Co-Director: Erik Ulman.....
Erik Ulman currently teaches composition and theory at Stanford University. He studied violin with Michael Tseitlin and János Négyesy, and composition at the University of California, San Diego, working principally with Brian Ferneyhough; in addition, in 1995-96 he studied with Helmut Lachenmann at the Stuttgart Musikhochschule on a grant from the Deutsche Akademische Austauschdienst (DAAD). After receiving his doctorate from UCSD in 2000, he taught there as a Faculty Fellow from Winter 2001 through Spring 2002; for both Spring and Fall 2003 he was a Visiting Assistant Professor of Composition at the University of Illinois at Urbana-Champaign. Ulman has lectured at the Darmstadt Ferienkurse, as well as at UC Berkeley, New York University, the University of Minnesota, Bard College, Macalester College, the University of New Mexico, and Georgia College and State University.
Ulman’s music has been performed across the U.S., Europe, and Australia by such notable interpreters as Magnus Andersson, the Arditti Quartet, Séverine Ballon, Anthony Burr of Elision, the Cygnus Ensemble, John Mark Harris, Colin McAllister, the New York New Music Ensemble, the Nieuw Ensemble, NOISE, Ian Pace, Plus-Minus, the sfSoundGroup, and SONOR. His Third String Quartet, for which he received a Composer’s Assistance Award from the American Music Center, was premiered at the Künstlerhaus Boswil in October 2005 by the Arditti Quartet, and subsequently performed at the Bern Biennale. In December 2006 Ulman was awarded a commission from the Fromm Foundation at Harvard for Canto XXV, written for Rohan de Saram. He has also received support from Subito and Meet the Composer, and was a composer-in-residence at Musiques démesurées in Clermont-Ferrand in June 2007. He was a resident artist at the Djerassi Program in Woodside in Summer 2008.
Ulman has written about contemporary music in Musik und Ästhetik, MusikTexte, Perspectives of New Music, and Open Space, to which he is a contributing editor; an essay on his compositional practice and its relation to the writings of Charles Olson appears in the book Sound as Sense (from P.I.E./Peter Lang), and another essay concerning his compositional engagement with the poems of J.H. Prynne will be included in an upcoming book on Prynne. In addition, he has written about film for the on-line journal Senses of Cinema, including essays on D.W. Griffith, Edgar Ulmer, and Jean-Pierre Gorin; his overview of Gorin’s career has appeared in the catalogue Viennale ’04 and the anthology Grupo Dziga Vertov (Witz Edições).
As a violinist, Ulman was for many years a member of SONOR, and was also concertmaster of the La Jolla Symphony Orchestra. He currently plays with the sfSoundGroup in San Francisco; and as a member of the Theatre of Eternal Music String Ensemble he premiered the Just Intonation Version of La Monte Young’s Trio for Strings in September 2005, under the composer’s supervision; a recording is scheduled for release on the Just Dreams label. He has also been active as an improviser, performing with such notable musicians as Muhal Richard Abrams, Mark Applebaum, George Lewis, Pauline Oliveros, Dana Reason, and, most intensively, Anthony Burr; in 2006 he was guest director of [sic], the Stanford Improvising Collective.
Since 2004 Ulman and Marcia Scott have organized five Poto Festivals, gathering artists in various media for collaboration and exchange in Grass Valley, California.
EDUCATION
Ph.D., Music Composition, University of California, San Diego, September 2000
Dissertation: Two Compositions (Gertrud and Showdown) with three accompanying essays
Qualifying Exams: Stasis and Dynamism in Twelve Musical Examples; Representations of the Natural in Cage, Young, and Lachenmann;
.....Notes Toward an Aesthetics
Composition studies, Staatliche Hochschule für Musik, Stuttgart, 1995-96
M.A., Music Composition, UC San Diego, 1994
B.A. summa cum laude, Music and English and American Literature, UC San Diego, 1992
PRINCIPAL TEACHERS
Composition: Brian Ferneyhough, Helmut Lachenmann, Roger Reynolds, Harvey Sollberger, Rand Steiger, Steven Kazuo Takasugi,
.....Joji Yuasa
Violin: János Négyesy, Michael Tseitlin
Film and Aesthetics: Jean-Pierre Gorin
Lessons and Master Classes: Robert Ashley, Richard Barrett, Chaya Czernowin, David Felder, Jonathan Harvey, Aaron Jay Kernis, the
.....Kronos Quartet, Liza Lim, Gordon Mumma, Frederic Rzewski, Jaap Schroeder, Jukka Tiensuu, Charles Wuorinen
SELECTED AWARDS, HONORS, AND FELLOWSHIPS
Residency, Djerassi Resident Artists’ Program, Woodside (CA), August-September 2008.
Official selection, String Quartet #3, Miami ISCM Chapter Submission to the Vilnius World Music Days 2008, July 2007.
Composer in residence, Musiques démesurées, Clermont-Ferrand, June 2007.
Meet the Composer Creative Connections Award, May 2007 (for Fragment for Jules Olitski for the sfSoundGroup).
Fromm Foundation Commission, December 2006 (for Canto XXV).
Composer Assistance Program Award, American Music Center, November 2005 (for String Quartet #3).
Participant, International Composition Seminar, Künstlerhaus Boswil, October 2005, for String Quartet #3; this work was subsequently
.....honored with selection for a second performance by the Arditti Quartet at the Bern Biennale.
Subito Grant (American Composers’ Forum) to sfSoundGroup for Decay, Caldron, April 2005.
Guest, Gonville and Caius College, Cambridge University, July–August 2004.
Faculty Fellowship, UCSD, Winter 2001–Spring 2002.
J.M. Hepps Fellowship, UCSD, 1999.
Scholarship participant, June in Buffalo, 1999.
Finalist, Gaudeamus Competition, Amsterdam, 1998 (for composition History).
Departmental TA Excellence Award, UCSD, 1998.
DAAD Stipendium, Studies at the Staatliche Hochschule für Musik, Stuttgart, 1995–96.
Lectureship, Internationale Ferienkurse für Musik, Darmstadt, 1994.
UCSD Grant, for recording of String Quartet #1 by the Arditti Quartet, UCSD, 1994.
Muir Scholar, UCSD, 1992.
Scholarship, Darmstädter Ferienkurse, 1992.
Stewart Prize for composition Madonna, UCSD, 1989.
Scholarship, Darmstädter Ferienkurse, 1988.
SELECTED PERFORMANCES
Mnemosyne (2008) for Clarinet, Alto Saxophone, Cello, and Piano (premiered by sfSoundGroup, Milwaukee, September 2008)
Fragment for Jules Olitski (2007) for Oboe, Clarinet, Piano, and Violin (premiered by the sfSoundGroup, San Francisco, August 2007
L’Extase de M. Poher (2006) for Solo Cello (premiered by Séverine Ballon, Musiques démesurées, Clermont-Ferrand [France], June 2007)
Canto XLIX (1997) for Piano and Percussion (premiered by Pierre Courthiade and Claudio Bettinelli, Musiques démesurées,
.....Clermont-Ferrand, June 2007)
Atu XV (2005) for Solo Guitar (premiered and commissioned by Colin McAllister, Athenaeum, La Jolla, May 2006)
String Quartet #3 (2005; premiered by the Arditti Quartet, Boswil [Switzerland], October 2005; subsequently at the Bern Biennale)
Drinking Electricity (2004–5) for Solo Guitar (premiered by Magnus Andersson, Stanford, May 2005; later at Mexico City)
Decay, Caldron (2004–5) for Oboe, Bass Clarinet, Alto Saxophone, Contrabass, and Piano (premiered and commissioned by the
.....sfSoundGroup, San Francisco, April 2005)
Thoughts on the Esterházy Court Uniform (2003–4) for Clarinet/Bass Clarinet, Electric Guitar, Piano, Violin, and Cello (premiered and
.....commissioned by Plus Minus, COMA Summer Courses, Wakefield [UK], July 2004; American premiere: Stanford, January 2006)
Deuxième Extase (2003) for Solo Cello (premiered by Frank Cox, Baltimore, April 2004)
Spectre (2001) for Solo Piano (premiered and commissioned by John Mark Harris, Avignon, March 2004)
Madonna (1989/2002) for Solo Piano (premiered by Ian Pace, London, March 2004)
Summer (1998/2003) for Solo Bass Clarinet (premiered and commissioned by Anthony Burr of Elision, Brisbane, February 2004)
Plus Minus (2002–3) Realization of “Seiten für Ausarbeitungen” by Karlheinz Stockhausen for Clarinet/Bass Clarinet, Guitar,Piano, Auxiliary
.....Sound Sources, Violin, and Cello (premiered and commissioned by Plus Minus, London, BMIC Cutting Edge Series, November 2003;
.....later at Amsterdam, Wakefield, Huddersfield; American premiere: Stanford, January 2006)
For John Wieners (2002) for Flute, Guitar, and Percussion (premiered by NOISE, La Jolla, Noise at the Library; April 2003; later at CalArts
.....and Stanford, January 2004)
Maximus, from Dogtown—IV (2001–2) for Piano, Accordion, Guitar, and Percussion (premiered and commissioned by the Nonsense
.....Company; Stanford, March 2003)
Empire of Flora (1999) for Flute, Oboe, 2 Guitars, Violin, and Cello (premiered and commissioned by the Cygnus Ensemble, Jeff Milarsky,
.....cond.; New York City, Merkin Hall, December 2001)
Gertrud (1998/2000) for Solo Piano (premiered and commissioned by John Mark Harris; La Jolla, April 2000 [revisedversion])
Fable (1995–6) for Piccolo and Two Percussion (premiered and commissioned by Attar; La Jolla, UCSD Spring Festival, May 1999)
Canto CXV (1996–8) for Solo Flute (premiered and commissioned by Elizabeth McNutt; Frankfurt, October 1998)
History (1996–7) for Nine Instruments (premiered and commissioned by SONOR, Steven Schick, cond.; La Jolla, February 1998;
.....European premiere: the Nieuw Ensemble, Micha Hamel, cond.; Amsterdam, Gaudeamus Music Week, August 1998)
Eliezer and Rebecca at the Well (1994) for Five Instruments (premiere: UCSD Ensemble, Rand Steiger, cond.; La Jolla, Emerging Voices
.....Festival, February 1995; New York New Music Ensemble, Harvey Sollberger, cond.; Buffalo, June in Buffalo Festival, June 1999)
Les Amours d’Holoferne (1994) for Flute and Percussion (premiere: Elizabeth McNutt and Vanessa Tomlinson; Darmstadt, Ferienkurse für
.....Neue Musik, August 1994)
String Quartet #1 (Firenze) (1992) (premiere: Arditti String Quartet; La Jolla, April 1994)
Drame (1993) for Ten Instruments (Cleveland School of Music New Music Ensemble, Harvey Sollberger, cond.; Cleveland, April 1994)
Cage (1992) for Six Instruments (Ensemble, Harvey Sollberger, cond.; La Jolla, May 1993)
Sleep/Mini (1992) for Flute Duet (premiered and commissioned by Laura Koenig and Karen Bergquist; Darmstadt, Ferienkurse für Neue
.....Musik, August 1992)
WORK EXPERIENCE
as Lecturer, Stanford University:
Music 22 (Second Quarter Harmony), Spring 2005.
Music 23 (Third Quarter Harmony), Fall 2007.
Music 122 (Introduction to Western Music), Fall 2005, Fall 2006, and Fall 2007.
Music 122B (Harmonic Materials of the 19th Century), Spring 2006 and Winter 2007.
Music 122C (Introduction to 20th Century Composition), Fall 2008.
Music 123 (Undergraduate Composition Seminar), Winter and Fall 2006.
Music 125 (Undergraduate Lessons in Composition), Spring 2005, Winter 2006, and Winter 2008.
Music 136 (Romanticism and After), Spring 2007.
Music 145 (Studies in Modern Music), Winter 2007.
Music 156 (Improvisation Collective), Winter 2006.
Music 198 (Directed Study), Spring and Fall 2005, Winter and Spring 2006.
Music 199 (Independent Study), Summer and Fall 2006, Summer and Fall 2007, Winter 2008.
Music 321 (Readings in Music Theory), Fall 2005, Winter, Spring, Summer, and Fall 2006, Spring, Summer, and Fall 2007.
Music 323 (Graduate Composition Seminar), Spring and Fall 2005, Winter 2008.
Music 325 (Graduate Projects in Composition), Fall 2005, Winter, Spring, Summer,and Fall 2006, Winter, Spring, and Fall 2007, Winter
.....and Fall 2008.
Music 801 (TGR Project), Winter 2008.
Additional duties have included acting as chair or committee member for various graduate student qualifying and special area exams.
as Visiting Assistant Professor, University of Illinois, Urbana-Champaign:
Music 101 (Basic Harmony), Spring 2003.
Music 106 (Undergraduate Composition), Spring and Fall 2003.
Music 111 (Sight-Singing), Spring 2003.
Music 306 (Graduate Lessons in Composition and Analysis), Spring and Fall 2003.
Music 308B (Classical Form and Analysis), Fall 2003.
Music 405 (Graduate Lessons in Composition), Fall 2003.
as Faculty Fellow, UCSD:
Music 4 (Introduction to Western Music), Spring 2001 and Fall 2001.
Music 14 (Contemporary Music), Winter 2002.
Music 15 (Sound and Music in the Movies), Spring 2002.
Music 102B (Twentieth Century Music Analysis), Winter 2001.
Guest instructor (for Prof. Chinary Ung), Music 103E (Advanced Undergraduate Composition), Winter 2001.
Additional duties included judging Undergraduate and Graduate Composition Juries with the compositon faculty.
as Associate Faculty, UCSD:
Music 4 (Introduction to Western Music), Fall 1999.
Co-instructor (with Prof. Rand Steiger), Music 33 (Introduction to Composition), Spring 2000.
Co-instructor (with Dana Reason), Music 80 (Intermedia), Summer Session, Summer 1999.
Music 103 (Undergraduate Composition), Fall 1999.
Co-instructor (with Andrew May and Sean Griffin), Music 204 (American Experimentalists), Winter 2000.
as Teaching Assistant, UCSD:
Senior Teaching Assistant, Music Department, 1997–8, 1999–2000.
Teaching Assistant, 1992–2000.
Additionally:
Private lessons in composition and analysis, Fall 1999–present.
SELECTED PAPERS, PANELS, AND ADDITIONAL TEACHING
Lecture, "On My Music," Fifth Poto Festival, July 2008.
Lecture, "Introducing the Music of Wilhelm Killmayer," Fifth Poto Festival, July 2008.
Paper, "Olson and Music Composition," American Literature Association Conference, San Francisco, May 2008.
Lecture, “Stravinsky’s L’Histoire du Soldat,” undergraduate music seminar, University of California, Berkeley, February 2008.
Lecture, “On My Music,” UC Berkeley, February 2008.
Master class in composition, UC Berkeley, February 2008.
Lectures on Western music (two series), San Francisco Symphony Mid-Peninsula League, Palo Alto, October 2006–March 2007 and
.....October 2007–March 2008.
Lecture, “On L’Extase de M. Poher,” Fourth Poto Festival, June 2007.
Panel, “Modernism/Postmodernism” (with Alex Mincek, Alex Sigman, and Makis Solomos), Musiques démesurées, Clermont-Ferrand, June
.....2007.
Guest instructor, Music 301C (Analysis of Music: Post-Tonal), graduate seminar (Prof. Brian Ferneyhough), Stanford University, May 2007.
Lecture, “On My Recent Music,” UCSD, April 2007.
Lecture, “On My Recent Music,” Composers’ Symposium, UC Berkeley, April 2007.
Paper, “Heidegger, Music, and Education,” College Music Society Pacific Central Conference, San Francisco State University, March 2007.
Lecture, “On My Third String Quartet,” graduate composition seminar (Prof. Brian Ferneyhough), Stanford, January 2007.
Lecture/Demonstration, “Compositional Process,” graduate composition seminar (Prof. Mark Applebaum), Stanford, October 2006.
Lecture, “La Monte Young and the Trio for Strings,” Third Poto Festival, July 2006.
Lecture, “On My Recent Music,” Third Poto Festival, June 2006.
Paper, “Some Thoughts on Improvisation and Composition,” Current Free Practices in Music and Poetry, New York University, March
.....2006.
Lecture, “Composing with Olson and Prynne,” Division of Language and Literature, Bard College, March 2006.
Panel, “La Monte Young’s Trio for Strings” (with Charles Curtis, Gascia Ouzounian, and Uli Schägger), Kunst im Regenbogenstadl, Polling
.....(Germany), July 2005.
Lecture, “On My Third String Quartet,” Second Poto Festival, July 2005.
Lecture, “Stockhausen’s Kreuzspiel,” undergraduate music seminar (Prof. Douglas O’Grady), Georgia College and State University, April
.....2005.
Lecture, “Principles of Schenkerian Analysis,” undergraduate music seminar (Prof. Richard Greene), GCSU, April 2005.
Lecture, “Introducing Stockhausen’s Plus Minus,” undergraduate composition seminar (Prof. Mark Applebaum), Stanford, February 2005.
Lecture, “Improvisation, Language, and the Body: Approaching John Cage’s 62 Mesostics re Merce Cunningham,” undergraduate music
.....seminar (Prof. Mark Applebaum), Stanford, February 2005.
Lecture, “Pound, Olson, and Musical Composition,” Poto Festival, June 2004.
Lecture, “Realizing Stockhausen’s Plus Minus,” Poto Festival, June 2004.
Lectures, “Narrative and Form in the Cinema,” three presentations (on Ford, Bresson, and Straub/Huillet; on Griffith, Rossellini, Altman,
.....and Ruiz; and on Brakhage, Anger, and Warhol), Poto Festival, June 2004.
Lecture, “On My Compositional Development,” composition forum, University of Illinois at Urbana-Champaign, February 2004.
Lecture, “The Diminished Seventh Chord in Beethoven’s 20th Diabelli Variation,” undergraduate music seminar (Prof. Sever Tipei), UIUC,
.....February 2004.
Lecture, “On My Music,” graduate composition seminar (Prof. Brian Ferneyhough), Stanford, February 2004.
Lecture, “The Vocal Music of Dieter Schnebel,” undergraduate music seminar (Prof. Stephen Taylor), UIUC, November 2003.
Lecture, “Straub/Huillet, Schönberg, Bach,” 4862 Voltaire Performance Space, San Diego, July 2003.
Lecture, “On My Music,” composition forum, UIUC, January 2003.
Moderator and presenter, “Helmut Lachenmann and Salut für Caudwell,” panel discussion with Rick Burkhardt, Derek Keller, and Colin
.....McAllister, graduate composition seminar (Prof. Chinary Ung), UCSD, April 2002.
Public interview with Richard Barrett, “Music and Metaphor,” Search Event IV, UCSD, March 2002.
Lecture, “Experiments in Film Narrative,” graduate music seminar (Prof. Chaya Czernowin), UCSD, January 2002.
Paper, “Approaching a Western Opera,” The Silicon Cowboy, Southwestern Studies Conference, University of New Mexico, March 2001.
Lecture, “From Cage to Gertrud,” composition seminar (Prof. Carleton Macy), Macalester College, November 2000.
Co-instructor (with Prof. Ryuta Nakajima), “A Hard Look at the Movies,” informal film seminar, University of Minnesota, October–December
.....2000.
Lecture, “The Paintings of Ryuta Nakajima,” graduate painting seminar (Prof. Alexis Kuhr), University of Minnesota, October 2000.
Lecture, “Morton Feldman and Memory,” graduate visual arts seminar (Prof. Jean-Pierre Gorin), UCSD, February 2000.
Lecture, “Time and Scale in Gagaku, Webern, and Feldman,” undergraduate music seminar (Prof. Steven Schick), UCSD, February 2000.
Lecture, “John Cage,” undergraduate music seminar (Prof. Bert Turetzky), UCSD, November 1999.
Moderator, “Improvisation and Composition,” panel discussion with Muhal Richard Abrams, Chaya Czernowin, Anthony Davis, and Dana
.....Reason, UCSD Spring Festival, May 1999.
Lecture, “Beethoven’s Fifth Symphony,” undergraduate music seminar (Prof. Jane Stevens), UCSD, November 1998.
Lecture, “Varèse und Feldman,” composition seminar (Prof. Helmut Lachenmann), Staatliche Hochschule für Musik, Stuttgart, December
.....1995.
Lecture, “Empedocles and Other Recent Work,” Darmstädter Ferienkurse, August 1994.
PUBLICATIONS
“Composing with Prynne,” in Search: Journal for New Music and Culture, Issue #2, Summer 2008.
“Some Thoughts on Musicality in the Paintings of Manny Farber” and “Connecting Nono and Farber,” in Manny Farber and All That Jazz
.....(La Jolla: UCSD, 2006).
“Postscript to Cage, Young, and Lachenmann,” in Open Space, Issue #7, Fall 2005, 255–7.
“On Morton Feldman’s Patterns in a Chromatic Field.”
“Representations of the Natural in Cage, Young, and Lachenmann,” in Open Space, Issue #6, Fall 2004, 245–55.
“Considering Feldman,” in Open Space, Issue #5, Fall 2003, 182–5.
“Olson and Musical Composition,” in Michel Delville and Christine Pagnoulle, eds., Sound as Sense: Contemporary U.S. Poetry and/in
.....Music (Bruxelles: P.I.E./Peter Lang, 2003), 175–88.
“For Mark Osborn,” excerpted in Musik und Ästhetik, Heft 25, Januar 2003, 71–2.
“Edgar G. Ulmer,” in Senses of Cinema, "Great Directors" (January 2003).
“Jean-Pierre Gorin,” in Senses of Cinema, "Great Directors" (January 2003). Reprinted in Michael Pekler, ed., Viennale: Vienna
.....International Film Festival ’04 (Wien: Viennale, 2004), as “Der Fröhliche Wissenschaft”), 185–90; and in Jane de Almeida, ed., Grupo
.....Dziga Vertov (São Paolo: Witz Edições, 2005), 36–49.
“Les Anges du péché,” in Senses of Cinema, Issue #17, November–December 2001.
“A Corner in Wheat: An Analysis,” in Senses of Cinema, Issue #14, June 2001. Quoted in Marieke de Goede, Virtue, Fortune, and Faith:
.....A Genealogy of Finance (Minneapolis: University of Minnesota Press, 2005), 111–2.
“The Colossus of New York,” in Senses of Cinema, Issue #10, November 2000.
“Grenzüberschreitendes Improvisieren,” in MusikTexte, Heft 79, Juni 1999, 66–67.
“Frank Cox’s Spuren” (collaboration with Steven Takasugi), in Musik und Ästhetik, Heft 7, Juli 1998, 53–68.
“The Music of Sylvano Bussotti,” Perspectives of New Music, Vol. 34 #2, Summer 1996, 186–201.
“Some Thoughts on the New Complexity,” Perspectives of New Music, Vol. 32 #1, Winter 1994, 202–7 (quoted in Richard Taruskin,
.....The Oxford History of Western Music, Vol. 5 [Oxford: Oxford University Press, 2005], 476); reprinted as "Kilka mysˆli na temat ‘nowej
.....zozonos´ci’,” Glissanada, Nr. 7, 2005.
“Rhapsody for Alto Flute,” Amalgamate Sound III (San Diego, 1993).
Additionally: Numerous program notes; liner notes for compact discs; contributions to Senses of Cinema’s World Polls; and other freelance writing and editing assignments.
ORGANIZATIONAL AND ADMINISTRATIVE EXPERIENCE
Co-founder and -director (with Marcia Scott), Poto (arts organization), 2004–present; as such organized five Poto Festivals,
Grass Valley, June 2004; June–July 2005; June–July 2006; and June–July 2007. (Duties included programming, performing, writing,
.....general coordination and scheduling, lecturing, leading rehearsals, etc.)
Contributing editor, Open Space, 2007–present.
Judge (with Zack Browning and Sever Tipei), Salvatore Martirano Composition Competition, UIUC, Urbana, April 2003.
Organizer/planner, Spring Festival, UCSD, May 1999. (Duties included programming, editing the program book, budgeting, and
.....coordinating.)
Student representative to the faculty, UCSD Music Department, 1998–9.
Founder/planner, 29 Water concert series, UCSD, 1993–5.
Co-director (with Richard Cameron-Wolfe), New Music Program, Taos Ski Valley Music Festival, Summer 1987.
MEMBERSHIPS
American Composers’ Forum, 2007–present.
American Society of Composers, Authors, and Publishers (ASCAP), 2004–present.
American Music Center, 2004–present.
College Music Society, 1999–present.
Phi Beta Kappa, inducted 1992.
PERFORMANCE ACTIVITY
Violinist, sfSoundGroup, 2004–present. (Performed works by, among others, Applebaum, Berio, Braxton, Burns, Cage, Cardew, Feldman,
.....Grisey, Ingalls, Jimenez, Jones, Na, Oliveros, Penderecki, Satie, Scodanibbio, Tenney, Ulman, Webern, Xenakis, and Yang.)
Violinist, [SIC] (Stanford Improvisation Collective), 2005; Guest Director, 2006. (Performed works by, among others, Applebaum, Barrett,
.....Stockhausen, and Zorn; performed in Encounter:Merce [the Merce Cunningham Dance Company’s residency at Stanford, March
.....2005].)
Violinist/Violist, Theatre of Eternal Music String Ensemble, 2002, 2005. (Premiere and “avant-premiere” of the just intonation version of
.....Young’s Trio for Strings, July and September 2005.)
Violinist, SONOR Ensemble, 1988–2001. (Performed works by, among others, Brant, Carter, Czernowin, Ferneyhough, Gubaidulina,
.....Ligeti, Martino, Martirano, Moe, Mosko, Nono, Reich, Ruders, Saariaho, Sollberger, Steiger, Takemitsu, Tenney, Wolpe, and Yuasa;
.....performed on tours at UC Berkeley, UC Santa Cruz, the Peabody Conservatory Baltimore, the Los Angeles Philharmonic’s Green
.....Umbrella Series, and the Darmstadt Ferienkurse.)
Founder/Member, Sirius Ensemble, 1993–94. (Performed works by Donatoni, Webern, Wuorinen, and Yuasa.)
Founder/Member, 29 Water (new music ensemble), 1993–95. (Performed works by Cage, Feldman, Ichiyanagi, and Wolff.)
Founder/Member, UCSD Improvisation Ensemble, 1988–92.
Violinist, La Jolla Symphony, 1985–92 (concertmaster: 1990–92).
Violinist and performer, various other contexts:
.....Improvisational work principally with Anthony Burr; concerts with, among others, Muhal Richard Abrams, Ted Apel, Mark Applebaum,
.....Charles Curtis, George Lewis, Pauline Oliveros, Mark Osborn, and Dana Reason; informal session with Eddie Prévost; intermedia work
.....with Rachel Mayeri.
.....Much modern chamber music, notably works by Applebaum, Barraqué, Cage, Cardew, Q. Chen, Copland, Feldman, Ichiyanagi, Ives,
.....Krenek, Lachenmann, Lewis, Lyon, Osborn, Rzewski, Scelsi, Shostakovich, Stockhausen, Stravinsky, Wolff, Xenakis, and Yuasa,
.....including world and national premieres.
RECORDINGS
as composer:
.....Récit for Solo Violin, on János Négyesy: Dedications (Neuma NMA450-85)
.....Gertrud for Solo Piano (John Mark Harris, piano; UCSD)
as violinist:
.....Mark Applebaum, The Composer's Middle Period, on Applebaum: Sock Monkey (Innova 706)
Chaya Czernowin, Dam Sheon Hachol, on Czernowin: Afatsim (Mode 77)
.....Mark Osborn, Sleep, in the Shape of My Body, on Osborn: Interregna (Old King Cole OK102)
.....Harvey Sollberger, The Advancing Moment (forthcoming)
.....Rand Steiger, Double Concerto, on SONOR (CRI CD652)
.....La Monte Young, Trio for Strings (forthcoming)
as producer:
.....Chaya Czernowin: Afatsim (SONOR; Mode 77)
.....Hilda Paredes: The Seventh Seed (Arditti Qt., etc.; Mode 60)
.....John Cage: Freeman Etudes (János Négyesy; Newport Classics NPD 856161)
.....János Négyesy: Dedications (Neuma 450-85)
.....Béla Bartók: 44 Duos (János Négyesy and Päivikki Nykter; Neuma NMA82)
.....János Négyesy: Solo Violin Recital (Au Courant AU110)
WORK LIST
2008
Mnemosyne for Clarinet, Alto Saxophone, Cello, and Piano for the sfSoundGroup / to Cy Twombly (16') (premiere: sfSoundGroup,
Milwaukee, September 2008)
Ocean for Flute, Percussion, and String Trio for Heather Gordon (22')
Music for Three Films by Marcia Scott for Electronic Sounds (9")
2007
#10 In Other Words for Flute, Bass Clarinet, Horn, Piano, Guitar, Percussion, Violin, Viola, and Cello for and after Heather Gordon (1’)
#17 Parable (Lamentations 3:54) for Orchestra after Heather Gordon / in memory of Mark Osborn (10’)
Canto XXV for Cello and Piano commissioned by the Fromm Foundation for Rohan de Saram (13’)
Fragment for Jules Olitski for Oboe, Clarinet, Piano, and Violin funded by Meet the Composer’s Creative Connections Program for the
.....sfSoundGroup (2’) (premiere: sfSoundGroup, San Francisco, August 2007)
2006
Five Pieces for Solo Piano for Marcia Scott (15’) (premiere: John Mark Harris, Rancho Santa Fe, April 2007)
L’Extase de M. Poher for Solo Cello for Charles Curtis (13’) (premiere: Séverine Ballon, Musiques démesurées, Clermont-Ferrand, June
.....2007)
2005
Canto CXII for Solo Flute for Joanna Martin (5’)
Atu XV for Solo Guitar for Colin McAllister (2’) (premiere: Colin McAllister, La Jolla, May 2006)
String Quartet #3 for the Arditti Quartet (18’) (premiere: the Arditti Quartet, Boswil [Switzerland], October 2005)
Decay, Caldron for Oboe, Bass Clarinet, Alto Saxophone, Contrabass, and Piano for the sfSoundGroup (8’) (premiere: sfSoundGroup,
.....San Francisco, April 2005)
Drinking Electricity for Solo Guitar for Magnus Andersson (3’) (premiere: Magnus Andersson, Stanford, May 2005)
2004
Yet Dish LXIX Songs for Female Voice (with Piano and Triangle) (text: Gertrude Stein) for Marcia Scott (20’)
Smooth Landing for Soprano, Violin, Cello, and Piano (text: J.H. Prynne) for J.H. Prynne (5’)
Thoughts on the Esterházy Court Uniform for Clarinet/Bass Clarinet, Electric Guitar, Violin, Cello, and Piano for Plus-Minus / to and after
.....J.H. Prynne (10’) (premiere: Plus-Minus, Mark Knoop, cond., COMA Summer Courses, Wakefield, July 2004)
2003
Persephone for Solo Contrabass for Christopher Williams (11’) (scheduled premiere: Christopher Williams, Barcelona, 2008)
Summer for Solo Bass Clarinet for Anthony Burr (7’) (premiere: Anthony Burr [Elision], Brisbane, February 2004)
Deuxième Extase for Solo Cello (5’) (premiere: Frank Cox, Baltimore, April 2004)
Plus Minus Realization of “Seiten für Ausarbeitungen” by Karlheinz Stockhausen for Clarinet/Bass Clarinet, Guitar, Piano, Auxiliary Sound
.....Sources, Violin, and Cello for Matt Shlomowitz, Joanna Bailie, and Plus Minus (18’) (premiere: Plus-Minus, BMIC Cutting Edge Series,
.....London, November 2003)
For George for Solo Trombone for George Lewis (2’)
Beam 2 for Solo Piano for Ian Pace (2’)
2002
Maximus, from Dogtown—IV for Piano, Accordion, Guitar, and Percussion for the Nonsense Company (18’) (premiere: the Nonsense
.....Company, Stanford, March 2003)
For John Wieners for Flute, Guitar, and Percussion (6’) (premiere: NOISE, Noise at the Library, La Jolla, May 2003)
Madonna for Solo Piano (7’; revision of early work) (premiere: Ian Pace, London, March 2004)
Here and Elsewhere for Solo Contrabassoon (5’)
2001
Spectre for Solo Piano for John Mark Harris (9’) (premiere: John Mark Harris, Avignon International Piano Competition, Avignon, March
.....2004)
Third Allegory for Mezzo-Soprano & Piano (text: Cole Heinowitz) for Shiba Nemat-Nasser (5’)
2000
Blind Orion for Solo Guitar for Colin McAllister (8’) (premiere [first version]: Colin McAllister, Noise at the Library, La Jolla, April 2001)
Showdown Opera (text: Cole Heinowitz) for Soprano, Baritone, Flute, Trombone, Piano, Electric Organ, and Percussion for Gruppo
.....Ferruccio and Juliana Snapper (10’)
Gertrud for Solo Piano for John Mark Harris (18’) (premiere [revised version]: John Mark Harris, La Jolla, April 2000)
1999
Empire of Flora for Flute, Oboe, 2 Guitars, Violin, and Cello for Jacqueline Leclair and Cygnus (10’) (premiere: the Cygnus Ensemble, Jeff
.....Milarsky, cond.; Merkin Hall, New York, December 2001)
Wenn aus der Ferne for Soprano and Percussion (text: Friedrich Hölderlin) for Jen Cobb and David Shively (12’)
1998
Salut for Soprano and Guitar (text: Stéphane Mallarmé) for Julie Randall and Mark Osborn (2’)
Canto CXV for Solo Flute for Elizabeth McNutt (6’) (premiere: Elizabeth McNutt, Frankfurt, October 1998)
1997
Canto XLIX for Piano and Percussion (13’) (premiere: Pierre Courthiade and Claudio Bettinelli, Musiques démesurées, Clermont-Ferrand,
.....June 2007)
History for Flute, Amplified Guitar, Viola; 3 Percussion; Clarinet/Bass Clarinet, Cello, and Piano/Electric Organ to Brian Ferneyhough/for
.....SONOR (15’) (premiere: SONOR, Steven Schick, cond., La Jolla, February 1998; European premiere: the Nieuw Ensemble, Micha
.....Hamel, cond., Gaudeamus Music Week, Amsterdam, August 1998)
1996
Fable for Piccolo and 2 Percussion for Attar (9’) (premiere: Attar, La Jolla, May 1996)
Study for Canto CXV for Solo Flute for Elizabeth McNutt (6’) (premiere: Elizabeth McNutt, Buffalo, April 1997)
1995
Two Stein Songs for Soprano and Flute (text: Gertrude Stein) for Virginia Sublett and Elizabeth McNutt (2’) (premiere: Virginia Sublett and
.....Elizabeth McNutt, La Jolla, February 1995)
String Quartet #2 (Apollo and Daphne) for Cole Heinowitz (18’)
For E.M. Cioran for String Trio (6’)
1994
Les Amours d’Holoferne for Flute/Alto Flute and Percussion for Elizabeth McNutt (5’) (premiere: Elizabeth McNutt and Vanessa Tomlinson,
.....Ferienkurse für Neue Musik, Darmstadt, August 1994)
Eliezer and Rebecca at the Well for Alto Flute, Clarinet/Bass Clarinet, Percussion, Violin, and Cello for Cole Heinowitz (8’) (premiere:
.....UCSD Ensemble, Rand Steiger, cond., Emerging Voices, La Jolla, February 1995)
1993
Drame for 2 Flutes, 2 Clarinets, 2 Violins, 2 Celli, and 2 Pianos for Sabina Piersol (13’) (premiere: Cleveland School of Music Ensemble,
.....Harvey Sollberger, cond., Cleveland, October 1994)
Sleep/Mini for 2 Flutes for Laura Koenig and Karen Bergquist (6’) (premiere [first version]: Laura Koenig and Karen Bergquist, Ferienkurse
.....für Neue Musik, Darmstadt, August 1992)
1992
Cage for Alto Flute, Clarinet, Violin, Piano, Celesta, and Vibraphone for Sabina Piersol (18’) (premiere: UCSD Ensemble, Harvey
.....Sollberger, cond., La Jolla, May 1993)
String Quartet #1 (Firenze) to Sabina Piersol/for the Arditti Quartet (11’) (premiere: the Arditti Quartet, La Jolla, April 1994)
1991
Rhapsody for Solo Alto Flute for Laura Koenig (8’) (premiere: John Fonville, La Jolla, February 1992)
1988
Roadblock for Solo Piano for John Cage (3’) (premiere: Steven Takasugi, La Jolla, April 1989)
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