Composer Rand Steiger releases the first volume chronicling his collaboration with the International Contemporary Ensemble, Coalescence Cycle. Volume 1 highlights works Steiger wrote for soloists in ICE (Claire Chase, Josh Rubin, Rebekah Heller, Kivie Cahn-Lipman, and Jacob Greenberg) that feature real time electronics processing, virtuosic writing tailored to the dedicatees of the works, and an approach to harmony that explores the intersection of tempered and just intonation material.
|Joshua Rubin, clarinet, Rand Steiger, electronics||8:22|
|Claire Chase, flute and piccolo, Rand Steiger, electronics||9:36|
|Kivie Cahn-Lipman, cello, Rand Steiger, electronics||17:26|
|04||Light on Water|
Light on Water
|Claire Chase, flute, Jacob Greenberg, piano, Rand Steiger, electronics||18:49|
|Rebekah Heller, bassoon, Rand Steiger, electronics||16:16|
Composer Rand Steiger’s “Coalescence Cycle” for musicians in the International Contemporary Ensemble reflects many of his aesthetic interests and priorities. Primary among these is an investigation of hybrid timbres, an exploration of the possibilities of live signal processing on virtuosic instrumental material, and a pitch vocabulary that includes tempered and just intoned intervals. Four of the works on this first volume are for single instrument and live processing, and the fifth is for flute, piano, and electronics, with all of the electronics performed by Steiger himself.
Steiger has worked closely with computer music pioneer Miller Puckette for many years, and the works on this recording are processed through a platform they developed within Puckette’s Pure Data software environment. Using this platform allows Steiger to experiment with spatialization, resonant filters, various delays and echoes, and harmonizations that tune processed material according to just intonation.Read More
Cyclone for clarinet and live electronics, written for and performed by ICE founding clarinetist and former co-artistic director Joshua Rubin, was written in 2013 and inspired by the anomalous event of two tornadoes descending on Brooklyn, and also references the famous roller coaster in Coney Island. Steiger extends the cyclone metaphor into the musical structure of the piece, as the electronics sweep up the clarinet material into swirling echoes and cyclical loops.
Beacon was written for ICE founder, former executive director, and flutist Claire Chase, and is inspired by her leadership in the contemporary music field that has lit the way for so many other musicians. Steiger also extends the notion of “beacon” to the musical material, taking material from Varese’s iconic Density 21.5 which has been the basis of Chase’s multi-decade commissioning project, and “projecting” it out into a sonic environment shaped by live processing. Steiger then establishes a dialogue between the processed material, or the received message, and the live instrumentalist, weaving a haunting feedback loop as the electronics interact with the alternatively rhythmic and rhapsodic music coming from Chase’s flute.
Mourning Fog, performed here by ICE founding cellist Kivie Cahn-Lipman, is a work of melancholy reflection, written after Steiger suffered a personal loss. The electronics fulfill the function of enveloping the live cellist in a fog, with pitches reverberating in the acoustic space, and occasionally providing momentary contrapuntal support for the long expressive lines. Register becomes a key feature of this layering, as fundamental pitches that remain in the electronics are the basis for harmonic series expansion into the higher reaches of the instrument. As the work evolves, the density of the accompanimental electronics thickens, and Steiger bends and twists the floating harmonies. Swifter, emphatic cello passages mark the climactic minutes of the piece, before the texture returns to the singing character of the opening for an elegiac coda.
Light on Water, for piano, flute, and electronics, performed here by Chase and ICE founding pianist Jacob Greenberg, is a meditation on how light reflects off water and how that might be expressed in musical terms. Colorful pastels of harmony are articulated in trills in the piano and ascending figures in the flute. The electronics create a halo of delays that intensify the sense of reflection. After an accumulating rhythmic section, the flute arrives at a series of climactic high notes, a structural pillar articulating the gradual unfolding of the work. In the coda, we hear ripples of sound gently grazing the watery sonic surface.
About his work for bassoon and live electronics processing written for ICE bassoonist and current co-artistic director Rebekah Heller, Rand Steiger writes, “Concatenation revisits an approach I have explored in previous solo pieces that I call “nested etudes,” in which a set of contrasting materials, any one of which could have been the subject of an etude, are laid out and interwoven into a continuous conversation. In this piece, there are seven different kinds of material, each with a unique approach to signal processing.”
– D. Lippel
Final project mastered at Oktaven Audio, January 2019; Ryan Streber, mastering engineer
All music published by Rand Steiger Music (ASCAP)
Rand Steiger’s music has been commissioned and performed by many distinguished soloists and ensembles and has been presented in concert halls and at festivals internationally. Throughout his career, Steiger has been involved in computer music research, having held three residencies at Ircam, and enjoying a long fruitful collaboration with leading computer music researcher Miller Puckette. He was Composer-in-Residence at the California Institute for Telecommunications and Information Technology from 2010 to 2013.
Many of Steiger’s works combine orchestral instruments with real-time digital audio signal processing. They also propose a hybrid approach to just and equal-tempered tuning, exploring the delicate perceptual cusp between a harmony and a timbre that occurs when tones are precisely tuned. Some examples of works deploying these techniques include: Ecosphere, developed during residencies at Ircam and premiered by the Ensemble Intercontemporain in Paris; Traversing, written for cellist Mathew Barley and premiered by the Southbank Sinfonia in London; Cryosphere, premiered by the American Composers Orchestra at Carnegie Hall, A Menacing Plume, premiered by the Talea Ensemble in New York, and the Coalescence Cycle, premiered at Miller Theater in New York by the International Contemporary Ensemble. More recently he created a series of works for the Arditti, JACK and Flux Quartets. In 2016 he was commissioned by the Los Angeles Philharmonic to create Nimbus, an installation in collaboration with Yuval Sharon that embedded 32 loudspeakers in clouds hanging in the atrium of the Frank Gehry designed Walt Disney Concert Hall that played a series of 21 compositions intermittently throughout the day for the entire 2016/17 season.
Steiger was also active as a conductor specializing in contemporary works until deciding in 2010 to concentrate entirely on composition. He led a series of critically acclaimed concerts with the Ensemble Sospeso in New York City in the early 2000's, and with the California EAR Unit at the Los Angeles County Museum in the 1980's and 90's. Among other groups he conducted were the Aspen Chamber Ensemble, La Jolla Symphony, Los Angeles Philharmonic New Music Group, New York New Music Ensemble, and the Nouvel Ensemble Contemporain (Switzerland). Among his recordings as conductor are operas by Anne LeBaron, Hilda Paredes and Anthony Davis, and chamber works by Elliott Carter, George Lewis, Mark Osborn, Roger Reynolds, Karlheinz Stockhausen, Morton Subotnick, Iannis Xenakis and Wadada Leo Smith. He has also conducted many world, New York and California premier performances, including works of Muhal Richard Abrams, Louis Andriessen, Milton Babbitt, Pierre Boulez, Henry Brant, Elliott Carter, Brian Ferneyhough, Michael Gordon, Jonathan Harvey, Aaron Kernis, Scott Lindroth, James Newton, Luigi Nono, Augusta Read-Thomas, Roger Reynolds, Terry Riley, Poul Ruders, Frederic Rzewski, Kaija Saariaho, Giacinto Scelsi, Elliott Sharp, Julia Wolfe, Toru Takemitsu, Jon Tavener, and Erki-Sven Tuur.
His compositions and performances are recorded on the Centaur, CRI, Crystal, Einstein, Koch, Mode, New Albion, New Dynamic, New World, Nonesuch, Tundra, and Tzadik labels. Recent works for instruments and electronics are available on Ecosphere a portrait CD/DVD on EMF, and A Menacing Plume, a portrait CD on New World Records.
Steiger is a Distinguished Professor, and holder of the Conrad Prebys Presidential Chair in the Music Department at U.C. San Diego and was a 2015 Guggenheim Fellow. In 2009 he was a Visiting Professor at Harvard University.
Joshua Rubin is a founding clarinetist and the co-Artistic Director of the International Contemporary Ensemble (ICE), where he oversees the creative direction of more than sixty concerts per season in the United States and abroad. As a clarinetist, the New York Times has praised him as, "incapable of playing an inexpressive note."
Joshua has worked closely with many of the prominent composers of our time, including George Crumb, David Lang, John Adams, George Lewis, Philippe Hurel, Kaija Saariaho, John Zorn, Magnus Lindberg, Steve Lehman, Nathan Davis, Tyshawn Sorey, John Zorn, and Mario Davidovsky. His interest in electronic music throughout his career has led him work on making these technologies easier to use for both composers and performers. Joshua can be heard on recordings from the Nonesuch, Kairos, New Focus, Mode, Cedille, Naxos, Bridge, New Amsterdam, and Tzadiklabels. His album "There Never is No Light," available on ICE's Tundra label, highlights music that uses technology to capture the human engagement of the performer and the listener.
In the past season he has been featured as a soloist with the Seattle Symphony (under Ludovic Morlot) and at the Mostly Mozart Festival at Lincoln Center, in engagements with the Nagoya Philharmonic Orchestra and the Saint Paul Chamber Orchestra, and has given solo performances of new music in New York, Chicago, Los Angeles, São Paulo, Rome and Berlin.
He received degrees in Biology and Clarinet from Oberlin College and Conservatory, and his Master's degree from the Mannes College of Music. His clarinet studies were mentored by Lawrence McDonald, Mark Nuccio and Yehuda Gilad.http://iceorg.org/about/staffbios/rubin
Flutist Claire Chase, a 2012 MacArthur Fellow, is a soloist, collaborative artist, and activist for new music. Over the past decade she has given the world premieres of over 100 new works for flute, many of them tailor-made for her. In 2014 she began Density 2036, a project to commission, premiere and record an entirely new program of pieces for flute every year until 2036, the 100th anniversary of the eponymous and seminal piece by Varese. Also in the 2014-15 season, Chase is music directing and playing as soloist in a series of performances of Salvatore Sciarrino's Il cerchio tagliato dei suoni for 4 flute soloists and 100 flute “migranti”.
Chase has performed throughout the Americas, Europe and Asia, including debuts last season in Berlin, Frankfurt, Vienna, Paris, London, São Paolo and Guangzhou. She has released three solo albums, Aliento (2010), Terrestre (2012) and Density (2013). In 2014, she was selected as an inaugural Fellow of Project&, with which she will several new works exploring the relationship between language, music and social interaction over the next several years.
Chase was First Prize Winner in the 2008 Concert Artists Guild International Competition. She co-founded the International Contemporary Ensemble (ICE) in 2001 and serves as the organization’s Artistic Director and CEO in addition to playing over fifty concerts a year as an ensemble member. ICE has premiered more than 600 works since its inception and pioneered a new artist-driven organizational model that earned the company a Trailblazer Award from the American Music Center in 2010. Chase was also honored with Crain’s Business “40 under 40” Award in 2013.
In 2013, Chase founded The Pnea Foundation, a nonprofit organization dedicated to the advancement of the flute and its repertoire in the 21st century through commissions, community engagement, cross-cultural and interdisciplinary collaborations and advocacy. She lives in Brooklyn.http://www.clairechase.net
Kivie Cahn-Lipman holds degrees from the Oberlin Conservatory of Music and The Juilliard School, and he is a Doctoral candidate at the University of Cincinnati College-Conservatory of Music. He is the founding cellist of the International Contemporary Ensemble (ICE), and the director of the new period-instrument ensemble ACRONYM. From 2005-2012 he was a Lecturer in Music in a full-time position shared between Mount Holyoke College and Smith College.
Kivie has recorded on the New Focus, Naxos, Bridge, New Amsterdam, Tzadik, Kairos, Mode, ECM, and Nonesuch labels. The present release is his first solo recording. As a chamber musician, Kivie has performed in Carnegie Hall’s Weill Recital Hall and Zankel Hall, Lincoln Center’s Alice Tully Hall and Rose Theatre, and other major venues on three continents, as well as live on WNYC 93.9 in New York and WFMT 98.7 in Chicago. He has been a faculty member at the Cortona Sessions for New Music in Cortona, Italy, since 2012. Kivie plays a 2003 William Whedbee cello, and additionally performs on electric cello, Baroque and piccolo cellos, bass and tenor viols, viola d’amore, and lirone.http://iceorg.org/about/artist/cahn-lipman
Pianist JACOB GREENBERG's work as a soloist and chamber musician has earned worldwide acclaim. As a longtime member of the International Contemporary Ensemble (ICE), he has performed throughout North and South Americas and Europe. His solo concert series, Music at Close Range, shows his equal commitment to classics of the repertoire.
A leading pianist of modern song, he has toured extensively with soprano Tony Arnold. Other ensemble performances include MusicNOW, with members of the Chicago Symphony, and Contempo at the University of Chicago. As an orchestral player, he has also appeared with the New York Philharmonic, Israel Philharmonic, and Australian Chamber Orchestra. Mr. Greenberg has recorded for the Bridge, Naxos, Mode, Kairos, Centaur, Tzadik, and New Amsterdam labels, and live performances have been heard on WQXR New York, BBC Radio 3, WFMT Chicago and Radio Netherlands. Other CDs include solo and chamber music of George Crumb with ICE (Bridge 9261) and a disc pairing Schumann and Ferruccio Busoni. Mr. Greenberg is also a record producer, and has completed discs for major domestic and international labels.
Recent highlights include a guest performance of works of György Kurtág at the International Summer Courses in Darmstadt, Germany, under the composer's guidance; a recital tour with flutist Claire Chase; Messiaen's Harawi at the Library of Congress; and Harrison Birtwistle's Slow Frieze with conductor Ludovic Morlot at Lincoln Center's Mostly Mozart Festival. www.jacobgreenberg.net.http://www.jacobgreenberg.net
Praised for her “flair” and “deftly illuminated” performances by The New York Times, bassoonist Rebekah Heller is a uniquely dynamic chamber, orchestral and solo musician. Equally comfortable playing established classical works and the newest of new music, Rebekah is a fiercely passionate advocate for the bassoon. Called an "impressive solo bassoonist" by The New Yorker, she is tirelessly committed to collaborating with composers to expand the modern repertoire for the instrument.
As a member of the renowned International Contemporary Ensemble (ICE), Rebekah has played concerts all over the world. She has been a featured soloist with the Seattle Symphony Orchestra, and has played solo works in cities both near and far - including São Paolo, Rio, Paris, Berlin, Köln, Chicago, New York, Boston, Minneapolis, and many more.
Before moving to New York, Rebekah completed a one-year appointment as Principal Bassoonist of the Jacksonville Symphony and has served as Principal Bassoonist with the Atlanta Opera Orchestra, and the Utah Festival Opera.
From 2005-2008, Rebekah was a member of the New World Symphony in Miami Beach, Florida. During her time there, she worked with some of today's most innovative and electrifying musical minds, including Michael Tilson Thomas, Robert Spano, Marin Alsop, Oliver Knussen, Yo-Yo Ma and Christian Tetzlaff.
An acolyte of computer music pioneers, at times this exploration may remind you of a Beaver & Krause test record, at other times, it might feel like out takes from Tomita's "The Planets" as he cranks it up to go to galaxies beyond the stars. Experimental or well composed and plotted? You decide. Listening to textures and more that go beyond music, you can just picture long hairs at a Sunday afternoon wine and cheese things nodding appreciatively and really grooving.