Five compositions to close out our 2025 season—including the last section of Malcolm Goldstein’s The Seasons: Vermont, marking the close of our extended EXTRADITION PLAYS GOLDSTEIN celebration.

Mats Dimming, Three Notes (2014): Catherine Lee (oboe), Collin Oldham (cello), Reed Wallsmith (alto sax), Shao Way Wu (bass)

Peter Schuback, L’Heure Du Panurge (2004): Juniana Lanning (electronics), Gilly Hanner (guitar), Ben Cohen-Chen (soprano sax), Anthony Stillabower (voice), Matt Hannafin (percussion)

Malcolm Goldstein, The Seasons: Vermont (Autumn) (1983): Collin Oldham (cello), Shao Way Wu (bass), Reed Wallsmith (alto sax), Gilly Hanner (guitar), Catherine Lee (oboe d'amore), Ben Cohen-Chen (soprano sax)

Samuel Vriezen, Ten Readers (2008): Linda Austin, Anthony Stillabower, Catherine Lee, Evan Cordes, James Yeary, Juniana Lanning, Gilly Hanner, Matt Hannafin, Stephanie Lavon Trotter, Tom DeBeauchamp (reading voices)

Ioanna Valsamara, Inevitable Cosmos (chaos as a percentage) (2022): Ben Cohen-Chen (saxophones), Gilly Hanner (guitar), Matt Carlson (piano), Stephanie Lavon Trotter (piano), Collin Oldham (cello), Reed Wallsmith (alto sax), Shao Way Wu (bass), Matt Hannafin (percussion)

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A special event screening the new film Piano Aktivitys as a Disciplind Destruktshun (a piano work’t), documenting the 60th anniversary performance of composer Philip Corner’s notorious piece “Piano Activities. The event will also include live performances by Extradition.

If you were to google Corner, the first hits you’d get (and many of the hits that follow) would concern “Piano Activities,” a 1962 score that asks performers to “pluck,” “tap,” “scratch or rub,” “drop objects” on, “act on strings” of, “strike soundboard, pins, lid,” “drag various kinds of objects across,” and “act in any way on underside of” a piano. The intention was to liberate the piano from its history and allow all its other possible sounds and energies to emerge. From that humble beginning, the piece created an international scandal on September 1, 1962, when it was performed at the inaugural Fluxus Festival in Wiesbaden, Germany. During that performance, an all-star Fluxus group that included George Maciunas, Nam June Paik, Wolf Vostell, Emmett Williams, Ben Patterson, Dick Higgins, and Alison Knowles took the score’s instructions to their most extreme interpretation, using saws, hammers, and other tools to completely destroy the piano on which they were performing. When it was over, they auctioned its pieces off to the audience.

Corner, who was not in attendance, was initially unhappy. “There is a quote from Nam June Paik—‘The piano is bourgeois, it must be destroyed.’ I don’t believe that. I mean, I like the piano, I play the piano. . . . The first time I heard about [the Weisbaden performance] I was a little shocked, a little bit ‘oh yeah what kind of crap?’ But I was wrong. . . . In order to destroy they must have done it in the way that I had conceived it.”

Over the following decades, Corner participated in many “Piano Activities” performances, always taking care to use a piano at the very end of its usable life. Most recently, in 2024, he introduced (by video link) the performance captured in this film, during the Fluxus in the Swamp exhibition at Santa Fe College in Gainesville, FL. That performance employed a revised 2022 version of the score that emphasizes both the “work” aspect of the performance and the transformation of an end-of-life piano into a collection of new art objects.

For the first half of this event, Extradition will perform four additional Corner works:

Philip Corner, Reverence Your Instrument / One Note Once (2025)

Philip Corner, Music Art Ideal (2021)

Philip Corner, Just Another 12-Tone Piece (1975)

Dick Higgins & Philip Corner, The Thousand Symphonies, No. 177 (1968/2003)

Performers to be announced. Program subject to change.

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Five compositions that explore different ways of structuring or inspiring improvisation.

Taku Sugimoto, Lines (2020): Annie Gilbert (voice, objects), Anthony Stillabower (voice, objects), Ben Cohen-Chen (soprano saxophone), Shao Way Wu (bass), Brandon Conway (guitar), Juniana Lanning (field recordings, objects), Matt Hannafin (percussion, melodica)

Malcolm Goldstein, The Seasons: Vermont (Summer) (1983): Catherine Lee (oboe d’amore), Ben Cohen-Chen (soprano saxophone), Collin Oldham (cello), Juniana Lanning (turntable, objects), Matt Hannafin (percussion, melodica) + tape collage

Juniana Lanning, Little Mind (2024): Matt Carlson (piano), Collin Oldham (cello), Shao Way Wu (bass)

Sam Sfirri, Trio (2011): Catherine Lee (oboe d’amore), Matt Carlson (piano), Collin Oldham (cello)

Sharon Gal, Etudes (2023): Shao Way Wu, Brandon Conway, Annie Gilbert, Juniana Lanning, Catherine Lee, Ben Cohen-Chen, Anthony Stillabower (voices + instruments)

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Five compositions exploring themes of improvisation, transformation, and convergence.

Cat Hope, Wanderlust (2018): Reed Wallsmith (alto saxophone) + fixed media

Malcolm Goldstein, The Seasons: Vermont (Spring) (1983): Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass), Ali Ippolito (accordion)

Matt Hannafin, SETI Sessions (2018): Juniana Lanning (radios), Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass), Reed Wallsmith (alto saxophone)

Barbara Benary, Fair Ellen (1971/1992): Matt Hannafin (percussion), Stephanie Lavon Trotter (piano), Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass)

Jennie C. Jones, Score Against Sustained Ideas (Getragen) (2011): Stephanie Lavon Trotter (piano), Reed Wallsmith (alto saxophone), Ben Cohen-Chen (tenor saxophone), Annie Gilbert (trombone), Gilly Ann Hanner (electric guitar), Juniana Lanning (electronics), Matt Hannafin (percussion), Tim DuRoche (drums), Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass)

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Our 2024 Summer Concert goes intimate, with three solo pieces, two duos, and a concluding group performance.

Olivia Digby-Barker, Luminescence (2021): Sam Klapper (violin), Daniel Reyes Llinás (guitar)

Joanna Ward, Translucent (2020): Stephanie Lavon Trotter (voice), Collin Oldham (cello)

Toshio Hosokawa, Small Chant (2012): Collin Oldham (cello)

Alexis Porfiriadis, Aria (2010–11): Stephanie Lavon Trotter (voice)

Leah Asher, Neither Near nor Far (2013): Matt Hannafin (wood, paper)

Clara de Asis, Nothing Has Changed Everything’s Different (2020): Stephanie Lavon Trotter (voice + objects), Annie Gilbert (voice + objects), Collin Oldham (cello), Sam Klapper (violin), Daniel Reyes Llinás (guitar), Matt Hannafin (percussion)

Our spring concert draws its pieces from A Year of Deep Listening, a project of the Center for Deep Listening at Rensselaer. For twelve months beginning May 30, 2022, the center celebrated what would have been composer Pauline Oliveros’s 90th year by publishing a text score every day, sourced from hundreds of composers worldwide.

Grace Harper, Water, Wood, Stone, Breath (2022): Stephanie Lavon Trotter (words, book), Juniana Lanning (water, vessels), Loren Chasse (pebbles, basket)

Seth Cluett, No Small Matter (2022): Catherine Lee, Juniana Lanning, Annie Gilbert, Loren Chasse, Matt Hannafin (natural objects)

Nikki Krumwiede, Crickets (2021): Collin Oldham (cello), Shao Way Wu (bass), Sam Klapper (violin), Maxx Katz (flute), Catherine Lee (English horn), Ben Cohen-Chen (soprano saxophone), Stephanie Lavon Trotter (voice)

Joseph Clayton Mills, Immanuel Kant (2022): Juniana Lanning, Annie Gilbert, Caspar Sonnet, Loren Chasse, Matt Hannafin (household objects)

Hassan Estakhrian, Roles of a Machine (2021): Maxx Katz (flute), Annie Gilbert (trombone), Ben Cohen-Chen (soprano saxophone), Caspar Sonnet (dobro), Sam Klapper (violin), Shao Way Wu (bass), Collin Oldham (cello)

Tickets available in advance or at the door.

Extradition explores the Old School in our rescheduled winter concert:

Malcolm Goldstein, Gentle Rain Preceding Mushrooms (1992): Stephanie Lavon Trotter (soprano), Sam Klapper (violin)

Annea Lockwood, Bayou-Borne, for Pauline (2016): Maxx Katz (flute), Daniel Reyes Llinás (guitar), Shao Way Wu (bass), Collin Oldham (cello), Sam Klapper (violin), Reed Wallsmith (alto saxophone)

Philip Corner, 148 Equal Measures for Four Instruments (1950s): Reed Wallsmith (alto saxophone), Maxx Katz (flute), Collin Oldham (cello), Shao Way Wu (bass)

John Cage, Variations VIII (1978): Juniana Lanning, Matt Hannafin, Caspar Sonnet, Joel Nelson, Sam Klapper (found sounds)

Karlheinz Stockhausen, Unbegrenzt (1968): Stephanie Lavon Trotter (voice, piano), Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass), Matt Hannafin (percussion)

Our fall concert explores shapes and evolving form.

Ryoko Akama, Object Performance (2014) — Loren Chasse, Matt Hannafin, Juniana Lanning, Annie Gilbert (objects)

Marianne Schuppe, Behind (2019–20) — Stephanie Lavon Trotter (voice), Matt Hannafin (voice, percussion), Ben Cohen-Chen (voice, saxophone)

Nomi Epstein, Structured Improvisation #1.19 (2019) — Collin Oldham (cello), Shao Way Wu (bass), Sam Klapper (violin), Juniana Lanning (electronics), Daniel Reyes Llinás (guitar), Stephanie Lavon Trotter (voice), Annie Gilbert (trombone), Ben Cohen-Chen (saxophone), Matt Hannafin (percussion), Loren Chasse (percussion)

Thomas Stiegler, Märchenbilder I  (2013)— Sam Klapper (violin), Collin Oldham (cello), Shao Way Wu (bass)

Sarah Hughes, Stones Fall to the Sea (2023) — Stephanie Lavon Trotter (piano), Juniana Lanning (electronics), Collin Oldham (cello), Shao Way Wu (bass), Sam Klapper (violin), Daniel Reyes Llinás (guitar)

Extradition moves to our summer home for this intimate performance, featuring five mostly electro-acoustic compositions:

Morton Feldman, The Possibility of a New Work for Electric Guitar (1966) — Daniel Reyes Llinás (guitar)

Luke NIckel, Duet: Multivariants (2013) — Collin Oldham (cello) and Matt Hannafin (vibraphone)

Paul Newland, Locus (2013) — Stephanie Lavon Trotter (voice), Juniana Lanning (electronics), Matt Hannafin (percussion), and Caspar Sonnet (dobro)

Stefan Thut, Imprints (2010–11) — Daniel Reyes Llinás (guitar), Stephanie Lavon Trotter (voice), Collin Oldham (cello), and Juniana Lanning (electronics)

Eva-Maria Houben, Von Da Nach Da (2005) — Caspar Sonnet (dobro), Collin Oldham (cello), and Matt Hannafin (vibraphone)

Extradition’s 2023 Spring Concert will feature five pieces that use varied compositional approaches to drive interpretational freedom.

Yuji Takahashi, Stone for Cello (1993) — Collin Oldham (cello)

Glenn Sogge, The Levitation of Small Objects (1970) — Stephanie Lavon Trotter (voice), Maxx Katz (flute), Brandon Conway (guitar), Matt Hannafin (vibraphone)

Ganavya Doraiswamy, Rajna Swaminathan, Anya Yermakova, The Archipelago (2021) — Catherine Lee (oboe), Collin Oldham (cello), Shao Way Wu (bass), Caspar Sonnet (melodica)

Sophie L. Stone, Postcard-Sized Pieces (2020) — Annie Gilbert (trombone), Stephanie Lavon Trotter (voice), Loren Chasse (objects, sounds), Brandon Conway (guitar), Juniana Lanning (electronics, field recordings), Maxx Katz (flute)

Matt Hannafin, Small Pieces (not Philip’s) (2022) — Francisco Botello (electronics), Juniana Lanning (electronics), Sam Klapper (violin), Shao Way Wu (bass), Collin Oldham (cello)

Composer Philip Corner (b. 1933) is one of the greats of 20th- and 21st-century experimental music. Active since the late 1950s, he’s composed thousands of works exploring the intersection of the classical tradition, post–John Cage experimentalism, and the impulse to forge true creative collaboration between composer and performer.

Concert 5 of 5 concludes our five-week EXTRADITION PLAYS CORNER festival with six pieces representing sixty years of Corner’s career.

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When They Pull the Plug (2002) – Loren Chasse and Matt Hannafin (percussion)

Electro-Acoustics (2009) – Francisco Botello, Matt Carlson, and Juniana Lanning (electronics), Loren Chasse, Tim DuRoche, and Matt Hannafin (percussion)

Homage to Revere (1962) – Loren Chasse, Tim DuRoche, Matt Hannafin, and Juniana Lanning (percussion)

Attempting Whitenesses (1964) – Robert Blatt (eBow guitar), Francisco Botello (electronics), Brandon Conway (eBow guitar), Matt Hannafin (bowed vibraphone), Branic Howard (eBow guitar), and Juniana Lannning (electronics)

The Art of No-Art (2019–2022) – Matt Carlson (piano)

Through the Mysterious Barricade (2003) – Matt Carlson (piano), Juniana Lanning (sampled percussion), Matt Hannafin (vibraphone, percussion), Evan Cordes (gamelan gongs), Loren Chasse (percussion), and Tim DuRoche (drums)

Composer Philip Corner (b. 1933) is one of the greats of 20th- and 21st-century experimental music. Active since the late 1950s, he’s composed thousands of works exploring the intersection of the classical tradition, post–John Cage experimentalism, and the impulse to forge true creative collaboration between composer and performer.

From January 21 to February 18, Portland’s Extradition Ensemble will present five consecutive Saturday concerts of Corner’s music. Concert 4 of 5 is a concert of dance, exploring Corner's long association with modern and contemporary dance via five pieces composed between 1967 and 2008.

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Presence (1995) – Loren Chasse, Matt Hannafin, Maxx Katz, Juniana Lanning, and Caspar Sonnet (percussion), with dancers Linda Austin and Danielle Ross

La Bella Infinita (2001) – Loren Chasse (percussion), Matt Hannafin (percussion), Branic Howard (guitar), Juniana Lanning (percussion), and Caspar Sonnet (dobro), with dancer Danielle Ross

Sounds, Austere, for Elegant Rooms (1960s) – Annie Gilbert (trombone), Matt Hannafin (psaltery, percussion), Maxx Katz (flute), Caspar Sonnet (dobro), and Stephanie Lavon Trotter (voice)

3 for Phyllis for Some Things (1967) – Loren Chasse (percussion), Annie Gilbert (trombone, voice), Matt Hannafin (percussion), Branic Howard (percussion), Maxx Katz (flute, voice), and Stephanie Lavon Trotter (voice), with dancers Linda Austin and Danielle Ross

A Day in the Life (or a Moment) (or More) (approx. 2008) – Linda Austin (dance, images), Matt Hannafin (voice, images), and Juniana Lanning (voice, images)

Composer Philip Corner (b. 1933) is one of the greats of 20th- and 21st-century experimental music. Active since the late 1950s, he’s composed thousands of works exploring the intersection of the classical tradition, post–John Cage experimentalism, and the impulse to forge true creative collaboration between composer and performer.

From January 21 to February 18, Portland’s Extradition Ensemble will present five consecutive Saturday concerts of Corner’s music. Concert 2 of 5 presents a free sound walk exploring Corner's impulse to appreciate every "piece of reality" as a work of art in its own right.

Led by Extradition’s Matt Hannafin, the walk will follow the simple format of walks Corner began conducting in New York in 1966 and later expanded on in his 1980 book I Can Walk Through the World as Music.

Participants meet between 7:15 and 7:30pm at the Trio sculpture, a 2013 art installation by Elizabeth Conner located across from the SW Lincoln St. / 3rd Ave. MAX Orange Line station, on SW Lincoln St. just east of SW 4th Ave. Look for the Extradition sign.

Composer Philip Corner (b. 1933) is one of the greats of 20th- and 21st-century experimental music. Active since the late 1950s, he’s composed thousands of works exploring the intersection of the classical tradition, post–John Cage experimentalism, and the impulse to forge true creative collaboration between composer and performer.

From January 21 to February 18, Portland’s Extradition Ensemble will present five consecutive Saturday concerts of Corner’s music. Concert 2 of 5 presents pieces from the 1960s, 1970s, and 2000s.

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Lecture from Sunday Performance (1962) – Matt Hannafin (reader) + ensemble

Heraclitus 2 (2007) – Robert Blatt (guitar), Brandon Conway (guitar), Lee Elderton (soprano saxophone), Collin Oldham (cello), Reed Wallsmith (alto saxophone), and Shao Way Wu (bass)

Lesson from the East: Perfection Is Not Exactness (1960) – Lee Elderton (soprano saxophone), Collin Oldham (cello), and Reed Wallsmith (alto saxophone)

Just Another 12-Tone Piece (1975) – Lee Elderton (soprano saxophone), Matt Hannafin (vibraphone), Branic Howard (piano), Catherine Lee (oboe d’amore), Collin Oldham (cello), Caspar Sonnet (melodica), and Shao Way Wu (bass)

Sang-Teh (1960–61) – Robert Blatt (guitar), Matt Carlson (piano), Brandon Conway (guitar), Catherine Lee (oboe d’amore, English horn), Reed Wallsmith (alto saxophone), and Shao Way Wu (bass)

The fall Extradition goes elemental, with five pieces featuring percussion, electronics, and voice.

> Matthias Kaul, Do Nothing, Just Wait, the Singing Will Start . . . Sooner or Later (2012): Matt Hannafin (percussion)

> Robert Blatt, Music for Three Cymbals (2004): Loren Chasse, Tim DuRoche, Matt Hannafin (cymbals)

> Joseph Kudirka, Release (2016): Matt Carlson (electronics), Loren Chasse (percussion), Matt Hannafin (percussion), Branic Howard (electronics)

> Frank Abbinanti, Three Pieces for Keith Rowe (1998), Juniana Lanning, Matt Carlson, Branic Howard (electronics)

> Alvin Lucier, Wave Songs (1998): Stephanie Lavon Trotter (voice) + pure wave oscillators

Our summer concert has been postponed due to local COVID trends and illness in our ensemble. We will reschedule at a future date.

Our summer concert this year features realizations of five scores that suggest great depths of opportunity.

> G. Douglas Barrett, Backyard [Music] – Vol. 4 (2006): Brandon Conway (guitar), Lee Elderton (clarinet), Maxx Katz (flute), Collin Oldham (cello), Branic Howard (field recording)

> Samuel Vriezen, Ensemble (2008): Collin Oldham (cello), Reed Wallsmith (alto saxophone), Lee Elderton (soprano saxophone), Matt Hannafin (vibraphone)

> Glenn Sogge, The Levitation of Small Objects (1970): Stephanie Lavon Trotter (voice), Maxx Katz (flute), Brandon Conway (guitar), Matt Hannafin (percussion)

> Daniel Brandes, Who Has Traveled This Path Before You (2020): Reed Wallsmith (alto saxophone), Lee Elderton (soprano saxophone), Collin Oldham (cello)

> Sophie L. Stone, Postcard-Sized Pieces (2020): Annie Gilbert (trombone), Matt Hannafin (percussion), Branic Howard (electronics, field recordings), Maxx Katz (flute), Caspar Sonnet (dobro), Stephanie Lavon Trotter (voice)

Extradition’s 2022 Spring Concert presents five works by an international, multi-generational group of women composers.

> Lauren Redhead, Lines That Have Been Drawn on Photographs of Sculpture (2011): Lee Elderton (clarinet), Catherine Lee (oboe d’amore), Collin Oldham (cello), Caspar Sonnet (lap steel dobro)

> Melissa Vargas Franco, Ningún Nombre es Verdadero (2014): Matt Carlson (piano)

> Ioanna Valsamara, 66 Ways to Look Above (The Sky Isn’t Silent) (2021): Matt Carlson (electronics), Lee Elderton (soprano saxophone), Collin Oldham (cello)

> Emmanuelle Waeckerle, A Direction Out There: Readwalking (with) Thoreau (2021): Stephanie Lavon Trotter (voice), Juniana Lanning (electronics)

> Annea Lockwood, Spirit Catchers (1974): Douglas Detrick, Tim DuRoche, Juniana Lanning, Stephanie Lavon Trotter (voices)

Extradition is pleased to announce its first full post-lockdown concert, happening Saturday, October 23, 2021, at Leaven Community. The program will present five pieces, all of which feel particularly appropriate to the past eighteen months.

> Drew Baker, How You Gaze Beyond the Vast Time (2009): Lee Elderton (soprano sax)

> Jordan Nobles, Nocturne (2013): Matt Carlson (piano), Catherine Lee (oboe d’amore), Collin Oldham (cello)

> Ailie Robertson, Vedbæk (2018): Matt Carlson (piano), Lee Elderton (clarinet), Catherine Lee (oboe d’amore), Collin Oldham (cello)

> Antoine Beuger, Como un Océano de Olas Innumerables (2018): Matt Carlson (piano), Lee Elderton (clarinet), Catherine Lee (English horn), Collin Oldham (cello)

Door 7:15pm, music 7:30pm

Tickets at the door, $10-$20

Event page here

Proof of covid vaccination is required for admission (vaccine card or photo of card) and masks are required throughout the Leaven space. Seating will be arranged to promote distancing. Thanks!

Due to the coronavirus pandemic, this concert is postponed pending further notice.

The Extradition Series 2020 Spring Concert presents five works:

> Tom Hamilton, City of Vorticity (2014): Tom Hamilton (electronics) with Loren Chasse (percussion, etc.), Matt Hannafin (percussion), Collin Oldham (cello), and Doug Theriault (guitar, electronics)

> Sam Sfirri, Trio (2011): Matt Carlson (piano), Catherine Lee (oboe), Collin Oldham (cello)

> Catherine Lee & Juniana Lanning, Silkworm Project (2019): Catherine Lee (oboe d’amore) and Juniana Lanning (electronics)

> Johan Toft, Changeable Spring (1995): Matt Carlson (piano), Lee Elderton (soprano sax), Reed Wallsmith (alto sax)

> Joseph Kudirka, Release (2016): Loren Chasse (percussion etc.), Matt Hannafin (percussion), Branic Howard (instruments), and Juniana Lanning (instruments)

Ashland-based performer/composer Tessa Brinckman brings a new solo work to Portland and joins members of the Extradition Ensemble for a group performance.

> Tessa Brinckman, Box | Grown Men Sing (2019): A 35 minute electro-acoustic meditation on loss, seen through the lens of solitary confinement, its connections to colonization and climate change, and our yearnings beyond dehumanization. Performed by the composer on bass flute and waterphone with fixed audio and video, the piece incorporates interview recordings with three survivors of solitary within the US prison-industrial complex. What did they hear, smell, taste, dream, remember, resist? What did they love?

> Eva-Maria Houben, Haiku for Seven (2003–2019): A simultaneous realization of seven interlocking solo scores from the composer’s Haiku series, performed by Tessa Brinckman (flutes), Loren Chasse (percussion), Lee Elderton (clarinet), Annie Gilbert (trombone), Matt Hannafin (percussion), Jacob Mitas (viola), and Collin Oldham (cello)

New Zealand flutist Tessa Brinckman has been described by critics as a “flutist of chameleon-like gifts” and “virtuoso elegance” (Gramophone), an “excellent…flutist” (Willamette Week), and a “highlight of Portland” (New Music Box) who “play(s) her instrument with great beauty and eloquence” (Music Matters New Zealand). She enjoys a versatile career, having worked in many classical music ensembles and concert series in the United States, South Africa, France, and New Zealand. Her orchestral, chamber, and solo music performances include the Oregon Symphony, New Haven International Arts, Festival of New American Music, Britt Festival of Music & Arts, Ashland Independent Film, Oregon Bach, Oregon Shakespeare, Ernest Bloch, Bumbershoot, Oregon Fringe, and Astoria Music Festivals. Performing on flute, piccolo, alto, bass, contrabass, and baroque flutes as well as miscellaneous keyboards, Ms. Brinckman also co-directs the ever-polymathic duo Caballito Negro with percussionist Terry Longshore, and is a member of Collectif Impulsion in France. She has recorded, composed, and performed in major regional theaters across the United States and internationally, as well as for radio, TV, and film. Her co-composition for Tony Award-winning director Mary Zimmerman’s White Snake was nominated for a Joseph Jefferson Award in 2014.

Over the past 15 years Ms. Brinckman has received local and international grants to commission, curate, and perform unique programs that blend technology, tradition, and contemporary geo-political themes. The music is often interwoven with her own visual and narrative work, in concert with diverse, global artists. Recent collaborations/commissions include taonga puoro master Horomona Horo, live electronics composer Nicolas Vérin, theorbist Caroline Delume, microtonalist Pascale Criton, avant-rock composer Randy Woolf, poets Angela Decker and Tricia Snell, electronic composer Jeremy Mayall, composer-scholar Martin Lodge, multi-media composer Nissim Schaul, and koto-player Mitsuki Dazai. Ms. Brinckman’s composition for flute and string trio, Glass Sky (2005), can be found on the critically acclaimed CD Glass Sky, and is featured in the South African documentary Inner Landscapes (Climax Films), centering around outsider artist Helen Martins and her Owl House creation. She has served on the music faculties of various Oregon universities and colleges and now teaches workshops and masterclasses in the USA and abroad. Recent solo projects include performance (“When Flutes Spoke Words”) and teaching residencies (“Building for the (Un)Reliable Narrator”) at Waikato and Canterbury Universities (2017); ongoing recording projects for upcoming CD and video release; and a residency at Centre Pompadour (2018) to compose the piece she’ll be presenting at Extradition: Box | Grown Men Sing (2019).

The Extradition Series 2020 Winter Concert presents four works by composers who have affected the course of experimental music and art for more than half a century, and (save one) are still pushing musical boundaries today.

> Keith Rowe, Pollock #82 (1981/82): Matt Carlson (piano), Loren Chasse (Tremoloa, objects), Alissa DeRubeis (electronics), Lee Elderton (clarinet), Matt Hannafin (prepared table harp), Branic Howard (electronics, objects), Catherine Lee (oboe), Collin Oldham (cello), Caspar Sonnet (lap steel dobro)

> Philip Corner, Small Pieces of a Fluxus Reality (2018): Loren Chasse (Tremoloa, objects), Lee Elderton (reeds), Annie Gilbert (trombone), Matt Hannafin (table harp, percussion), Maxx Katz (flute), Caspar Sonnet (concertina)

> Annea Lockwood, Jitterbug (2007): Lee Elderton (tenor & soprano saxophones), Matt Hannafin (percussion, electronics), Branic Howard (multi-channel recorded media), Collin Oldham (cello)

> Walter De Maria, Cricket Music (1964): John Niekrasz (drum set) + fixed media

A special night at Turn! Turn! Turn! dedicated completely to Keith Rowe’s graphic score series Pollock #82, which was created by isolating and enlarging drips and splatters from Jackson Pollock paintings. Musicians will present duo realizations of the piece while visual artists create new paintings and drawings inspired by the music.

Duo musical performances by Matt Carlson & Jonathan Sielaff (electronics + bass clarinet), Alissa DeRubeis & Marcus Fischer (electronics x2), Juniana Lanning & Matt Hannafin (electronics + percussion), and Caspar Sonnet & Reed Wallsmith (lap steel dobro + alto saxophone).

Live visual art by Amy Subach, Jason Morales, Joni Renee Whitworth, and Nathan Rice.

The Extradition Series 2019 Fall Concert presents five works that share a connection with the natural world, in one form or another.

> Toshi Ichiyanagi, Music for Electric Metronome (1960): Matt Carlson (piano), Loren Chasse (percussion), Brandon Conway (prepared guitar), Matt Hannafin (percussion), Maxx Katz (flute), Caspar Sonnet (dobro) + metronomes

> Sarah Hughes, Fires and Conifers (2012–13): Loren Chasse (sound), Matt Hannafin (percussion), Branic Howard (bowed & rubbed surfaces), Maxx Katz (flute), Lorna Krier (piano), Caspar Sonnet (dobro)

> Matthias Kaul, After the Rain (2015): Brandon Conway (sound projection), Matt Hannafin (percussion), Branic Howard (guitar), Maxx Katz (flute), Caspar Sonnet (voice)

> Luke Nickel, White Fang Field Recording (2015): Matthew Neil Andrews, Brandon Conway, Annie Gilbert, Matt Hannafin, Juniana Lanning, Stephanie Lavon Trotter (voices)

> Daniel James Wolf, Field & Stream (2011): Francisco Botello, Glenn Sogge, Branic Howard, Lorna Krier, Juniana Lanning (electronics)

Edmonton-based composer Mark Hannesson, one of only four North American members of the influential Wandelweiser Collective, will join members of the Extradition Ensemble for an evening of his own works.

> Child (2019 – world premiere): Mark Hannesson (trumpet) with Matt Carlson (piano), Branic Howard (guitar), Catherine Lee (oboe), Collin Oldham (cello), and a vocalist to be announced

> Home.Haven.Refuge (2019 – world premiere): Mark Hannesson (trumpet) with Catherine Lee (oboe) and Matt Hannafin (percussion)

> Small Garden (2015): Mark Hannesson (trumpet) with Matt Carlson (piano), Lee Elderton (clarinet), Matt Hannafin (percussion), Branic Howard (guitar), Catherine Lee (oboe), Collin Oldham (cello)

> Like the Shuffling of Feet on Pavement (2017): Matt Carlson (piano), Lee Elderton (clarinet)

> Undeclared (2016): Mark Hannesson (whistling + electronics)

Mark Hannesson (b. 1968) is a composer and sound artist who writes instrumental, electronic, and mixed works. As well, he is an active performer of live electronic music.

Originally from Winnipeg, Canada, he completed a Bachelor degree in music from Brandon University and a Master degree in composition at the University of Alberta. He completed a doctorate (DMA) in composition at the University of British Columbia under the supervision of Keith Hamel.

He is an Associate Professor at the University of Alberta teaching courses in composition, music technology, and experimental improvisation. He is a member of the Wandelweiser Collective and has recorded on Edition Wandelweiser (Germany), the Cyland Audio Archive (Russia), Modisti (Spain), the CEC (Canada), and BEAMS (Canada).

The Extradition Series 2019 Summer Concert presents five works exploring memory, transformation, and utterance.

> Linda Austin & Brian Moran, PS122: Insert Silence (2004/2019): Linda Austin (dance & recordings), Brian Moran (recordings)

> Eva-Maria Houben, The Crickets of Raspberry Island (2014): Lee Elderton (clarinet), Matt Hannafin (friction gong), Branic Howard (bowed bell)

> Alvin Lucier, The Sacred Fox (1994): Matt Hannafin (voice & resonant vessels)

> Lo Wie, Score for 3 Performers (2015): Alissa DeRubeis (electronics), Juniana Lanning (electronics), Caspar Sonnet (dobro)

> Angharad Davies, Cofnod Pen Bore (2012): Annie Gilbert (voice), Matt Hannafin (percussion), Branic Howard (percussion), Margaret McNeal (voice), Stephanie Lavon Trotter (voice)

The performance by Linda Austin will be a recreation of a dance performed in 2004 by New York dancer and electronics player Brian Moran, utilizing Moran’s original accompanying audio track merged with new audio by Austin.

The Extradition Series 2019 Spring Concert presents five pieces that, in one way or another, present puzzles to be unpacked by their interpreters. The two Danny Clay compositions were written specifically for this concert. The piece by Alexis Porfiriadis will also be receiving its world premiere.

> Raven Chacon, …lahgo adil’i dine doo yeehosinilgii yidaaghi (2004): Matt Carlson (piano), Michael Chergosky (viola), Lee Elderton (clarinet), Sage Fisher (harp), Maxx Katz (flute), Catherine Lee (oboe), and Collin Oldham (cello)

> Danny Clay, Correspondences I (2018): Lee Elderton (clarinet), Branic Howard (guitar/electronics), Catherine Lee (oboe d’amore), Collin Oldham (cello), and Melanie Voytovich (vibraphone, percussion)

> Danny Clay, Correspondences II (2018): Matt Hannafin (percussion)

> Alexis Porfiriadis, Happy Notes, Sad Notes (2012): Loren Chasse (percussion), Brandon Conway (guitar), Sage Fisher (harp), Maxx Katz (flute), and Collin Oldham (cello)

> Glenn Sogge, For Thomas Willis on the Occasion of Music Day (1975): Doug Detrick (trumpet), Lee Elderton (soprano sax), Branic Howard (tabletop guitar/bass), and Jacob Last (piano)

Facebook event page here.

New York composer/performer Dan Joseph joins an ensemble of Portland musicians to present four experimental works:

> Dan Joseph, Dulcimer Flight (1998–2019): Dan Joseph (hammer dulcimer, electronics)

> Dan Joseph, Notes & Queries (2015–18): Dan Joseph (hammer dulcimer) with Lee Elderton (clarinet), Maxx Katz (flute), Margaret McNeal (voice), Collin Oldham (cello)

> Craig Shepard, Coney Island, April 15, 2012 (2012): Dan Joseph (hammer dulcimer) with Brandon Conway (guitar), Lee Elderton (soprano sax), Matt Hannafin (triangle), Maxx Katz (flute), Collin Oldham (cello)

> Johnny Chang, Haikus (2012): Dan Joseph (hammer dulcimer) with Matt Hannafin (percussion) and Margaret McNeal (voice)

Facebook event page here.

Dan Joseph is a freelance composer, curator and writer based in New York City. He began his career as a drummer in the vibrant punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground, producing ambient-industrial works for independent labels in the U.S. and abroad. He spent the ‘90s in California where he studied at CalArts and Mills College. His principal teachers include Pauline Oliveros, Alvin Curran, and Mel Powell. Equally influential were his studies with Terry Riley during several workshops in California and Colorado.

A New York resident since 2001, Dan’s work has been presented at Merkin Concert Hall (NYC), Diapason Gallery for Sound (NYC), Roulette (NYC), Issue Project Room (NYC), The Kitchen (NYC), Yerba Buena Center for the Arts (CA), New Langton Arts (CA), Headlands Center for the Arts (CA), and other venues. He has received commissions from several ensembles and performers, including Gamelan Son of Lion, the sfSoundGroup, baritone Thomas Buckner, and clarinetist Matt Ingalls. Dan has held residencies at Headlands Center for the Arts, the Lower Manhattan Cultural Council, and Harvestworks Digital Media Arts Center.

As an artist who embraces the musical multiplicity of our time, Dan works simultaneously in a variety of media and contexts, including instrumental chamber music, free improvisation, and various forms of electronica and sound art. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music. As a performer he is active with his own chamber ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations and as an occasional soloist. He has collaborated with a variety of creative artists including Miya Masaoka, Pamela Z, Loren Dempster, JD Parran, India Cooke, Andrea Williams, William Winant, and Miguel Frasconi and John Ingle.

As curator and presenter, he has organized over 100 concerts as an independent producer and as a member of organizations such as Harvestworks, Mutable Music (producers of the acclaimed Interpretations series), and the San Francisco Electronic Music Festival. He currently produces the monthly music and sound series Musical Ecologies at The Old Stone House in Park Slope, Brooklyn, and is a co-producer of the Music for Contemplation series in Williamsburg, Brooklyn.

danjoseph.org

Extradition's 2019 Winter Concert will present five compositions that run the gamut from sound sculpture to art song.

> John Cage, Two (1987): Matt Carlson (piano) and John C. Savage (flute)

> Anna Höstman, What Her Friend Said (2009): Gina Adorno (soprano) and Lorna Krier (piano)

> Mark Hannesson, A Moment Is a Window (2017): Brandon Conway (guitar), Lee Elderton (clarinet), Mike Gamble (guitar), Catherine Lee (oboe), John C. Savage (flute), and Jonathan Sielaff (bass clarinet)

> Morgan Evans-Weiler, Constructed Objects (2016): Loren Chasse (percussion), Derek Ecklund (electronics), Lee Elderton (clarinet), Branic Howard (electronics), Juniana Lanning (electronics), Collin Oldham (cello), and Jonathan Sielaff (bass clarinet)

> Matt Hannafin, Variations on a Picture of Snow by Evan Cordes (2016/2018): Matt Carlson (piano), Derek Ecklund (electronics), Branic Howard (electronics), Maxx Katz (flute), Catherine Lee (oboe), and Collin Oldham (cello)