For String Quartet
Performed by the Formosa String Quartet, Greensboro VT, 2013

Norumbega (2013)

As Cidades de I. Calvino II (The Cities of I. Calvino II) for piano, live electronics and strings.
piano: Catarina Domenici
live electronic: James Correa
Orquestra de Câmara do Theatro São Pedro
conductor: Antônio Borges Cunha
Live recording by Marcus Abreu

As cidades de I. Calvino II

loadbang+ (feat. Erin Lesser, Kate Maroney, and Mariel Roberts), DiMenna Center, New York City, NY, USA, 28 March 2014

pneuma

Trumpet solo
Recorded on 17th of june at the Klangraum Krems Minoritenkirche. 
The church was empty, with no audience. Actually with nobody except myself and a pair of mics.

Unprocessed Reality (take 3) – for Evan Parker - Trumpet solo (2014)

Clara Iannotta
Intent on Resurrection — Spring or Some Such Thing
pour dix-sept musiciens 
Ensemble intercontemporain
Matthias Pintscher, direction 

Créé et enregistré en direct le 17.10.2014 à la Cité de la musique (Paris)
Enregistrement sonore : Radio France 

En savoir +  : http://www.ensembleinter.com/accents-online/?p=7310

Clara Iannotta : Intent on Resurrection — Spring or Some Such Thing

a minimalistic improvisation by:
mazen kerbaj / trumpet
the israeli air force / bombs

recorded by mazen kerbaj on the balcony of his flat in beirut,
on the night of 15th to 16th of july 2006.
© mazen kerbaj 2006

STARRY NIGHT (excerpt) 6.31 min

video: https://vimeo.com/147209979

construction project for four performers,  physical installation, video, light, objects, bass trombone, accordion, and electronics

marek poliks: score, design
brian archinal: objects, electronics
felix del tredici: plastics, bass trombone, instrument design
christian smith: objects, electronics
eva zöllner: objects, accordion

maw [2015]

performed by Jennifer Choi and Stephen Gosling, 2/11/16

Noli me tangere (2016)

drift fields [2012] for vibraphone (with digital playback)

performed by Ian Antonio and Sam Pluta of the Wet Ink Ensemble

Each of the six notes played by the vibraphone is doubled by a slightly-detuned sine tone, creating complex patterns of interference.

drift fields

Dispossession and Disposal:
Each scrap pile settles,
inscribing colonial history (and
futurity) into the sediment itself.
I watch the slow death of metal,
in the creek bed,
its resonance eaten by rust.

The half-buried pile of rusted scrap etches a boundary line into the earth. It marks a border between the taskscape of the yard or field and the terra nullius of the woods, the land in use and the empty space. The rural, especially in the Northeast, is an intersecting network of these lines, archived in topsoil, stone walls, and long-forgotten barbed wire.

For this installation, I excavated metal from the streambed where I live in Woodbury, Vermont. With this metal and wood from a local sawmill, I built a collection of instruments, and composed a 24-minute soundscape combining sounds from these objects with field recordings from the site where they were found. The instruments were arranged as a participatory sound installation accompanied with the stereo soundscape and large format photos of the creek bed and scrap pile. As participants, ranging from young children to professional instrumentalists, played along with the soundscape, I moved through the space engaging observers in discussions about the rural idyll and old dump sites.

The work was installed at Sounds of the Earth, a one-day music festival in Shelburne, Vermont, produced by New Music on the Point in collaboration with Scrag Mountain Music and TURN Music. Almost one year later, the instruments were burned in a prayer ceremony in solidarity with Mashpee Wampanoag tribe, who asked allies to light fires in support of their sovereign claim to their reservation lands.

The Slow Death of Metal

Hoping to find what inhabits the ordinary, 
the left over husks of what was 
music once or noises, quietly reanimated.

Studied: Univ. at Buffalo (PhD.), Northwestern Univ. (BMus)



Norumbega (2013)

Otto Muller

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