RYAN CARTER Chamber Works

JACK Quartet Yarn/Wire Calder Quartet Emanuele Torquati Duo Dillon-Torquati Keith Kirchoff

RYAN CARTER (*1980)

1 too many arguments in line 17 (2010) 09:22 JACK Quartet 1 Emanuele Torquati, piano 4 Christopher Otto, violin 2 When All Else Fails (2017) 10:39 Ari Streisfeld, violin Duo Dillon-Torquati 5 John Pickford Richards, viola Francesco Dillon, piano Kevin McFarland, cello Emanuele Torquati, piano 3 grip (2006) 15:51 Yarn/Wire 2 Keith Kirchoff, piano 6 4 Errata (2010) 10:41 Laura Barger, piano Jacob Rhodebeck, piano 5 break; (2018) 16:34 Ian Antonio, percussion Russell Greenberg, percussion 6 On the limits of a system and the consequences of my decisions (2016) 09:22 Calder Quartet 3 Benjamin Jacobson, violin Andrew Bulbrook, violin Jonathan Moerschel, viola TT 72:29 Eric Byers, cello

The Calder Quartet appears courtesy of Pentatone

2 3 compositional agency is not subverted so a break in the flow. Harmonics and micro- much as re-oriented. The stuff of break- tonal inflections shift the aural impression down resolves itself into new material to from variation to error. Carter has recon- be dissected, recast and rendered new. structed a glitch. Indeed, the title of the Carter’s insights into the form of techno- piece refers to an error message: the line logical mediation were not garnered from is a numbered line of code. a distance. He is a programmer who has produced a substantial amount of elec- A note in the score tells us that “this piece tronic music. This output includes pieces is inspired by an experience watching a A streaming clip stalls. The sound and im- involving novel electronic instruments and YouTube video that was not buffering prop- age start, skip, and loop. A program freez- phone applications that mobilize the func- erly, resulting in a chopping and looping of es, spinning in place. A pattern dissolves, tionality and ubiquity of the smartphone short video segments.” He goes on to say generating a network of variants in its to involve the listener in the composition- that “the material in too many arguments wake. In the compositions assembled on al process. The pieces on this album, then, in line 17 is also manipulated by processes this album, Ryan Carter attends to these are metadiscourse: chamber works about akin to granular synthesis, with an affinity rhyming instances of technological break- electronic sound. for glitches and unexpected results.” The down, among others. He mines their form unexpected is not limited to the improper- for insight into the nature and extent of too many arguments in line 17 is Carter’s ly buffered Fortspinnung and bent pitch. A the shaping effect that ever more perva- third string quartet and one of two on this glitch at measure 90 is punctuated by the sive and sophisticated technology exerts album. Written for the JACK Quartet in first violin getting up and walking to anoth- on our ears and on our lives. Tools mimic 2010, the piece is a study in meter and ar- er place in the performance space. the agency we express when using them ticulation. The performers are given a lexi- at the moment they fail, so it is no acci- con of articulations, including two types of When All Else Fails is a more recent com- dent that to the extent that Carter’s focus saltando, four types of col legno, and five position, written in 2016–2017 for the en- is on technology it is also on failure. One types of pizzicato (left hand, fingernail, and semble Yarn/Wire. It is scored for two per- is reminded of Martin Heidegger’s well- Bartók pizzicato in addition to the stan- cussionists and two pianists. Both pianos known observation about hammers, which dard variety). The first two bars do not out- are prepared with towels and coins affixed escape into independence from the right line a subject so much as set up a pattern. to the strings at specified partials. The hand at the moment they miss the nail and At the moment when that pattern threat- pianists are also instructed to play har- crush the left thumb. However, in those ens to become fully intelligible, the music monics inside the piano. The percussion- compositions that thematize breakdown, stalls. A momentary cross rhythm signals ists play triangle, woodblock, claves and

4 5 tuned gongs, but much of the determina- “layers of sound.” In a note in the score, tive timbre of the piece results from the vi- he categorizes sounds into four catego- braphone, alternately sounded with motor, ries that span the range from fully deter- rasping stick, Moleskin-wrapped Becker minate to utterly indeterminate. Carter’s blue mallet, and bow. The relatively sim- sounds can either be continuous, periodic, ple pitch idiom allows for timbre to artic- gestural or random. While the first two cat- ulate the formal construction. The result egories are more or less straightforward, in a sonic landscape downstream from the third and fourth present an interest- those of John Cage and Henry Cowell. ing contrast between a sound that “avoids Put in mind of American experimental- any regular pulse but expresses a delib- ists, the listener could well associate the erate intent” and a sonic moment of cha- haunted and hollow sound world here with os. At times, chaos is marked in the score: the bracing experience the American ex- Carter write a letter Z through a note stem periment was undergoing at the time this when he wants to indicate that a pitch sus- piece was written. However, the mood is tains a “random tremolo.” The players are not funereal. The at times asynchronous pressed to explore the point of indistinc- voices are brought together in stillness tion between formal intent and material near the close with a tempo marking that consequence. Large sections of the piece reads: “Taking a deep breath.” never allow the layers of sound to align, al- lowing the overall result to be an emergent grip, from 2006, is Carter’s second string property of developing relationships be- quartet, and the earliest composition on tween the instrumentalists. Each, however, the album. The composition predates has a grip on what they play. The form that both Carter’s move to New York City and emerges is not one that fails, but one that the new era in American life that began in routinely breaks into delightful, even mo- 2008. It was commissioned by the Calder mentarily danceable moments. Quartet and in 2007 won the Suzanne and Lee Ettelson Composer’s Award. Earliest, A developed variation of grip’s optimism it is also the most optimistic. The piece can be heard in Errata, for solo piano from is an experiment in the rhythmic interac- 2010. If the string quartet pressed the mid- tion between voices, or what Carter calls dle space between musical intent and

6 7 musical action, the theme of this piano so- ting a grip on what is to be played by prac- result is repeated sinking and sharpening That fact might sever its aesthetic from the lo is the mistake. He writes that his primary ticing slowly and gradually speeding back of the pitch. A C natural might succeed a other works in this collection, but the elec- instrument is the piano and that the limits up. The damper pedal is held during this C a quarter tone flat, or a D natural might tronics in this composition are a reimagin- of his technical proficiency do not diminish section. As the piece speeds back up and be followed by a D a quarter tone sharp, all ing of an acoustic phenomenon peculiar to his joy in playing. The motivic core is the finds its footing, the pedal is slowly re- in very quick note values. Soon the piano the piano. Carter explains that in the pro- gesture in the opening bars. The mistakes leased. If the tempo returns to that of the part gains speed and confidence and the cess of composing previous works for the that Carter himself made while attempt- start, the dynamics have reversed. The cello line attempts and fails to form a des- instrument, he would encounter faulty sos- ing to play it form the process through gestures fade into silence. And the repeat- cant above a droning D. As that new chal- tenuto pedals. At times, he would allow which the development occurs. Written in ed notes that were glitch-like in the open- lenge gives way to a sustained harmonic, this technical flaw to become a structural the same year as too many arguments in ing bars reappear in the final bars as delib- the piano begins a pattern in even notes feature of the piece. In this work, the elec- line 17, the pianist’s mistake appears as a erately conclusive. that elongates measure by measure, from tronics serve as a “second, virtual sostenu- glitch in the flesh. The material often stalls, 5 notes to 7 to 9 until it reaches 21 and to pedal.” The electronics both sustain and repeats or doubles back. Glitches here, The most recently composed piece on the breaks off. The following section involves transform pitches, forming a kind of haunt- though, are altogether humane. Pauses album, break; , is a duo for cello and piano the piano developing a rhythmic motive ed acoustic environment in which the pia- and repeated notes are warmly ponderous. from 2018. While there is no genre classifi- against the cello’s variously uneven artic- no part moves. That movement is regulat- In a piece in which movement in generated cation for the work, in the company of two ulations through each bar. The cello is giv- ed by a subterranean structure. A six voice by reconstructed mistakes, an interesting string quartets it might be heard as a cel- en a section to speak on its own, a kind mensural canon organizes the pitches dialectic opens up between composer – lo sonata. Given the declamatory quality of of cadenza, but the process that has been throughout the piece. Given the number of who, by his own admission, cannot play the cello line, however, perhaps it is better running since the start gives way near the voices and the way in which they are em- the piece – and performer, who, given the heard as monody. The piano part bright- end of the piece. Another glitch. The tem- bedded in the overall structure of the work, challenges of the score, is likely to makes ly rolls out a march-like melody in imper- po marking is “Frozen.” The composition the canon itself is not audible on the sur- mistakes. The score indicates those mo- fect consonances and keeps itself in time never recovers. The final note of the cel- face. Rather, the form is an echo of the ments that are sufficiently structural as to by a rhythmic pattern that forms its own lo is played with a decelerating bow until same principle of transformation through be least able to withstand mistakes. sound layer. The cello part sings along but the last resonance of the piano is no lon- sustain that animates the piece as a whole. struggles to articulate a coherent phrase. ger audible and the musical machine falls A change occurs roughly midway through. After four measures the sound is already silent. Stephan Hammel, The pace slows and gestures are played marked “gritty” and the line is played by Assistant Professor of Musicology, in rhythmic freedom. The mistake prone the performer at the frog. Carter careful- The collection’s conclusion is On the limits University of California – Irvine pianist that is the implied subject of the ly notates the microtonal inflections that of a system and the consequences of my piece has changed tack. One is given the bend the pitch away from the clear-eyed decisions. It is the only work here to fea- impression that the implied pianist is get- forward drive of the accompaniment. The ture fixed media and live signal processing.

8 9 10 11 RYAN CARTER Composer. Ryan has collaborated with the Berkeley Symphony, the Cleveland Cham- ber Symphony, Duo Dillon-Torquati, the In- ternational Contemporary Ensemble, the JACK Quartet, Keith Kirchoff, the Mivos Quartet, the Nieuw Ensemble, the Prince- ton Laptop Orchestra, Yarn/Wire, and many others. Awards include the Lee Ettelson Award, the Aaron Copland Award, the Left Coast Composition Contest, the National Association of Composers/USA Compos- er’s Competition, the Publikumspreis at the Heidelberg Spring Festival, and the LA Phil Ryan Carter composes for instruments, Prize at Hack Music LA. voices, and computers. Ryan’s work often explores new musical possibilities pre- In addition to composing acoustic music, sented by emerging technologies, while Ryan is an avid computer musician, pro- remaining critical of the assumptions and grammer, and performer. His iMonkey- unintended side effects embedded in pants app (available for download on the them. Alternately playful, quirky, viscer- App Store) is an album of algorithmically al, and intense, his music has been de- generated, listener-interactive electroni- scribed by the New York Times as “imag- ca. As an extension of iMonkeypants, Ryan inative … like, say, a Martian dance party.” founded Headless Monkey Attack, a col- Ryan has been commissioned by Carne- laborative project blending live instrumen- gie Hall, the National Flute Association, the tal performance with electronic dance mu- MATA Festival, the Metropolis Ensemble, sic synthesized in real time from code in Present Music, The Milwaukee Children’s the RTcmix programming language. Re- Choir, and the Calder Quartet, with sup- cent work includes developing a web- port from the National Endowment for the based platform for motion-controlled in- Arts, the Jerome Foundation, the Amer- teractive electronic sound for audience ican Composers Forum, and Meet the participation on mobile devices. © Dominica Eriksen

12 13 Raised in Wisconsin, Ryan holds degrees JACK QUARTET Through intimate relationships with today’s YARN/WIRE from Oberlin Conservatory (BMus), Stony most creative voices, JACK embraces close Brook University (MA), and New York Uni- collaboration with the composers they per- versity (PhD), where his teachers includ- form, leading to a radical embodiment of the ed Richard Hoffmann, Pauline Oliveros, technical, musical, and emotional aspects of Yarn/Wire is a New York-based percussion Daniel Weymouth, Elizabeth Hoffman, and their work. The quartet has worked with art- and piano quartet (Ian Antonio and Russell Matthias Pintscher. Ryan has pursued ad- ists such as Philip Glass, Steve Reich, Julia Greenberg, percussion / Laura Barger and ditional studies with Louis Andriessen and Wolfe, George Lewis, Chaya Czernowin, Ning Yu, pianos). Noted for its “spellbind- Gilius van Bergeijk at the Royal Conserva- and Simon Steen-Andersen, with upcoming virtuosity” (TimeOut NY) and “mesmer- tory of The Hague (the Netherlands) and ing and recent premieres including works by izing” performances (New York Times) the with Brad Garton at the Computer Mu- Tyshawn Sorey, Georg Friedrich Haas, Clara ensemble is admired for the energy and sic Center at Columbia University. Ryan is Iannotta, John Luther Adams, Catherine precision it brings to performances of to- Assistant Professor of Music at Hamilton Lamb, and John Zorn. day’s most adventurous music. College. Committed to education, the quartet Founded in 2005, Yarn/Wire is dedicated teaches each summer at New Music on to expanding the repertoire written for its the Point and at the Banff Centre for Arts instrumentation, through commissions and Hailed by The New York Times as the “na- and Creativity. JACK has also done educa- collaborative initiatives that aim to build a tion’s most important quartet”, the JACK tional programs at the University of Iowa new and lasting body of work. Influenced Quartet is one of the most acclaimed, re- String Quartet Residency Program, the Lu- by its members’ experiences with classical nowned, and respected groups perform- cerne Festival Academy, Harvard Universi- music, avant-garde theatre, and rock mu- ing today. JACK has maintained an un- ty, NYU, Princeton University, Stanford Uni- sic, the ensemble champions a varied and wavering commitment to their mission versity, and more. probing repertoire. of performing and commissioning new works, giving voice to underheard com- Comprising violinists Christopher Otto In 2016, the ensemble won first prize in posers, and cultivating an ever-greater and Austin Wulliman, violist John Pickford the open category as part of the inaugu- sense of openness toward contemporary Richards, and cellist Jay Campbell, JACK ral M-Prize competition at the University classical music. Over the past season they operates as a nonprofit organization ded- of Michigan. More recently, it is has been have been selected as Musical America’s icated to the performance, commission- honored by Stony Brook University as one 2018 “Ensemble of the Year” and named to ing, and appreciation of new string quar- of its “40 under 40” alumni who are lead- WQXR’s “19 for 19 Artists to Watch.” tet music. ers in their field.

14 15 Yarn/Wire has commissioned many Amer- Through these and other activities, includ- CALDER QUARTET Highlights include Lincoln Center, Met- ican and international composers including educational residencies and other out- ropolitan Museum of Art, multiple per- ing Raphaël Cendo, Zosha Di Castri, Peter reach programs, Yarn/Wire works to pro- formances at Wigmore Hall, Barbican, Evans, Michael Gordon, George Lewis, mote new music in the United States. Salzburg Festival, Donaueschingen Fes- Alex Mincek, Thomas Meadowcroft, Misato tival, Frankfurt Alte Oper, Tonhalle Zurich, Mochizuki, Tristan Murail, Sam Pluta, Kate The Calder Quartet performs a broad IRCAM Paris, Hamburg’s Elbphilharmonie, Soper, and Øyvind Torvund. The group range of repertoire at an exceptional lev- Centro Nacional de Difusión Musical Ma- has given the United States premieres of el, always striving to channel and fulfill the drid, a residency at the Perth Internation- works by Enno Poppe, Stefano Gervasoni, composer’s vision. Already the choice of al Arts Festival, residency and Beethoven and Georg Friedrich Haas, among oth- many leading composers to perform their cycle at Santa Monica’s Broad Stage, ers. As well, the ensemble enjoys collabo- works, the group’s distinctive approach is and a return to Los Angeles’ Disney Hall. rations with genre-bending artists such as exemplified by a musical curiosity brought Their long list of collaborators includes Tristan Perich, David Bithell, Sufjan Stevens, to everything they perform. the Cleveland Orchestra, LA Philharmonic, and Pete Swanson. Thomas Adès, Peter Eötvös, Anders Hill- Winners of the prestigious 2014 Avery borg, Daniel Bjarnasson, Andrew Norman, Yarn/Wire has recorded for the WERGO, Fisher Career Grant, they are wide- Audrey Luna, Johannes Moser, Joshua Distributed Objects, Populist, and Carri- ly known for the discovery, commission- Bell and Edgar Meyer. In 2017, the Calder er record labels in addition to maintain- ing, recording and mentoring of some of Quartet signed an exclusive, multi-disc re- ing their own imprint. Yarn/Wire appears today’s best emerging composers. The cord deal with Pentatone with their debut internationally at prominent festivals and group continues to work and collaborate recording featuring Beethoven scheduled venues including the Lincoln Center Fes- with artists across musical genres, span- for release in Fall 2018. tival, BAM, New York’s Miller Theatre, Riv- ning the ranges of the classical and con- er-to-River Festival, La MaMa Theatre, temporary music world, as well as rock The quartet has been featured in ex- Festival of New American Music, London’s and film/tv soundtracks, and in venues tremely popular TV shows such as the Barbican Centre, the Edinburgh Interna- ranging from museums to Carnegie and Late Show with David Letterman, the To- tional Festival, Shanghai Symphony Or- the Hollywood Bowl. Inspired by innova- night Show with Jay Leno, KCRW’s Morn- chestra Hall, and Hong Kong New Music tive American artist Alexander Calder, the ing Becomes Eclectic, the Tonight Show Ensemble’s Modern Academy. Their on- Calder Quartet’s desire to bring imme- with Conan O’Brien, Late Night with Jimmy going series, Yarn/Wire/Currents, serves diacy and context to the works they per- Kimmel, and the Late Late Show with as an incubator for new experimental mu- form creates an artfully crafted musical Craig Ferguson. sic at ISSUE Project Room in Brooklyn, NY. experience.

16 17 In 2011 the Calder Quartet launched a EMANUELE TORQUATI A notable performer of new music and an Institutions such as CEMAT, Accademia non-profit dedicated to furthering its ef- avid chamber musician, he enjoys a di- Musicale Chigiana, DAAD Bonn, Ambas- forts in commissioning, presenting, record- verse and varied career as a pianist. He sade de France en Italie, Universität für ing, and education, collaborating with the Emanuele Torquati is rapidly gaining inter- was artist-in-residence at The Banff Cen- Musik und Darstellende Kunst Graz, En- Getty Museum, Segerstrom Center for national recognition for his poetic and pas- tre with the project “Voyage Messiaen” in semble Modern, The Banff Centre. He has the Arts, and the Barbican Centre in Lon- sionate music making, communicative per- 2008 and in 2010 with “Intimate Sketch- been invited to give masterclasses at sev- don. The Calder Quartet formed at the formances and engaging programming. He es: Visions on Leos Janàcek”, and recent- eral universities and conservatories in Ita- University of Southern California’s Thorn- has been hailed as “a thoughtful musician ly at the IIC Paris within the program “Les ly and abroad, such as New York Universi- ton School of Music and continued stud- and a champion of contemporary music” Promesses de l’Art.” ty, Boston University, University of La Plata ies at the Colburn Conservatory of Music by the New York Times and as “a vibrant and Universidad Popular de Còrdoba (Ar- with Ronald Leonard, and at the Juilliard pianist, excellent overall” by the Boston His first recording, Promenade sentimen- gentina), Trinity College Dublin and South- School, receiving the Artist Diploma in Globe. His flourishing career has taken him tale, devoted to the complete piano mu- ampton University. He is currently Profes- Chamber Music Studies as the Juilliard to some of Europe, Canada, America and sic of Albert Roussel, has been followed sor at State Conservatory “G. F. Ghedini” Graduate Resident String Quartet. The Africa’s most illustrious venues, in such di- by the complete piano music of Alexander in Cuneo. quartet regularly conducts master classes verse cities as Addis Ababa, Buenos Ai- Zemlinsky for Brilliant Classics. In 2017 a and has taught at the Colburn School, the res (Teatro Colon), San Francisco, Toronto, new album, The Vale of Dreams: Charles Torquati was born in Milan in 1978. His most Oberlin Conservatory of Music, the Juil- Banff, New York, Chicago, Vancouver, Bos- Griffes Piano Music, was released. influential teachers were Giancarlo Cardini liard School, the Cleveland Institute of Mu- ton, Paris, Lyon, Frankfurt, Berlin, Leipzig, and Konstantin Bogino. He also worked sic, University of Cincinnati College Con- Prague, Warsaw, Krakow, Munich, Graz, Moreover, he has worked intensively with closely with Alexander Lonquich, Yvonne servatory, and USC Thornton School of Ljubljana, Kiev and Oslo. leading composers including Salvatore Loriod-Messiaen, Ian Pace, Michael Wen- Music. Sciarrino, Sylvano Bussotti, Wolfgang Rihm, deberg. He went on to specialize in cham- His concerts have been broadcast by RAI, Kaija Saariaho, Beat Furrer, Jonathan ber music first withFranco Rossi (Quartet- BBC Radio3, Deutschland Radiokultur, Harvey, Brett Dean, Thomas Larcher, to Italiano), then he achieved a master’s MDR Kultur, Radio France, Swiss RSI, RTE Magnus Lindberg, Peter Ablinger and he degree at the International Chamber Mu- Lyric and Euroradio. As a soloist he has has collaborated among others with music Academy of the Trio di Trieste. Since performed with such orchestras as Ital- sicians such as Isabel Charisius, Matthias 2010, he is Artistic Director of music@ ian National Radio Orchestra (RAI), Lith- Pintscher, Michael Gielen, Marisol villaromana for German institution Villa uanian National Symphony, Buenos Aires Montalvo, Garth Knox, Susanne Linke, Romana. Philarmonics, Avanti! Chamber Orchestra, Inon Barnatan and Prometeo String Quar- Tuscany Regional Orchestra (ORT) and tet. The recipient of several international Haydn Orchester Bozen. awards, Torquati has been supported by

18 19 DUO DILLON-TORQUATI They have released various CDs high- KEITH KIRCHOFF He has appeared with orchestras through- ly praised from critics, including the out the U.S. performing a wide range of Liszt complete works for cello and pia- concerti, including the Boston premiere of no, a 3-CD box set of Schumann’s tran- Charles Ives’ Emerson Concerto and the scriptions and recently a rare selection of world premiere of Matthew McConnell’s Brahms rarities (Lieder, Hungarian Dances Concerto for Toy Piano, as well as more and Violin Sonata No. 1). traditional concerti by Tschaikowsky and Chopin. He has also been a featured so- They have played in several major festivals loist in many music festivals including and musical centers in Europe and North the Festival de Musique Actuelle de Vic- Duo Dillon-Torquati (Francesco Dillon, cel- America with major orchestras, among Keith Kirchoff is a pianist, composer, con- toriaville, Festival Internacional de Müsi- lo and Emanuele Torquati, piano) is a union others with Orchestra Sinfonica Nazio- ductor, concert curator, and teacher. De- ca Contemporánea, the Society for Elec- of two performers not only devoted to nale della RAI di Torino and the Lithuanian scribed as a “virtuosic tour de force” tro-Acoustic Music in the United States an open-minded exploration of the stan- Symphony Orchestra. In 2016 they gave whose playing is “energetic, precise, (and) (SEAMUS), the Oregon Festival of Ameri- dard repertoire, but also particularly sen- the national premiere of Kurtàg’s Double sensitive,” he works towards promoting can Music, and the International Computer sitive to exploring neglected and hidden Concerto and in the 2019–2020 season under-recognized composers and educat- Music Conference (ICMC). works. Moreover, they both are notable they will premiere a new double concer- ing audiences of the importance of new performers of new music and have worked to written by Arturo Fuentes for them and and experimental music. An active lecturer Throughout his career, Kirchoff has pre- closely with composers such as Salvatore Haydn Orchester Bozen. Their concerts who has presented in countries through- miered well over 100 new works and com- Sciarrino, Francesco Filidei, Jonathan have been broadcast by Radio France, out the world, his recital programs focus missioned several dozen. As a strong sup- Harvey, Kaija Saariaho, Toshio Hosokawa, Swiss RSI, BBC Radio3, Euroradio, Italian on the integration of computers and mod- porter of modern music, he has worked Thomas Larcher. National Radio and RTE Lyric. ern electronics into a traditional classical closely with many prominent composers performance space. including Christian Wolff, FredericRzewski, They have commissioned a wide series They recently toured the US and Argenti- and Louis Andriessen. As a lecturer, of new works written for them, and the na, and upcoming concert engagements Kirchoff has played in many of the United Kirchoff has presented seminars, lectures, list includes a varied series of compos- include Beethoven‘s complete sonatas States’ largest cities including New York, and master classes on the music of the ers such as Marco Momi, Silvia Borzelli, and variations interspersed with three new Boston, Miami, Chicago, Los Angeles, Min- 21st century at many of the country’s larg- Milica Djordjevic, Helena Winkelman, Ryan works that will be presented at Columbia neapolis, San Francisco, and Austin, as est universities. One of the nation‘s prom- Carter, Federico Gardella, Arturo Fuentes, University in New York. well as major cities throughout Italy, New inent performers of electronic music, his Daniele Ghisi, Lucia Ronchetti and Daniela Zealand, Australia, England, Canada, Bel- “Electroacoustic Piano” tour has been pre- Terranova. gium, Mexico, China, and The Netherlands. sented throughout three continents, and

20 21 he has twice hosted an international com- was awarded both grants from Chamber posers’ competition seeking music for pi- Music America and the Fromm Foundation. ano and live electronics: first with the Uni- He has recorded on the New World, Think- versity of Toronto in 2011, and then again ing outLOUD, Zerx, Ravello, Tantara, New with the American Composers Forum in Focus, and SEAMUS labels. 2015. Since 2011, he has released three al- bums in his Electroacoustic Piano series on Thinking outLOUD Records.

Kirchoff has served as Vice President of SEAMUS (Society for Electroacoustic Mu- sic in the United States) and is the found- er and Artistic Director of Original Grav- ity: a Boston-based concert series that features the music of local composers and pairs that music with locally brewed beer. Together with Christopher Biggs, he founded SPLICE Music: an organization dedicated to promoting collaboration and providing advanced electroacoustic music education to performers and composers. Additionally, he is the pianist in both the SPLICE Ensemble and the Boston-based quartet Hinge.

Kirchoff has won awards from the Stein- way Society, MetLife Meet the Compos- er, the Foundation for Contemporary Arts, was named the 2011 Distinguished Scholar by the Seabee Memorial Scholarship As- sociation, and with the SPLICE Ensemble

22 Recording dates: 1 16 May 2010 2 8 June 2017 3 18 April 2013 4 5 5 October 2018 6 11 November 2017 Recording venues: 1 Harvestworks Digital Media Arts Center, New York, USA 2 Troutman Studios, New York, USA 3 Allegro Recordings, Burbank, California, USA 4 5 Oktaven Audio, Mount Vernon, New York, USA 6 Wellin Hall at Hamilton College, Clinton, New York, USA Engineers: 1 Paul Howells 2 Ryan Carter 3 Matthew Snyder 4 5 Ryan Streber 6 Graham Espe Mastering: Ryan Streber Liner Notes: Stephan Hammel

Cover based on untitled artwork by Heinz Göbel, from the collection of Martin Rummel

0015048KAI ISRC: ATTE41954801 to 06

LC 10488