Excerpts from Roulette concert June 2017. The orchestra performs CLEPSYDRA, a score that draws from electronic music experience to write for chamber ensemble, in that it is entirely produced from electronic sample-and-hold procedures. 

Excerpt IV (Part E) features solos (in order of appearance) by Ned Rothenberg, Shelley Hirsch, Sarah Bernstein, Nick Didkovsky and Dafna Naphtali.

With Shelley Hirsch (voice), Dafna Naphtali (live sound processing, voice), Sarah Bernstein (vio), David Soldier (vio), Jason Hwang (vla), Tomas Ullrich (cello), Ned Rothenberg (cl, bcl), Michael Lytle (cl, bcl), Briggan Krauss (as, baritone sax), Josh Sinton (contra bass clarinet, baritone sax), Ursel Schlicht (p), Gordon Beeferman (organ), Shoko Nagai (moog), Nick Didkovsky (g), Satoshi Takeishi (perc), Hans Tammen (composition, binary conducting).

Video recording by Carlton Bright and Amanda Shaperson, audio recording by Brendan Reilly & Sarah Peterson at Roulette.

Clepsydra is supported by New Music USA, made possible by annual program support and/or endowment gifts from New York City Department of Cultural Affairs, Mary Flagler Cary Charitable Trust, Helen F. Whitaker Fund, Aaron Copland Fund for Music, Carl Jacobs Foundation, and New York State Council on the Arts.

http://tammen.org/third-eye-orchestra/
http://tammen.org/background-on-clepsydra/

Hans Tammen + Third Eye Orchestra Roulette 2017 (Excerpt IV / Part E)

Infernal Machines is Lars Graugaard and Hans Tammen, remix by Lars Graugaard of a live broadcast at WKCR, New York City October 2011.

Infernal Machines live at WKCR - part 1

Infernal Machines live at WKCR - part 2

Hans Tammen creates music that has been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He produces rapid-fire juxtapositions of radically contrastive and fascinating sounds, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible noises - through means of his ENDANGERED GUITAR and interactive software programming, by working with the room itself, and, as a critic observed, with his "...fingers stuck in a high voltage outlet". Signal To Noise called his works "...a killer tour de force of post-everything guitar damage", All Music Guide recommended him: "...clearly one of the best experimental guitarists to come forward during the 1990s."

His numerous projects include site-specific performances and collaborative efforts with dance, light, video, and theatre, utilizing technology from planetarium projectors to guitar robots and disklavier pianos. He received a Fellowship from the New York Foundation of the Arts (NYFA) in the category Digital/Electronic Arts in 2009 for the ENDANGERED GUITAR - a hybrid guitar/software instrument used to control interactive live sound processing. His THIRD EYE ORCHESTRA open form compositions for large ensembles and live sound processing are inspired by Earle Brown's Available Forms, and based on numerous scored "building blocks" that are constantly rearranged when performed.

Hans Tammen + Third Eye Orchestra Roulette 2017 (Excerpt IV / Part E)

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