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Evans-Weiler, Morgan / Michael Pisaro: Lines And Tracings (Another Timbre)

Two compositions, one by composer Michael Pisaro and performed by the electroacoustic ensemble "Ordinary Affects" including violinist Morgan Evans-Weiler, then an acoustic composition from Evans-Weiler himself performed with violin, clarinet, cello, harpsichord and piano; both exquisite works that draw out tone and time in patiently unfolding fluidity.
 

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Label: Another Timbre
Catalog ID: at134
Squidco Product Code: 26757

Format: CD
Condition: New
Released: 2018
Country: UK
Packaging: Cardboard Gatefold
Track 1 recorded at Memorial Chapel, at Wesleyan University, in Middletown, Connecticut, in November, 2017, by Luke Damrosch.

Track 2 was recorded at Conrad Prebys Concert Hall, at the University of California San Diego, in April, 2018, by James Forest Reid.


Personnel:

Katie Porter-bass clarinet

Laura Cetilia-cello

Michael Rosenstein-prepared cello

Michael Pisaro-composer

Luke Martin-electronics

Ordinary Affects-ensemble

J.P.A. Falzone-vibraphone

Tyler J. Borden-cello

Madison Greenstone-clarinet

Morgan Evans-Weiler-composer, violin

Justin Murphy-Mancini-harpsichord

Kyle Adam Blair-piano

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Artist Biographies:

"Katie Porter plays clarinet, bass clarinet, sings, writes songs and curates performances. She exists mainly in the experimental realm, but can sometimes be found elsewhere."

-Katie Porter Website (https://fromkp.wordpress.com/about/)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Cellist and electronic musician Laura Cetilia is a performer, composer, educator, and presenter. A daughter of mixed heritage, she is at home with in-betweeness. As a composer, her music has been described as "unorthodox loveliness" by the Boston Globe and and her debut solo album was hailed as "alternately penetrating and atmospheric" in Sequenza 21. The Grove Dictionary of American Music describes her electroacoustic duo Mem1 as a "complex cybernetic entity" that "understands its music as a feedback loop between the past and present." Mem1 has held artist residencies and toured extensively throughout the U.S. and Europe. In her viola/cello duo, Suna No Onna, she has worked closely with and premiered works by composers André Cormier, Jürg Frey and Antoine Beuger, among others. As a product of the now-dwindling public school music program, Laura believes in the right to accessible music education and is a Resident Musician at Community MusicWorks, a non-profit organization that provides free after-school music education programs for children in urban neighborhoods of Providence, RI. There she teaches cello, is co-director of the media lab and the curator of the Ars Subtilior experimental music series. She is also a proud mother of one."

-Laura Cetilia Website (http://laura.cetilia.org/about/)
9/11/2019

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"Michael Rosenstein spent many years of careful listening, writing about music, and supporting the Boston music scene, before diving in to the practice of improvisation. If there is a single word that is central to his music, it is "resonance." There is the resonance of amplified strings, metal, exposed circuit boards, and everyday objects; the resonance between acoustic/mechanical sounds and timbres and those which are purely electronic; and the resonance of unstable and mutable textures and frequencies created by musicians playing together."

-Patch (https://patch.com/massachusetts/somerville/opensound-improvised-and-experimental-music_bc554478)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop, Calarts. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen,1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern,1997), Aspen (1991), London (Cutting Edge, 2007), Glasgow (INSTAL 2009), Huddersfield (2009), Chicago (New Music Chicago, 1990, 1991) and elsewhere.

He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival, Wisconsin). Concert length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Austin, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere.

He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Much of his music of the last several years is published by Edition Wandelweiser (Germany). Several CDs of his work have been released by such labels as Edition Wandelweiser Records, Compost and Height, confront, Another Timbre, Cathnor, Nine Winds and others, including most recently "transparent city, volumes 1-4", "an unrhymed chord", "hearing metal 1", "A Wave and Waves" and "harmony series (11-16)".

His translation of poetry by Oswald Egger ("Room of Rumor") was published in 2004 by Green Integer. He is Co-Chair of Music Composition at the California Institute of the Arts near Los Angeles. He has performed many of his own works and those of close associates Antoine Beuger, Kunsu Shim, Jürg Frey and Manfred Werder, and works from the experimental tradition, especially John Cage, Christian Wolff, James Tenney and George Brecht."

-Edition Wandelweiser (http://www.wandelweiser.de/michael-pisaro.html)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Luke Martin is an experimental composer, musician, and poet currently living in Allston, MA (Boston). His work focuses on the concepts of silence, blandness, and community and is primarily interested in exploring the limits of perception. More specifically, he is interested in the combined use of poetry notation and graphic notation, silence and sound, and listening and active sound-making, as equally considered elements in the compositional practice; for instance, the composer's task is not only to consider the parameters of determined sound making, but also - particularly - the parameters of how we listen, and how we may interact with and frame silence. The composer, then, seeks to create situations of possible events which the audience, performer(s), and composer may experience concurrently. Further, it is essential to critically consider the hierarchical roles and power relations at work between composer, performer(s), and audience; or in other words, the nature of the political/social significance of that situation. In short, the composer is not simply someone who composes a musical performance, but rather someone who composes a social situation in which there is, regardless of their desire or intent, sound. Recently inspired by David Dunn's notations for listening and Lasse Thoresen's spectromorphological analysis of electronic music and sound, Luke is developing a notation for the performance and analysis of silence (i.e., incidental sounds, contingency).

Among his many influences, Luke is inspired by the work of Samuel Beckett, John Cage, Morton Feldman, Peter Ablinger, Deleuze and Guattari, Joseph Beuys, the Wandelweiser Collective, and Christian Bok. Luke performs (and has performed) with various groups on no-input mixer, guitar, objects, and other various odds-and-ends including sinecure (Andy Young, Ben Levinson, Isaac Aronson), Variant State (Michael Rosenstein, Howard Martin, Jesse Collins, Chris Johnson), DogStar Orchestra (large ensemble of experimental musicians led by Michael Pisaro), Ordinary Affects (ensemble of experimental musicians, led by Morgan Evans-Weiler), ample parking (trio with John Pax and James Bean), The Readers Chorus LA (a reading group led by Sara Roberts and Jordan Biren), and others. He has an M.F.A. in music composition from California Institute of the Arts, studying with Michael Pisaro, and a B.A. in English and Music from Colby College (magna cum laude, honors in music composition/theory).

Having recently relocated from Los Angeles to Boston, Luke spends his time composing, performing, writing, and working as the grant writer for Monday Evening Concerts (Los Angeles, CA) and The Center for Advanced Musical Studies at Chosen Vale (Hanover, NH), in addition to being the operational assistant for Boston-based experimental music organization Non-Event (Boston, MA) and an associate producer at the Ojai Music Festival (Ojai, CA). Of particular note is his new experimental music residency: co-incidence, an experimental music residency. Developed with Aaron Foster Bresley, this program will have its first season in January 2017, hosted by Non-Event and Washington St. Gallery, in Somerville (Boston), MA. This project is based on an expanded view of what constitutes art, music, and the traditional concert. Following the example of the revolutionary arts community Black Mountain College, it will bring together a group of radical artists operating in the boundary-zones of their practice(s) to take part in a residency curated as 'social scultpure.' Attending will be Co-Directors Luke Martin and Aaron Foster Bresley, Resident Artist Michael Pisaro, and six Guest Artists chosen from a domestic and international pool of applicants (it is also fully open to the public).

On January 8, 2016, Luke released "residues," a CD of graphic score string quartets on FWD: rcrds; on December 7, 2016 he will be releasing a 72-minute piece on Edition Wandelweiser Records; and he has two more projects in the mixing stages, a 3-disc collection of noise and poetry/spoken works, to be released in Spring 2017, and a 72 min piece for solo trumpet to be released in Fall 2017.

Luke is from Massachusetts, has spent and continues to spend time in Maine with family and friends, has lived in L.A. studying and making music for the past couple years, and is currently residing in Boston, MA. He loves playing cribbage and is a sucker for superhero movies and mint chocolate chip ice cream. At one point in his life, he was a top-ranked junior tennis player and a head tennis professional on Cape Cod."

-Luke Martin Website (http://www.lukecmartin.com/about.html)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"J.P.A. Falzone is a keyboard player and vibraphonist, a composer and song writer. He is the coordinator of Providence Research Ensemble and Providence Keyboard Ensemble."

-Squidco 9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Hailed for his "technically polished playing" as well as an "endless amount of musical knowledge and creativity", Tyler J. Borden is a rising force in the contemporary music landscape. A dedicated purveyor of modern music, Tyler has performed with many contemporary music luminaries such as the JACK Quartet, the Theater of Eternal Music Brass and String Band, the Slee Sinfonietta, Ensemble Offspring, Tony Conrad, Paul D. Miller aka DJ Spooky, and Steve McCaffery. He has performed at the Soundways New Music Festival in St. Petersburg, June in Buffalo, the New Media Art and Sound Summit, and the New York City Electroacoustic Music Festival, and he has been a participant at the Lucerne Festival Academy and the Darmstadt Internationale Ferienkurse für Neue Musik. His performance of Witold Lutoslawski's "Cello Concerto" with the University at Buffalo Symphony Orchestra under the direction of Daniel Bassin was praised for how he "mastered the works intricacies with elegant grace." Currently, Tyler is a member of the [Switch~ Ensemble], a group dedicated to the performance of works that incorporate multimedia into live performance

Particularly committed to working directly with composers, Tyler has worked with several established composers such as Brian Ferneyhough, La Monte Young, Alvin Lucier, Phillippe Leroux, and Steven Mackey. He is particularly interested in the music of his generation and has worked extensively with many burgeoning young composers, such as Wojtek Blecharz, Zane Merritt, Ben Isaacs, Lena Nietfeld, and Matt Sargent. As a creative force, Tyler has been commissioned to write and perform by a variety of entities, including the Cleveland Institute of Art, the Hochstein Alumni Orchestra, and hammered dulcimer virtuoso Mitzie Collins He is also an active improviser, having performed in that capacity throughout North America and Europe, and he his improvisations are included in Guggenheim Fellow Kasumi's film "Shockwaves".

Tyler received his BM at Ithaca College, where he studied with Elizabeth Simkin and he received his MM at the University at Buffalo, where he studied with Jonathan Golove. Throughout his studies, Tyler has had the great fortune to be coached by many wonderful artists such as Irvine Arditti, Lucas Fels, Eric-Maria Couturier, Eric Huebner, Marcus Weiss, Rhonda Rider, Joel Krosnick, Peter Wiley,and Gil Kalish, as well as members of the Ying, Jupiter, and Borromeo string quartets. Currently, he is working towards his DMA at UC San Diego with Charles Curtis."

-Tyler J. Borden Website (https://tylerjbordean.com/bio/)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Madison Greenstone was born in California, and completed her Bachelor of Music degree at the Eastman School of Music in 2014. She was a receiver of a DAAD (Deutscher Akademisher Austausch Dienst) that enabled her to teach English at the Universität zu Köln during the 2014/15 academic year.

She has participated in the Darmstadt Ferienkurse für Neue Musik (2012/14), Manifeste Académie (2013), the IMPULS Akademie (2015), and the Klangspuren International Ensemble Modern Akademie (2015), and has studied with Kenneth Grant, Jon Manasse, and Carl Rosman. Aside from clarinet, she is also interested in the metaphysics of wordplay, translation and hearing, ideas of Being, and speculative philosophy. Currently, she is creating on a text that works to pull these seemingly disparate areas together to illuminate and articulate the ineffable in music.

Madison studies at UC San Diego, where she is pursuing her Master of Music in contemporary music performance, where she studies with Anthony Burr. She is the clarinetist in the [Switch~ Ensemble]."

-NewMusic USA (https://www.newmusicusa.org/profile/madison-greenstone/)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Morgan Evans-Weiler, violinist, composer, improviser and teacher, is currently living in the Boston area working as a freelance musician and teacher.

He completed his bachelor's degree at Western Michigan University with a double degree in Music Composition and Performance studying with Renata Knific, Richard Adams, and Curtis-Curtis Smith. He studied violin further with Laura Bossert and jazz with Peter Cassino in Cambridge, Massachusetts. Currently he studies composition, theory, musicology, history and just about everything else with Peter Evans.

While in Michigan, he co-founded, performed with, and composed for the Nuevo tango band Barefoot Tango and the songwriting collective Blackwater Valley Songs. He also performed with the Traverse City and Battle Creek Symphony Orchestras, and the annual New Music Project. While in the Boston area, he has performed with the Modern American Music String Quartet, Longitude and various jazz and free-jazz groups. He has played in and composed music for performances at The Regattabar, Lilypad, and Pickman Hall (Longy School of Music) in Cambridge, as well as numerous halls and art spaces throughout Michigan.

Recently, he performed a full concert of music at Outpost 186 in Cambridge, Massachusetts. The concert included performances of several of Morgan's new works as well as performances of the works of Ruth Crawford-Seeger, Steve Reich and Ornette Coleman.

He continues to compose and perform in the Boston area."

-Morgan Evans-Weiler Website (https://morganevansweiler.wordpress.com/about/)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Justin J. Murphy-Mancini is a composer and keyboardist based in San Diego, California. He collaborates frequently as historical, contemporary, and liturgical musician in San Diego and around the United States. His performance interests include renaissance England and early modern France, and he is composing music that focuses on the development of timbrally-oriented material in response to poetic forms.

Justin earned degrees from Oberlin College and Conservatory of Music. He is currently a Ph.D. student in composition at UCSD and serves as organist and pianist of First Unitarian Universalist Church of San Diego."

-Justin Murphy-Mancini Website (http://justinmurphymancini.com/about.html)
9/11/2019

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Dr. is an active pianist, musical director, and vocal coach in the San Diego area who specializes in the performance of American contemporary music. As a pianist, Kyle not only performs works from established 20th century American composers such as Copland, Ruggles, Crumb, and Carter, but also champions music by living composers, with whom he often collaborates.

Among Blair's notable collaborations are numerous appearances with the La Jolla Symphony under the direction of Steven Schick, performances with Bang-On-A-Can All-Stars in Los Angeles, Seattle, and San Diego, and appearances with redfishbluefish at the Ojai Music Festival, sharing the stage with the likes of eighthblackbird's Lisa Kaplan, The Bad Plus, and members of the Mark Morris Dance Group.

He is currently slated to release his solo debut record in the coming months. The record, entitled "Palm Sunday," consists of a collection of solo piano works composed by New England-based composer Stuart Saunders Smith, a frequent collaborator with Blair.

An active vocal coach in San Diego as well, Blair has acted as a music director, pianist and/or composer for ten major theatrical productions in the San Diego area in the last four years, several of which were theatrical premieres performed at La Jolla Playhouse, as well as multiple shows with La Jolla's renowned JCompany under the direction of Joey Landwehr.

Blair earned his Doctor of Musical Arts degree in Contemporary Music Performance at the University of California, San Diego in 2018 under the tutelage of Aleck Karis."

-Choral Clubs of San Diego (http://choralclubofsd.org/general/welcome-kyle-adam-blair/)
9/11/2019

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track listing:


1. Helligkeit, Die Tiefe Hatte, Nicht Keine Flache (2016) (Grey Series No. 6) 30:24

2. Lines And Tracings (2018) 44:16
sample the album:








descriptions, reviews, &c.

Interview with Morgan Evans-Weiler

You previously released an improvised duo with Christoph Schiller on Another Timbre called spinet and violin, which is a disc that I really love. This is your first appearance on this label as a composer, and as an interpreter of other people's music (in this case Michael Pisaro's). Tell me about the balance of those three aspects of your musical life - improviser, composer, interpreter - and whether that is changing?

For me personally, it is very important that my work is encompassing all of these elements (even many more elements). Being involved with this grander community of experimental musicians and performing any of this kind of music almost necessitates a diverse approach to being a musician. It seems that everything I perform has a degree of openness that benefits greatly from those skills you gain as an improviser. And the more I have the opportunity to work on other people's music, the better sense I have with what I want to do as an improviser. Then there are the aspects of my own compositions which come directly from improvising. It all becomes very interrelated and fluid. With that said, I do see a little mental shift happening as I have spent so much time working on performing the music of all of these wonderful people - it has been a great joy - but I'm feeling a shift as I feel I'd like to focus more on my own composition and getting some more of my pieces out into the world.

Which composers' music have you been playing, and is it mainly through your ensemble Ordinary Affects?

Yes, most of the work I do with composers is through my group, Ordinary Affects. Ordinary Affects is a group based in the New England region - current members of the group are spread out in Boston, Providence and Middletown, CT. I started the group a few years ago as I was beginning to see the limitations of all of the improvising that I was doing. My attention was turning back to composition so it made sense to create a group that could play my open compositions as well as begin to work with the composers whose music I was most interested in. Since the group began in early 2016 we have worked with quite a few composers. We've commissioned new pieces from Ryoko Akama, Antoine Beuger, Michael Pisaro, Derek Baron, Teodora Stepančić, Nomi Epstein, Sarah Hughes, Jürg Frey and Jordan Dykstra as well as all the members of the group - J.P.A. Falzone, Luke Martin, Laura Cetilia and myself. This fall we have projects with Eva-Maria Houben and Christian Wolff playing new pieces written for the group. And we are working on a spring project with Magnus Granberg. All the current members of 'Ordinary Affects' are composer/performers, so we really prefer to work directly with other composer/performers - in fact, that is exclusively how we work now. The model of the group now is to commission new pieces from folks we admire and have them come play the pieces with us. It is far more interesting for us to be able to actually play with these people - rather than just being a group that performs other people's music - it creates a much more intimate working atmosphere where we can really be in a close relationship with an artist. Aside from the work with 'Ordinary Affects' I have recently worked with Seth Cluett on a violin piece with some of his custom 3D printed speaker setups.

So did Michael Pisaro come and work with the group on his piece 'Helligkeit....'?

Actually, since Michael's piece was one of the first I asked for, it was a bit before we had settled on our current model of working directly with composer/performers. So he sent us the score and we worked on it and performed it away from his direct involvement. It was interesting though, because the piece was first performed in the fall of 2016 and this recording wasn't made until the fall of 2017. Some things worked in that first 2016 performance, but some things also didn't work so well. So we were able to make a live recording of our 2016 performance and send it to Michael. It was great to get an idea of what Michael felt worked well in our initial performance to help shape our future approach. We were then able to kind of shape the group for the recording having learned from the first performance and from Michael's preferences to create the recording which you have now. I think the interpretation really benefited from that development and change over time.

What about your piece, "lines and tracings"? This one wasn't recorded by Ordinary Affects, so how did it come about?

This project came about through a tour I was planning in California. Tyler J. Borden, who plays cello on the piece, also organizes this huge festival at UCSD called UC Soundings. T.J. and I know each other from the improvising days - way back. So he was able to commission the piece through that festival and I arranged a tour of California around that concert. He kind of gave me this list of instruments and performers and it was obvious that I would use violin, clarinet, cello and piano because those are like my 'go-to' instruments, but I was so happy to see harpsichord on the list. It was so great to be able to incorporate that. The performers were all wonderful to work with and I'm grateful to have been able to work with them. The concert consisted of my piece and a performance of Eva-Maria Houben's Haikus arranged by Erik Carlson. It was a great concert.

It's for quintet, which is a larger ensemble than other pieces of yours that I have heard in the past. Do you feel that your music is moving towards needing larger forces, or is it simply that you didn't have opportunities in the past? And does it change your music at all writing for larger ensembles?

I actually feel most at home writing for ensembles of this size and I don't think that is anything new. The thing that is new is that now it is possible to write for groups instead of just composing pieces for myself to play. Groups of this size just offer greater potentiality for interplay between voices and timbres and it is very appealing when working durationally - which I really like to do. Recently, I've been working on a duo for violin and pedal steel guitar and have had a really hard time of even conceiving how to compose for two instruments - those instrumental limitations are really difficult for me - I like to have lots of voices intertwining and playing off of each other. In the past, I have done a great many pieces for solo violin or violin with sine tones because it was what was available to me and my only performance opportunities were for me to play them. But yes, I think a lot changes when I shift from composing solo violin music to group ensemble music. With one instrument, I am trying to sustain interest with a rather singular idea; with a group, I can imagine this larger set of relational bodies and it kind of explodes out the possibilities in every direction. Then I stop thinking about singular ideas and can imagine the potential of a network of musical processes and the infinite ways in which they might intersect. Now that I have Ordinary Affects, I have access to a group all the time and it is easier to imagine adding to the group if I want to make a larger piece. I'm still always involved as a performer, but of course I prefer it that way.

I think you've just described your piece lines and tracings rather nicely: "(The) interplay between voices and timbres....this larger set of relational bodies (which) kind of explode out of the possibilities in every direction...a network of musical processes and the infinite ways in which they might intersect". That's how I feel listening to the music. Does the score allow the musicians any leeway in terms of interpretation and how they inter-relate, or is it through composed?

The players have a lot of leeway and agency in this piece. There are kind of two levels to this piece - as a lot of my pieces have - hence the title lines and tracings. And yes, I'd say the piece is very much involved with exploring the different types of interrelationships between the ensemble members. There is a set of material that players can explore individually and in relation to each other - they are choosing which pitches or ideas they feel fit the piece at any given time and together these actions form a sort of surface for the piece. The players are given a lot of freedom with this material - I try to just see what I offer as a framework that players can use but also extend from. But then there is another level of composed material - in the form of scored duos. These are points at which two players come together and these moments give a bit of clarity within the cloud of improvised material. Things briefly solidify for a moment and then the players dissipate back into the texture. I find it very interesting to explore two different processes at the same time - to me, having open material juxtaposed with composed material is a way of exploring the best of both worlds; I've found it rather impossible to fully compose anything. To through compose a piece at this point seems to negate all of the wonderful possibilities of this music.

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Legmann, Shira / Michael Pisaro
Barricades
(elsewhere)
Evans-Weiler, Morgan / Michael Pisaro
Lines And Tracings
(Another Timbre)
Pisaro, Michael
Nature Denatured and Found Again [5 CD Box Set]
(Gravity Wave)
McCowen, John
Mundanas I - V
(Edition Wandelweiser Records)
Frey, Jurg
120 Pieces of Sound
(elsewhere)
Pisaro, Michael
Etant Donnes
(Gravity Wave)
Pisaro, Michael / Reinier van Houdt
Shades of Eternal Night
(Gravity Wave)
Pisaro, Michael / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier
Organ For The Senses [VINYL]
(Marginal Frequency)
Rowe, Keith / Michael Pisaro
13 Thirteen [2 CDs]
(erstwhile)
Pisaro, Michael
Sometimes
(Edition Wandelweiser Records)
Schiller, Christoph / Morgan Evans-Weiler
Spinet & Violin
(Another Timbre)
Pisaro, Michael (w/ Didier Aschour / Stephane Garin)
Resting in a Fold of the Fog
(Potlatch)
Farmer, Patrick
Wild Horses Think Of Nothing Else The Sea - Tape Readings [2 CASSETTES + TEXT]
(Winds Measure)
Martin, Luke
So Softly That It Came, A Wild Dim Chatter, Meaningless
(Edition Wandelweiser Records)
Cage . Pisaro . Frey . Beuger
Accordion Music [2 CDs]
(Edition Wandelweiser Records)
Wolff, Christian / Michael Pisaro
Looking Around
(erstwhile)
Wolff, Christian / Wandelweiser Komponisten Ensemble
Stones
(Edition Wandelweiser Records)
Lambkin, Graham / Michael Pisaro
Schwarze Riesenfalter
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Pisaro, Michael
Melody, Silence (For Solo Guitar)
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Pisaro / Chabala
Black, White, Red, Green, Blue (Voyelles) [2 CDs COLOR EDITION]
(Winds Measure Recordings)
Pisaro / Chabala
Black, White, Red, Green, Blue (Voyelles) [2 CDs]
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Pisaro / Chabala
Black, White, Red, Green, Blue (Voyelles) [CASSETTE]
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Pisaro, Michael
Closed Categories in Cartesian Worlds
(Gravity Wave)
Beuger, Antoine / Michael Pisaro
this place / is love
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Pisaro, Michael
The Punishment of the Tribe by its Elders
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Pisaro, Michael
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Wandelweiser und so weiter [6 CD Box]
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Pisaro, Michael / Toshiya Tsunoda
Crosshatches [2 CDs]
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Pisaro, Michael / Greg Stuart
Hearing Metal 3
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Pisaro, Michael / Greg Stuart
July Mountain: three versions
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Pisaro, Michael / Greg Stuart
ricefall (2)
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Pisaro: Chabala / Porter
asleep, street, pipes, tones
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Pisaro, Michael / Taku Sugimoto
2 seconds/b minor/wave
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Recommended & Related Releases:
Legmann, Shira / Michael Pisaro
Barricades
(elsewhere)
Evans-Weiler, Morgan / Michael Pisaro
Lines And Tracings
(Another Timbre)
Pisaro, Michael
Nature Denatured and Found Again [5 CD Box Set]
(Gravity Wave)
Pisaro, Michael
Etant Donnes
(Gravity Wave)
Pisaro, Michael / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier
Organ For The Senses [VINYL]
(Marginal Frequency)
Rowe, Keith / Michael Pisaro
13 Thirteen [2 CDs]
(erstwhile)
Lambkin, Graham / Michael Pisaro
Schwarze Riesenfalter
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Pisaro, Michael
Melody, Silence (For Solo Guitar)
(Potlatch)
Pisaro / Chabala
Black, White, Red, Green, Blue (Voyelles) [2 CDs COLOR EDITION]
(Winds Measure Recordings)
Pisaro / Chabala
Black, White, Red, Green, Blue (Voyelles) [2 CDs]
(Winds Measure Recordings)
Pisaro / Chabala
Black, White, Red, Green, Blue (Voyelles) [CASSETTE]
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Beuger, Antoine / Michael Pisaro
this place / is love
(erstwhile)
Pisaro, Michael
The Middle of Life (Die ganze Zeit)
(Gravity Wave)
Pisaro, Michael / Greg Stuart
Hearing Metal 3
(Gravity Wave)
Pisaro, Michael / Greg Stuart
July Mountain: three versions
(Gravity Wave)
Pisaro, Michael / Greg Stuart
ricefall (2)
(Gravity Wave)
Pisaro: Chabala / Porter
asleep, street, pipes, tones
(Gravity Wave)
Pisaro, Michael / Taku Sugimoto
2 seconds/b minor/wave
(erstwhile)
Other Recommended Releases:
Lang, Klaus / Golden Fur
Beissel
(Another Timbre)
McCowen, John
Mundanas I - V
(Edition Wandelweiser Records)
Frey, Jurg
120 Pieces of Sound
(elsewhere)
Pisaro, Michael / Reinier van Houdt
Shades of Eternal Night
(Gravity Wave)
Pisaro, Michael
Sometimes
(Edition Wandelweiser Records)
Schiller, Christoph / Morgan Evans-Weiler
Spinet & Violin
(Another Timbre)
Pisaro, Michael (w/ Didier Aschour / Stephane Garin)
Resting in a Fold of the Fog
(Potlatch)
Farmer, Patrick
Wild Horses Think Of Nothing Else The Sea - Tape Readings [2 CASSETTES + TEXT]
(Winds Measure)

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