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Paul D. Miller, Hyo-shin Na, Aki Takahashi, Leroy Jenkins, Christian Wolff, Hamza el Din, Robin Rimbaud (on ground), Peter Garland, Jacob ter Veldhuis

Statement by Other Minds Guest Artistic Director, Carl Stone

In the summer of 1999, I got a call from my old friend Charles Amirkhanian, founder and longtime Executive and Artistic Director of Other Minds. “Carl!” he said excitedly, “Imagine. I’m going to Italy for a year as a guest of the Rockefeller Foundation.” I knew something was up, as Charles is usually too modest to call me just to brag. My instincts proved correct, and the next thing I knew I was being offered the chance to to fill in for a year as Guest Artistic Director for Other Minds, a festival I had long admired, many times attended, and proudly performed in.

I hesitated—for a minute. Indeed, I could imagine an exciting opportunity for me to contribute to the tradition of at Other Minds, which has become one of the most important annual events on the Bay Area music calendar. The festival’s global scope, and always fascinating mix of composers with their wide range of cultures, generations, and schools of musical thought has been most remarkable. And when the always stellar roster of guest musicians are added—how could I refuse?

Researching to put together this year’s composer roster has been a joy. At times I turned to composers well known to me, such as Leroy Jenkins, Christian Wolff, who I first met in 1974 at the Summer Course for New Music at Darmstadt, Germany, and Peter Garland, who studied at the same time as me at Cal Arts back in the early seventies. Others, such as Annie Gosfield, David Lang, and DJ Spooky, were those I had encountered only in the last ten years or so. Hyo-shin Na has been an even more recent sighting on my radar. But the real surprise was the Dutch composer Jacob ter Velduis, whom I must confess, I had never of heard of until Charles Amirkhanian himself took me aside, practically on his way out the door to the airport, and said, “I just heard the music of this maniac in Paris. You MUST program him on Other Minds VI!”

In addition to the composers on hand, we are especially honored this year to be joined by two terrific musicians from Asia, each masters of their particular instrument. Ji Young Yi, from Seoul, is one of the premier gayageum players in Korea, a courageous player known both for her traditional performances as well as her devotion to new music. Aki Takahashi has long been celebrated for her classical musicianship, and the enthusiasm she has shown as a new music interpreter, attracting the attention of composers, concert-goers, and critics all over the world.

As always with with Other Minds, diversity is the key, as we ask the question, “What will the 21st century sound like?” While a three-day festival can only offer fleeting glimpses of ten composers’ musical souls, their recordings, articles, and websites help further understand how these exciting visionaries are helping to answer this question. What can an elder statesman like Christian Wolff learn from a young turk like scanner? Can a Nubian oud player be influenced by a classically trained Korean now living in San Francisco? And will an anti-establishmentarian American, living in Mexico almost as a refugee, find common ground with a Yale-trained stalwart of the New York scene? Thanks for dropping by Other Minds Festival VI to find out.

Carl Stone has been hailed by the Village Voice as “one of the best composers working in the country today.” He served as Co-Artistic Director of the 1985 New Music America Festival, as Director of Meet the Composer/California from 1982-1995, and is a former President of the American Music Center in New York. He currently divides his time between Los Angeles and Toyota-shi, Japan.

Artist Bios

Christian Wolff was born in Nice, France, to the German literary publishers Helen and Kurt Wolff who helped to found Pantheon Books with other European intellectuals who had fled Europe during the rise of fascism. The Wolffs published a series of notable English translations of European literature, as well as an edition of the I Ching that came to greatly impress John Cage after Wolff had given him a copy.

Wolff became an American citizen in 1946. When he was sixteen (in 1950) his piano teacher Grete Sultan sent him for lessons in composition to the new music composer John Cage. Wolff soon became a close associate of Cage and his artistic circle which was part of the New York School and included the fellow composers Earle Brown and Morton Feldman, the pianist David Tudor, and the dancer and choreographer Merce Cunningham. Cage relates several anecdotes about Wolff in his one-minute Indeterminacy pieces.

Almost completely self-taught as composer, Wolff studied music under Sultan and Cage. Later Wolff studied classics at Harvard University (BA, PhD) and became an expert on Euripides. Wolff taught Classics at Harvard until 1970; thereafter he taught classics, comparative literature, and music at Dartmouth College. After nine years, he became Strauss Professor of Music there. He retired from teaching at Dartmouth in 1999. In 2004, he received an honorary degree from the California Institute of the Arts. He was also awarded the Foundation for Contemporary Arts John Cage Award (1996).

Jacob Ter Veldhuis (b. 1951) started his musical career in the sixties as a rock musician and studied at the Groningen Conservatory where he was awarded the Dutch Composition Prize in 1980. He regards himself as a late developer. Breaking through in the mid-eighties with harmonious compositions straight from the heart and averse to intellectual concepts or complex techniques of a worn-out avant-garde, he writes effective music which pleases the ear without ever becoming too sweet or indolent. From his past as a rock musician he kept his interest in sound and a lively stage presentation as means of expression. He is a virtuoso in using electronics and involves items like the Gulf War, Chet Baker or the Jerry Springer Show through sampling techniques.

Ter Veldhuis has written orchestral music, chamber music and electronic music. He also writes for film and theater and ballet. His music is performed worldwide and recorded on many CD labels, including Emergo Classics, Chandos, BVHaast, Globe, and Ottavo a.o. He has received nominations from the UNESCO International Rostrum of Composers, the Ars Electronica Linz and Bourges Electronic Festival.

“Highly expressive and emotional, almost anti-intellectual music, clear of texture and architectural in form, highly organized and basically tonal, though betraying no inclination towards any neoclassical procedures. A kind of non-repetitive minimalism, brooding and powerful.”
—Records International

Ter Veldhuis’s music has been performed by: Rotterdam Philharmonic Orchestra, Danish National Radio Symphony Orchestra, Gelders Orkest, Hong-Kong Philharmonic, Nederlands Ballet Orkest, National Orchestra of Malaysia, Ulster Orchestra, Penederecki Quartet, Netherlands Quartet, Utrechts String Quartet, the percussion group The Hague, Aurelia Quartet, James Galway, Eleonore Pameijer, Duo Berman-Wieringa, Safri Duo, Groningen Guitar Duo, Storioni Trio, The Houdini’s, Romain Bisschoff, Marjanne Kweksilber, Stanley Hoogland, Classical Accordion Duo, Basho Ensemble, Combustion Chamber, Annelie de Man and many others.

Robin Rimbaud aka scanner: “Scanner searches out sounds and allows them to make their democratic music. However personal or technical, emphatic or dull they may be.” With his work as Scanner, Robin Rimbaud implicates himself in processes of surveillance, engendering access to both technology, language, and the power games of voyeurism.

Dubbed a “telephone terrorist,” Rimbaud is a techno-data agitator whose scavenging of the electronic communications highways provides the raw materials for his aural collages of electronic music and “found” conversations. Wearing multiple hats, he is musician, writer, media critic, a minimalist anti-hero, and host of the monthly digital club, the Electronic Lounge, at the ICA in London. In 1996 he completed a lecture/performance tour of Australia at the invitation of ANAT (Australian Network for Art and Technology). 1997 took him all around Europe and the USA, composing the soundtrack to the Delta ballet at the Paris Opera House, touring the USA with DJ Spooky and performing with 100 violinists alongside Laurie Anderson, closing with a South Bank Show profile on British television. 1998 brought sound work on Bryan Ferry’s new album, production work for the American “lounge musak” masters Combustible Edison, a Fellowship in Sound at John Moore’s University in Liverpool, collaborations with visual artist Mike Kelly and composer Charlemagne Palestine, and most eventful a sound bus tour around London entitled Surface Noise at the invitation of Artangel.

San Francisco-based composer Hyo-shin Na is the youngest person ever to receive the coveted Korean National Composers Prize (1994). She has had her music performed in numerous festivals in her native Korea, as well as in Malaysia, Japan, Israel, Germany, and throughout the U.S. In the Bay Area, her work has been performed by the San Francisco Contemporary Music Players, Earplay, and the Stanford String Quartet. In spring 1999, the Kronos Quartet commissioned Ms. Na to compose a new work, Song of the Beggars, which the ensemble subsequently performed all over Europe, as well as in Canada, the U.S., and the Canary Islands.

Ms. Na’s work has been broadcast on National Public Radio, German Radio, and Belgian Radio. In recent years, her music for solo piano has been performed by Thomas Schultz in San Francisco, New York, and Kyoto, and by Yuji Takahashi at the Pacific Music Festival in Sapporo. Yuji and Aki Takahashi have also performed her music for two pianos in Tokyo.

Hyo-Shin Na has received commissions from the Fromm Foundation at Harvard, and by the National Cultural Center of Korea to write a work for the Seoul Contemporary Music Festival. In 1998, she received an ASCAP Foundation award.

Ms. Na has lectured in Korea and the U.S. on the relationship between her work and traditional Korean music. In summer 1999, she was composer-in-residence at the National Center for Korean Traditional Performing Arts in Seoul. Her music has been recorded on the SEOUL label and is published in Korea and Australia.

Paul D. Miller/ DJ Spooky (That Subliminal Kid) is the most noted (and notorious) proponent of turntablism, an approach to hip-hop and DJing whose philosophy merges avant-garde theories of musique concrète with the increased devotion paid to mixing techniques during the 1990s. DJ Spooky was a critical figure in spotlighting the DJ as a post-modern poet in his own right. Influenced equally by John Cage and Sun Ra as well as Kool Herc and Grandmaster Flash, few artists did more to mainstream the DJ-as-artist concept than him.
Miller was born in 1970 in Washington, D.C. His father was a lawyer and member of the faculty at Howard University, but died when Miller was three. He inherited his father’s record collection which, along with frequent trips around the world (thanks to his mother’s international fabric store), opened his eyes to a wide range of music. Growing up in the ’80s saw Miller interested in D.C.’s hardcore punk scene and British ska-punk as well as go-go music. While attending college in Maine, Miller began mixing on his own radio show and attempted to introduce his KRS-One tapes into classroom discussions on deconstruction (an idea made quite conceivable just ten years later). After graduating with degrees in French literature and philosophy, he moved to New York.
As DJ Spooky, Miller first gained notoriety by helping establish a downtown New York City music style “illbient” (etymologically derived from “ambient,” an atmospheric genre of electronic music). The “Illbient” movement utilizes the core of both Hip-Hop DJ culture, based on using or sampling bits of old LPs to form beats and rhythms, and “ambient”soundscapes. “Illbient” music sounds like a collage of background sounds and chopped up beats, making for a complex and enlightening listening experience.
After releasing a remix compilation album, Necropolis, on Knitting Factory Records, two records of original material on the cutting edge independent label Asphodel (1996’s Songs of a Dead Dreamer LP and 1998’s Synthetic Fury EP), and doing numerous remixes for artists such as Metallica, (“For Whom the Bell Tolls” from the Spawn soundtrack), Nick Cave (Red Right Hand from the Scream 2 soundtrack), Sublime, and Hooverphonic, DJ Spooky made his Outpost/Geffen debut with Riddim Warfare. Featuring cameo appearances by various hip-hop and alternative rock legends such as Kool Keith, Organized Konfusion, and Thurston Moore (from Sonic Youth), Riddim Warfare is a unique blend of experimental hip-hop, electronica, rock, jazz, and classical music, tied together by Spooky’s brooding, layered soundscapes. In March of 1997, Miller created a sound installation for the Whitney Museum Biennial entitled Zona Rosa, which was accompanied by the CD Viral Sonata (Asphodel). In addition, he also composed the score for the Sundance and Cannes award winning film Slam.

“There is no name yet for this kind of music” writes Mark Swed about David Lang, the provocative American composer. Co-Founder of New York’s legendary new music festival, Bang on a Can, Lang is one of the most interesting crop of young Americans. His distinct sound fuses the tradition of classical music with urban aggressiveness, where melodies are accompanied by noise and subtle harmonies are pulled apart by pounding rhythms. Commissioned by such organizations as the Boston Symphony Orchestra, Cleveland Orchestra, St. Paul Chamber Orchestra, the BBC Singers, the American Composers Orchestra, and the Santa Fe Opera, Lang’s works are showing up with regularity around the world: at the New York Philharmonic, the San Francisco Symphony, the Los Angeles Philharmonic; at the Tanglewood, the Aspen Music Festival, the Almeida, Holland, Berlin and Huddersfield festivals; the Munich Biennale; in the choreography of Twyla Tharp; in theater productions in New York, San Francisco and London; and at Lincoln Center, the Kennedy Center and the South Bank Centre. Along with fellow Bang on a Can composers Michael Gordon and Julia Wolfe, Lang was commissioned by the Settembre Musica Festival in Turin, Italy to create a new comic-book opera, The Carbon Copy Building, in collaboration with comic-strip artist Ben Katchor. The revolutionary new opera premiered in Turin, Italy on September 9th, 1999.

David Lang’s awards include the Rome Prize, the BMW Music-Theater Prize (Munich), a Kennedy Center/Friedheim Award, the Revson Fellowship with the New York Philharmonic, and grants from the Guggenheim Foundation, the New York Foundation for the Arts, and the National Endowment for the Arts. In 2008 Lang was awarded the Pulitzer Prize for music with his piece, The Little Match Girl Passion, based on the children’s story by Hans Christian Andersen.

Born in Los Angeles in 1957, Lang holds degrees from Stanford University and the University of Iowa, receiving his doctorate from the Yale School of Music in 1989. He has studied with Jacob Druckman, Hans Werner Henze, and Martin Bresnick. David Lang’s music is published by Red Poppy (ASCAP) and distributed by G. Schirmer, Inc.

Born in Chicago, composer and violinist Leroy Jenkins was one of the most important musicians to emerge from the AACM (Association for the Advancement of Creative Musicians), the legendary collective of which he was a member until his death in 2007. Like many of the Association’s members, Jenkins studied under the legendary Walter Dyett at DuSable High School, where he learned the alto saxophone.

He received a music degree (in violin) from Florida A & M University, where he studied composition and the classical masters of the violin. Subsequently, he taught music both in Mobile, Alabama (1961-5) and in the Chicago schools (1965-9). During the latter period, Jenkins joined the AACM. He made his first recording with Muhal Richard Abrams, Anthony Braxton, and Leo Smith in the sixties before achieving international acclaim in Paris along with Braxton, Smith, and the Art Ensemble of Chicago. In 1970 Jenkins moved to New York, where he founded the Revolutionary Ensemble, the critically acclaimed ensemble which recorded 7 albums and toured North America and Europe.

When many of the AACM musicians left during 1969, Jenkins went to Europe with Anthony Braxton and Leo Smith. There, with drummer Steve McCall, they were called the Creative Construction Company. He also played with Ornette Coleman, whose house he and Braxton stayed at when they subsequently moved to New York City.

Playing with Taylor (1970) and Braxton (1969-72), he also worked with Albert Ayler, Cal Massey, Alice Coltrane, Archie Shepp and Rahsaan Roland Kirk. Between 1971-7, he played in his Revolutionary Ensemble, a trio featuring Sirone (Norris Jones) on bass and trombone, and drummer/pianist Jerome Cooper. Thereafter, he toured the US and Europe, led the Mixed Quintet (Jenkins and 4 woodwind players), a blues-based band called Sting, and again played with Cecil Taylor.

Jenkins continually reinvented his own language in music. His was an extraordinary bonding of a variety of sounds associated with the black music tradition, while simultaneously bridging with European styles. His intermeshing of jazz and classical influences left critics wondering at his musical identity; however, as one San Francisco Chronicle critic said, “Jenkins is a master who cuts across all categories.”

Jenkins received a number of major commissions and was in demand for experimental and theater-based work. Mother of Three Sons, a dance-opera collaboration with Bill T. Jones, premiered in Aachen, Germany and had ten performances. The Rockefeller Foundation, National Endowment for the Arts, Meet the Composer, and Mutable Music awarded him numerous commissioning funds and grants to support several new theater works. Among them are Fresh Faust (a jazz-rap opera), which was performed in workshops in Boston at the Institute of Contemporary Arts; The Negro Burial Ground (a cantata), performed at The Kitchen, New York City; and The Three Willies (a multimedia opera), performed at the Painted Bride, Philadelphia. He was also commissioned to create new works for the Brooklyn Philharmonic, the Cleveland Symphony Orchestra, the Albany Symphony, the Lincoln Center Out of Doors, and the Kronos Quartet.

Among his recordings are: Lifelong Ambitions (1977; Black Saint; with Muhal Richard Abrams); Space Minds, New Worlds, Survival America (1978; Tomato); Live (1992, Black Saint); Carla Bley’s Escalator Over The Hill and Braxton’s Three Compositions Of New Jazz.

Leroy Jenkins died on February 24, 2007, in Brooklyn, NY.

Annie Gosfield (born 1960, in Philadelphia) is a composer based in New York City. She has led ensembles performing her work at Lincoln Center’s Alice Tully Hall as part of the yearly Bang on a Can Festival, the Taktlos Festival in Zurich and Basel, New Music Marathon in Prague, Festival Solo in Switzerland, and three of the Knitting Factory’s “Radical New Jewish Culture” festivals curated by John Zorn. Ms. Gosfield studied piano with French jazz pianist Bernard Peiffer and Horowitz student Alexander Fiorillo, and studied composition at North Texas State University and the University of Southern California. She has received grants and commissions from the NEA, the Rockefeller Foundation, Meet the Composer, The Crosstown Ensemble, the American Music Center, Arts International, The American Composers Forum, The Siemens Corporation. The Djerassi Foundation, The Jerome Foundation, and Harvestworks/Studio Pass.

Ms. Gosfield’s work The Manufacture of Tangled Ivory was recorded by the Bang on a Can All-Stars for Sony Classical, on their CD Cheating, Lying, Stealing, premiered at Lincoln Center in New York, and performed at The Israel Festival, The Adelaide Festival, Warsaw Autumn, and throughout Europe (1995-99). Her own performance of The Manufacture… received honorary mention at Prix Ars Electronica 97. Other performances include the premiere of In Rides the Dust by Agon Orchestra at the New Music Marathon in Prague (1996), premiered in the U.S. by Bang on a Can’s “Spit Orchestra” at the Kitchen, New York (1997). She was commissioned by New York’s Crosstown Ensemble and The American Composers Forum to compose Lost Night, a work for chamber orchestra and sampler premiered at New York’s Tribeca Hall (1995). Brooklyn, October 5, 1941, for solo piano and baseballs, was composed in honor of the 100th anniversary of the unification of the five boroughs of New York, and premiered at Lincoln Center in 1997, with subsequent performances throughout the U.S., Europe, and South Africa by pianist Guy Livingston.

Gosfield’s Tzadik CD Burnt Ivory and Loose Wires, features compositions for altered and detuned piano, recorded by Gosfield and her ensemble during a residency at Harvestworks Studio, NYC. The CD also features Brawl, a new work written for the Rova Saxophone Quartet. More recent projects include releases on New World and CRI; a Siemens Kultur Programm “Artists on Site” award to create a work that combines music and industry during a six-week residency in Nürnberg; a new work for the Swedish chamber ensemble “Pearls Before Swine” to be premiered at the ISCM World Music Days (2000); a commission for the Harry Partch instruments from Newband; a video work commissioned by The American Composers Forum; and a new work for string quartet and percussion quartet, Flying Sparks and Heavy Machinery, that was premiered at San Francisco’s Other Minds Festival in March, 2000. This work has been released on a studio recording by the TDAZIK label. She continues to collaborate with guitarist Roger Kleier, and leads her own ensemble performing her own work throughout the U.S. and Europe, performing at international festivals in 1999 including Musique Action Internationale (Nancy, France); Festival Musique Actuelle (Victoriaville, Canada); and City of Women (Ljubljana, Slovenia).

Gosfield has performed and/or collaborated with John Zorn, Elliott Sharp, Nurit Tilles, The Rova Sax Quartet, Ikue Mori, David Moss, Marc Ribot, Davey Williams, LaDonna Smith, and her long-time partner Roger Kleier. She played in the tenth anniversary of John Zorn’s COBRA, and has also performed his piece Xu Feng. Ms. Gosfield has been involved in a wide variety of projects such as collaborating in the music for Christopher Walken’s HIM at the Public Theater in New York; creating music for installations with artist Manuel Ocampo; and performing in free improvisation ensembles. Annie’s work has been featured on German radio (Sudwest Funk, Radio Free Kassel, and SFB Berlin), and on U.S. radio in live performances for NPR and Pacifica stations.

Peter Garland was born in 1952 in Maine. He studied with Harold Budd and James Tenney at Cal Arts and has had long student-mentor friendships with Lou Harrison, Conlon Nancarrow, Paul Bowles, and Dane Rudhyar. He edited and published Soundings Press for twenty years, and has written two books of essays on American music and culture. He has been a lifelong student of Native American musics, and has lived in New Mexico, California, Maine, Michoacan, Oaxaca and Puebla.

Garland’s musical works after 1971 were marked by a return to a radical consonance and a simplification of formal structure influenced by Cage, Harrison, early minimalism and an interest in world musics. He has written pieces for pianists Aki Takahashi and Herbert Henck, percussionists William Winant and Chris Shultis, accordionist Guy Klucesvek, the Abel-Steinberg-Winant Trio, and the Kronos Quartet.

Garland has also worked as a musician in shadow puppet theater, especially in his The Conquest of Mexico (1977-80), performed at the 1985 New Music America Festival in Los Angeles. In 1991, Essential Music in New York City presented a twenty year retrospective of Garland’s work. Garland has worked with William Winant since 1972, and has had a long and close musical association with Aki Takahashi. Both were involved in performing his work at Other Minds Festival VI.

Many of Peter Garlands’ scores are available from Frog Peak Music, Box A36, Hanover, NH 03755 USA.

Performing brilliantly on the oud (the precursor of the lute, pipa, and biwa) and the tar (the ancient single-skinned drum of the upper Nile), along with haunting voice and spellbinding compositions, Hamza el Din combined the pleasures and subtleties of Arabic music with his indigenous music of his native Nubia. In his masterful hands, the oud became a virtuoso instrument as well an accompaniment to his gentle and hypnotic singing. He single handedly created a new music, essentially a Nubian-Arabic fusion, but one in line with both traditions and informed by Western conservatory training. His music has captured the interest of millions of listeners from Europe, Japan and North America.

First discovered by Western audiences through his performance at the Newport Folk Festival and Vanguard recordings in 1964, his 1970 Nonesuch recording, Escalay: The Water Wheel is legendary among musicians and connoisseurs. His best known recording in the U.S is Eclipses, produced and engineered by Grateful Dead percussionist Mickey Hart. Hamza’s music has also appeared in movie soundtracks such as the Francis Coppola film Black Stallion, You Are What You Eat, and the Robinson’s Garden of Japan. His latest releases (on Japanese labels) include: “Nubiana Suite” Live in Tokyo, a King recording Songs of the Nile (on the JVC World Sounds series), and a re-release of Journey, a companion to his best-selling album of the same title, (Nile no Nagareno Yoni) Chikuma Shobo Publishing, Tokyo, Japan. Hamza appeared regularly with the Kronos Quartet, which includes Escalay: the Water Wheel on their chart-topping Pieces of Africa album (Elektra/ Nonesuch, 1992).

Hamza el Din was born in Nubia, along the Nile River near the southern Egyptian border (Aswan). He grew up in a culture rich in melodious and rhythmic music. While studying engineering in Cairo, he took up the oud, a principal instrument of Arabic classical music. Later, while holding down full-time jobs, he began studying music formally at the Conservatory of Music in Cairo. During this time and during subsequent study at the Accademia di Santa Cecilia in Rome, his work began to combine elements of Nubian and Egyptian traditional music within formal structures. In 1964, he made his first recording, Music of Nubia, for Vanguard Recordings. In the same year, he embarked on his first concert tour of the United States. Since then, he traveled, performed and taught music in North America, Europe, the Middle East, Asia and Australia. In 1981 he went to Japan to make a comparative study of biwa and oud (funded by a Japan Foundation grant). Impressed with the country and its peoples, he performed there frequently. Until his death on May 22, 2006, in Berkeley, California, from a gall bladder infection, he resided in the Bay Area and continued to play, teach, and record his music around the world.

Carl Stone, born in Los Angeles and now living in both California and Japan, is a former student of Morton Subotnick and James Tenney at the California Institute of the Arts and has composed electro-acoustic music exclusively since 1972. Hailed by the Village Voice as “one of the best composers working in the country today,” his works have been performed across the country and throughout the world. His most recent tour in Japan included concert, radio, and television appearances. A winner of numerous awards, including the Freeman Award for his work Hop Ken, Stone was also the recipient of a National Endowment for the Arts grant for his radiophonic composition Se Jong.

Stone’s music has been used by numerous choreographers, including Bill T. Jones, Ping Chong, June Watanabe, Katsuko Orita, and Blondell Cummings. Collaborations include those with Yuji Takahashi, Setsuko Yamada, Kazue Sawai, Aki Takahashi, Kuniko Kisanuki, Michiko Akao, Rudy Perez, Stelarc, Z’ev, Bruce and Norman Yonemoto, Tosha Meisho, Yoshihide Otomo, Hae Kyung Lee, Min Xiao-Fen, and Mineko Grimmer. Stone formerly hosted a weekly program on KPFA and makes regular appearances on radio in Japan. Stone was appointed as Guest Artistic Director of Other Minds for its 1900-2000 season, temporarily replacing Charles Amirkhanian, who was in residency at the Rockefeller Foundation in Bellagio, Italy. Recordings of Stone’s music can be found on New Albion, CBS Sony, Toshiba-EMI, EAM Discs, Wizard Records, Trigram, T:ME/EM:T, and New Tone labels.

Festival Program

Theater Artaud, 450 Florida Street, San Francisco
Thursday, March 16, 2000, 8:00 p.m.

Peter Garland
The Three Strange Angels (1972-73)
William Winant, bass drum & bullroarer; Peter Garland, piano

Hamza el Din
Greetings
Escalay (Water Wheel)
Hamza el Din, oud and vocals

David Lang
Memory Pieces (1992-97)
cage (in memory of John Cage)
spartan arcs (in memory of Yvar Mikhashoff)
wed (in memory of Kate Ericson)
Aki Takahashi, piano

Memory Pieces (continued) (1992-97)
grind (in memory of Jacob Druckman)
diet coke (in memory of Bette Snapp)
cello (in memory of Anna Cholakian)
Aki Takahashi, piano

Leroy Jenkins
Solo Improvisations for Violin and Viola (2000)
Leroy Jenkins, violin & viola

Annie Gosfield
Flying Sparks and Heavy Machinery (2000)
Onyx Quartet and Reddrum
The Onyx Quartet: Anna Presler, violin; Phyllis Kamrin, violin;
Kurt Rohde, viola; Leighton Fong, cello
Reddrum: Daniel Kennedy (director), Justin DeHart,
Mike McCurdy, and Michael Crain, percussion
World premiere
Commissioned by Other Minds and underwritten by the American Composers Forum with funds provided by the Jerome Foundation

Theater Artaud, 450 Florida Street, San Francisco
Friday, March 17, 2000, 8:00 p.m.

Jacob ter Veldhuis
String Quartet #3 (1994)
“There must be some way out of here”
U.S. premiere
Onyx Quartet:
The Onyx Quartet: Anna Presler, violin; Phyllis Kamrin, violin;
Kurt Rohde, viola; Leighton Fong, cello

Hyo-shin Na
Rain Study (1999)
Thomas Schultz, piano

Blue Yellow River (2000)
World premiere
Ji Young Yi, kayageum
Joan Jeanrenaud, cello
Richard Worn, double bass

Peter Garland
Bright Angel – Hermetic Bird (1996)
Aki Takahashi, piano

Christian Wolff
Melody (1998)
Christian Wolff, melodica

Burdocks (1970-71)

The Other Minds Ensemble
Fred Frith, guitar; Joan Jeanrenaud, cello
Miya Masaoka, koto; Gordon Mumma, French horn
Bob Ostertag, sampler; William Winant, percussion
Christian Wolff, melodica and piano

George Coates Performance Works, 110 McAllister Street, San Francisco

ARTIST FORUM I: “The 21st Century String”
Saturday, March 18, 2000, 11:00 a.m..

Panelists: Hamza el Din, Joan Jeanrenaud, Miya Masaoka, Hyo-shin na, and Ji Young Yi
Moderator: Sarah Cahill

ARTIST FORUM II: “Cultural Identity and Music in the Post-MODEM World”
Saturday, March 18, 2000, 2:00 p.m.

Panelists: Annie Gosfield, Paul D. Miller aka Dj Spooky, Robin Rimbaud aka Scanner, and Eddie Def
Moderator: Herman Gray

Justice League, 628 Divisadero Street, San Francisco
Saturday, March 18, 2000, 9:00 p.m.

Robin Rimbaud aka scanner:
Electro Pollution (2000)
Robin Rimbaud, electronics

Paul D. Miller aka Dj Spooky (that Subliminal Kid):
Synchronia (2000)
Paul Miller, electronics

om6-programcover1

PDF of Other Minds Festival 6 program to come.

Selected Festival Audio

Photos by John Fago

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