amanda tabor horn - Intranet

MA recital
april 27 th, 2008 8pm
mandeville recital hall
ucsd department of music
amanda tabor
horn
Klaus for solo brass instrument ross karre
of air moving (out)... catherine lamb
tashi wada, harmonium
Solo for Horn brian griffeath-loeb
intermission
previewxyz2Z7/|B+ß joachim goßmann
for horn and live electronic system
joachim goßmann, live electronics
Overtures carolyn chen
Lands End tashi wada
for one player with field recording

about the recital
my goal for this recital is to present a wide variety of recently composed music in hopes of awakening an
interest in creating new pieces/inventions/sound worlds where the horn can live
my recital would not have been possible without the hard work and patience
of these composers, performers and/or scientists
thank you for contributing to my project
it is my hope that we will continue to work together throughout our musical lives and that the
friendships this project has fostered will continue to grow
the notes that follow are the composers' own words on themselves and their projects
bios & notes
Klaus for solo brass instrument ross karre
Ross Karre's compositional creative energy has been devoted nearly entirely to the Synchronism Project. The
Project is an ongoing multimedia collaboration founded by Ross. The project has a simple goal: to hold experiments in
the realm of integrated multimedia performance. That goal has developed into a mission to find the fulcrum at which
two distinct temporal arts, music and video, can balance with one another. This experimental mission has produced
pieces in three different modes of creation. First, creating a score to an existing film. Second, creating a video to an
existing piece. Third, to create both from scratch in a mutually beneficial method of composition. The project started
in 2004 in experiments at Oberlin Conservatory where Ross received his bachelors in percussion performance.
Projects there included collaborations in dance, video, music, and theatre guided in workshops by Meredith Monk. The
Synchronism Project now continues at UCSD where Ross received his Master of Arts in Music. Projects at UCSD have
focused primarily on video and percussion. Jeffrey Trevino and William Brent have been the principal contributors to
these ongoing experiments.
Klaus for solo brass instrument is part of a series of pieces that celebrate Klaus Kinski and Werner Herzog
and their relationship as actor/director. Herzog chose to work with Kinski [though at times this choice must have
seemed like a mistake because of Kinski's notorious temper] because of his incredible ability to portray an "ecstatic
truth"; to color a scene with his naturally disproportionate temperament, energy, and eccentricity. Herzog exploits
these natural traits in Kinski for the purpose of expanding the realism of his films into the realm of absurdity,
fantasy, and ecstasy in this final scene from Cobra Verde [1987]. Herzog exploits the disfigured african in much the
same way; taking advantage of his disability to engage the audience in an uncomfortable exchange of ethics and
aesthetics. Klaus transcribes that same method of exploitation. In tonight's performance, the piece uses the purely
pitched, traditionally heroic, quality of the horn for the purposes of exciting noise timbres in the space or as an
amplifier and resonator for human respiration. Future pieces in this series will continue to explore the ability of a
meta-instrument's ability to capitalize on the well-established role of the component instrument to craft a composite
that is colored in noise; to find a sonic "ecstatic truth".
of air moving (out)... catherine lamb
Catherine Lamb is a composer currently residing in Los Angeles. Her focal work is concentrating through
intimate and intuitive forms, dissolving time, and acute pitch infusions.
of air moving (out) follows a set of works based on openings. The horn and harmonium begin in unison to one
another and then slowly drift apart by means of particular expanding (justly tuned) intervals, shifting slightly by the
amount of air that is passing and in response to acoustical wave changes. Inspired by the horn and its breath
changes, there is a sense of fusion amongst the two parts yet still maintaining an independence of each (fusing) tone
by the vibrancy and the flattening of timbre.

Solo for Horn brian griffeath-loeb
Brian Griffeath-Loeb (b. 1981) holds a Post-Graduate Diploma in composition from the Royal College of Music
in London (D.C. Reynolds Scholarship) and a Bachelor of Arts degree (cum laude) from Dartmouth College in Hanover,
NH. Principal studies with Rand Steiger, and Charles Dodge. Additional studies with Roger Reynolds, David Sawer,
Edwin Roxburgh, Kui Dong, Larry Polansky, and John Appleton. His music has been performed in the United States and
England.
Solo for Horn was written in the context of a separate, on-going collaboration focusing on expanded
soundworlds of the tuba. Composing for another instrument offered a well-timed opportunity to get away from some
of the habits and "safety nets" I was developing. Yet when I set out to address the horn, my first instinct was to
infuse it with all I had learned from the tuba, rather than thresh out an identity of its own. After all, they were of
the same family, and I knew a great deal more about one than the other. However, in experimenting with Amanda – the
player for whom the piece was to be written – it soon became clear the horn was incompatible with most of my
research into tuba phenomenology. What next?
I set out to codify a new expanded soundworld, rooted in capacities that set the horn apart. Amanda and I
met numerous times, yet it seemed the instrument's strengths lied elsewhere. At first, I was disappointed. How to
write a piece without my usual arsenal of tools? It had been years since I composed a piece for predominantly
ordinario phonation, and I was not thrilled by the prospect of doing so again, at least not at that moment. I eventually
decided, however, that I had invested too much time and energy to give up, and so I set out do what I could with what
I had.
In the end, it turned out to be an opportunity that, while frustrating in the early stages, proved quite
valuable in the long run. In being forced to return to a more pitch-focused language, one without the persistent
opportunity for digression into extended technique, I found myself in an environment of surprising directness. My
ventures into less conventional soundworlds allowed me to revisit an earlier mode of expression with newfound
freshness. I had, in a sense, given up on the value of pitch as a central focus in my music. This piece reminded me of
its potential.
previewxyz2Z7/|B+ß joachim goßmann
Joachim Goßmann is an audiocentric media artist interested in a true interdisciplinary discourse between
science, music and the senses. His academic career includes a Tonmeister-Diplom from UdK Berlin and an MFA in
Composition/New Media form CalArts. He has worked widely in the development and production of realtime spatial
audio environments, designing displays as well as producing installations and concerts for various institutions in
research and culture in Germany. His current work is based on the exploration of meaning in intuitive navigable audiomostly
environments that attempt to fuse different layers and structures of auditory and spatial perception and
interpretation. He is currently residing at CRCA to implement his research into a PhD thesis.
previewxyz2Z7/|B+ß works toward a concept of an augmented concert hall environment for live performance.
Following the idea of externalizing thought processes into a time-variant live-electronic system, different ideations of
space such as geo-, meta-,parametric-, metaphorical, etc. are mapped out at different points in the piece over the
audience using a multichannel loudspeaker installation, immersing the player in different tasks and interactive
structures that play out differently with every performance of the piece. The performer has to adapt and react to
the live electronic system challenging her with different interactive situations, while the audience is invited to figure
out the exact rules by which the different virtual situations play out which are represented through the sound and
the visual display. Even the 'composer' is surprised at the always changing concretizations of the evolving system,
thus hopefully generating an equal amount of aesthetic pleasure and challenge to all parties involved.

Overtures carolyn chen
i was born in new jersey and am now a student at ucsd. i make music.
sometimes there are words or pictures, and sometimes i ask people to
move around.
i have made music for supermarkets and music for the dark.
i also make experimental porridges.
The palace of the Greek god of sleep was a dark cave without
sunshine. The river of forgetfulness flowed through it.
At the entrance were poppies and other plants.
The golden poppy, the state flower of California, grows well
in disturbed areas and often recolonizes after fires.
The golden poppy requires little water. It is actually orange.
The yellow in the Yellow River comes from loess suspended
in the water. Loess is silt derived from glaciers grinding
rocks into flour. It can develop into rich soil.
Most of California's water supply originates in the north.
Most of the demand occurs in the south. Deliveries from the
Colorado River began in 1941. San Diego connected in 1947.
Plants and animals usually set their internal clocks
by the rising and setting of the sun, which is a star.
Jet lag can refer to disorientation, broken sleep,
and dehydration resulting from rapid travel across
time zones. Standard recovery time is one day per time zone.
Stars twinkle because of turbulence in the atmosphere.
From the ground on a cloudy night, blinking airplanes
can look like confused stars.
Due to its latitude, Antarctica goes through long periods
of constant sunlight. A day can take months.
The activity of reindeer in winter and summer seems
driven more by their digestive system than by sunlight.
Emperor penguins have yellow ear patches.
They are the tallest penguins.
Carolyn Chen
April 15, 2008

Lands End tashi wada
Tashi Wada was born in new york city and lives in los angeles where he composes and performs music.
Lands End
for one player with field recording
The player fills a space with playback of the attached
field recording and doubles the tones at a-flat above
middle c as if softly touching. The contact between
the player's tones and the recorded tones is a bond
between the performance space and the recorded
space. When tones from the recording are faint or
soundless, the player’s tones act as a clarification or
substitute. Once in a while he or she leaves a tone
untouched or adds one.
Note: Two tones simultaneously occur at 16 seconds,
and thereafter, the tone from the right occurs every
14-16 seconds and the tone from the left every 28-30
seconds. The recording can be repeated as a cycle.
Tashi Wada
March 2008