Byzantine Rites 4
For changing the direction of the wind. Pipes, metal rings, paper flags, rope, tuning forks, and silent bell. With Erika Bell, Sharon Chohi Kim, and Jesse Quebbeman-Turley. Baldwin Hills Scenic Overlook, Culver City, CA. Commissioned by SASSAS. October 2018.
Byzantine Rites 3
For the cardinal directions. Pipes, paper banquet roll, rope, bass harmonicas and bell. With Mustafa Walker, Tim Parkinson, Francesca Fargion. St. Mary-at-Hill, London. For the Music We’d Like to Hear festival. July 2018.
Byzantine Rites 2
For up and down. Pipes, paper, lights, metal tube, plastic straws, bluetooth speakers, rope, bass flute, bassoon, saxophone and string quartet. Dogstar Festival 2018 at Automata, Los Angeles. Commisioned by Southland Ensemble. June 2018.
An extraterrestrial initiation rite. Bells, paper, gold leaf, voices and movement. In collaboration with Kathleen Johnson for her Brainchild experimental musical theater project. At the Armory Center for the Arts in Pasadena, CA. January 2017.
Experimental choir guided tour commissioned by Chris Kallmyer’s A Paradise Choir at SFMOMA, July 2016.
Rite of Passage
A ritual performance to celebrate a reverberant passageway in Stanford’s McMurtry art building. Chant-inspired melodies lulled the audience until midnight, when the lights automatically shut off. At that point, the musical style shifted to eerie harmonies joined by ghostly vocal recordings amplified through the glass windows that, due to the acoustic properties of the space, were indistinguishable from the live voices. Victoria Chang and Laura Steenberge, voices. This event was a part of 49 Days for Space, a site-specific collaboration with artist Boris Oicherman. Jan-Feb 2016.
Circe and Medea
Circe and Medea, a duet for soprano Tony Arnold and singing tubist Max Murray, was composed for the marbled and cavernous entry hall of the Stanford Cantor Art Center. The soprano’s voice casts a spell, summoning dark forces which are represented through the echoes resounding in the space and Max’s voice secretly projected through the tuba. May 2015.
Fathoming a Cave
A nighttime guided tour and performance in the Sutro Baths (San Francisco) created in collaboration with visual artist Carrie Hott. Commissioned by Southern Exposure as part of the White Hot Lamp Black show, Feb-Mar 2014.
A Love Song for a Woman Named Mia
For the 2012 Daniel Pearl World Music Days concert, Stanford presented Vivaldi’s Four Seasons in its entirety. A new composition was commissioned to serve as an interlude between each concerto. A Love Song for a Woman Named Mia was performed between Spring and Summer, from the organ loft at the back of the reverberant Stanford Memorial Church. With Victoria Chang, soprano.
Singing by Numbers
Singing by Numbers, an experimental women’s choir co-founded with Catherine Lamb, experimented with methods of singing harmonic ratios and composing text scores over the course of a year, with up to eleven singers performing at a time. Pictured from left to right: Laura Steenberge, Catherine Lamb, Julia Holter at the Hammer Museum. As part of Machine Project’s year-long residency, the choir performed in the Luisa Lambri gallery for fifteen hours over the course of five days.
Melancholy Contrabass Improvisations
In the Dutch Masters room at the Los Angeles County Museum of Art, for Machine Project’s Field Guide to LACMA, 2008.