MICHAEL PISARO performed by GREG STUART + JOE PANZNER, plus JOHN MALLIA/KATARINA MILJKOVIC
Williams Hall, NEC
Tuesday, November 11, 2014

Non-Event, NEC’s Department of Music Theory, and EMMA present

MICHAEL PISARO
Closed Categories in Cartesian Worlds (2011/12)
White Metal (2012/13)

Michael Pisaro, composition, sine tones, mixing
Joe Panzner, sine tones, noise generation
Greg Stuart, bowed crotales, noise generation

JOHN MALLIA and KATARINA MILJKOVIC
Untitled Work

Williams Hall
New England Conservatory
290 Huntington Avenue
Boston, MA
617-585-1100
8pm / FREE and open to the public

MICHAEL PISARO (born 1961 in Buffalo, New York) is a guitarist and composer. A member of the Wandelweiser Composers Ensemble, he has composed a large number of works for a great variety of instrumental combinations. Recordings of his work (solo and collaborative) have been released by Edition Wandelweiser Records, erstwhile, another timbre, slubmusic, Cathnor, Senufo Editions, winds measure, HEM Berlin and on Pisaro’s own imprint, Gravity Wave.

Before joining the composition faculty at the California Institute of the Arts in 2000, he taught music composition and theory at Northwestern University. Presently he is Fromm Foundation Visiting Professor of Music Composition in the Department of Music at Harvard. In 2006 he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award.

JOE PANZNER is a computer musician and educator from Akron, OH currently residing in Columbus, OH. Panzner works with live electronics and within an ethos of musical materialism, preferring visceral sound experience to narrative or representational tactics. He uses treated natural and instrumental sounds, computer synthesis, and digitally processed analog synthesis to produce music teeming with frequency extremes, sudden dynamic shifts, and an array of acoustic and psychoacoustic phenomena. His forthcoming book, The Process That Is The World: Cage / Deleuze / Events / Performances (Bloomsbury), traces the philosophical linkages between Gilles Deleuze and John Cage in the domains of musical ontology, performance, and politics. He is presently a lecturer of Music History at The Ohio State University.

GREG STUART is a percussionist whose work explores various alternative percussion techniques, including sustained friction, gravity-based sounds via small grains, sympathetic vibration, and electronic instruments. Since 2006, Stuart has collaborated extensively with the composer Michael Pisaro, producing a large body of new music for percussion comprised of pieces that focus on the magnification of small sounds through recording and layering, often in combination with field recordings  and/or electronic sounds. Stuart also currently works with the percussion trio Meridian (with Tim Feeney and Nick Hennies) and with computer musician Joe Panzner. He has performed at MaerzMusik (Berlin), The Stone (NYC), Issue Project Room (NYC), The Wulf (Los Angeles), Gallery Kapleica (Ljubljana), Elastic Arts Foundation (Chicago), New Music Co-Op (Austin), Philadelphia Sound Forum, Sushi Performance and Visual Art (San Diego), MacPhail Center for Music (Minneapolis), and the Columbia Museum of Art among others. His work can be heard on such labels as Edition Wandelweiser, Gravity Wave, Erstwhile,Cathnor, Accidie, and Senufo Editions. Greg Stuart is an Assistant Professor at the University of South Carolina in Columbia, S.C. where he teaches experimental music, music history and runs the New Music Workshop.

JOHN MALLIA’s compositions for diverse instrumental, vocal and electronic forces have been performed internationally by artists and organizations including Yo-Yo Ma, Gaudeamus (The Netherlands), International Computer Music Association, Society for Electro-Acoustic Music in the United States, Zeppelin Festival of Sound Art (Barcelona, Spain), Festival Synthese (Bourges, France), Society for New Music (New York), CyberArts (Boston, MA), Medi@terra’s Travelling Mikromuseum (Greece, Bulgaria, Germany), and the Boston Microtonal Society.

His work has been recognized by the Institut de Musique Electroacoustique de Bourges’ International Competition of Electro-acoustic Music and Sonic Art (1991, 2000 France), the Luigi Russolo competition (2000 Italy), and the Boston Microtonal Society’s Annual Award for the creation of microtonal music. He was co-Director of the Auros Group for New Music (1992-99) and has produced more than seventy concerts of contemporary music in New England. He remains active as a presenter of concerts of electro-acoustic music in the Boston area.

Composer KATARINA MILJKOVIC investigates theinteraction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot’s essay “The Fractal Geometry of Nature” and self-similar complex structures resulting in the cycle, Forest, a dreamy piece, along the lines of Feldman or Brown. Entirely captivating.” (Signal to Noise). Her generative music has been described as “a refined, hypnotic dream” (Danas), “a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors” (Radio Belgrade), “an ambient tone poem… that moved hypnotically through the sonic frame” (Lucid Culture). Miljkovic has been on the faculty at the New England Conservatory of Music since 1996 and is the recipient of the Louis Krasner and Lawrence Lesser award for excellence in teaching.