Playlist

Piano Recital Saturday June 23

The composer ca. 1987 Bickleton, WA

A Greek Nickel and Change – A Recital   
Keith Eisenbrey, piano
Saturday, June 23, 2012, 8 pm
Chapel Performance Space at the Good Shepherd Center
4649 Sunnyside Avenue North, Seattle
$5 - $15 sliding scale

Seattle composer/pianist Keith Eisenbrey will present a recital on Saturday, June 23, 2012, at 8pm, in the Chapel Performance Space at the Good Shepherd Center, 4649 Sunnyside Avenue North, Seattle. Keith will perform from his own compositions, as well as exciting works by local composers Emily Doolittle and Aaron Keyt, and J. K. Randall’s exhaustive and exquisitely strange study of the spaces between notes: Greek Nickel #1. The program will include the pianist’s recently renovated Sonata in Two Movements (1988), and the first public performance of Seven Cues Without Film (1984).

Live

June 9, 2012
Live at The Funhouse, Seattle
Pouch, Antique Scream, White Orange, Ancient Warlocks

This was a very loud show.

Pouch at EMP

Pouch is the apotheosis of shredded. The quintessential movement of this local two-piece is from high-energy power riffs to scream. Jake, who plays drums, has gotten better about keeping hold of his drumsticks than when I first heard them at EMP Skychurch last July.

Antique Scream

Antique Scream (another two-piece) features a vocal leap to a high warble that, in another musical universe, would have been a yodel. Late in the set the drummer cranked out a 70's throw-back solo, during which the guitarist/vocalist put down his axe, walked offstage, into the greenroom for a beer, back onstage leisurely, on with the axe again to finish the song. Nice piece of showmanship.

White Orange

White Orange, visiting from Portland, twists wahwah through flange through wahwah through flange to remarkable effect. They also have a modest but considered light show and a very large kick drum. Their amply tattooed drummer plays in just his boxers and a grin.

Aaron Krause of Ancient Warlocks

Ancient Warlocks play music about magic and stuff. Scholars of kick-ass.

This was indeed a very loud show. The default transition involved heavy multiformations of feedback. Ear protection would have been a good idea. Next time. There wasn't a slacker in the bunch. Everybody played hell-bent for leather. Any of these bands could have headlined any ordering of the others.

But as much as I enjoyed the show, and I did, I realize that this music isn't really for me, and my place within the community is more like that of a curious and sympathetic anthropologist than that of a fan. This testosterone steeped wallow of frustrated rage is not a feeling I remember having, and the need to vent it is not a need that is an essential part of me. Be that as it may, I think I can get my head around where they are coming from. Better to make loud music than to shoot up Iraq.


Recorded

June 13, 2012
Banned Rehearsal 580 (August 2000, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer)

Rattles of cans in giant rattles of cans. Viscous atmospheres and dulcimerical spittery percussion pulling through multiple layers of skittery drones and resonant string space. It was so hot in the studio that day that when it was done I went outside and lay down in the wading pool fully clothed. Felt great!

In Session at The Tintinabulary

June 11, 2012
Gradus 213 - Neal Meyer


Upcoming

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM
 Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short 

Playlist

University Temple United Methodist Church several years ago

Live

June 2, 2012
7th Annual Harry and Myrtle Olson International Organ Festival
Homage to Louis Vierne
University Temple United Methodist Church, Seattle








Mgr. art David di Fiore, Organ, Conductor

Dr. Zuzana Zahradnikova

Dr. Zuzana Zahradnikova, Ph.D.
Chancel Choir of University Temple United Methodist Church
Matt Dalton, Chuck Colburn, David Brewer, Jo Ann Christen, brass
Dan Oie - percussion

March-Sortie - Theodore Dubois - Zahradnikova
Aubade - Louis Vierne - Zahradnikova
Clair de lune - Louis Vierne - Zahradnikova
Cathedrales - Louis Vierne - Zahradnikova
Messe Solennelle - Louise Vierne - Choir, di Fiore, Zahradnikova
Toccata from Symphony No. 5 in F - Charles-Marie Widor (arr. Richard Proulx) - di Fiore, brass & percussion
Grand Jeu with Thunder Effects - Michel Corrette - di Fiore, Oie
Suite Gothique - Leon Boëllmann - di Fiore, brass & percussion

75 years ago on June 2, Louis Vierne collapsed onto the keyboard and died during his 1750th recital at Notre-Dame de Paris. In memory of the event, and of his life and influence, our church produced this fine concert of French organ music. I was singing in the choir, so I can't really comment on the Messe Solennelle. But sitting up close to the organ console during the rest of the show I was struck with the organ's theater of contraption - the crazy one-man band physicality of making all that noise happen, coupled with the sheer wonder of the noise itself as it forms into a mechanical simulation of a music, into what couldn't possibly actually be a music - except that it is anyway, and in spades. Both soloists and our fine brass & percussion players were marvelous. I was proud of my fellow singers as well. It felt good.

June 8, 2012
Ravel and Dutilleux with Cristina Valdés (and a host of others)
Seattle Symphony Chamber Series
Illsley Ball Nordstrom Recital Hall

Sonatine for Flute and Piano - Dutilleux - Judy Washburn Kriewall, Cristina Valdés
Choral, Cadence et Fugato for Trombone and Piano - Dutilleux - Ko-Ichiro Yamamoto, Cristina Valdés
Trois Préludes - Cristina Valdés
Les citations: Diptych for Oboe, Percussion Harpsichord and Double Bass - Dutilleux - Stefan Farkas, Joseph Adam, Joseph Kaufman, Michael A. Werner
String Quartet, Ainsi la nuit - Dutilleux - Simon James, Cordula Merks, Sayaka Kokubo, David Sabee
Sarabande et Cortège for Bassoon and Piano - Dutilleux - Paul Rafanelli, Cristina Valdés
Introduction et Allegro for flute, Harp, Clarinet and String Quartet - Ravel - Zartouhi Dombourian-Eby, Valerie Muzzolini Gordon, Laura DeLuca, Gennady Filimonov, Artur Girsky, Arie Schächter, Eric Gaenslen

Henri Dutilleux

Until just this year I don't believe I had ever heard of Henri Dutilleux, and until this concert I had not heard any of his music. From this small, well-presented sample I discover a sensitive and thoughtful musician, fully of his time and milieu. I imagine him occupying a position within his community similar to someone like Arthur Berger in mid-century America - an influential creative mind working in subtleties.

This was the first time I had been back to the recital hall in many years, and I must say that the institutionality of the place gets on my nerves. It is as though no matter how hard the musicians try to make a connection with the audience everything militates against it - the carefully bland interior, the proportion of stage width to back drop height to audience distribution, the business-like demeanor of the stage-crew. The place has "doing an event" down so well that it seems almost impossible for an event to take place. In Language As A Music Benjamin Boretz, apropos of the supposedly neutral language of discourse, warned that sooner or later, if not already, we would be hearing music in the same neutral manner in which we spoke and wrote of it. It has rarely struck me so strongly that it isn't just the language with which we discourse that can injure our music, but also the architecture of our venues and the dramaturgy within which that music is presented.

Recorded

June 5, 2012
Piano Concerto 2 - Tchaikovsky - Emil Gilels, New Philharmonia Orchestra, Lorin Maazel

I thought of J.K. Randall: "I guess fortissimo is about conversational here." Mercurial rhythms bridge the worlds of Schumann and Busoni.

June 6, 2012
St. Louis Blues - Guy Lombardo [from Allen Lowe's That Devilin' Tune]
Maybe Next Year - Art Pepper [from Smack Up]
It's The Same Old Song - The Four Tops [collected from Dave Marsh's The Heart of Rock & Soul]
Take 'em As They Come - Bruce Springsteen [from Tracks]

June 7, 2012
Banned Rehearsal 30 (May 1985, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Meyer, and guests Phil and Sandy)

Resolutely NOT music. Raorhum.

Sad Eyes - Bruce Springsteen [from Tracks]

In Session at The Tintinabulary

June 4, 2012
Banned Rehearsal 815 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Meyer



June 6, 2012
Your Mother Should Know recording a demo of Side By Side, in anticipation of the memorial service for Marilyn Meyer.

Upcoming

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM
 Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short 

Playlist

Though I did not know them, it is hard not to think now of those who died so horribly this week just a few miles from my home, in a place dedicated to music and fellowship.

Live

June 1, 2012

7th Annual Harry and Myrtle Olson International Organ Festival
Songs of Surin - Stanislav Surin
University Temple United Methodist Church, Seattle

Stanislav Surin & Me (several years ago)

I have known Stan for several years now as a superb organist and composer from far-off Slovakia. Last evening we discovered another side of his creativity in a set of pop-tinged song settings of poetry by Miroslav Valek. Stan sang from the piano, lightly accompanied by Brad Hull, stand-up bass, and Karen Eisenbrey, drums. Stan assured us that though his English was accented by Slovak, his Slovak would be without English. The more I listened, though, the more fascinated I became with how these songs managed to negotiate the emotional landscape of love, regret, yearning, and sadness, and yet remain wholly innocent of that particularly ubiquitous American musical accent: the blues. As completely as the blues have permeated our musical sensibility, I doubt anyone from here could have pulled that off.

Recorded

May 27, 2012
Georgia on My Mind - Hoagy Carmichael [from Allen Lowe's That Devilin' Tune]

Speaking of the blues - there is a certain weight to everything here: every line, every thump - a heaviness in the air.

Las Cuevas de Mario - Art Pepper [from Smack Up]

Ala Brubeck - or Schumann: playing with false downbeats - or are they?

In The Midnight Hour - Wilson Pickett [collected from Dave Marsh's The Heart of Rock & Soul]
Aria for Harp - Elaine Barkin - Ursula Kwasnicka

Accumulations of tiny things.

May 28, 2012
Banned Sectional 4 KEE NWM (May 1985 - Keith Eisenbrey, Neal Meyer)

Speaking of accumulations: proto version of Hunting and Gathering, a low-pitched focused feedback hum, squeaky toy dial twiddling, irregular Eulalie reading.

Part Man Part Monkey - Bruce Springsteen [from Tracks]
Song for Sarah - Elaine Barkin - Mark Menzies

Enters as from a distance, over a vast plain, over and over, nightish.

Orpheus Mourns Eurydice - Paul Des Marais

rain, dripping

May 28-29, 2012
BF Organ Pipe, Shell Shaker, Gongue Drum, Tub Drum, Twang, and Wood Drum (Amended) - Keith Eisenbrey

In Session at The Tintinabulary

May 28, 2012
Gradus 212 - Neal Meyer

Although the particulars of the figurations affect the residual decay, they are not the show. The show is the particulars of residual decay. The show begins when Neal stops, but can not begin until he starts.

Upcoming

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short

Playlist

Live

May 19, 2012
Madama Butterfly - Puccini
Seattle Opera - McCaw Hall, Seattle

I love how this opera focuses inward, opening into the vastness of a single human soul. In Paris of 1906 Americans and Japanese were both exotics. But for those of us living on the West coast, after 100 years of immigration and travel, after Pearl Harbor, after the Internment Camps, after the bomb, this is a picture of us, of our common family, taken long ago by a man in a land much more distant and foreign to Seattle than Nagasaki.

May 24, 2012
New Pieces by S. Eric Scribner
Chapel Performance Space, Good Shepherd Center, Seattle


Soundscroll 7 - Bruce Greeley, bass clarinet; Natalie Mai Hall, cello; Mike Sentkewitz, string bass;
Four Places on Planet Earth - Keith Eisenbrey and Matt Kocmierowski, percussion/found objects
Ukiyo-e - S. Eric Scribner, piano

Soundscroll 7 was played at the last Salon, and it is still a lovely thing to be with. I'm not in a position to comment on how Four Places sounds, since I was busy performing it. Steve had four stations around the space, each containing a collection of objects categorized by material. As pre-recorded sounds were played through the speakers, we would putter with the objects at one of the stations for a minute or so, then strike a gong softly and consult a field guide, which would instruct us (based on a code in the score) which station to putter at next. I hope it was as pleasant and interesting to witness as it was to participate. Ukiyo-e consists of four piano pieces of various lengths and age. The third piece was the shortest - brief fragments of figuration plashing up to shimmer in sunlight - but my hands-down favorite was the last, a focused exploration of shadows and weight.

May 25, 2012
John Cage: Music for Solo Performers (and an Ensemble Composition)
Chapel Performance Space, Good Shepherd Center, Seattle
  
Sonata for Clarinet (1933) - William O. Smith, clarinet
One7 ("For Any Way of Producing Sounds")(1991) - Neal Meyer, voice; Jake Thompson, sound technician
In a Landscape (1948) - Melissa Walsh, harp
Solo for a Sliding Trombone (1958) (from Concert for Piano and Orchestra) - Stuart Dempster, trombone
Four6 ("For Any Way of Producing Sounds")(1992) - Stuart Dempster, trombone; Neal Meyer, voice; William O. Smith, clarinet; Melissa Walsh, harp

Thunderclap in Alphabits Stickers

A thunderclap event in a blue sky day. Not business as usual. Even after all these years a seriously engaged and sympathetic presentation of Cage's music speaks volumes about how concert music persists as a social object of uncertain value.

Committed performances all around. Melissa lifted us into the delicate In a Landscape, Stuart's clowning has rarely been so deadly serious, and William O.'s lyricism continues to shine more brightly the more outlandish the sounds he makes. All of this was glorious but none of it was as much of a jaw-dropping joy as Neal's minutely nuanced performance of One7. I have heard Neal perform text works for decades (and seeing him do so in front of a harp brought an image forth: a thin young man in a white three-piece suit in 1982 ". . . pop bottles füget mir NNNNNNNN . . . ") but the intense focus of this performance blew me away. It is as though he has been working at getting this right for 35 years - and now he nails it. Bravo! And another big bravo for all the work done to put this fabulous thing together.

Recorded

May 20, 2012
Banned Rehearsal 239 (December 1990 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt)

Furiously fast desperate scratching morse. Incessant. The Speaker of the House in some of its finest moments.

May 22, 2012
Banned Rehearsal 579 (July 2000 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Anna K, Neal Meyer)

Mr. Roger's Neighborhood in a gentle bell kit with small drums.


Department of Forensic Morphology Annex (June 2005 - Isaac Eisenbrey, John Eisenbrey, Karen Eisenbrey, Keith Eisenbrey)

Department of Forensic Morphology Annex (2004) - Cris Bruch

This metal sculpture appeared on the UW campus one day and so the whole family visited it with soft mallets and recording equipment. I doctored my recording somehow with overdubbing and other effects. I'm not sure it's as great a piece as the object is an object - but it's still fun.



BF Autoharp, Barang, Clay Drum, Frame Drum, Gong, Kora: Amended - Keith Eisenbrey

Six of 12 seven-minute long tracks, with some reverb and such, for eventual use in the electro-acoustic theatrical piano concerto Blood and Fire, Hallelujah. Clay Drum, Frame Drum, and Gong parts are pretty spectacular all on their own.

In Session at The Tintinabulary

May 20, 2012
Your Mother Should Know recording an alternate vocal for What's Wanting For? - this time with Karen all sultry & all.

May 21, 2012
Banned Rehearsal 814 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Meyer


Upcoming

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM
 Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short

Playlist

Recorded


May 14, 2012
Banned Rehearsal 29 (end) - (May 1985, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Meyer)

Scribble - ca. 1985

May 15, 2012 and May 17, 2012
Downtime - Benjamin Boretz - Ian Pace

A recording of Ian Pace's recent committed and sympathetic live performance at SARC. In the midi version on Open Space the piano and the percussion occupy the same sonic dimension. The piano is another percussion sound and the percussion is an extension of the piano sound. In this live performance the space opens dramatically. Now it comes across clearly as a piano concerto - if a vast Calder mobile in a dark room were somehow a piano concerto. I listened twice, on two evenings.

Notes from the 15th:

motion without arrival

repetition spirals paradimensionally

Notes from the 17th:

steps outside 

itself at section 

breaks to find 

itself deep 

inside itself

what is a pitch

inverted as to itself?

what is an instance

reversed as to itself?

I understand there is a studio recording planned for release on Open Space.

Upcoming

Thursday May 24, 2012 concert begins at 8:00 PM
Steve Scribner - The Chapel Performance space, Good Shepherd Center, Seattle
I will be playing found objects wood, metal, stone, and plastic, to a score constructed from field guides.

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM - Note the change of date!
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short

Playlist

Recorded

May 6, 2012
Piano Concerto No. 1 - Tchaikovsky - New Philharmonia Orchestra, Emil Gilels, Lorin Maazel

Emil Gilels

If you are under the impression that late 19th century Romantic music is an over-lush miasmic love-fest of warm sound, heart-on-the-sleeve puky sweet long line tunes and bloated bombast this recording may give you nightmares. Violently imperialist it certainly is, but sweet it is not. Singularly nasty. Gird your loins, they are out for blood.

May 10, 2012
Deep Down South - Bix Biederbecke [from Allen Lowe's That Devilin' Tune]

1930's high-tenor honey.

How Can You Lose - Art Pepper [from Smack Up]
I've Been Loving You Too Long - Otis Redding [collected from Dave Marsh's The Heart of Rock & Soul]

A masterpiece of rhythmic just-exactly-so. The only flaw in it is the fade-out. I don't want this to go away! I'm still listening!

No Values - Black Flag [from The First Four Years]
Banned Rehearsal 29 (beginning) - (May 1985, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Meyer)

Anna K - 1985

building toward
centering toward
reducing toward
spin
coin
guitar
drum
bell




In Session at The Tintinabulary

May 7, 2012
Banned Rehearsal 812 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Meyer

May 8, 2012
Your Mother Should Know recording additional vocal and bass tracks of What's Wanting For? and a piano & voice demo of Boundary.

Upcoming

Thursday May 24, 2012 concert begins at 8:00 PM
Steve Scribner - The Chapel Performance space, Good Shepherd Center, Seattle
I will be playing found objects wood, metal, stone, and plastic, to a score constructed from field guides.

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM - Note the change of date!
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short

Playlist

Live

April 28, 2012
Orchestra and Organ Concert
Inglemoor High School Orchestra, Jim Rice, conducting; and David di Fiore, organ
University Temple United Methodist Church, Seattle

Orchestra:
Sinfonia G-dur - Tomaso Albinoni
Sinfonia No. 2 in D Major - Felix Mendelssohn
Serenade for Strings: III Meditation - Jack Jarrett
Concerto Grosso for String Orchestra with Piano Obligato: I Prelude - Ernest Bloch

Organ:
Grand Jeu with Thunder Effects - Michel Corrette
Air from the Orchestral Suite in D Major - Bach
Nova - Myron J. Roberts
Mozart Changes - Zsolt Gardonyi
Studio sinfonico - M. Enrico Bossi

Together:
Concerto in F-Major Opus 4, No. 5 - Handel

By way of disclosure, UTUMC is my church. The space loves a big full sound, and hearing all those fortissimo open strings at the beginning of the Bloch was a real treat. The Inglemoor students played well and with gusto. David chose solo works designed to display various effects and capabilities of the organ, including the use of a plank on the lower part of the pedal board to imitate thunder. I wonder if that's where Ives got the idea?

May 3, 2012
Amy Denio, John Ewing, John Teske
Gallery 1412 - Seattle

Three of our finest local minstrels improvised episodes of collaborative aural jujitsu. Some fragments: rubbing hands, a big blue sheet thrown over the drum kit, clothespins quivering on the bass bridge, serenade on baritone ukulele, bike horn stuttering between the high-hats - then dropping to the floor plop.

Amy and John T. performed to an interesting activity/score by John Ewing that neatly experientialized the connections between names, scores, appropriate responses, and music. J.E. presented a series of pages, the audience side of which contained a text, and the performer side of which contained an image. Going in neither we nor the performers were told whether the text we read corresponded to the image they saw. The task offered was to determine, based on the performance, whether the image and the text matched or no: Love, A Lynched Black Man, Tunnel, Pope Innocent X, Pope Innocent X, A Mother and Child, Death, Spiral, Ouroboro, Nothing.

May 4, 2012
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Minute Etudes, book 1 - Emily Doolittle - Keith Eisenbrey, piano
Verses from Melissinos Rubaiyat - Yvonne Hoar - Jeremy Mathias, baritone, Yvonne Hoar, piano
Musical Perceptions - Ann Cummings - Ann Cummings, piano, vocals, percussion
Selections from Soundscroll 7 - Steve Scribner - Mike Sentkewitz, string bass; Bruce Greeley, bass clarinet; Natalie Maihall, cello

Emily's pieces are a delight to play, full of oddly fractured diatonic segments and playful rhythms. I'll be performing them again at my recital on the 23rd of June.

Yvonne's Verses, twisted and struggling, fighting itself, taking us bodily, breaking off, oddly breathless. A difficult music concerned with its difficulty. Very nice!

Ann has been a familiar presence at Salon as both performer and interlocutor. This set of three meta-pieces (or quandaries) (or challenges) -  Broken and Not Broken, Sound Reveals My Existence, Present Absent Time -  isn't so much a vehicle for her performer persona as it is a fully realized problem: How can one be one's own public interlocutor as to a question that can't be asked except as a composer, in terms that only exist as a performer?

Steve gamely played the token male on the program, presenting thoughtfully sensual explorations of the proto- and para-articulate universe. These pieces and more will be presented at a concert on May 24th, in which I will play found objects of wood, metal, stone, and plastic.

In Session at The Tintinabulary

April 30, 2012
Gradus 211 - Neal Meyer

I spent time thinking about the experiential morphology of pitch-space, how it is shaped in part by its origin point in directional-space (in several different ways: up-down twists differently than left-right or front-back), and by every other aspect of composition. And yet it is unmistakable in its own right. I find myself mapping pitch-space onto my body, or more specifically, onto an inner sense of my vocal apparatus.

May 1, 2012
Your Mother Should Know recording tracks of What's Wanting For?

Upcoming

Thursday May 24, 2012 concert begins at 8:00 PM
Steve Scribner - The Chapel Performance space, Good Shepherd Center, Seattle
I will be playing found objects wood, metal, stone, and plastic, to a score constructed from field guides.

Saturday June 23, 2012 concert begins at 8:00 PM
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
music by Emily Doolittle, Keith Eisenbrey, Aaron Keyt, and J. K. Randall

Saturday October 20, 2012 concert begins at 8:00 PM - Note the change of date!
Keith Eisenbrey - piano recital at The Chapel Performance Space, Good Shepherd Center, Seattle
Preludes in Seattle Part 4: Preludes by Ken Benshoof, Keith Eisenbrey, Lockrem Johnson, and Greg Short