Recorded live at Nina HQ, NYC on 08/22/2022. 
This performance can be listened to in its entirety and purchased as a digital edition at https://nights.ninaprotocol.com, with 100% of the proceeds going to the artist.

Nina Night - 001 - Kieran Daly (Clip)

Translation of the marian motet "Au doz mois de mai / Crux, Forma Penitentie / Sustinere" from the Montpellier Codex for electric guitar.

Performed by Anthony Vine at The Watermill Center on March 17, 2023.

Au doz mois de mai / Crux, Forma Penitentie / Sustinere

Improvised duo in collaboration with Michelle Lou.

Live recording with no edits. Stereo Mix down from 20 channels. 

Mastered by Eli Crews.

Duo with Michelle Lou (Live At UCSD, 2023)

New Solo Works by Chicago based percussionist Tim Daisy
Artwork by Lewis Daisy (age 6) :)

TIM DAISY SOLO B

The “Iridescent schemes” was written between May to July 2023, inspired by the ways our perception on different things shifts endlessly - under the influence of every new “slant of light” (Emily Dickenson). The title of the piece derives from the phenomenon of goniochromism (from the Greek: gonia, meaning angle and chroma, meaning color) when certain surfaces appear to gradually change color as the angle of view or the angle of illumination changes.

The piece was commissioned by Georges Aperghis and is dedicated to him and the Schallfeld ensemble. 

performed by Schallfeld Ensemble 
conductor: Pierre-André Valade
live recording, September 18, 2023, Schwaz, Austria
recorded by ORF Austrian Public Radio

painting:
Hubert Scheibl, "Seeds of Time"

Iridescent Schemes - Schallfeld Ensemble

For choir and obbligato improviser; 
text from Lamentations 1:12 and "The Cry" by Denise Levertov, with permissions from New Directions Publishing

Commissioned & premiered by Khorikos with Charlotte Greve (alto saxophone), November 12, 2023, Shrine Church of St. Anthony of Padua, NYC.

The first line of Lamentations 1:12 is a question in the original Hebrew: “Is it nothing to you?” This is missed in the vulgate Latin translation into the widely spread "O vos omnes", but the question is more pertinent. Not only a call for help or pity, but implicitly a warning. Matthew Henry’s 1710 commentary puts it concisely: "Jerusalem sitting dejected on the ground calls on those that passed by to consider whether her example did not concern them. Her outward sufferings were great but her inward sufferings were harder to bear through the sense of guilt. Sorrow for sin must be great sorrow and must affect the soul.” Our sorrows now are certainly “great”, especially oriented towards a future whose imagination is inextricable from the specter of a more total destruction than ever before. Hence Denise Levertov’s poem, “The Cry,” which gives voice to that inward suffering through the very impossibility: “Nothing for eloquence / no rhetoric / fits / that unrendering” — paradoxically, it only made sense to try and work through this nothing, to sing in its face with the old and new words, to know your NOW only through what it could be, and choose accordingly with the ineffable escape route of sounds: the bird, the child, the choir, the saxophone. These real and poetic things, and the very efficacy of how they articulate themselves, are constantly shifting around uneasily over the course of this piece.

Is It Nothing

Klangspuren lab 2023

Performed by Schallfeld Ensemble
Conductor Pierre-André Valade
Recorded by ORF Austrian Public Radio

...u nikudy

Tape available directly from Important Records: www.imprec.com 

On ‘Fluorescent Standard,’ guitarist Anthony Vine and clarinetist Gareth Davis present two luminous and serene worlds of harmonic sound. 

The duo entwine sustained tones, glowing with the resonant hues of their instruments, into enveloping and expansive atmospheres. Clarinet sonorities, swelling guitar chords, and tumbling elegiac piano fragments drift quietly through time in elusive cycles that subtly change and expand with each return. 

Every vibration is interconnected, aligned and fused attentively, causing the instruments to dissolve into themselves and emit residual vibratory energies, like fluorescence. What emerges is a music that invites quiet contemplation and rewards deep listening.
 
While Vine and Davis met through the world of modern classical music, ‘Fluorescent Standard’ finds itself in the realms of drone, ambient, and new age. The music is grounded in early minimalist aesthetics of composers like La Monte Young and Phill Niblock, but also shares the sensibilities of contemporary artists like Fennesz, Sarah Davachi, and Stars of the Lid.

Fluorescent Standard A

From "Relay Signals" (lucky kitchen 026) Ernst Karel- analogue electronics/Tim Daisy-percussion. (recorded summer 2003)

Ernst Karel/Tim Daisy  Dark Green, Bright Red (2003)

2019 Work 41

performed by Ensemble Dal Niente
flutes: Constance Volk
piano: Mable Kwan
guitar: Jesse Langen
cello: Chris Wild

conducted by Hannah Barnes

This work was composed during June 2020 amidst the tumult and conflict that this summer will undoubtedly become remembered for. I started writing this piece while quarantined in Chicago, in near total isolation, but finished the majority of the material while on the road between Chicago and Missoula,
Montana. Spending time in campgrounds and attempting to remain isolated during my travels, I fixated on the mysteries of change and conflict that unite our time to the times of generations past, and which undeniably will unite us with generations in the future. For much of my young life, I felt that nothing was happening at a great detriment to all—passively watching the world happen as if it were a film in a movie theater. Now I feel as if something is happening.

This piece is a poetic occurrence of my reflections on change, stasis, interior/exterior, autonomy/heteronomy, nostalgia, and utopia. It is not methodological nor is it particularly conceptual. It is not attempting to demonstrate anything other than itself.

Sincerest gratitude to Ensemble Dal Niente and DePaul University for facilitating the creation and performance of this work.

something is happening, for quartet [Ensemble Dal Niente]

Jack Langdon (b. 1994, Sault Ste. Marie Tribe of Chippewa Indians) is a musician, filmmaker, and writer with concentrations in experimental music, minimalist documentary, and cultural politics. 

Across mediums, Jack’s work stages elusive, complex encounters with commonplace subjects, scenes, and sounds. As a musician, he has created extensive work for pipe organs, and regularly performs on a variety of keyboard instruments as well as the Ojibwe wooden flute (bibigwan). His films focus on landscape, the built environment, memory, and their transmission through people. He writes on the political economy of cultural production and the workplace politics of American independent music making.

Jack has composed works for Yarn/Wire, Schallfeld Ensemble, Ensemble Dal Niente, Talea Ensemble, Prague Quiet Music Collective, Southland Ensemble, Left Coast Chamber Ensemble, Trio SÆITENWIND, Yoshi Weinberg, Jack Yarbrough, Miroslav Beinhauer, Sara Constant, Jonathan Hannau, and Graeme Shields. His work has been supported by the Foundation for Contemporary Arts, Darmstädter Ferienkurse, the Fromm Foundation, The Awesome Foundation, MISE-EN_PLACE, and the Prague City Gallery. 

As an improviser, he has projects with Jeff Kimmel, Hunter Brown, Olivia Shortt, Taylor Ho Bynum, Adam Shead, Webb Crawford, Anthony Vine, Erica Miller, Sam Scranton, Kelley Sheehan, Ishmael Ali, and Weston Olencki.

His recordings have been released by IMPREC, Sawyer Editions, Dinzu Artefacts, and Lobby Art Records. His written work has been published by Sound American, Cacophony, and Shred Magazine. Jack is a founding editor for Culture as Care Journal with Eli Namay and John Pippen. He runs an independent record label and music journal based in Chicago called Empty Stage.

He is currently studying for his PhD in Composition and Music Technology at Northwestern University, and holds degrees from Dartmouth College and Saint Olaf College. He is a Graduate Practicum Fellow at the Alice Kaplan Center for the Public Humanities in 2024 and 2025. 

Jack grew up in Keyeser, Wisconsin.

something is happening, for quartet [Ensemble Dal Niente]

Jack Langdon

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