One of the most in-demand players across the Brooklyn jazz, improv, noise, and new music scenes, Nate Wooley is redefining the way the trumpet is played. In his project, For Kenneth Gaburo, Wooley refines his concept of “combina- tory sound,” which blends traditional trumpet techniques with vocalizations and mouth shapes typically used for ordinary speaking. Wooley’s piece takes texts by composer Kenneth Gaburo and combines synthesized tones on tape with manipulated trumpet techniques “to create shad- ings of the phonetic sounds inherent in the text.”

Nate Wooley’s solo playing has often been cited as part of an international revolution in impro- vised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn and demolish the instrument’s historical context, which is still largely overshadowed by the legacy of Louis Armstrong. Wooley’s combination of vocalization, extremely extended technique, noise and drone aesthetics, amplification and feedback, and com- positional rigor has led one reviewer to call his solo recordings “exquisitely hostile.”

This performance was the culmination of Wooley’s residency in the Concert Hall recording For Kenneth Gaburo released by Pleasure of the Text records in 2017.

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Harmonium player and vocalist Amirtha Kidambi’s quartet Elder Ones was in residence in the Concert Hall to record an audio recording of her new work Holy Science. The album was released by Norther Spy in 2016.

Elder Ones, a quartet performing the composi- tions of vocalist Amirtha Kidambi, lies nestled in a Venn diagram of diverse musical spheres and communities in New York City. Bandleader Kidambi performs on harmonium and draws her vocal influence from both Indian Carnatic and Western Classical training. With saxophonist Matt Nelson, bassist Brandon Lopez, and drum- mer Max Jaffe, the band expands its influence to the realm of hip-hop and free improvisation. Oscillating between modal, Sufi-like circular grooves and jagged, brutal rhythmic construc- tions, the band equally suspects Thyagaraja, Coltrane, and Stockhausen as illegitimate fathers of their sound.

Dislocating their instruments from their traditional orchestral context, Rane Moore and Okkyung Lee presented an evening of solo performances to explore a greater sonic range of the clarinet and cello.

Experimental cellist Okkyung Lee can be found everywhere—performing in underground clubs and venues across the world as well as with legends like Laurie Anderson, John Zorn, and Thurston Moore. Lee brings aggressive intensity to her amplified solo cello set, deconstructing the sound of the cello and rebuilding it in unexpected ways.   Boston-based new-music virtuoso

Rane Moore is known for her “enthralling and phenomenal” performances as a soloist and with Talea Ensemble, Callithumpian Consort, and Sound Icon. She will present a solo set of some of the most challenging contemporary works for bass and contrabass clarinet and electronics, by composers Raphaël Cendo, Hans Tutschku, Per Bloland, and more.

PROGRAM

Rane Moore, clarinets

Per Bloland — Quintet for solo clarinet and electronics (2009)

Hans Tutschku — Still Air 1 (2011)

Ronald Bruce Smith — Something Suspicious (Small) (2005)

Raphaël Cendo — Décombres (2006)

Okkyung Lee, cello

Solo Improvisations

Ensemble Signal returned to the Concert Hall to complete their ongoing recordings of the works of American composer Steve Reich. This record- ing of Radio Rewrite, Reich’s 2012 composition for 11 players, joined Double Sextet, previously recorded at EMPAC on a 2016 release by the label Harmonia Mundi.

Recent advances in 3D audio technologies have given rise to new ways of creating spatial experiences with sound and in music. Sound is not only composed as moving along in time but also through the space surrounding the listeners. In playing with spatial relationships in musical performance, artists may access a further dimension of expressivity, and this play can redefine our understanding of sound in space. Along with rhythm, melody, harmony, and the "color" of sound, space has become an essential expressive element in music composition and performance.

This talk gives a brief introduction to modern 3D audio technologies, such as Wave Field Synthesis (WFS) and Higher-Order Ambisonics (HOA), and discusses their respective advantages and limits. It offers some insights into how the use of new sound projection and recording technologies helps create novel musical effects.

The visit of Markus Noisternig comes in collaboration with EMPAC's development of an innovative Wave Field System composed of 500 quite small loudspeakers, which uses the software developed at IRCAM.

Canadian electronic musician Tim Hecker returned to EMPAC to forge a new performance of sound and light for his album Love Streams. Hecker was previously in residence at EMPAC in 2012, during which time he recorded a portion of his critically acclaimed album Virgins.

Credited for helping lead and popularize the genre of experimental electronics, his works have been described as “structured ambient,” “tectonic color plates,” and “cathedral electronic music.” More to the point, he has focused on exploring the intersection of noise, dissonance, and melody, fostering an approach to musicmaking that is both physical and emotive. Drawing on traditions of metal, techno, classical, and musique concrete, his sound has found itself at home in the liminal space between traditional genres, audiences, and performing contexts.

For this multidisciplinary project, Hecker worked with lighting designer MFO, a Berlin-based visual artist who works with imagery, light, and space. He has created and directed audiovisual performances with artists such as Ben Frost, Kode9, and Clark. Performers also included Eliza Bagg, Suzanne Kantorski, Charlotte Mundy, and Amelia Watkins.

Consisting of two pianists and two percussionists, the Brooklyn-based ensemble Yarn/Wire was in residence to record and produce newly commis- sioned works by composers Mark Fell, David Bird and Sam Pluta. Yarn/Wire/Currents is a yearly project that serves as an incubator for new experimental music focused on intersec- tions of composition, technology, installation, live performance, music theater, and much more. Yarn/Wire/Currents Vol. 3 was released in 2015.

When Oneohtrix Point Never (aka electronic musician Daniel Lopatin) was last at EMPAC, he and visual artist Nate Boyce developed and debuted a multimedia stage show for the world tour supporting his 2013 album R Plus Seven, released by Warp Records. Upon returning in 2015, he was in residence to develop and premiere the live stage show for his upcoming Garden of Delete world tour.

Daniel Lopatin is known for creating intricate electronic music that is characterized by its emphasis on melody and hypnotic pacing, con- ceptually stylized structures, and extreme use of audio-processing techniques. Early incarna- tions of Oneohtrix Point Never date back to the mid 2000s and drew heavily on the stylistic forms of cutout-bin ambient and new age records, combined with the structure and abrasiveness of noise music.

Newer work has focused on sample-based con- structions, while R Plus Seven drew on procedural poetry and ersatz instrumentation to produce a cryptic meditation on the materiality of sound itself. In addition to his own studio work in 2014/2015, Lopatin toured with Nine Inch Nails, produced Antony’s album, and exhibited an installation in collaboration with Boyce at MoMA PS1.

Using an array of specifically placed loudspeak- ers numbering in the dozens, the electronic music composer France Jobin presented a new work built for the EMPAC Concert Hall. Her approach to composition as sound-sculpture reveals a minimalist aesthetic where analog and digital methods intersect. While her music often makes use of restraint and limit, she isn’t one to shy away from extremes. Her skillful interplay between highs and lows, louds and softs, creates an intricate narrative, which stretches the listener’s perception and continu- ally refocuses attention.

France Jobin is a sound/installation artist, com- poser, and curator residing in Montreal, Canada. Her installations express a parallel path, incor- porating both musical and visual elements inspired by the architecture of physical spaces. Her works can be “experienced” in various music venues and new-technology festivals across Canada, the United States, South America, South Africa, Europe and Japan.