Extradition Series Archive of Events
Extradition’s Spring Concert 2022 presents five works by an international, multigenerational group of women composers: Leaven Community Center – SATURDAY, APRIL 16, 2022 AT 7:30 PM – 9:30 PM PDT
> Lauren Redhead, Lines That Have Been Drawn on Photographs of Sculpture (2011), performed by Lee Elderton (soprano saxophone), Catherine Lee (oboe d’amore), Collin Oldham (cello), and Caspar Sonnet (lap steel)
> Melissa Vargas Franco, Ningún Nombre es Verdadero (2014), performed by Matt Carlson (piano)
> Ioanna Valsamara, 66 Ways to Look Above (The Sky Isn’t Silent) (2021), performed by Matt Carlson (electronics), Lee Elderton (soprano saxophone), and Collin Oldham (cello)
> Emmanuelle Waeckerle, A Direction Out There: Readwalking (with) Thoreau (2021), performed by Stephanie Lavon Trotter (voice) and Juniana Lanning (electronics)
> Annea Lockwood, Spirit Catchers (1974), performed by Douglas Detrick, Tim DuRoche, Juniana Lanning, and Stephanie Lavon Trotter (voices)
Barring significant changes in the COVID environment, we request that all guests remain masked for the duration of the event.
A rare Pacific Northwest performance by percussion group Meridian, who for this performance will be a duo of Greg Stuart and Tim Feeney.
“Drawing on experiences performing both improvised and composed works, Meridian approaches percussion in a way that places the exploration of sound in the foreground, in favor of a musical approach that is concerned with exploring acoustic phenomena, rather than rhythm, gesture, or technique. In creating this music, Meridian reimagines its materials, so that an instrument like a snare drum becomes literally a cylindrical shell with an attached flexible membrane. When viewed from this perspective, traditional instruments become unique sound-making and sound-filtering objects, to be set into vibration coupled with resonant metals, dragged with scraping implements, or driven directly by fingers, bows, or feedback circuitry. In performance, each musician invents a new method for producing sound, a new aggregate instrument, in real-time.”
Friday, March 13
Leaven Community
5431 NE 20th Ave. @ Killingsworth, PDX
Doors 7pm, music 7:30pm
$10-$20 sliding scale, at door
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Greg Stuart is a percussionist whose work draws upon a mixture of music from the experimental tradition, Wandelweiser, improvisation, and electronics. His performances have been described as “a ghostly, gorgeous lesson in how close, concentrated listening can alter and enhance perception” (The New York Times). Since 2006, he has collaborated extensively with the composer Michael Pisaro, producing a large body of music comprised of pieces that focus on the magnification of small sounds through recording and layering, often in combination with field recordings and/or electronic sound. His role as an interpreter of Pisaro’s compositions has been called “a David Tudor to Pisaro’s Cage” (The Boston Globe). Stuart’s most recent collaboration with the composer, Continuum Unbound, a three-disc box set on Gravity Wave, grew out of the pair’s field recording work in Congaree National Park and was selected by The Wire as one of the best albums of 2014.
Stuart currently performs with fellow percussionists Tim Feeney and Sarah Hennies in the percussion trio Meridian, and with computer musician Joe Panzner. Other recent collaborations include projects with Ryoko Akama, Erik Carlson, Antoine Beuger, Eva-Maria Houben, Jürg Frey, Kunsu Shim, Bonnie Jones, Phillip Bush, Nomi Epstein, Speak Percussion, and the International Contemporary Ensemble. He has appeared as a featured performer at numerous festivals and notable venues presenting experimental music including MaerzMusik (Berlin), the Melbourne Festival, Café Oto (London), Arnolfini Centre for Contemporary Arts (Bristol), Cha’ak’ab Paaxil (Mérida), Issue Project Room (New York), REDCAT (Los Angeles), Big Ears (Knoxville), Elastic Arts Foundation (Chicago), New Music Co-Op (Austin), Philadelphia Sound Forum, and Non-Event (Boston) among others. He has recorded for numerous labels, including Edition Wandelweiser, Gravity Wave, Erstwhile, Cathnor, New World Records, Accidie, L’innomable, caduc, Lengua de Lava, Crisis, and Senufo Editions.
An enthusiastic educator, Stuart has given lectures, workshops, and performances at the University of Huddersfield, Universidade Federal de Goiás, Banff Centre for Arts and Creativity, Victorian College of Arts, Oberlin Conservatory, the University of Louisville, the New England Conservatory of Music, Harvard University, Florida State University, Georgia State University, and Tulane University. Stuart holds a D.M.A. and M.A. from the University of California, San Diego, and a BMus from Northwestern University. He is currently an Associate Professor at the University of South Carolina School of Music in Columbia, SC where he teaches experimental music and music history, and runs the Experimental Music Workshop.
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Tim Feeney is an improviser, composer, and interpreter who seeks to explore and examine the possibilities inherent in unstable sound and duration. Tim began working in this thread in 2002 within Boston’s community of improvisers interested in austere combinations of sounds and silences, and has since performed and recorded with musicians throughout the United States and abroad. He collaborates with artists including the trio Meridian (with percussionists Greg Stuart and Sarah Hennies), pianist Annie Lewandowski, cellist and electronic musician Vic Rawlings, vocalist Ken Ueno, saxophonist Andrew Raffo Dewar, banjo and electronic musician Holland Hopson, trumpeter Nate Wooley, sound artists Jed Speare and Ernst Karel, video artist Jane Cassidy, and many others.
He has presented work at experimental spaces throughout the United States, such as the Red Room in Baltimore, Boston’s Institute of Contemporary Art, the Knitting Factory and The Stone in New York, the Center for New Music and Audio Technology at UC-Berkeley, the Stanford Art Museum, Princeton University, and Dartmouth College. He has recorded for the experimental Caduc, Accidie, Rhizome.s, Full Spectrum, Sedimental, homophoni, Audiobot, Soul on Rice, lildiscs, and Brassland/Talitres labels.
Tim also builds sound installations, concerned primarily with the acoustic properties and geographies of neglected or nontraditional spaces. His recent work has been presented by festivals at locations including Silo City (an abandoned grain complex along the Buffalo River in western New York), Boston’s Metropolitan Waterworks Museum (the preserved steam-pumping station that once processed the city’s drinking water), and the Bernheim Research Forest outside Louisville, Kentucky, as well as at more formal venues such as the Contemporary Art Center New Orleans and the University of Richmond.
As an interpreter of contemporary compositions, Tim has performed at venues such as the Brooklyn Academy of Music, Zankel Hall, the American Academy in Rome, and the Norfolk Chamber Music Festival, and his work has been featured on WNYC Radio’s New Sounds. A member of Boston’s Callithumpian Consort, Tim appeared on the Musica Nova series at the Gewandhaus in Leipzig, Germany, and at New York’s Tonic as part of its 50th birthday celebration for John Zorn. As a founding member of So Percussion, Tim appeared in concerts and masterclasses at Columbia University and Williams College, and commissioned David Lang’s The So-Called Laws of Nature, premiered at the 2001 Bang on a Can Marathon.
He was a co-founder of the duo Non Zero, with saxophonist Brian Sacawa, which performed American and world premieres of works in concerts at MIT, NYU, the University of Michigan, the Kerrytown Concert Hall, New York’s Tenri Cultural Institute, and Eastern Nazarene College. As the percussionist in the onstage band for Rinde Eckert’s chamber opera Orpheus X, Tim performed to great acclaim in stagings at Boston’s American Repertory Theater, the 2008 Hong Kong International Festival for the Arts, and New York’s Duke Theater at 42nd Street, praised by The New York Times.
Tim is currently Percussion Artist at the California Institute of the Arts, and is also a faculty member of the Chosen Vale International Percussion Seminar, a yearly chamber music intensive workshop bringing students from the US and abroad to rehearse and perform at the Enfield Shaker Museum in New Hampshire. From 2012 to 2018 Tim served as Assistant Professor of Percussion at the University of Alabama, where he led the applied percussion studio and the Alabama Percussion Ensemble, served as the principal percussionist of the Tuscaloosa Symphony Orchestra, and was a frequent performer with the Alabama Symphony Orchestra. From 2007 to 2012 Tim directed the percussion program at Cornell University, where he taught the Cornell Percussion Ensemble, Cornell Steel Band, and CU World Drum and Dance Ensemble.
An active guest educator, Tim has given workshops on improvisation, chamber music and solo percussion performance, Ewe dance-drumming, and Balinese gamelan at schools including the Eastman School of Music, Oberlin Conservatory, the University of Tennessee, the University of Washington, Michigan State University, the University of Miami, the Longy School of Music, UC-Berkeley, UC-Davis, Bucknell University, and the Peabody Conservatory. He has presented new music and given invited lectures and workshops at the international conventions of the Percussive Arts Society in 2013, 2014, 2015, and 2017, and is a member of the PAS New Music Research Committee.
Tim earned a Bachelor of Music degree from the Cleveland Institute of Music, and Master of Music and Doctor of Musical Arts degrees from the Yale School of Music, where his teachers included Robert van Sice, Richard Weiner, and Paul Yancich. In addition, he has studied Balinese gamelan with Andrew McGraw of the University of Richmond and the late Pak Wayan Konolan in Den Pasar, Bali, and Ewe dance-drumming with James Burns of Binghamton University, Johnson Kemeh of the University of Ghana at Legon, and with master drummer Kodzo Tagborlo of the Dzigbordi dance-drumming society, Dzodze, Volta Region, Ghana
Doors at 7pm, music at 7:30pm.
The Extradition Series welcomes Ashland-based performer/composer Tessa Brinckman, who will present her new solo work Box | Grown Men Sing and join members of the Extradition Ensemble for a group performance of Eva-Maria Houben’s Haiku for Seven.
> Brinckman’s Box | Grown Men Sing (2019) is a 35-minute electro-acoustic meditation on loss, seen through the lens of solitary confinement, its connections to colonization and climate change, and our yearnings beyond dehumanization. Performed by the composer on bass flute and waterphone with fixed audio and video, the piece incorporates interview recordings with three survivors of solitary within the US prison-industrial complex. What did they hear, smell, taste, dream, remember, resist? What did they love?
> Houben’s Haiku for Seven (2003–2019) brings together seven of the composer’s solo “Haiku” scores for different instruments, creating a simultaneous, interlocking realization. The piece will be performed by Tessa Brinckman (flutes), Loren Chasse (percussion), Lee Elderton (clarinet), Annie Gilbert (trombone), Matt Hannafin (percussion), Jacob Mitas (viola), and Collin Oldham (cello).
New Zealand flutist Tessa Brinckman has been described by critics as a “flutist of chameleon-like gifts” and “virtuoso elegance” (Gramophone), an “excellent…flutist” (Willamette Week), and a “highlight of Portland” (New Music Box) who “play(s) her instrument with great beauty and eloquence” (Music Matters New Zealand). She enjoys a versatile career, having worked in many classical music ensembles and concert series in the United States, South Africa, France, and New Zealand. Her orchestral, chamber, and solo music performances include the Oregon Symphony, New Haven International Arts, Festival of New American Music, Britt Festival of Music & Arts, Ashland Independent Film, Oregon Bach, Oregon Shakespeare, Ernest Bloch, Bumbershoot, Oregon Fringe, and Astoria Music Festivals.
The Extradition Series 2020 Winter Concert presents four pieces by legends of experimental music and art.
> Keith Rowe, “Pollock #82” (1981-82): A graphic score series created from intensively magnified drip and splatter patterns from Jackson Pollock paintings. Tonight’s ensemble realization will feature performances by Matt Carlson (piano), Loren Chasse (zither, percussion), Alissa DeRubeis (modular synthesizer), Lee Elderton (clarinet), Matt Hannafin (psaltery, percussion), Branic Howard (electronics, objects), Catherine Lee (oboe), Collin Oldham (cello), and Caspar Sonnet (lap steel dobro).
> Philip Corner, “Small Pieces of a Fluxus Reality” (2018): A recent work by the legendary Fluxus composer, merging abstract minimal graphics and equally abstract text, to be performed by Loren Chasse (zither, percussion), Lee Elderton (reeds), Annie Gilbert (trombone), Matt Hannafin (psaltery, percussion), Maxx Katz (flute), and Caspar Sonnet (concertina).
> Annea Lockwood, “Jitterbug” (2007): A piece in which two performers interpret the patterns and color shifts of a series of creek rocks from the Montana Rockies, against a backdrop of insect sounds recorded in the small lakes and backwaters of Montana’s Flathead Valley. “Jitterbug” was commissioned by the Merce Cunningham Dance Company in 2006 for the dance eyeSpace, and will be performed at Extradition by Lee Elderton (tenor & soprano sax), Matt Hannafin (percussion), Branic Howard (multi-channel media), and Collin Oldham (cello).
> Walter De Maria, “Cricket Music” (1964): An early musical work by the legendary minimalist artist, “Cricket Music” sets a constant but subtlely shifting 6/8 drum pattern against a field recording of crickets sounds. The piece will be performed by John Niekrasz (drum kit) with pre-recorded fixed media.
Saturday, January 18
Leaven Community
5431 NE 20th Ave, PDX
Doors 7pm, music 7:30pm
$10-$20 sliding scale, at door
Saturday, 10/19
Leaven Community
Extradition Series Fall Concert
$10-20 (sliding), music at 7:30pm
This year, Extradition’s Fall Concert is part of the six-night, six-venue CMG Improvisation Summit Festival, and features works spanning sixty years of experimental music.
> Toshi Ichiyanagi, Music for Electric Metronome (1960): This graphic score requires performers to manipulate metronomes according to very specific instructions, exploring shifting tempi while also adding interpolations on their instruments or via non-instrumental sounds. The piece will be performed by Matt Carlson (piano), Loren Chasse (percussion), Brandon Conway (guitar), Matt Hannafin (percussion), Maxx Katz (flute), and Caspar Sonnet (dobro) + metronomes.
> Sarah Hughes, Fires and Conifers (2012–13): A text score in which each performer is given very specific instructions regarding the role they are to play in the music, but few instructions regarding the sounds they are to play. It will be interpreted by Loren Chasse (disruptions), Matt Hannafin (percussion), Branic Howard (surfaces), Maxx Katz (flute), Lorna Krier (piano), and Caspar Sonnet (dobro).
> Matthias Kaul, After the Rain (2015): A complex piece mixing written and improvised passages, “After the Rain” is, in part, a completely abstracted take on the ambience of the blues. It will be performed by Brandon Conway (Soundlazer, samples), Matt Hannafin (percussion), Branic Howard (guitar), Maxx Katz (flute), and Caspar Sonnet (voice).
> Luke Nickel, White Fang Field Recording (2015): How do six people interpret the same text, when asked to read silently, speaking only when coming upon words and phrases they interpret as “sonic”? The piece will be performed by Matthew Neil Andrews, Brandon Conway, Annie Gilbert, Matt Hannafin, Juniana Lanning, Stephanie Lavon Trotter (voices).
> Daniel James Wolf, Field & Stream (2011): Five electronics players are asked to assemble libraries of sound based on five different types of water: rivers, oceans, rain, drainage, and drippage. In performance, signals from the players’ computers are routed to each other, where they are processed to create a variety of variations. It will be performed by Francisco Botello, Branic Howard, Lorna Krier, Juniana Lanning, Glenn Sogge (computers + field recordings).
Saturday, October 19
Leaven Community
5431 NE 20th Ave @ Killingsworth, PDX
Doors 7pm, music 7:30pm
The CMG FESTIVAL will run for six consecutive nights, Tuesday, October 15 through Sunday, October 20, with performances and workshops at No Fun, Turn!Turn!Turn!, Holocene, S1, Leaven Community, and The 1905. Headliners include Darius Jones, Shahzad Ismaily, Hearts and Minds, and PAK. Full schedule coming soon!
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Extradition’s 2019 season continues with a recital by Edmonton-based composer/performer Mark Hannesson of the Wandelweiser Composers Collective, performing five of his own works with guest musicians from the Extradition Series community.
> Child (2019): This piece, which is receiving its world premiere tonight, uses words and short phrases from the “United Nations Convention on the Rights of the Child” to create a minimalist canticle, with an open instrumental ensemble supporting a vocalist. It will be performed by Jena Viemeister (voice), Mark Hannesson (trumpet), Matt Carlson (piano), Lee Elderton (clarinet), Branic Howard (guitar), Catherine Lee (oboe), and Collin Oldham (cello).
> Home.Haven.Refuge (2019): Our second world premiere for the evening is based around a UNHCR statistic showing that someone, somewhere in the world, is forcibly displaced every two seconds as a result of conflict or persecution. It will be performed by Mark Hannesson (trumpet), Catherine Lee (oboe), and Matt Hannafin (percussion).
> Like the Shuffling of Feet on Pavement (2017): A duo for pianist and clarinetist, each of which is given a small range of written material, which they must arrange over the course of the piece according to their own sense of pace and timing. The piece will be performed by Matt Carlson (piano) and Lee Elderton (clarinet).
> Small Garden (2015): Small Garden is a series of seven short, poetic text scores, each comprising just four to eighteen words. Tonight’s performance will assay five of them, each performed by a different group of instrumentalists that includes Mark Hannesson (trumpet), Matt Carlson (piano), Lee Elderton (clarinet), Matt Hannafin (percussion), Branic Howard (guitar), Catherine Lee (oboe), and Collin Oldham (cello).
> Undeclared (2016): On October 20, 2006, a drone attack in Pakistan’s Bajaur District struck a school, killing 68 children aged 7 to 17. The score for this piece consists entirely of those children’s names and ages, along with the simple instructions “play one note/sound for each child / take as much time as needed / pause between each as long as needed.” It will be performed solo by Mark Hannesson (whistling + computer processing).
NOTE: This recital will take place at Resound NW, not at Extradition’s regular concert venue.
Saturday, September 21
Resound NW
1532 SW Jefferson St, PDX
Doors 7pm, music 7:30pm
Refreshments will be served during intermission.
The Extradition Series presents concerts and recitals that exist at the intersection of composition and improvisation, intentionality and chance, clarity and silence. The series is curated and directed by Matt Hannafin and presented by the Creative Music Guild.
www.extradition-series.com
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www.creativemusicguild.org
The Extradition Series 2019 Summer Concert will take place on Saturday, July 27, 2019, featuring five intimate works of experimental music.
> Eva-Maria Houben, “The Crickets of Raspberry Island” (2014), performed by Lee Elderton (clarinet), Matt Hannafin (sustaining sound), Branic Howard (sustaining sound)
> Angharad Davies, “Cofnod Pen Bore” (2012), performed by Annie Gilbert (voice), Matt Hannafin (stones), Branic Howard (electronics), Margaret McNeal (voice), and Stephanie Lavon Trotter (voice)
> Lo Wie, “Score for 3 Performers” (2015), performed by Alissa DeRubeis (electronics), Juniana Lanning (electronics), Caspar Sonnet (dobro)
> Alvin Lucier, “The Sacred Fox” (1994), performed by Matt Hannafin (voice + resonant vessels)
> Brian Moran & Linda Austin, “15 Minutes @ PS122/PWNW” (2005/2019), performed by Linda Austin (dance)
The performance by Linda Austin will be a recreation of a 2005 performance by New York dancer and electronics player Brian Moran, utilizing Moran’s original accompanying audio track merged with new audio by Austin.
Saturday, July 27, 2019
Performance Works NW
4625 SE 67th Ave, PDX
Doors 7pm, music 7:30pm
Tickets at door, $10–$20
Refreshments will be served during intermission.
The Extradition Series presents concerts and recitals that exist at the intersection of composition and improvisation, chance and intentionality, clarity and silence. The series is curated and directed by Matt Hannafin and presented by the Creative Music Guild.
www.extradition-series.com
www.facebook.com/TheExtraditionSeries
www.youtube.com/c/TheExtraditionSeries
www.creativemusicguild.org
The Extradition Series 2019 Spring Concert will take place on Saturday, April 20, 2019, featuring five experimental works that are, in one way or another, puzzles to be solved by their interpreters
> Danny Clay, “Correspondences I” (2018): Composed specifically for the Extradition Ensemble by Bay Area composer Danny Clay, the score for this piece takes the form of a large wooden box, within which are two hand-drawn packs of playing cards and three pair of dice with various performing instructions, plus a clock, a packet of wooden blocks, a packet of glass marbles, and other miscellaneous objects. The work of the performers is to shape these elements into music. The piece will be performed by Lee Elderton (clarinet), Branic Howard (guitar/electronics), Catherine Lee (oboe), Collin Oldham (cello), and Melanie Voytovich (vibraphone/percussion).
> Danny Clay, “Correspondences II” (2018): A box within the main box, for solo percussionist. The piece will be performed by Matt Hannafin.
> Raven Chacon, “…lahgo adil’i dine doo yeehosinilgii yidaaghi” (2004): A graphic score for small chamber orchestra, whose musicians are not allowed to see the music or instructions until the day of the concert—testing their ability to interpret in the moment. The piece will be performed by Matt Carlson (piano), Michael Chergosky (viola), Lee Elderton (clarinet), Sage Fisher (harp), Maxx Katz (flute), Catherine Lee (oboe), and Collin Oldham (cello).
> Glenn Sogge, For Thomas Willis on the Occasion of Music Day (May 17, 1975) (1975). Dedicated to the composer’s professor and mentor at Northwestern University, who’d organized a day-long “Music Day” on campus, with concerts, listening sessions, and other events. The piece is organized in three sections: one containing melodic fragments, one containing text fragments from Karlheinz Stockhausen’s Aus den sieben Tagen, one containing the results of chance operations. The piece will be performed by Doug Detrick (trumpet), Lee Elderton (soprano saxophone), Branic Howard (tabletop bass/guitar), Jacob Last (piano), and others to be announced.
> Alexis Porfiriadis, “Happy Notes, Sad Notes” (2012): This piece invites performers to make a group realization using at least two of the ten “episodes” provided, each of which consists of graphic symbols and a series of questions regarding how they are to be interpreted—for example, “Are these happy notes? Shall we play them?” The resultant realization should be the product of a conversation between the performers, and may not be rehearsed or played in the same manner at a subsequent concert. The piece will be performed by Loren Chasse (percussion), Brandon Conway (guitar), Sage Fisher (harp), Maxx Katz (flute), and others to be announced.
Saturday, April 20th, 2019
Leaven Community
5431 NE 20th Ave., PDX
Doors 7pm, music 7:30pm
Tickets at door, $10–$20
The Extradition Series presents concerts and recitals of 20th- and 21st-century experimental music, exploring clarity, space, sound, and silence. Extradition is curated and directed by Matt Hannafin and presented by the Creative Music Guild.
The first recital of Extradition’s 2019 series features NYC-based composer/performer Dan Joseph with guest musicians from the Extradition Series community.
> Dan Joseph, “Dulcimer Flight” (1998–2019): With roots in early minimalism, ambient music, and acoustic ecology, this evolving work for solo electroacoustic hammer dulcimer unfolds slowly over the course of 30 to 60 minutes, combining fixed melodic patterns with extensive improvisation while exploring the dulcimer’s rich harmonic properties.
> Dan Joseph, “Notes&Queries” (2015–18): Scored for hammer dulcimer, voice, flute, clarinet, and cello, “Notes&Queries” is a melodic piece in which instruments enter in staggered order, relying on a mental pulse to coordinate loosely with the rest of the ensemble. It will be performed by Dan Joseph (hammer dulcimer) with Lee Elderton (clarinet), Maxx Katz (flute), Julian Kosanovic (cello), and Margaret McNeal (soprano).
> Craig Shepard, “Coney Island, April 15, 2012” (2012): A piece from Shepard’s 2012 project “On Foot: Brooklyn,” in which the composer walked everywhere he went for 13 weeks and composed a new work for each Sunday, performing them in public spaces during artist-led silent walk to different parts of the borough. The piece will be performed by Dan Joseph (hammer dulcimer) with Brandon Conway (guitar), Lee Elderton (soprano sax), Matt Hannafin (triangle), Maxx Katz (flute), and Julian Kosanovic (cello).
> Johnny Chang, “Haikus” (2012): A work centered around timed blocks of tone and noise bracketed by unspecified lengths of silence. The piece will be performed by Dan Joseph (hammer dulcimer), Margaret McNeal (soprano), and Matt Hannafin (percussion).
NOTE: This recital will take place at Performance Works NW, not at Extradition’s regular concert venue.
Saturday, March 9
Performance Works NW
4625 SE 67th Ave, PDX
Doors 7pm, music 7:30pm
Refreshments will be served during intermission.
The Extradition Series presents concerts and recitals that exist at the intersection of composition and improvisation, framed in an aesthetic of chance and intentionality, clarity and silence. The series is curated and directed by Matt Hannafin and presented by the Creative Music Guild.
www.extradition-series.com
www.facebook.com/TheExtraditionSeries
www.youtube.com/c/TheExtraditionSeries
www.creativemusicguild.org
The Extradition Series 2019 Winter Concert will take place on Saturday, January 12, 2019, featuring five intimate works of 20th- and 21st-century experimental music performed by a cast of outstanding regional musicians.
> John Cage, “Two” (1987): The first in Cage’s long series of “number pieces,” “Two” is a duet for piano and flute, each of which has its own score comprising ten time brackets within which the performers have discretion regarding exactly where to place their notes – which, in the flautist’s case, number only ten, spaced throughout the piece. It will be performed by Matt Carlson (piano) and John C. Savage (flute).
> Mark Hannesson, “A Moment Is a Window” (2017): Players are presented with seven pages of music, some containing as few as six notes. Each player has full discretion as to entrances, durations, pauses, and whether or not to play any given note. Sometimes the individual player will be flowing, sometimes static, sometimes silent. The ensemble, however, cannot move to a new page until all players have completed the previous one. The piece will be performed by Brandon Conway (guitar), Lee Elderton (clarinet), Mike Gamble (guitar), Catherine Lee (oboe), John C. Savage (flute), and Jonathan Sielaff (bass clarinet).
> Anna Höstman, “What Her Friend Said” (2009): This short, lyrical piece is based on a poem of the same title by Kollan Arici. It is one of the earliest surviving texts of Tamil poetry from the “Kuruntokai,” an anthology of love poems probably compiled during the first three centuries AD. The piece will be performed by Gina Adorno (soprano) and Lorna Krier (piano).
> Morgan Evans-Weiler, “Constructed Objects” (2016): This one-page text score concentrates almost entirely on how each individual player should approach their role, often based around overtones, perpetual stasis noise, or disruptive textures and tones – yet all players are asked to “play in a very considered and gentle manner.” The piece will be performed by Loren Chasse (percussion), Derek Ecklund (electronics), Lee Elderton (clarinet), Branic Howard (sound), Juniana Lanning (electronics), Collin Oldham (cello), and Jonathan Sielaff (bass clarinet).
> Matt Hannafin, “Variations on a Picture of Snow by Evan Cordes” (2016/2018): This graphic score was based on a photograph of snow falling through the cracks in a wooden porch, with nine variations created in Photoshop. Black lines and white spaces tell performers to play or not play, improvising within the confines of a single direction: that their playing should be ”a cold morning, still and quiet, woken to new snow.” The piece will be performed by Matt Carlson (piano), Derek Ecklund (electronics), Branic Howard (electronics), Maxx Katz (flute), Catherine Lee (oboe), and Collin Oldham (cello).
Saturday, January 12, 2019
Leaven Community
5431 NE 20th Ave., PDX
Doors 7pm, music 7:30pm
Tickets at door, $10–$20
The Extradition Series presents concerts and recitals of 20th- and 21st-century experimental music, exploring clarity, space, sound, and silence. Extradition is curated and directed by Matt Hannafin and presented by the Creative Music Guild.
