Eyvind Kang Discography

Discography:
------------
7 NADEs (1996)
Dying Ground (1998)
Theater of Mineral Nades (1998)
MBEK (w/Michael Bisio, 2000)
The Story of Iceland (2000)
In the Path of Love (with Amir Koushkani, 2001)
Live Low to the Earth, in the Iron Age (2002)
Virginal Co Ordinates (2003)
Orchestra Dim Bridges (2004)
Athlantis (2007)
The Yelm Sessions (2007)
Stonehouse Songs (Jarrad Powell, Jessika Kenney, 2007)
Aestuarium (w/Jessika Kenney, 2011)
Visible Breath (2011)
The Narrow Garden (2012)
Grass (2012)
The Face of the Earth (w/Jessika Kenney, 2012)
Alastor: Book of Angels Volume 21 (songs by John Zorn, 2014)
Atria (with Jessika Kenney, 2015)

Track lists:
------------

7 NADEs
 Theme from 1st Nade
 Angel with Wings Torn Off
 Earth
 Thin, Rabid, Pearly Tunnel
 Inevitability/The Engagement
 Winged Head over Troubled Waters
 5th Nade/Invisible Man
 Universal
 Theme from 6th Nade
 Extra Cry
 The Banishment
 Living Corpses

Dying Ground
 Cruel One
 Descension Of Vapors
 Kripa
 Ascension Into The Heaven
 I Am Fire
 One Eyed Wolf
 Chosen One

Theater of Mineral Nades
 The Earth & The Moon
 Jewel of the Nade
 Theory of the Supreme Ones
 The Anointment
 Mineralia
 Pleasures of the Nade
 Consensit Spiritus
 (If I Sing a Song) So Good It
 New Moon
 Suleiman
 Berdache
 Moon
 Mercury
 The Curse
 Lanvaettir
 Fate Is Sealed
 Private Mistery
 Lost Souls
 Ghost Dance
 Lost Love
 Lover Not a Hater
 Mystic Nade
 Mary of Magdalen
 Jewel of the Nade 2

MBEK
 Seraphic Light
 After The Break
 JGLag
 The Biszer
 Cardinal Waters
 Zebulon #3
 MBEK
 Cardinal Waters

The Story of Iceland
 Circle of Fair Karma, Part 1
 Circle of Fair Karma, Part 2
 Sweetness of Candy
 Hour of Fair Darma, Part 1
 Hour of Fair Darma, Part 2

Live Low to the Earth, in the Iron Age
 Heads On Red Lakes Return
 BINAH
 Highlands
 Live Low To The Earth, In The Iron Age

In the Path of Love
 Sufi Invocation
 The Mystery of Love
 Aspiration
 In the Path of Love

Virginal Co Ordinates
 Go in a Good Way to a Better Place
 I Am the Dead
 Doorway to the Sun
 Occultum Lapidem
 Harbour of the Nade
 Taksim
 Sidi Bou Said
 Virginal Co-Ordinates
 Innocent Eye, Crystal See
 Marriage of Days

Orchestra Dim Bridges
 Horizon
 Elegy Elegie
 Dim Bridges
 Daughters of the Sun
 The Echoing Green
 Baseer Ornamental
 Madrona
 Bright Shadows Occulted
 Braille Oscuro
 Version Like Rain
 Genetic

Athlantis
 Ministers of Friday
 Vespertiliones
 Andegavenses
 Rabianara
 Inquisitio
 Ros Vespertinus
 Conciliator
 Iupitter
 Repetitio
 Lamentatio
 Athlantis
 Aquilas

The Yelm Sessions
 The Clown's Song
 Enter the Garden
 The Yelm Sessions
 Fire in Wind
 Locus Iste
 Sulpicia Variation
 Hawks Prairie
 Hiemarmene
 Mistress Mine
 Asa Tru
 Epoche for Strings (After Bach)

Stonehouse Songs (Jarrad Powell)
 The Rain
 Buffalo Solo
 Rapt Away to Darkness
 Mountains and Waters
 Stonehouse Songs...
 : real emptiness is a tranquil sea
 : when the red sun bites the mountain
 : when mountains are nourished by rain
 : to get to the end the absolute end
 : beyond a door i made but don't close
 : around the summit i see only pines
 Listen
 Goro-Goro
 Fragments and Ecstacies

Aestuarium
 Orcus Pellicano
 Figura Nox
 Unnamed Figures
 Dies Mei
 Towards Solitude

Visble Breath
 Visble Breath
 Monadology
 Thick Tarragon
 
The Narrow Garden
 Forest Sama'i
 Pure Nothing
 Usnea
 Mineralia
 The Narrow Garden
 Nobis Natalis
 Invisus Natalis

Grass
 Grass (I)
 Grass (II)
 Grass (III)
 True Ashes
 River Manifold (Wintercount I)
 Avalika Svara (Wintercount II)
 Wintermoon (Wintercount III)
 Gringsing

The Face of the Earth
 Tavaf
 Kidung
 Ordered Pairs I
 Ordered Pairs II
 Mirror Stage
 The Face of the Earth

Alastor: Book of Angels Volume 21
 Hakem
 Samchia
 Hakha
 J6:44
2 After The Break
Written-By etrel
 Variel
 Loquel
 Rachiel
 Barael
 Sakriel
 Uriron

Atria
 Her Sword I
 Turning Inward
 Sarira Tunggal
 Pamor
 Wiji Sawiji Mulane Dadi
 Ingsun
 Her Sword II

Notes from the 14 November 2008, Cornish College of the Arts program
--------------------------------------------------------------------

Grass
"or, the Monadology"

by Eyvind Kang

Stuart Dempster, trombone
Miguel Frasconi, glass
Timb Harris, violin
Eyvind Kang, viola
Taina Karr, oboe
Jessika Kenney, voice
Steve Moore, electric piano
Julian Priester, trombone
Cristina Valdes, piano
Cuong Vu, trumpet

Program

White Grass
Visible Breath
Grass
Grass Insects

Intermission

Yielding Tones [Miguel Frasconi solo]
Mondads
Interstellar Space (John Coltrane)

Notes from the Composer

What is music? I've been wondering this whole time, even as I got
deeper into it, even as I realized there's no getting out. Since I
don't even know what it is, in general, I have no agenda. I belong to
no school or camp. I have no style, which is why my works seem
diverse, but they're all one thing, which is just trying to deal with
this fact that exists: "music". Starting from sound, which I don't
believe can be described as simply a phenomenon of vibrations in the
air pressure. Empirically, yes, but what about the sound you think
of, you remember, you imagine? These are called "thoughts", yet they
can sound real in their own way. So in 1994 when I made my first
extended compostition _7 NADEs_, I was working on the sound in the
mind, the psychological part. I wanted to hear sudden shifts of
context, as in a dream; no need to acknowldege any principles of
theory or music history. Then, very quickly, I got absorbed in actual
music traditions, not only the imaginary sounds, but the sounds that
had been put into vibration a long time ago. And that was part of the
teaching I received, and also part of playing with other musicians,
trying to know where they were coming from. It's very moving to come
to music traditions. It's very powerful. It can blow your mind.
Now, between these two poles, of tradition, and of imagination, I
became aware of another realm, which is not quite objective, not
subjective, but properly speaking, intersubjective. And that started
to come out in my piece _Virginal Co-ordinates_, from 2000, _Cruel
Reflections, Narrow Gardens_, from 2003, and even more just last year
in the _Shadow of Ideas_. With those pieces there was also the heavy
element of cross-cultural work, with so many musicians having
different processes of music making. You have to cultivate an
atmosphere of mutual respect, fascination with the sound, love for
sound and music, in the abstract, which can be applied to particulars
along the way. But you have to have something else to offer which is
interesting to musicians of all stripes. To me, this is something in
sound that is not mental. It is not imaginary. It is physical. It
is empirical, but it comes in before the realm of culture, and before
tradition. There are essences of sounds, one might say spirits of
sounds, which come into being when a sound is played. Here is what it
feels like to me: you play a note, and the note breathes, and out of
that sound, or actually within that sound, emerges another note, the
smae, but identical, like a mirror image, although when you think of
it, the note you are playing is a mirror to this second tone. And
this is the sensation of the Being of sound.

Think of the concept put forward by Paracelsus, among others, when he
asked "how do the species of plants, of flowers, know how to blossom
all at the same time?" Or, think of the coral reefs, the Great
Barrier Reef by Australia, have you seen how they all blossom at the
same instant over hundreds of miles? The answer is, they are in
contact with a star, a distant star which gives the signal to blossom.
And this is the plant essence, the part of the star within the plant,
which resonates the plant with the star. So in sound, we go towards
that, we listen for the star essence of the sound, we want to work
with the essence, with the Being of a sound. I don't think of notes
as A, G sharp, etc. It has to do with the whole presence, the entire
complex of partials, the envelope, the synergy with all the other
levels of sound, like thoughts. So I really respect accoustics in
that sense. And I'm going deeper into the microtonality of it all. I
dream of a music that exists within sound and not only in the
objective sense, with partials and all, but also in the intuitive
sense, in a way that is created as an offering back to the sound
itself.

-Eyvind Kang, 2008

Douglas Brick / dbrick@kom.net
Fri Nov 17 22:40:32 PST 2017