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Eastman, Julius : Femenine (Sub Rosa)

ensemble 0: Variable geometry performs this essential work from composer Julius Eastman, written in 1974 for a chamber ensemble of acoustic and electronic instruments, merging a backbone of hypnotic minimalism with forms of improvisation and points of flexibility for the performers, a great example of Eastman's work and relationship to other contemporary composers.

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product information:

UPC: 5411867115014

Label: Sub Rosa
Catalog ID: SR 501CD
Squidco Product Code: 29779

Format: CD
Condition: New
Released: 2021
Country: Belgium
Packaging: Digipack - 3 panel


Julius Eastman-composer

Melaine Dalibert-piano

Sophie Bernado-bassoon

Cyprien Busolini-viola

Jozef Dumoulin-Fender Rhodes, synthesizer

Celine Flamen-cello

Stephane Garin-percussion

Ellen Giacone-voice

Jean-Brice Godet -bass clarinet

Amelie Grould-vibraphone

Alexandre Herer-electronics

Tomoko Katsura-violin

Julien Pontvianne-saxophones, orchestration

Christian Pruvost-trumpet

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Artist Biographies:

"Julius Eastman was born on October 27, 1940 (to May 28, 1990). He was an accomplished composer, pianist, vocalist, and dancer of minimalist tendencies.

Julius Eastman grew up in Ithaca, New York, where he worked in his teen years as a paid chorister. He gained plenty of regional attention with his wonderful voice, and began his piano studies at age 14. After only six months of practice, he was playing Beethoven and other challenging classical composers. Eastman attended Ithaca College and transferred to the Curtis Institute of Music, where he studied piano with Mieczyslaw Horszowski and composition with Constant Vauclain. After a few months, Eastman switched his major from piano to composition.

Eastman made his debut as a pianist in 1966 at Town Hall in New York City. He possessed a rich baritone voice that caught the attention of the symphonic world when he recorded the 1973 Grammy-nominated Nonesuch recording of British composer Peter Maxwell Davies' "Eight Songs for a Mad King." Eastman's talents as a composer impressed the celebrated composer and conductor, Lukas Foss.

In 1970, Eastman joined the Center for the Creative and Performing Arts at the State University of New York at Buffalo, where he met the Czech-born composer, conductor, and flutist Petr Kotik. Eastman and Kotik performed together extensively in the early to mid-1970s, and he became a founding member of the S.E.M. Ensemble, with whom he performed, toured, and composed numerous works. Many of the earliest performances of Eastman's works were given by the Creative Associates Ensemble of University at Buffalo, of which he was also a member beginning in 1968. He taught theory while at the University at Buffalo, but left over what he described as "creative differences." Eastman had hoped to transition to a similar position at Cornell University, in his hometown of Ithaca, but they quickly backed away, and it failed to materialize.

Eastman eventually moved to New York City, where he was associated with the Brooklyn Philharmonic, then led by his friend Lukas Foss. Eastman became a pioneering figure in minimalism, and an influential member of the 1980s Downtown New York scene. He performed in jazz groups with his brother, Gerry Eastman, a guitarist and bass player in many jazz ensembles, including the Count Basie Orchestra. Ironically, the only work by Julius Eastman registered with the U.S. Copyright Office is as a lyricist, with his brother Gerry listed as the composer.

Julius Eastman was a composer of works that were minimal in form but maximal in effect. His compositions were often written according to what he considered an "organic" principle, by which each new section of a work contained all the information from previous sections, though sometimes "the information is taken out at a gradual and logical rate." The principle is most evident in his three works for four pianos, "Evil Nigger," "Crazy Nigger," and "Gay Guerrilla," all from around 1979.

The last of these, an expansive and emotional work, appropriates Martin Luther's hymn "A Mighty Fortress Is Our God" as a gay manifesto. Eastman's "Stay On It" from 1973 was an influential post-minimalist piece that incorporated pop music influences. He frequently performed with the Experimental Intermedia Foundation, and participated in music symposia with Morton Feldman and John Cage.

A 1980 selection for Eastman's voice and cello ensemble, "The Holy Presence of Jeanne d'Arc," was performed at The Kitchen in New York City, and he lent his vocal strength to Meredith Monk's ensemble for her influential album, "Dolmen Music," in 1981. In 1986, choreographer Molissa Fenley used his work "Thruway" for a dance called "Geologic Moments" at the Brooklyn Academy of Music.

Julius Eastman was a man seemingly balanced between irreconcilable extremes. He was brilliant, but suffered from extreme bouts of schizophrenia; he was celebrated as a star in the avant-garde world of classical music, but was occasionally homeless and sleeping in Manhattan's Tompkins Square Park. But perhaps the greatest difference was addressed by one of Eastman's colleagues who stated simply, he was "a Black, gay man rattling around loudly in the white, constrained world of classical music. Eastman was a living testament to unbounded American opportunity and woeful American inequality."

Eastman's mercurial artistry often reflected those conflicting paradigms in his world. His compositions exposed a confrontation that he saw between Western and African music, and conflicting notions of beauty. Eastman's music could comfort one moment and agitate the next. But in the end, he may have been a man who despite his immense intellect and talent, thrashed himself apart trying to live too many contradictions.

Eastman also battled alcoholism and drug addiction. He could be immensely charming, but also an acrid, seething, and occasionally impossible man. Sometimes when he spoke, it was difficult to detect if he was being hurtful or humorous. His temperament can even be detected in the titles he assigned his compositions: "If You're So Smart, Why Aren't You Rich," "Evil Nigger," and "Gay Guerrilla." The language was so acidic, it ate away at the concert hall universe, and was perhaps a fitting gesture for someone who saw as much rank hypocrisy as opportunity within its walls.

Despondent about what he saw as a dearth of professional possibilities worthy of him, Eastman grew increasingly dependent on alcohol and other drugs after 1983, and his life began to fall apart. At one point, he was evicted from his apartment, his belongings (including most of his music scores) abandoned curbside. Despite an unsuccessful attempt at a comeback, he shuffled between friends' homes in New York City and Buffalo, and slipped into obscurity.

Julius Eastman and I had a mutual friend, upon whose doorstep Eastman would occasionally appear. He would stay for a while, and then vanish under the premise of a new musical collaboration or project that required his presence. His friend, John Crawford, had a spacious apartment in a very elegant rowhouse in downtown Buffalo. He also had a stunning, burled rosewood Steinway Grand in his parlor, that Eastman reportedly never touched. It appears his disconnection from his musical past was becoming complete.

At his final visit to Buffalo, Julius Eastman was very, very ill. I spoke to him briefly, but was disturbed to see him in such deep crisis. He suffered from insomnia, was emotionally distressed, and, as I recall, very paranoid-certain that the music world was out to destroy him. But the more pressing issue was his rapidly failing health from the effects of AIDS. Within days, Eastman would be rushed to Buffalo's Millard Fillmore Hospital, where he died three days later, on May 28, 1990, from AIDS-related, cardiac arrest. Julius Eastman had descended so far from the public eye that no notice was given to his death until an obituary by Kyle Gann appeared in the "Village Voice" on January 22, 1991, eight months after he died.

Eastman's notational methods were loose and open to interpretation, and consequently, any revival of his music has been a difficult task, dependent on the generous efforts of people who worked with him. Many of his compositions and recordings were discarded when he was evicted. But there are some amazing musicians, who are working tirelessly to collect, preserve, and perform his compositions, and keep his unique musical presence available for generations to come.

Eastman's music continues to be heard around the world. In December of 2016, the world's first Eastman retrospective took place at the London Contemporary Music Festival, and included a presentation of seven Eastman works and an exhibition, spread over three nights. The following May, "That Which Is Fundamental," a four-concert retrospective and month-long exhibition of Eastman's work was hosted at Bowerbird in Philadelphia, produced in collaboration with the Eastman Estate.

We remember Julius Eastman, and thank him for his unique artistry, and his contributions to our cultural landscape and community."

-The Ubutntu Biography Project (

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"Melaine Dalibert is a French pianist and composer born in 1979. After studying piano in Rennes and Paris conservatories (with Joël CAPBERT and Pierre REACH), he dedicates himself to contemporary art creation as a performer (première pieces from Gérard Pesson, Giuliano D'Angiolini, Tom Johnson, Ahmed Essyad among others) while initiating a persona composition work based on rigorous generative systems. Melaine shares preoccupations with visual artists such as François Morellet, Véra Molnar or Marcel Dinahet, whom he has collaborated with, and his music is deliberately emancipated from any narrative purpose in order to highlight combinatorial games vacillating between order and chaos. His creations have been radio transmitted (France Musique) and played in many French and foreign museums and contemporary art centers."

-Newport Contemporary Music Series (

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"Since September 2016, Sophie [Bernado, bassoon] plays alongside Hugues Mayot, Valentin Ceccaldi, Theo Ceccaldi, Joachim Florent in the new group of Hugues Mayot l'Arbre Rouge inscribed in the small forms of the ONJ Jazz Fabric and alongside Rafael Rinaudo and Hugues Mayot in the improvised trio Ikui doki , winners of Jazz Migration and tour JMF 2018.

She also accompanies Emily Loizeau on her latest album and tour Eaux SombresSophie also performs with: Art Sonic wind quintet by Joce Mienniel and Sylvain Rifflet White Desert Orchestra by Eve Risser ,Manuel Delgado flamenco sextet, dance and singing.She is a co-writer, composer, musician and singer of children's tale (book) Les Symphonies Subaquatiques accompanied by Dominique A, Agnès Jaoui and Jacques Gamblin.

She is author and co-composer of 2 new current music projects:Belleville indus pop and L.A from Paris Electro hiphop with Marion Faure.Born in 1978, she grew up in southwestern France where she started playing piano at the age of 9. She joined the bassoon class of the Conservatoire de Toulouse at 16 years old.From the age of 17, she played in several orchestras including the Toulouse Chamber Orchestra.

She joined the Conservatoire National Supérieur de Paris in 2000.It is there that she learns Indian music from Patrick Moutal and jazz from Glenn Ferris. She graduated in 2003.

She then participated in first projects as an improviser with Gabriel Mirabassi and Ricardo Zegna. During her advanced studies in classical music at Konservatorium Richard Strauss of Munich, she participated in groups Johan von Brossa with Wanja Slavin, as well as Métisse Absynthe with Paolo Cardoso.

She takes part in such projects as the Jazz Orchestra of Sardinia and the project of Massimo Nunzi (Italian Composer). She is also following several seminars led by David Friedman, Paolo Fresu, Vito Maria Pia, Dave Liebman, Sangeeta Bandyopadhyay.Sophie settles in Berlin and meets underground actors with whom she multiplies the projects as well as a singer / rapper as improvising bassoonist. She becomes co-leader of Nimpkeity with the artist ToyzRme (Rolax Label), Andromeda Mega Express (in collaboration with Notwist), The Fat Bertha, Das Rote Gras, flamenco project Flam'n Co and finally creates his first band Sir Chac Bulay Quartet.

Returning to France in June 2010, she performed with the Surnatural Orchestra, Filigrane by Edouard Ferlet, the Dark Horns (Daniel Casimir), Nosfell and recorded the album Rendez-nous les lumières by Dominique A with whom she went on tour."

-Sophie Bernado Website (

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"Cyprien Busolini: violist Born in 1978. After classical studies of viola, Cyprien Busolini focuses mainly on contemporary repertoire and improvisation. He obtained a first viola prize at the CNR Rueil-Malmaison in the class of Françoise Gneri, then he perfected with P.Faure and P.H.Xuereb. His great interest in contemporary music and especially new works allows him to work with many composers like L.Naon, HULehmann, T.Johnson, JLGuionnet ... He has also played or created some of their solo pieces or sets. Improvisation allows him to work on other sound fields and to explore his instrument in a more personal way, notably on non-melodic and non-harmonic parameters but more focused on the matter of sound. Regularly, he works with dancers, actors, either in improvisation or for shows whose musical part he elaborates. On the other hand, he occasionally runs improvisation workshops for children. He currently plays in different ensembles, Dedalus, Onceim, and various groups of improvisation as well as in the whole Fratres, old music ensemble on old instruments. He has made several solo or Dedalus ensemble recordings, the Diagonal ensemble, but also with Garth Knox and various improvisational discs."

-Cyprien Busolini Website (Translated by Google) (

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"Pianist Jozef Dumoulin (Belgium) redefined the Fender Rhodes keyboard through a scope that is at the same time fully contemporary, eclectic and highly personal. He is the first to present a full solo program featuring the instrument. Furthermore he is known for his open and luminous approach to the piano and to music in general, always anchored in tradition without being burdened by it. Besides the Fender Rhodes solo, his own projects include The Red Hill Orchestra (a trio with Ellery Eskelin and Dan Weiss) and a duo with Benoît Delbecq.

Highly-demanded as a sideman, Jozef Dumoulin has recorded and toured with the finest of musicians in the domain of jazz, improvised music, rock and traditional music. He currently lives in Paris."

-Jozef Dumoulin Website (

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"French cellist, first cello in Bandart orchestra in Spain, teacher-coach in the Youth orchestra of Catalonia (Jonc), Youth Canarian Orchestra (Jocan), Musikene Master Strings orchestra, invited in the next Aurora festival in Sweden as a chamber music coach and in the Brugges Academy in Belgium as a cello teacher, Celine Flamen did study in Conservatoire National de Musique de Paris where she rewarded 1er Prix in Cello and Chamber music.

She did then follow master classes beside Michel Strauss, Gary Hoffmann, Christoff Henkel and Janos Starker. She had been appointed Leading cello in several chamber orchestra in France, as well appointed in the Orchestre National d'Ile de France and had many collaboration with orchestras such Orchestre National de France, Orchestre Philharmonique de Radio France, Orchestre d'Auvergne, Orchestre de Chambre de Paris, Nederlands Kamer Orkest and the Antwerp Symphony Orchestra.

She is since 2015, more involved in making chamber music and played in Concertgebouw Amsterdam, in Elba Music Festival, Kamermuziek Festival Den Haag, Festival de musique de chambre de Thèze and as a solist with Vigo and las Menorca orchestras, in Aschau Festival in Germany and with the Youth Orchestra of Catalonia. She collaborates with Ensemble "0" in France which explores Modern Minimalistic Repertoire as she did create in Europe the solo cello and elctronics piece by Tristan Perich, Formations.

She is playing all repertoire on gut wounded strings since 7 years, period during she could explore the cello playing from a different aspect. Her pedagogical approach is inspired from her personal research, based on the posture correction and muscles reinforcement. As a pianist, baroque cello player, improviser in very different kind of music, student in Alexander technique and Pilates and with a wealth of experience in different Orchestras in Europe, she tends to offer a maximum of point of views in order to help her pupils to find themself their own way of playing.

She plays a cello from Georg Thir, Austria 1780."

-Orchestra da Camera delta Sardegna (

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"Stephane Garin has performed:

- within the ensemble intercontemporain (EIC), the orchestra "les siècles", the orchestra of rouen opera, the radio france philharmonic orchestra, the brussels philharmonic... conducted by pierre boulez, péter eötvös, léon fleisher, philippe jordan, david robertson, pascal rophe, françois-xavier roth...

- with musicians, dancers, performers and directors such as pascal battus, antoine beuger, olivier bernet (persepolis sountrack), carl craig, pascal comelade, mathias delplanque, catherine divèrres, michel doneda, jürg frey, jean-luc guionnet, jean-philippe gross, julyen hamilton, ryoji ikeda, tom johnson, daunik lazro, pierre-yves macé, stephan mathieu, billy martin, seijiro murayama, phill niblock, moritz von oswald (maurizio), tristan perich, marc perrone, christian wolff, wax tailor...

founder of 0 (; member of les Dissonances conducted by David Grimal (; member of OPPB conducted by fayçal karoui (first percussion solo) (; member of the ensemble of contemporary music dedalus conducted by didier aschour (; member of the collective phonographer in basque country, soinumapa ( /

founder and member of the Garazi Philanthropik(s) Orchestra until 2008

artist associeted at the centrifugeuse (pau, france)"

-Stephane Garin Website (

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"Born in Italy, Ellen Giacone began learning the piano and violin when she moved to Paris at the age of 8. She started to train her voice when she was 17 and completed a professional degree of classical singing in June 2011, after taking classes in Paris with Mary Saint-Palais and Robert Expert. She then studied at the CRR of Paris with Fusako Kondo, and attended masterclasses given by baroque experts Sara Mingardo and Peter Kooij, as well as Lied and French Mélodie experts like Serge Cyferstien, Dalton Baldwin and Anne Le Bozec.

Since 2002, Ellen has developed a special taste for baroque repertoire and has performed many concerts, mostly one-to-a-part programmes, with a number of choirs and consorts in Paris, Metz and Geneva. She has also sung several times under the baton of Ton Koopman, in Paris and New York: in 2008 she was praised for her interpretation of Händel's Ode for St Cecilia's Day in the New York Times.

She has been a member of the Monteverdi Apprenticeship Scheme 2012-2013, joining the Monteverdi Choir conducted by Sir John Eliot Gardiner for various projects all over Europe in 2012-2013. In 2012 she has also sang regularly with other English ensembles including Polyphony conducted by Stephen Layton.

From 2008 to 2014, she was a member of Athénaïs, a French baroque ensemble which she recorded two albums with, focused on French baroque repertoire (Anima Christi, 2011 & O Amor Jesu, 2014, Bayard Musique). She has performed various works from the Italian, German and English baroque repertoire with other French and Dutch ensembles (Europa Barocca, La Fenice, Les Musiciens de Mlle de Guise, Apollo Ensemble). On stage, she sang various operas and oratorios: Rousseau's Devin du Village (2006), Fauré's Requiem (2007), Belinda in Purcell's Dido and Aeneas (2009 and 2014), Mozart's La finta giardiniera (2011), Händel's Messiah (2011). Her first solo album, Vocalise Ave Maria, was released in 2014 by Monthabor. Since 2016 she sings with pianists Diego Mingolla, Mihaly Zeke and Giuseppe Modugno, choosing her repertoire among baroque music, German Lied and French mélodie but also contemporary music and musical.

In addition to her solo projects, she regularly sings with La Tempête (Simon-Pierre Bestion) which she recorded with the albums Paroles à l'absent (NoMad Music, 2014) and The Tempest (Alpha, 2015), Pygmalion (Raphaël Pichon), Accentus (Laurence Equilbey), Les Cris de Paris (Geoffroy Jourdain) and Les Arts Florissants (William Christie). Among these choruses, she has sung various operas (or staged oratorios): Hahn's Ciboulette (Opéra Comique, 2015), Rossi's Orfeo (Opéras de Nancy, Bordeaux, Caen, Versailles, 2016-17), Dvorak's Stabat Mater (Opéra de Montepellier, 2017), Saint Saëns' Le Timbre d'Argent (Opéra Comique, 2017), Haendel's Jephtah (Opéra Garnier, 2018), Gounod's La Nonne Sanglante (Opéra Comique, 2018), Gluck's Orphée et Eurydice (Opéra Comique, 2018), Weber's Freischütz (Opéra de Rouen, 2019), Christian Boltanski's Fosse (Centre Pompidou, 2020), Rameau's Hippolyte et Aricie (Opéra Comique, 2020).

Since 2010 she started singing jazz music after having studied the double bass with Christian Gentet for several years. In 2017 she joined AUM Grand Ensemble, a collective of 14 musicians, who plays oniric works composed by its leader Julien Pontvianne (You've never listened to the wind, Onze Heures Onze, 2017).

In 2018 she created the quintett Body & Soul Consort whose aim is to create boundaries between baroque music and jazz.

In addition to her musical experience, Ellen was a student at the Ecole Normale Supérieure of Paris and holds a Master of Science in Biology as well as a Master of Business Administration. Currently living in Paris, she speaks Italian, French, Dutch and English fluently, and has studied German."

-Ellen Giacone Website (

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"Jean-Brice Godet starts clarinet at 8 years old at Colombes conservatory, where he was born, in Paris suburbs. Albert Ayler, Sonic Youth, György Ligeti, Duke Ellington and Buddy Guy, what convince him to use the way of free improvisation, The advices of Bernard Lubat, Louis Sclavis and Joëlle Léandre. In 2004, he gets a master in Computer Music Research (ATIAM) at Pierre and Marie Curie University And at IRCAM, and complements is musical education with the highest distinction of Gennevilliers Conservatory of Music, under the aegis of Nicolas Baldeyrou (solo-clarinet of the Philharmonic Of Radio-France "). With the In Sit-U collective he meets Fred Frith and works two weeks with him On an original creation. Few times later the joins the quintet Fröhn and plays on prestigious courses Like Le Petit Faucheux (Tours) or on the famous improv'music The Improviste . He creates his first silent-movie / live-music in 2004 on Le Ra t by Christophe Ali and Nicolas Bonilauri, silent movie in black and white realesed in 2000. The second one, create in 2011, on Berlin, die sinfonie der grosstatd (Walter Ruttmann, 1927) is a joint commission of SACEM and The City of Gennevilliers prompted by Bernard Cavanna . He plays since 2009 with Pablo Cueco ( Erythropus Quartet , The Ball Of The Contemporary ...) and With Anthony Braxton and Walter Thompson in 2010 in Brooklyn for a week of soundpainting Performance. He curates and played in Amok'Improv ' nights a dedicated improvised music serie With Sylvain Cathala and Fred Maurin between 2010 and 2012. He creates the MujôQuartet in 2012 in Brooklyn with Michaà "l Attias , Pascal Niggenkemper and Carlo Costa , in which they play his compositions, working on impermanence and imperfection. They Play in Paris and New York. He is co-leading also two trios, Zaal33 with Brussels-based Richard Comte (guitar) and Jean- Philippe Feiss (cello), and Capsul with England-based Matthew Bourne (piano) and EglishFrench Tam De Villiers (guitar). He collaborates regularly with Joëlle Léandre since 2012 in a few projects: a slient-movie / live-music Concert Mélies / Leandre , her new tentet Can You Hear Me? , And a new co-leaded quartet Ground (s) W / Mike Ladd (voice) and Benjamin Sanz (Drums)."

- Website (

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"Born in 1984, Amélie Grould studied the recorder from the age of 6 near Paris. Nine years later she began to study the percussion with Béatrice Répecaud and Jean Geoffroy. She graduated in 2006 (analysis, chamber music, percussion) - and also studied the history of music, the piano and jazz music. Then she entered the conservatory of Rueil-Malmaison (the class of Eve Payeur), graduated in 2007, and increased her knowledge of the contemporary repertoire and musical theater - it is to promote this music that she created, in 2009, the Tro ï ka Trio with Rose Devas and Bénédicte Albanhac.

For a few years, she has been carrying out an important work on chamber music (Luciano Berio, Steve Reich, Georges Aperghis, Maurice Ohana ...) often in direct collaboration with composers (Ivo Malec, Yann Maresz, Philippe Hurel, Bruno Giner, François Paris, Martin Matalon, Thierry De Mey, Philippe Leroux ...). She plays in different orchestras (Radio France conducted by Jun Märkl, Rungis conducted by Laurent Gossaert...) and ensembles including Court Circuit (Metropolis by Martin Matalon for the Fritz Lang's movie at the Vilnius Theater), Arcema (creation of Nahi by Isabel Urrutia), 2e2m, Ensemble C Barré or the Ensemble Links.

She has been a member of Aum Grand Ensemble since 2010 - 15 musicians performing a repertoire closer to new improvised music and contemporary jazz.

In 2013, she created the Phonochrome with saxophonist Safia Azzoug - an association which aims to promote contemporary and experimental arts - and the duo Les Discordantes with which they commission new pieces to composers (Chrysalis by Dominique Lemaître, Mer d'Adieux by Jean-Paul Buisson, De temps et d'eau by Julien Pontvianne, Zodiaques 1 by Augustin Belliot).

Attracted by multidisciplinarity, she expands her field by collaborating with the contemporary dancer Céline Quédeville and the company the Theater of the impossible or by accompanying contemporary and modern jazz dance classes. She created in 2019, with Les Discordantes and the electroacoustic composer Hubert Michel, a performance mixing acoustic concrete and electronic music, Sound Memory of Industries, as part of the Reynold Arnould exhibition at the Modern Art Museum of Le Havre and in partnership with high school students.

Since 2012, she has been playing in Superposition, by Ryoji Ikeda, a unique sensory experience mixing sounds, images, physical phenomena, mathematical concepts, human behavior and random characters (world premiere in November 2012 at the Center Pompidou).

In 2016, she joined the Ensemble 0 - a variable-geometry band created in 2004 whose permanent members are Sylvain Chauveau, Stéphane Garin & Joël Merah - with which she performs pieces by American composers such as Moondog (ELPMAS) Julius Eastman (Feminine ) or Arthur Russel (Tower of meaning - recreation commissioned by the Nantes national scene, Le Lieu Unique - Variations festival).

After having taught for 6 years at Le Havre conservatory, she's now teaching percussion in Chelles, near Paris."

-Amelie Grould Website (

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Alexandre Herer is a French keyboard player born in 1981. He is known for the groups Alexandre Herer Trio, AUM GRAND ENSEMBLE, Magic Malik Fanfare XP, Onze Heures Onze Orchestra, Oxyd.

-Discogs (

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"As a soloist and chamber musician, Tomoko Katsura has appeared throughout the U.S., Japan, and Europe. The Japanese violinist started her studies at the age of five with Aiko Suzuki. She moved to New York when she was 11, and made her solo debut with the New York Symphonic Ensemble three years later. She graduated from The Juilliard School with the Bachelor and Masters degrees of Music, and the same year, she made her solo debut in Japan with the Tokyo Philharmonic and a national radio broadcast for the NHK FM Recital Series. In 2005, she moved to Amsterdam to join the Nederlands Kamerorkest where she was a member for 10 years. In 2014, she moved to France and created l'Ecarquilleur d'Oreilles with the cellist Guillaume Grosbard, to bring concerts to a much broader audience with the activities including monthly concert series in villages, as well as creating concerts in hospitals, retirement homes and prisons. She is also an active member of The Knights in NY since 2002, and bandArt in Spain led by the violinist Gordan Nikolic.

Her teachers include Masao Kawasaki, Dorothy DeLay, Harvey Shapiro and Anner Bylsma."

-Tomoko Katsura Website (

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"The saxophonist, clarinettist and composer Julien Pontvianne feeds on many musical traditions - from the renaissance messes or the indonesian gamelan to the music of sonic youth, paul motian or morton feldman - to offer his vision. Here, no ignition, or rather a single and single, at the beginning of the sound, which runs the long lock of time to its silent end. Agglomerations of sounds, tempered or not, of the resonant, of the continuous, sometimes taking the shape of songs, silhouettes which cut far away on the horizon, and will approach to you, then disappear behind, outside your field of view. Songs related to silence. If music should tell stories, julien invites news, and if it should go somewhere, that it is going to its end and that we enjoy the trip first of all. We live fully in the time and the sound that is offered, miraculous assemblies of heights, of ketological rhythms, in a territory sometimes close to the concept of ecology of sound loved by gérard grisey or the ecology of listening to salvatore sciarror.

Within groups such as the watt clarinet quartet, aum grand ensemble, kepler or abhra, against the current, it offers a kind of hedonist ascesis, a shaking meditation. In addition to his explorations as a leader, julien is one of the founding members of the collective and label onze hours onze, one of the most active in the young french scene. He plays in bands ranging from the 20's swing to experimental rock and the most contemporary repertoire. Winning many prizes and played among others in new-york, new-orleans, los angeles, montreal, china, japan, winning many prizes, in india, colombia and throughout europe."

-Julien Pontvianne Website (Translated by Google) (

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"Christian Pruvost plays in Circum Grand Orchestra, Feldspath, La Pieuvre, Flu(o) / Impression, Kaze, Christian Pruvost, Pruvost / Mahieux, Signal Box, Quartet Base, Ziph, Wabla, Moondog Madrigals, PCM Bla∫t, Intento, Le Grand Orchestre de MuzzixGenerous, insatiable and prolific musician, Christian Pruvost multiplies the cooperations for several years, whether it is in jazz, improvised music or live performing arts.Solo, (" Ipteravox " released in 2010 on Helix / Circum-Disc), he explores the spectrum of the trumpet, from the softest blowing to the strongest bursts. Playing all acoustic, he develops his repertoire very serenely, and adds some objects that bring him a wealth of extra tones. His inventiveness and the originality of his approach has taken him to perform solo in Brest, Montreuil, Paris, Besançon, Tours, Nantes, Montpellier, Amsterdam and Australia (Melbourne, Adelaide, Brisbane), invited by pianist Anthony Pateras.With Didier Aschour, he is a co-director of " Round the World of Sound ", creation gathering 14 musicians from the Muzzix collective and Dedalus ensemble in a work on Moondog's madrigals. He can be seen alongside Satoko Fujii, Natsuki Tamura and Peter Orins in the spectacular franco-japanese quartet Kaze (2 albums and several tours in Japan, Israel, and in the USA/Canada since 2011, and a Japanese tour in preparation for september 2014).In a new project called PCM Bla∫t, Christian Pruvost surrounds himself with Maxime Morel (tuba) and Samuel Carpentier (trombone). Together they explore many repertoires - from medieval music to the composers of the XXIst century - but also improvised forms ; altogether in a theatrical and experimental approach. He is also a member of Circum Grand Orchestra, which releases its third album composed by Christophe Hache in 2014, and la Pieuvre, the improvisation orchestra conducted by Olivier Benoit.Blowing masseur in Ziph (collective of individual balloon-membrane horns and creator of the concept of sound massages), he also takes part in the Wabla project with Thierry Madiot, Yanik Miossec and David Bausseron. He can be seen in duo with bass player Nicolas Mahieux, in Flu(o), Arsis quartet, in the orchestra of Zoone Libre collective Vazytouille and in two shows carried by la Cie Générale d'Imaginaire [dukõne] and [ nu ].Collaborations with Axel Dörner, Olivier Benoit, Jérémie Ternoy, Nicolas Mahieux, Otomo Yoshihide, Mina Small, Sean Baxter, Benoît Delbecq, Alain Gibert, Carole Rieussec, Roger Cochini, Sophia Domancich, Giovanna Marini, Didier Levallet, Lucia Recio, Li Ping Ting, Patricia Kuypers, Thierry Madiot, Sophie Agnel, Satoko Fuji, Natsuki Tamura, Jérôme Noetinger, Benjamin Duboc, Didier Lasserre, Makoto Sato, Lionel Marchetti, Cor Fuhler, John Edwards, Tony Buck, Daunik Lazro..."-Muzzix (

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track listing:

1. Femenine 71:16
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descriptions, reviews, &c.

""The end sounds like the angels opening up heaven... Should we say euphoria?" This is Julius Eastman himself, speaking about Femenine, a piece that remains as a big and slow breathing, with something informal driving the listener to a near-hypnosis state.

J.E. (1940-1990): There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic -- undoubtedly also one of the most powerful. And it is this power that is revealed through these recordings.

In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.

Performed by ensemble 0: Variable geometry group created in 2004. It interprets the compositions of its members and pieces by other composers. The group works with many regular and invited collaborators, being able to change, increase or reduce its lineup at will according to each project. Ensemble 0 has now become one of the most significant ensembles of a new sound vision."-Sub Rosa

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