that had, at a very deep layer, a solid root system, or architecture, but then allow this to be almost completely obscured by the growth upward from those roots.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">I have always been attracted to things that one knows to have a structure, but which at the same time, don’t present that structure completely. Long take field recordings have this character: they clearly come from a place, but their shape in time is much more subtle than any musical form. The number <i style="mso-bidi-font-style: normal;">pi</i> also has this character: we know that the places after the decimal are determined. We can learn (some of) them; we can calculate them, but we cannot confront that structure directly (most of it will always remain hidden).</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">So as I kept piling on elements to the piece, I began to feel (despite the complexity) more and more at home in the <i>environment</i> it presented: one that suggested that the configuration of <i>a</i> world presents itself to our senses and feelings long before our minds know what to do with it.</span><span class="Apple-style-span" style="font-family: Baskerville;"><o:p></o:p></span></div>
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<!--EndFragment-->Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com4tag:blogger.com,1999:blog-6727787663652275522.post-12045965415891190552012-02-28T06:38:00.008-08:002012-08-22T21:25:56.135-07:00fields have ears (6) : released!<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBxCYKyz9YoToeiAPv72cu2ftaV7Kmd0U7P8gbhLWS3hfLTeCUQnpXATOj_81k_Iux_KM8IwQUBxc_79sBYSTZnw0c_JC8uoX-9WP7G-NcYoCaO0awLonm0z-HxNEdpdQJChuHKCA1Da4/s1600/007.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhii3HHx1HaHzBYXo3ZWqPCtc1NXQIluw3X90xl9nyJTChdnSxVD8IxReQpPcecOJjJAoZRRv6vWWZHgPNm-JnVAj3pF8oigYoN1bBrVZKgzr4Ggbpqguct4uJ7S9rwf6igzUd_9khfeto/s1600/FHE6_front_cover100.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5714200643051353266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhii3HHx1HaHzBYXo3ZWqPCtc1NXQIluw3X90xl9nyJTChdnSxVD8IxReQpPcecOJjJAoZRRv6vWWZHgPNm-JnVAj3pF8oigYoN1bBrVZKgzr4Ggbpqguct4uJ7S9rwf6igzUd_9khfeto/s400/FHE6_front_cover100.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 282px;" /></a><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">I'm very happy to announce that <i>fields have ears (6)</i> is now officially available from <a href="http://erstwhilerecords.com/distro.html">erstdist</a> and can be ordered from this page or that site. There's some information about the release a couple posts down. The inside of the card comes with notes on the piece and a page of the score (which you can see in Yuko Zama's photo of the packaging below). </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Soon I hope to post about the concepts behind the two series, <i>Hearing Metal </i>and <i>fields have ears. </i>Each series has so far been represented by three recordings - on Gravity Wave (<i>Hearing Metal 2</i>, <i>Hearing Metal 3</i>, and now <i>fields have ears (6)</i>), <a href="http://www.wandelweiser.de/">Edition Wandelweiser Records</a> (<i>Hearing Metal 1</i>, EWR 0902) and <a href="http://www.anothertimbre.com/another%20timbre%20catalogue.html">another timbre</a> (<i>fields have ears (1) </i>and<i> fields have ears (4)</i>, both<i> </i>on at37).</span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-67940701397082657942012-02-08T22:42:00.000-08:002012-08-22T21:26:08.038-07:00Artwork for GW 007<div style="text-align: left;">
<span style="font-family: Georgia, Times New Roman, serif;">Here is a preview of Yuko Zama's striking final design for <i>fields have ears (6)</i> (GW 007)<i>. </i>It is now at the printers, and we are still expecting this disc to be available by the end of February.</span></div>
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5707027967256367090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTlwyUOCm_6sb901cGP0ZwWI1NdIbxgOprUbJNQyrZaDlr0wvkJ1YPl7rR7Sxrj3n35mXoxisw3X3cAzT138NERcnq0Bv72UGFhLU_1tnE86JTP3pD68EP3C9PTbqkOE9R-RcDj96ky8M/s400/FHE6_final_cover100.jpg" style="cursor: hand; cursor: pointer; display: block; height: 283px; margin: 0px auto 10px; text-align: center; width: 400px;" /></div>
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<b><span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Some Upcoming Performances</span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">In the last week of February I will have a strange little trip to Oberlin (Ohio) and Amsterdam (Holland). </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">From 19 to 22 February, I'll be a guest at Oberlin College for some talks and master classes. There will be a public performance of my work by students at the college on <a href="http://new.oberlin.edu/calendar/index.dot?id=3488947">22 February</a>. Here's the program:</span></div>
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<span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The shipwreck of the singular [harmony series no. 13] (2005)</span></span></div>
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<span class="Apple-style-span" style="color: #333333; font-family: Georgia, Times New Roman, serif; font-size: 100%;">within (2) (1996)<o:p></o:p></span></div>
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<span class="Apple-style-span" style="color: #333333; font-family: Georgia, Times New Roman, serif; font-size: 100%;">Tomorrow [harmony series no. 16b] (2005)<o:p></o:p></span></div>
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July Mountain (2009) (in a new version by David Bird, Eugene Kim and Christian Smith)<o:p></o:p></div>
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Where there is <i><span style="mso-spacerun: yes;"> </span></i>[harmony series no. 16a] (2005)<o:p></o:p></div>
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melody, silence (2011), Michael Pisaro, guitar</div>
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No longer wild [harmony series no. 15] (2005)</div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">From 23 to 26 February, I will be at this year's <a href="http://2012.sonicacts.com/">Sonic Acts</a> festival in Amsterdam. I'll be giving a talk on "music minus time" (on the same session with Keith Fullerton Whitman) at 10:30 a.m. on 25 February. Starting at 7:00 p.m. on the 26th, there will be a long evening of music of extended duration. This will include performances of my pieces <i>Ils: harmony series no. 18 </i>and <i>fields have ears (5): vapor</i> by Konzert Minimal from Berlin; and an extended guitar duo with Taku Sugimoto. </span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0tag:blogger.com,1999:blog-6727787663652275522.post-64403819576681476282012-01-10T08:07:00.000-08:002012-08-22T21:21:01.413-07:00Announcing GW 007<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9m-jpPtN0dZSP2knMXKNnbEJ2gcy17dfrfr-YkLhwkkRAICqKFcUO8h2pr67057N7Co2C1gplV4b8c6kY6EOAzFIlWfNDZeCmm2ga8unnDPgmKrlwhnvcYSRYpeR2XGhB3XHbWFYHNUQ/s1600/lombardi.detail.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP54o6OKNbs4nhAJpmYbmu6_RQLa-WxmvtZ4LOKcHgkLM4Xts-mXOpwSf5LQ-ammD-_AYUyOYu3KLKwTdglnfGVVnELEqfT2QFaoH64NKQAkHrMJQ9-2VX4ONbH8pWXKk85xSlOE9402c/s1600/lombardi.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCOT4a8ULjw5KxDDbcv7BD5GIQ5EWznThnKZmR9ofyntKE4jxI8JKhplwEtEm426vpPioeQrc0AePrncnt1Fe5UyC4tOxAYAplowrmpFG_4F9NcnwhNwLoOp7QF3ji_n0x4NKNYRILIKU/s1600/closeup.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5696048489575641394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCOT4a8ULjw5KxDDbcv7BD5GIQ5EWznThnKZmR9ofyntKE4jxI8JKhplwEtEm426vpPioeQrc0AePrncnt1Fe5UyC4tOxAYAplowrmpFG_4F9NcnwhNwLoOp7QF3ji_n0x4NKNYRILIKU/s400/closeup.jpg" style="cursor: hand; cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The next Gravity Wave release (GW 007) will be <i>fields have ears (6)</i>, a 56-minute piece for guitar and electronics. It has had a long composition history, starting from a solo for classical guitar and sine tones (premiered in Munich in July of 2010). It was subsequently performed in Seattle (August, 2010), A Coruña, Galicia (May, 2011) and New York (September, 2011). For each performance a new version was created, incorporating recordings from the previous locations (including parts of previous performances), and other sounds that I began to associate with the history of the piece: turntables, radios, records, field recordings, earlier pieces of mine, etc. The process reached its endpoint in December of 2011 (with me recording all the parts on electric guitar). What started as a fairly simple piece is now a densely layered object, that carries its history on its back like a tortoise shell.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The disc should be available near the end of February. </span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com2tag:blogger.com,1999:blog-6727787663652275522.post-63981721977690890222011-09-28T07:26:00.000-07:002012-08-22T21:22:15.743-07:00Concerts: October/November, 2011<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">I'm going to try to maintain something of a list of upcoming performances, especially when groups of them are occurring together, as is happening over the next couple months. I hope it is useful (and not annoying). Please say hello if you are in the neighborhood of one of these!</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Saturday, October 8, 7:30p.m.<a href="http://www.sonorites.org/sonorites11.htm"> Sonorités</a>, Montpellier, France<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">I will be giving the first performance of a new piece for solo electric guitar: <i style="mso-bidi-font-style: normal;">melody, silence</i> and playing <i style="mso-bidi-font-style: normal;">fields have ears (4)</i> with an ensemble assembled by Didier Aschour.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">October 12–15, <a href="http://www.q-o2.be/en/event/field-fest/">Field Fest</a>, Q-02, Brussels, Belgium<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Concerts, installations and talks, along with, among others, Manfred Werder, Annea Lockwood, Toshiya Tsunoda, Eric La Casa, Jason Kahn, Jez riley French and Emmanuel Holterbach.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Monday, October 17, 6 p.m., <a href="http://www.crisap.org/">CRISAP</a> (Creative Research into Sound Arts Practice), London College of Communication<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">A field recording symposium along with Annea Lockwood and Emmanuel Holterbach (including a discussion of <i style="mso-bidi-font-style: normal;"><a href="http://www.flussaufwaertstreiben.net/">flussaufwärtstreiben</a></i>).<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The Carolinas, October 21th to the 26th<o:p></o:p></span></b></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Friday, October 21, 9 p.m., <a href="http://conundrum.us/concerts/index.html">Conundrum Music Hall,</a> Columbia, South Carolina<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Michael Pisaro / Greg Stuart, New Music Workshop<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i>Transparent City (2.12)</i></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i>fields have ears (4)</i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">First performance of <i style="mso-bidi-font-style: normal;">The Bell-Maker </i>(performance version).</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Saturday, October 22, 9:30 p.m., <a href="http://www.nightlightclub.com/">Nightlight</a>, Chapel Hill, North Carolina<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">GregStuart/Michael Pisaro and Ryan Gustafson<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">A transparent gate (with ten panels) </i>performed by Greg Stuart</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Sunday,October 23, 2 p.m., <a href="http://www.wxyc.org/">WXYC Radio</a>, Chapel Hill, North Carolina<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The Beckett pieces (<i style="mso-bidi-font-style: normal;">8a – 8e), </i>from the <i style="mso-bidi-font-style: normal;">harmony series </i>(Michael Pisaro, Greg Stuart)<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Tuesday, October 25, 7 p.m. <a href="http://www.columbiamuseum.org/events/calendar?event=4525">Experimental Percussion with Greg Stuart and Michael Pisaro,</a> Columbia Museum of Art, Columbia, South Carolina</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Selections from the <i style="mso-bidi-font-style: normal;">harmony series</i> (Greg Stuart, Michael Pisaro)<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">Hearing Metal 3 </i>(New Music Workshop, Greg Stuart)<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Wednesday, October 26, 8 p.m., Recital Hall,<a href="http://www.newmusiccollective.org/wpnewsite/?p=354"> Simons Center for the Arts</a>, Charleston, South Carolina, Pisaro, Stuart, members of the New Music Workshop (Columbia, SC), and New Music Collective (Charleston, SC)<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The rain of alphabets [harmony series no. 19] <o:p></o:p></span></i></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><o:p>This is the longest (and largest) of the <i>harmony series</i> pieces: over two hours, with fourteen musicians. </o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">A few other performances in October and November:<o:p></o:p></span></b></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><a href="http://www.entracte.co.uk/haptic">Haptic</a> performs <i style="mso-bidi-font-style: normal;">Concentric Rings in Magnetic Levitation</i>, a new, hour-long piece written specifically for the talents of Adam Sonderberg, Joseph Clayton Mills and Steven Hess.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Friday, October 21, 8 p.m., <a href="http://www.experimentalsoundstudio.org/pages/outer_ear/116.php">Experimental Sound Studio,</a> Chicago<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Sunday, October 23, 7 p.m., <a href="http://studiozstpaul.com/sz-concerts-oct11-parent.html">Studio Z</a>, St. Paul, Minnesota</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Thursday, October 27, 8 p.m., The Wild Beast, <a href="http://music.calarts.edu/">California Institute of the Arts</a>, Valencia<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">Guitar (+1),</i> Charles Underriner, guitar<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><i style="mso-bidi-font-style: normal;">rapport abstrait</i> (with Brendan Byrnes, guitar), <i style="mso-bidi-font-style: normal;">é la fora</i> (with Ingrid Lee, harmonium), <i style="mso-bidi-font-style: normal;">black, white, red, green, blue</i> (solo guitar)</span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Friday, October 28, 8 p.m. Rolf Julius Memorial Concert, Hamburger Bahnhof, Berlin<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Works by Julius, Hans Peter Kuhn, Bernhard Leitner, Miki Yui.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">First performance of <i style="mso-bidi-font-style: normal;">asleep, stream, rice, violin </i>(a ten minute piece for 4-channel audio, including recordings of Johnny Chang, violin and Greg Stuart, rice percussion, and the Big Sur River)<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Wednesday, November 2, 9 p.m., <a href="https://www.facebook.com/event.php?eid=163714567053102">Concert Minimal</a>, O Tannenbaum, Sonnenallee 27, Berlin Neukölln</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Lucio Capece, bass clarinet, Johnny Chang, viola, Koen Nutters, bass, and Hannes Lingens, accordion, play <i>Sometimes</i> from the <i>harmony series</i>.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">London/Wandelweiser<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Wednesday, November 2, <a href="http://www.soundandmusic.org/projects/cut-splice-gr%C3%BAndelweiser/events-0">Poetry as Score</a>, <a href="http://www.creativecollaboration.org.uk/where.php"><span style="color: windowtext; text-decoration: none;">Centre for Creative Collaboration</span></a>, 16 Acton Street, London, 7:30pm (pre-concert discussion 6.30-7pm)<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Jürg Frey- Landschaft mit Wörtern (selection) (2003)<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Manfred Werder - 2009/4<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Michael Pisaro - A single charm is doubtful [harmony series no.14] (2004-6)<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Antoine Beuger - Confidential Letter #7 (2011)<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Performers: Antoine Beuger, Angharad Davies, Sarah Hughes, Tim Parkinson, Michael Pisaro, David Stent, Carol Watts and Manfred Werder.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;"><a href="http://www.soundandmusic.org/projects/cut-splice-grundelweiser">Grúndelweiser</a>, November 3 to November 6, Cut & Splice, ICA, London<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Members of Wandelweiser (Antoine Beuger, Jürg Frey, Eva-Maria Houben, Marcus Kaiser, Radu Malfatti, Michael Pisaro, Burkhard Schlothauer, Manfred Werder) and Grúpat (Jennifer Walshe)<o:p></o:p></span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com2tag:blogger.com,1999:blog-6727787663652275522.post-75876364508780117652011-09-11T08:52:00.000-07:002012-08-22T21:27:06.107-07:00mind is moving IX (a short update)<div style="text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUvh3wVSqygrNF1crawUBRyov_Nbv9NLZdM47ZJ0zvvz3w9WKWnLBr3NOC71KMp-ZCGTEY7crNAI_VO2Rp6LrvolewGcER6EE6eyZr3tAX5C0xcwI7Mz6VgJYqp3BW70z0kkWDR1bWiHQ/s1600/mind+is+moving+IXp1..jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsRbaPlqoBveO43iKY0fU4QNVLyhE4sdZL4_rRmTVa4hqLlT2T_0ySpwr_jh5fZDset4msivxqr_G8B4TGJscnTFMdfO-gsSVP54UQYp-QlsMJb0QocsPr6Z2NLH4-7WVsEHTd-6MZ2Mw/s1600/mind+IX.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5651132897765877346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsRbaPlqoBveO43iKY0fU4QNVLyhE4sdZL4_rRmTVa4hqLlT2T_0ySpwr_jh5fZDset4msivxqr_G8B4TGJscnTFMdfO-gsSVP54UQYp-QlsMJb0QocsPr6Z2NLH4-7WVsEHTd-6MZ2Mw/s400/mind+IX.JPG" style="cursor: hand; cursor: pointer; display: block; height: 299px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">Getting ready to head to New York tomorrow, for<a href="http://www.erstwhilerecords.com/live/amplify11.html"> Amplify11</a> and the<a href="http://michaelpisaro.blogspot.com/2011/08/gravity-wave-festival-september-1415.html"> Gravity Wave mini-festival</a> at <a href="http://thestonenyc.com/">The Stone</a>.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">On Wednesday (September 14), for the second set, instead of <i>mind is moving I</i>, I will be playing a new piece: <i>mind is moving IX</i> for electric guitar and other objects (composed just this year: this will be the premiere). I will still be joined by Dominic Lash (who will be playing a slightly altered version of<i> mind is moving IV</i>).</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">The first set on Wednesday will see the first performance of <i>A cloud drifting over the plain</i> with the new ad libitum parts (for percussion, electric guitar, contrabass and piano). </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, Times New Roman, serif; font-size: 100%;">If you are in NY I hope to see you there!</span></div>
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<span class="Apple-style-span" style="font-size: 100%;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; font-family: Georgia, Times New Roman, serif; font-size: 16px;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5651132898860188354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUvh3wVSqygrNF1crawUBRyov_Nbv9NLZdM47ZJ0zvvz3w9WKWnLBr3NOC71KMp-ZCGTEY7crNAI_VO2Rp6LrvolewGcER6EE6eyZr3tAX5C0xcwI7Mz6VgJYqp3BW70z0kkWDR1bWiHQ/s400/mind+is+moving+IXp1..jpg" style="cursor: pointer; display: block; height: 400px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 309px;" /></span></span></div>
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Michael Pisarohttp://www.blogger.com/profile/09197502387259390708noreply@blogger.com0