Eyvind Kang 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:

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

Dying Ground
Cruel One
Descension Of Vapors
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
Pleasures of the Nade
Consensit Spiritus
(If I Sing a Song) So Good It
New Moon
The Curse
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

Seraphic Light
After The Break
The Biszer
Cardinal Waters
Zebulon #3
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
Live Low To The Earth, In The Iron Age

In the Path of Love
Sufi Invocation
The Mystery of Love
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
Sidi Bou Said
Virginal Co-Ordinates
Innocent Eye, Crystal See
Marriage of Days

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

Ministers of Friday
Ros Vespertinus

The Yelm Sessions
The Clown's Song
Enter the Garden
The Yelm Sessions
Fire in Wind
Locus Iste
Sulpicia Variation
Hawks Prairie
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
Fragments and Ecstacies

Orcus Pellicano
Figura Nox
Unnamed Figures
Dies Mei
Towards Solitude

Visble Breath
Visble Breath
Thick Tarragon

The Narrow Garden
Forest Sama'i
Pure Nothing
The Narrow Garden
Nobis Natalis
Invisus Natalis

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

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

Alastor: Book of Angels Volume 21
2 After The Break
Written-By etrel

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

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

"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


White Grass
Visible Breath
Grass Insects


Yielding Tones [Miguel Frasconi solo]
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

-Eyvind Kang, 2008

Douglas Brick / dbrick@kom.net
Sun May 28 15:18:42 PDT 2017