Nick Hallett (born August 12, 1974) [1] is a composer, vocalist, and cultural producer. [2] [3]
Hallett trained at Oberlin Conservatory under singing pedagogy authority, Richard Miller. [3]
In New York during the year 2000, he formed the Plantains with Ray Sweeten/The Mitgang Audio, a band uniting cabaret and Electroclash music with video projection and performance art. Hallett's songs were written from the perspective of a fake British alter ego named Nick L. Cat. [4] Plantains shared bills with Le Tigre and Scissor Sisters [3] before disbanding in 2003. [5] In 2004, Hallett and Sweeten recorded a cover of the song "I Feel Love" for a student film by Matt Wolf, [5] which resulted in the duo's only commercial release from this period. [6]
Hallett transitioned into experimental music and contemporary art, as both performer and curator. [4] In 2004, he co-founded the Darmstadt series with Zach Layton. [7] Originally conceived as a casual listening event of avant-garde recordings, Darmstadt quickly began hosting informal, modern-classical music concerts in nightclubs, [8] and within a few years had evolved into a presenter of festivals and large-scale performances of repertory from the experimental music canon. [9] In 2014, for Darmstadt's 10th anniversary, Hallett curated, co-produced, and performed in a new staging of Karlheinz Stockhausen’s Originale at The Kitchen, recognizing the 50th anniversary of the work's storied New York premiere, [10] and cast predominantly with artists who identify as female, queer, transgender, and of color. [11] Darmstadt also presents an annual concert of Terry Riley’s In C . [12]
In 2007, Hallett formed a creative relationship with multimedia artist Joshua White, founder of the Joshua Light Show, an oft-referenced psychedelic concert lighting company, originally active from 1967 to 1970, [13] whose contributions to the fields of expanded cinema and light art have since been recognized in an art historical context. [14] After programming a concert of the Joshua Light Show at The Kitchen, which re-established the group, Hallett became White's music director, positioning the project within experimental rock and electronica. [15] In 2011, Hallett produced the soundscore to Fulldome, a performance by the Joshua Light Show at the Hayden Planetarium of the American Museum of Natural History. [16]
Hallett composed the music and libretto for Whispering Pines 10, an opera collaboration with artist Shana Moulton, based on her video art serial. This was originally staged in 2010 at The Kitchen, sung by Hallett and vocalist Daisy Press, and featuring Moulton as the sole actor, performing within an environment of multichannel video projection. The work, which also featured interactive technology and wearable musical instruments designed by Moulton and Hallett, [17] [18] toured art museums and performance festivals across the United States. [19] [20] [21] In 2013, the duo received a Creative Capital grant to adapt Whispering Pines 10 for the internet. [22] In 2020, at the beginning of the COVID-19 pandemic, the full work premiered as a website. [23]
In 2014, Hallett began a collaboration with the choreographer and director Bill T. Jones, as the composer of a trilogy of scores for the Bill T. Jones/Arnie Zane Company: Analogy/Dora: Tramontane (2015), Analogy/Lance aka Pretty aka The Escape Artist (2016), and Analogy/Ambros: The Emigrant (2017). Hallett has toured with the company as vocalist and multi-instrumentalist in the performances of the Analogy trilogy, and an additional work featuring his music, A Letter to My Nephew. [24] [25] [26] [27] Hallett's scores for dance also include the Bessie-award-winning Variations on Themes from Lost and Found: Scenes from a Life and other works by John Bernd (2016), directed by Ishmael Houston-Jones and Miguel Gutierrez, based upon original choreography and music by John Bernd. [28] [29]
Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance into serial composition, and for musical spatialization.
Markus Stockhausen is a German trumpeter and composer. His recordings and performances have typically alternated between jazz and chamber or opera music, the latter often in collaboration with his father, composer Karlheinz Stockhausen.
Kreuzspiel (Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951. It is assigned the number 1/7 in the composer's catalogue of works.
David C. Johnson was an American composer, flautist, and performer of live electronic music.
Darmstadt School refers to a group of composers who were associated with the Darmstadt International Summer Courses for New Music from the early 1950s to the early 1960s in Darmstadt, Germany, and who shared some aesthetic attitudes. Initially, this included only Pierre Boulez, Bruno Maderna, Luigi Nono, and Karlheinz Stockhausen, but others came to be added, in various ways. The term does not refer to an educational institution.
Momente (Moments) is a work by the German composer Karlheinz Stockhausen, written between 1962 and 1969, scored for solo soprano, four mixed choirs, and thirteen instrumentalists. A "cantata with radiophonic and theatrical overtones", it is described by the composer as "practically an opera of Mother Earth surrounded by her chicks". It was Stockhausen's first piece composed on principles of modular transposability, and his first musical form to be determined from categories of sensation or perception rather than by numerical units of musical terminology, which marks a significant change in the composer's musical approach from the abstract forms of the 1950s.
Zyklus für einen Schlagzeuger is a composition by Karlheinz Stockhausen, assigned Number 9 in the composer's catalog of works. It was composed in 1959 at the request of Wolfgang Steinecke as a test piece for a percussion competition at the Darmstadt Summer Courses, where it was premièred on 25 August 1959 by Christoph Caskel. It quickly became the most frequently played solo percussion work, and "inspired a wave of writing for percussion".
Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen, with specific reference to the collections of text-notated compositions Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70). The first public performance of intuitive-music text compositions, however, was in the collective work Musik für ein Haus, developed in Stockhausen's 1968 Darmstadt lectures and performed on 1 September 1968, several months before the first realisations of any of the pieces from Aus den sieben Tagen.
Mary Hildegard Ruth Bauermeister was a German artist who worked in sculpture, drawing, installation, performance, and music. Influenced by Fluxus artists and Nouveau Réalisme, her work addresses esoteric issues of how information is transferable through society. "I only followed an inner drive to express what was not yet there, in reality or thought", she said of her practice. "To make art was more a finding, searching process than a knowing." Beginning in the 1970s, her work concentrated on the themes surrounding New Age spirituality, specifically geomancy, the divine interpretation of lines on the ground.
Aloys and AlfonsKontarsky were German duo-pianist brothers who were associated with a number of important world premieres of contemporary works. They had an international reputation for performing modern music for two pianists, although they also performed the standard repertoire and they sometimes played separately. They were occasionally joined by their younger brother Bernhard in performances of pieces for three pianos. After suffering a stroke in 1983, Aloys retired from performing.
Originale, musical theatre with Kontakte, is a music theatre work by the German composer Karlheinz Stockhausen, written in collaboration with the artist Mary Bauermeister. It was first performed in 1961 in Cologne, and is given the work number 12⅔ in Stockhausen's catalogue of works.
Spiral, for a soloist with a shortwave receiver, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 27 in the catalogue of the composer's works.
Zeitmaße is a chamber-music work for five woodwinds composed in 1955–1956 by German composer Karlheinz Stockhausen; it is Number 5 in the composer's catalog. It is the first of three wind quintets written by Stockhausen, followed by Adieu für Wolfgang Sebastian Meyer (1966) and the Rotary Wind Quintet (1997), but is scored with cor anglais instead of the usual French horn of the standard quintet. Its title refers to the different ways that musical time is treated in the composition.
Refrain for three players is a chamber music composition by Karlheinz Stockhausen, and is number 11 in his catalog of works.
Fresco is an orchestral composition written in 1969 by the German composer Karlheinz Stockhausen as foyer music for an evening-long retrospective programme of his music presented simultaneously in three auditoriums of the Beethovenhalle in Bonn. It is Nr. 29 in his catalogue of works, and a performance takes about five hours.
Prozession (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers, is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer's works.
Thomas H. Wells is an American composer, pianist, organist, and arts-organization administrator.
Shana Moulton is a New York based media artist who explores contemporary anxieties through her filmic alter ego, Cynthia. Combining an unsettling, wry humor with a low-tech, Pop sensibility, Cynthia's interactions with the everyday world are both mundane and surreal, in a domestic sphere just slightly askew. As her protagonist navigates the enigmatic and possibly magical properties of her home decor, Moulton initiates relationships with objects and consumer products that are at once banal and uncanny.
Ensemble is a group-composition project devised by Karlheinz Stockhausen for the 1967 Darmstädter Ferienkurse. Twelve composers and twelve instrumentalists participated, and the resulting performance lasted four hours. It is not assigned a work number in Stockhausen's catalogue of works.
Musik für ein Haus is a group-composition project devised by Karlheinz Stockhausen for the 1968 Darmstädter Ferienkurse. Fourteen composers and twelve instrumentalists participated, with the resulting performance lasting four hours. It was not regarded by Stockhausen as a composition belonging solely to himself, and therefore was not assigned a number in his catalog of works.