sarah weaver : composer


Compositions 2016


For Pauline Oliveros (1932-2016)
Sarah Weaver - Text, Spoken Voice, Chime, Electronics
Joe McPhee - Didjeridu

Premiered December 7, 2016 at the Pauline Oliveros Memorial, Quinn's in Beacon, New York
Performed December 20, 2016 at The Cell Theatre, New York 


David Taylor, bass trombone
Sarah Weaver, electronics

Solo work for bass trombonist David Taylor with electronics accompaniment. The piece is written for David Taylor's innovative language on the bass trombone, together with music and graphic notation that emphasizes network, spectral, multiplicity, and contemplative concepts. The collaboration draws from many years working together in ensemble music and the deep musical impact of Taylor's work on Weaver from a young age. 

Premiered December 20, 2016 at The Cell Theatre, New York


Yoon Sun Choi, voice
Julie Ferrara, oboe

Chamber work for voice, oboe, and up to two more musicians in pitch range of the score. Heterophonic music notation with improvisation based on attention strategies for remembering envisionings of peace for the future individually and collectively over time, especially at junctures when obstacles to peace arrive. 

Premiered December 20, 2016 at The Cell Theatre, New York


"Resonance Synthesis" is conceived as form of network music, with intersection as resonance and synthesis. The music system includes notation, gesture, improvisation, and the individual languages of the renowned performers on their instruments. Resonance of time is explored in addition to pitch and timbre, utilizing layers of spectrums and progressions that merge into nodes throughout the piece. 

Premiered September 22, 2016 on the Interpretations Series at Roulette, New York. SLM Ensemble: Jane Ira Bloom, soprano saxophone, Min Xiao-Fen, pipa and sanxian, Ellery Eskelin, tenor saxophone, David Taylor, bass trombone, Samir Chatterjee, tabla, Satoshi Takeishi, percussion, Denman Maroney, hyperpiano, Mark Dresser, bass, Sarah Weaver, conductor


For Mark Dresser, solo bass

Polydimensional Transformation is a solo network music piece as an accumulation of inner networked spaces, multiple states of material, and transformation over time. Techniques particular to the innovative bass language of Dresser are incorporated, especially his unique approaches to harmonics. The materials are influenced by spectralism and multiplicity of pitch, time, timbre, and dimension, and intersections of jazz and experimental music. Improvisation by the soloist is utilized within this context for expansion of the materials and involvement of music transmitted in the moment for dimensional synthesis. 

Premiered September 22, 2016 on the Interpretations Series at Roulette, New York.


Telematic ensemble composition for "Changing Tides: Telematic Translocational Music" event on global environmental concerns with professional musicians at University of California San Diego and Stony Brook University performing together via the internet. "Sustainable Balance" includes video art referencing the palm oil industry in Malaysia, in collaboration with Siew-wai Kok from Weaver's residency at Kuala Lumpur Experimental Film, Video, and Music Festival (KLEX). 

Premiered April 10, 2016 together with new pieces by Mark Dresser, Michael Dessen, and Nicole Mitchell. 
San Diego Musicians: Nicole Mitchell, flute, Stephanie Richards, trumpet, Michael Dessen, trombone, Mark Dresser, bass.
New York Musicians: Marty Ehrlich, woodwinds, Min Xiao-Fen, pipa, Ray Anderson, trombone, Denman Maroney, piano, Sarah Weaver, conductor. Siew-wai Kok, video art.
Project Directors: Mark Dresser, Michael Dessen. New York Site Director: Sarah Weaver.


Universal Synchrony Music (USM) is a cosmic multi-year telematic music project (2013-2017) in collaboration with the NASA Kepler Mission and NASA ArtSpace exploring musical, technological, and metaphorical realizations of synchrony. Sonification of data from the Kepler Mission on stars and planets 1000-3000 light years away is utilized for presence and interaction for synchrony. Synchrony is defined as perception of alignment of distributed time and space components. This electroacoustic telematic ensemble is comprised of renowned experimental musicians utilizing their individual innovative musical languages in manifestation of the piece.

USM Volume 4 premiered February 19, 2016 at Symphony Space, New York. Focuses on sonification and intuitive music related to orbital and constellation alignment of multiplanetary habitable systems in the Kepler area, the circumbinary multi-planet system Kepler-47 with habitable zone, and inner habitability. Palette 1 involves sonification and musical abstractions of orbital alignments with Earth of Kepler area planets in multiplanetary habitable systems, and constellations of the stars of these systems. Palette 2 is a structured improvisation based on inner habitability that utilizes reflections, mirroring, and synchronies of Palette 1 material extensions and abstractions. Palette 3 is inspired by sonification of Kepler-47. As a circumbinary multi-planet system, Kepler-47 contains two stars instead of the more typical single star, and has three planets. Within the Kepler Mission discoveries, a surprisingly high percentage of binary and multiple star systems contain habitable zones. Palette 4 begins with a more literal sonification of Kepler-47, including periodicity of insolation (solar radiation received at the surface of each planet). The subsequent material of Palette 4 is based on habitable zone emergence from binaries. Palette 5 is a structured improvisation on inner habitable zones, individually and collectively, with extensions and abstractions of materials from Palettes 3 and 4. The resultant synchrony of the piece is realized through synthesis of presence with these deep space systems, representations and intuitive transmissions of inherent synchronies, and the metaphorical realizations.

Performers: Jane Ira Bloom, soprano saxophone, David Morales Boroff, violin, Min Xiao-Fen, pipa, Ned Rothenberg, alto saxophone, bass clarinet, David Taylor, bass trombone, Denman Maroney, piano, Mark Helias, bass, Gerry Hemingway, drumset, Sam Pluta, computer, sonification, Doug Van Nort, computer, sonification, Sarah Weaver, conductor
Kepler/K2 Mission Data Collaborators: Jon Jenkins - Analysis Lead for the NASA Kepler Mission, Senior Research Scientist, SETI Institute, NASA Ames Research Center. Professors William Welsh, Jerome Orosz, and Donald Short, Astronomy Department, San Diego State University. Madeline Huberth, CCRMA, Stanford University. Daniel C. Fabrycky, Assistant Professor, Department of Astronomy and Astrophysics, University of Chicago. 

NODE 111, VOLUME 3 (2016)

Solo drumset works for Gerry Hemingway.  "Node 111, Volumes 1-3" are based on nodality in music and spectral multiplicity of self. Nodes are applied as points of multiple layers of intersections that are heard together in time. "Reality Axis" is a piece that focuses on inner and integral components of multiplicity, nodality, and network. Engaging Hemingway's unique musical language on drumset and abilities in simultaneity, traversed with Weaver's contemplative electronics, the program offers heightened inner expressions of networked life. 

"Node 111, Volume 1" premiered in a 2011 telematic concert and grew into a full set of works based on these concepts including Volumes 1-3 (2011-2017) together with companion pieces "Reality Axis" and "Inner Network" involving drumset and electronics. 

Premiered January 2015 in the Southeast Asia Tour - Thailand, Malaysia, Singapore. 
Performed with "Node 111, Volume 2 and 3" July 2016 New Zealand Tour and November 29, 2016 at The Cell Theatre in New York.
Recorded November 30, 2016 at Mavericks Studio, New York.

Documentation Links: 
Node 111 Volume 1
Node 111 Volume 2
Node 111 Volumes 1-3
Reality Axis